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BEAUTIFUL OLD HOMES

DECOR ATING & SHOPPING

GARDEN ANTIQUES INSPIRATION & VINTAGE

RENOVATION & MAINTENANCE

PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

Downton Abbey Behind the scenes with the director of the must-see new film

OCTOBER 2019

Relax into

Autumn Stunning room updates for the ultimate in warmth and comfort

SEASONAL BUYS RANGE COOKERS ARMCHAIRS STOVES & FIRES NATURAL FABRICS

TIFFANY LIGHTING

An expert guide to iconic antique designs

Heritage character

Cosy period homes – from a classic Cotswold farmhouse to a charming riverside cottage

Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

uring the summer, I often long for autumn to arrive. Some people wish the heat would never end, but I relish the changing of the seasons and the unique joys that autumn brings – from cooler nights and crisp walks amid trees turning red and gold, to cosying up in front of a roaring fire with a blanket and cup of tea in hand.

Whether you’re looking forward to October, or still need some convincing, this issue has all the inspiration you need to get into the mood, starting with the latest decorating ideas to maximise warmth and comfort – from plush furnishings and relaxed textures to fireside shades of mustard, berry and terracotta (page 24).

This month’s readers’ homes are full of the delights of autumn. Our cover house is a Cotswolds manor that’s brimming with country charm and has a relaxed neutral palette with warming red accents (page 36). It’s the perfect mix of period character and stylish new pieces, but never feels like an untouchable showpiece. ‘I wanted my children to look back and think of this house as home,’ says owner Jeannie Aldridge. Meanwhile, Ruth Scott’s renovated mill house is the epitome of comfort and cosiness (page 61).

Heading outdoors, Leigh Clapp offers expert advice on buying and planting bulbs (page 142). It might not feel like a very autumnal activity but now is the time to invest so that, come next year, your garden will be full of colour and interest. Elsewhere this issue, we take a behind the scenes look at the new Downton Abbey film, and catch up with director Michael Engler on its enduring authentic appeal, how they scaled it up for the big screen, and what it’s like to work with Dame Maggie Smith (page 158).

Finally, this month don’t miss the chance to subscribe to Period Living for just £20 for six issues, and receive a Sophie Allport Bees bag, worth £30, completely free (page 46). It’s the perfect treat for yourself or gift for a friend. I do hope you enjoy the issue.

Melanie Griffiths Editor, Period Living

Period Living 3

PERIODLIVING

Future PLC, Units 1 & 2, Sugarbrook Court, Aston Road, Bromsgrove B60 3EX EDITORIAL Editor Melanie Griffiths Content Editor Rachel Crow Homes Content Editor Karen Darlow Style Editor Pippa Blenkinsop Features Writer/Subeditor Holly Reaney Email periodliving@futurenet.com ART Head of Art Billy Peel Senior Art Editor Emily Smith Art Editor Karen Lawson Contributions by Cliff Newman ADVERTISING Media packs are available on request. For all media sales enquiries, please contact sophie.gill@futurenet.com or call 01527 834411 Commercial Director Clare Dove clare.dove@futurenet.com Group Media Director Mark Wright mark.wright@futurenet.com Strategic Partnership Director Jackie Sanders 01527 834426 jackie.sanders@futurenet.com Print and Digital Sales Manager Rebecca Vincze 01527 834415 rebecca.vincze@futurenet.com Print and Digital Sales Manager Kelly James 01527 834471 kelly.james@futurenet.com INTERNATIONAL LICENSING Period Living is available for licensing. Contact the liscensing team to discuss partnership opportunities Head of Print Licensing Rachel Shaw licensing@futurenet.com SUBSCRIPTIONS Email enquiries contact@myfavouritemagazines.co.uk Orderline and enquiries +44 (0)344 848 2852 Online orders and enquiries www.myfavouritemagazines.co.uk Head of Subscriptions Sharon Todd CIRCULATION Head of Newstrade Tim Mathers PRODUCTION Head of Production Mark Constance Production Manager Frances Twentyman Advertising Production Manager Jo Crosby Digital Editions Controller Jason Hudson ONLINE Technical Project Manager Tom Burbridge Realhomes.com Editor in Chief Lucy Searle Realhomes.com Associate Editor Lindsey Davis Video Producer Matt Gibbs MANAGEMENT Chief Content Officer Aaron Asadi Brand Director Paul Newman Editorial Director Jason Orme Commercial & Events Director Nick Noble Commercial Finance Director Dan Jotcham

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Contents 50

22 Cover

142

Photograph Kasia Fiszer

Decorating & shopping

11 18 21 22 24

Journal We round up the latest interiors offerings, news and exhibitions

Features

Natural weaves Add subtle texture to neutral interiors with woven fabrics

30

Into the woods Create an enchanting interior inspired by a walk in the forest

88

ON THE COVER

ON THE COVER

Armchairs shopping Some of our favourite designs, perfect for snuggling up in ON THE COVER

Relax into autumn Stunning room updates for the ultimate in warmth and comfort

HaVE yOuR say iN OuR

REadER suRVEy 87

149 151 157 158

Made in Britain We visit woodworker Jonty Hampson’s Cumbrian workshop

70

ON THE COVER

The great designers Marc Allum explores the life and work of Louis Comfort Tiffany Food journal Events, eateries and kitchen essentials for keen home cooks Recipes Be inspired by these hearty recipes from the team behind The Pig restaurants with rooms October journal The best activities to get you out and about this month ON THE COVER

Downton Abbey Behind the scenes of the new film with director Michael Engler Period Living 7

Homes

79

36

Home from home The Aldridges never thought their dream home would be the one they already lived in ON THE COVER

48 A sense of harmony

Garden designer Barbara Brooks rose to the challenge of reinventing her disjointed collection of small, dark rooms

61 New beginnings

Dramatic events led to a major renovation and radical update of the Scotts’ old mill cottage

70

Garden cottage Lisa and Gregg Hector transformed their riverside cottage with a smart extension

Gardens

129 133 134 142

ON THE COVER

79 Cool, calm and collected

Packed with mementos from trips around the world and closer to home, this Swedish apartment is full of style

21

Advice & inspiration

46 163

Stockists Where to find all the suppliers featured in this issue

46

Renovation expert Roger Hunt advises on plumbing

129 101 134

Subscribe Get a free Sophie Allport bees bag worth £30 when you subscribe

SUB

107 Home maintenance

Bulb bonanza As autumn draws in, now is the time to start planting these little powerhouses of stored energy

ION

Range cookers We bring you the latest options

The mists of time The gardens at Nettlestead Place have been reawakened with autumnal burnished hues

I R P C T S

New products and expert advice for improving a period home ON THE COVER

Reader offer at Sarah Raven We’ve partnered with Sarah Raven to bring you a 20 per cent discount on the full range, plus free postage and packaging

Regulars

93 House journal 97

Garden journal The latest products for your garden, and horticultural advice

Stoves and fires Make this autumn your cosiest yet with the latest designs

OF

ON THE COVER

116 Regency house focus

Heritage expert Lee Bilson delves into this unique home design era

122 Reclamation

We explore The Old Yard salvage site in Oswestry, Shropshire

88

F ER

Discover stunning new fabric, wallpaper and homeware collections, plus must-visit exhbitions

Em b

Feature Pippa Blenkinsop

autumn e c a r Dining alfresco

isn’t just for summer - why not feast surrounded by the season’s magical turning colours? Available in rich gold, russet and damson tones, Vanessa Arbuthnott’s Orchard fabrics would look brilliant layered up in an outdoor eating area, but are also a great way to bring autumn colour into interiors.

From £52 per m.

Period Living 11

ve the b a ir S d Fabric designer

s

Lorna Syson has collaborated with the Royal Society for the Protection of Birds (RSPB) to create two new fabrics inspired by her favourite feathered friends and their habitats. With current designs featuring robins and wrens to goldcrests and greenfinches, birds have become a signature motif for Lorna, so the RSPB made a perfect design partner. The two new prints, Long Tailed Tits and Hummingbirds, celebrate the important work the RSPB does protecting birds here and abroad, and 10 per cent of sales will go to the charity. PL loves this sofa upholstered in Hummingbird Mint/Teal teamed with a cushion in Blossom & Bird Navy/Grey cushion, £58 per m.

NEW ON THE BLOCK Designer of block-printed textiles, Molly Mahon has launched a beautiful new range of table linen that’s perfect for jazzing up meal times. Mix and match from a range of vibrant colours and prints from stripes and checks to paisley.

Tablecloths, £70, and napkins, from £4.50 each.

Floral fantasy Love flowers? Then you’ll love JamJar Edit. Founded in 2017 by the directors of JamJar Flowers, Melissa Richardson and Amy Ireland, JamJar Edit produces handcrafted products to display plants and flowers simply and elegantly, as well as working with artists and makers on product collaborations – always with a floral reference. The pair are constantly looking for intriguing items to reimagine into vases, such as a hoard of old Dutch cigar presses found at an antiques fair, which they have adapted to hold test tubes to make an unusual vessel for a few delicate stems. They are also fascinated with finding different ways flowers can be used to bring joy into interiors, such as pressed botanical frames, postcards and paperweights.

From top: Cigar press vase, £85; oak-veneer flower press made in London, £125; hellebore pressed flower artwork, £75

EYE ON DESIGN Tom Kennedy and Jamie Watkins, founders of Divine Savages, talk to us about their new collection with the Natural History Museum What is it about the Natural History Museum and its collections that appeals to you?

Working with London’s iconic Natural History Museum to create five new designs for wallpapers, fabrics and cushions has been an incredible journey through time, and a personal dream come true. Indulging our passion for nature, and our younger selves’ obsession with Indiana Jones, we’ve been raiding the vast archives and vaults for inspiration to create a stunning collection that we hope helps to inspire a love for the natural world.

Tell us about the inspiration behind Botanize

Botanize is inspired by the ‘Cathedral of Nature’ at London’s Natural History Museum – the iconic great hall. Most visitors miss the spectacular vaulted ceiling, adorned with 162 illustrated panels showing plants from across the world. Our Botanize wallpaper celebrates these illustrations that were a tribute both to the immense diversity of life on Earth, and those working to protect it.

Above: Botanize Heritage Grasscloth wallpaper in Whale Blue Right, clockwise: Arboreta in Charcoal; Forbidden Bloom in Black; Extinctopia in Glacier Blue; Hierarchy in Blush, all from £150 for wallpaper, £95 per m for fabric and £100 for velvet cushions

Best piece of interior design advice?

Have fun! Your home should reflect your personality, so inject some into your interior design. Trends come and go, so focus on things you love and that will bring you joy.

What should I do if I love busy prints but am cautious about using them wall-to-wall?

U

c

ted class a i Fans of the iconic pd 1950s Roberts Revival

We love to encourage braver interior design choices, but if you’re not quite ready to fully embrace bold pattern and print, then we suggest you start to introduce it into your interiors through smaller pieces. Cushions are a great start and can instantly change the look and feel of a room, but also think about other interior accessories like rugs, statement chairs and curtains. For wallpaper, if you’re not yet ready to go wall-to-wall, then look at papering the walls across the corner of a room, creating a focal point that’s a lot more interesting than a traditional feature wall.

radio will be pleased to know it’s now available in five new colours and with updated technology. As well as offering DAB/DAB+/FM and wi-fi internet radio, streaming services including Spotify and Amazon Music are now built-in. It also features ‘Works with Alexa’ to give voice control via Amazon Echo speakers and the Alexa app. New colours for 2019 are Berry Red, Charcoal Grey, Dusky Pink, Teal Blue and this lovely Mulberry Purple – perfect for autumn. £199 for the Revival iStream3.

Period Living 13

ONEs TO WaTCH With Decorex returning this month, we discover the new names in luxury interiors

SALONE LIBERTINE

Fabrics, from £75 per m; wide-width (70cm) wallpapers, £145 per roll Warwick antique brass wall light, £350

‘Embracing the pure joy of unrestrained colour and painterly expression, with a palette chosen to uplift, inspire and delight,’ is how founder Victoria Hill describes Salone Libertine’s stunningly vibrant designs. Offering textiles, wallpaper, home and fashion accessories, the brand’s debut collection Ephémère brings together a plethora of Victoria’s influences from the beauty of nature, to the colours of India and Morocco, and the expressive works of French impressionist Marc Chaghall.

FOSBERY STUDIO

Founded in Kent by designer Daniel Fosbery, Fosbery Studio creates beautiful lighting from the finest materials, designed to be cherished for years to come. As much works of art as functional fittings, Daniel’s creations are handcrafted in a range of materials, including brass, wood, glass and bone china. Over his extensive career spanning 12 years, Daniel has created lighting for some of the UK’s top interior designers, including bespoke projects such as Manolo Blahnik’s Harrods concession, The Saga Sapphire cruise ship and luxury hotels.

VACARDA DESIGN

Using Italian plaster and skilled techniques, this creative surface design studio offers bespoke decorative wall coverings, tapestries and artworks for the luxury interior.

Founded by Tanya Vacarda on a passion for texture, the studio aims to create alternatives to wallpaper with traditional craftsmanship.

Autumn Blossom textured plaster mural canvas, £890

Discover more emerging talent and interior brands at Decorex International, 6–9 October, Olympia London. Entry £40

Fabric focus Renowned Soho fabric store Cloth House has launched a brand new online collection of furnishing fabrics, Cloth House Home. Founded over 30 years ago by Jay and Niki, Cloth House offers beautiful fabrics hand-picked from around the world with an emphasis on ethically produced, natural fibres. A favourite with dressmakers, the store has now launched a collection of fabrics for furnishings, including these stunning bright linens, from £35 per m, perfect for bringing colour and texture into the home.

Tune in

Would you like to know tips for getting rid of unwanted pet hair? Or the best way to get stains out of carpet? If so, tune in to the Real Homes Show, the online TV show from our sister title. Each episode contains clever cleaning hacks, renovation tips and advice on decorating. A new episode goes live every fortnight.

To watch, subscribe to the Real Homes YouTube channel.

Period Living 15

O

sit i v o t Opening this e

at the Sarah n WisemanOctober Gallery, Oxford, Rustlings

– Autumn Days is a solo exhibition by award-winning children’s author and illustrator Catherine Rayner. In her latest collection of work, Catherine has been inspired by the turning of the seasons, when wild creatures are busily preparing for the winter ahead. ‘I’m hoping to convey a sense of getting ready for the season,’ says Catherine. Visitors can expect to see new paintings and prints inspired by creatures searching out fruit and nuts for their stores, and the gathering of grasses and thistledown for their nests before finally hunkering down. From 12 October to 22 November.

A NEW DIMENSION

Want to give your interior a fresh new angle?

A statement rug is a simple addition that could instantly transform a tired space. Showcasing mod-influenced prints inspired by the psychedelic repeat patterning of the Swinging Sixties, the new kaleidoscopic-printed rug collection by Swoon Editions offers three geometric designs in a range of colourways to complement your scheme.

Pictured is the Villion design, £299.

Oak dressing table by Aksel Kjersgaard, Denmark, 1964, KIY Gallery

Modernist chair by Olavi Hanninen, Finland, 1960s, Thurstan

DON’T MISS...

The autumn Decorative Antiques & Textiles Fair, which returns to London’s Battersea Park this month. With over 160 exhibitors on two floors, the event offers a cornucopia of specialist dealers in decorative antiques and design, 20th-century classics, and accessories of every era from Georgian to Post Modernism.

To mark its centenary year, the School of Bauhaus provides the theme for the 2019 autumn foyer display, where avant-garde 20th-century designs will take centre stage. 1-6 October, entry £10 at the door or register at decorativefair.com to join the mailing list for free tickets.

Light up

As the nights begin to draw in, it’s time to ensure your interior has plenty of ambient lighting factored in for creating that all-important cosy atmosphere. Perfect for a timeless, elegant look, the beautiful new lighting collection from Susie Watson Designs brings together handcarved bases with a range of lampshades designed using a selection of her most popular cotton and linen fabrics. All lovingly handmade, the shades can be mixed and matched in plain, pleated and framed designs, with bases to curate your own look. From £42 for a 12-inch lampshade and handcarved lamp bases from £68.

Natural weaves Bring texture and warmth to neutral interiors by layering up rustic woven fabrics in earthy tones, from oatmeal to walnut

Fabric piles, from bottom to top: (pile 1) Arran linen-blend fabric in Oatmeal, £44.50 per m, Ian Mankin; Waffle cotton/linen, £34 per m and Herringbone cotton/linen, £35 per m, both Cloth House; Fabry Lin linen, £124 per m, Manuel Canovas; (pile 2) for similar herringbone weave fabric, try Wool Herringbone in Oatmeal, £42 per m, Tinsmiths; French linen in Natural and Cream, £35 per m, Cloth House; Ticking Mud linen, £197 per m, Walter G at The Fabric Collective; Arran linen-blend fabric in brown, £44.50 per m, Ian Mankin (pile 3) Cybele linen in Walnut, £71 per m, Zoffany; Truro textured weave fabric in Oatmeal and Bude textured weave fabric in Oatmeal, both £44.50 per m, Ian Mankin; Tesalia in Gold-Blue/Gray, £159 per m, O by Oyster at The Fabric Collective; (pile 4) Cybele linen in Mousseux, £71 per m, Zoffany; Pilu linen in Slate, £197 per m, Walter G at The Fabric Collective; for similar try French linen in Grey, £35 per m, Cloth House; Dunbar fabric in Oyster, £105 per m, Colefax & Fowler

Styling Pippa Blenkinsop Photograph Kasia Fiszer

Fabrics

William Morris Brook and Acanthus mug, £30 for set of two, Spode

Shopping

Fallen Fruits Woodland cast-iron round fire bowl, £189.

Ludlow Stoves

Morris & Co Oak Leaf hand-tufted wool rug in blue, from £489 for W140x L200cm, Woven

Gold Crest medium lampshade, £69.50, Lorna Syson

English Pewter Company Stag mini decanter and glass set, £115, John Lewis & Partners

The Enchanted Forest scented candle, £32, Chase & Wonder

Hopper table lamp, £216, David Hunt Lighting

Owl matt, £49.95, Dee Hardwicke collection at Turtle Mat

Pheasant Feathers large oval platter, £115, Emma Bridgewater

Into the woods

Feature Pippa Blenkinsop

Woodland apron, £20, Sophie Allport

Let a magical forest walk inspire a cosy interior perfect for hibernating this autumn. Mix warm tones with leafy prints and a touch of animal magic

Muted Blue Dress Stewart Tartan rug, £40, National Trust Shop

Cast-iron stag coat hook, £9, Dibor

Forest Tapestry cushion in Ochre, £21, Perch & Parrow

Bingly brass candlestick, £18, Rowen & Wren

The Buttermere sofa bed in Umber matt velvet, £1,475, Willlow & Hall

Woodland large birch bark candle, £12.99, TK Maxx

Mark Hearld Wren linen in Forest, £66 per m, St Judes Ferns fabric in Linen, from £39 per m, Iliv

Sew Heart felt wren on a bobbin ornament, £19.95, Hurn & Hurn

Period Living 21

Alfie armchair in Alder Samba, from £795, Content by Terence Conran

Gramps armchair in Blushed Pink Vintage velvet, £1,225, Loaf

Evie Accent chair in pink, £939, Furniture Village

Alderney armchair in Petunia Chelsea Bloom, £890, Sofa.com

Alwinton armchair in Byron Mulberry Sage, £2,829, Sofas & Stuff

Hoxton mustard corduroy armchair, £525, Graham & Green

Porto armchair in Biscuit velvet, £779, Swoon Editions

Connaught leather armchair in Selvaggio Parchment, £1,789, Sofas by Saxon

Caspar armchair in tan leather, £1,730, Neptune

Fauteuil armchair in Moss Green velvet, £895, Oka

Little Lady chair in William Morris Orchard, from £1,179, Sofa Workshop

Parker Knoll Fitzrovia chair in Bracklyn and Charcoal Welton Auburn, £999, John Lewis & Partners

Montrose blue velvet tassel occasional chair, £649, Libra

Cosette chair in Volcano Powder, £525, Andrew Martin

Solid ash Marino chair, from £1,340, Ercol

snuggle up

In autumn, there’s nothing more comforting than sinking into a sumptuous armchair with a good book and a cosy throw. Here are a few of our favourites…

22 Period Living

Feature Sophie Warren-Smith

Pink Roses armchair, £950, Ian Snow

Step into

Autumn Create a warm, welcoming interior using prints and palettes that capture the magic of the season

SEASONAL SPREAD Make an atmospheric dining setting by using dried flowers, berry-laden branches and leafy stems to form

a show-stopping centrepiece. For the table, lay a neutral linen runner with muted tableware, such as the Artisan collection, from ÂŁ7.50 at Nordic House, and finish with concrete pumpkins, ÂŁ15 for two, dotted among squashes, pinecones and candles.

24 Period Living

Decorating COSY CORNERS Make sure your living room is ready for curling up in on those cold, dark nights. Set the tone with a sink-in

Feature Pippa Blenkinsop

deep-pile rug and furniture covered in sumptuous fabrics, such as this Bailey Mustard velvet armchair, £229, and Paloma footstool, £49 from Cult Furniture – a must for warming your feet in front of the fire. For a quick seasonal refresh, simply add in metallic and amber glass accessories to reflect the colours of the season and inject sparkle.

Period Living 25

ARCHIVE PRINTS Conjure the gleaming amber tones of the turning leaves while injecting a bit of history and pattern into

your interior with a beautiful ornate wallpaper inspired by archive designs. New from the Morris & Co Melsetter collection, Seasons by May, £99 per roll, was inspired by the embroidery of May Morris, one of the leading figures in the Arts and Crafts movement. Its rich colour brings overall warmth to the space, but look closely and it’s bursting with intricate details.

26 Period Living

Decorating

FLAMING FABRICS For a soothing yet striking colour scheme in a living room, take inspiration from the tonal tapestry of an arboretum on an autumn day. If opting for plain fabrics, choosing shimmering chenilles in a palette of rich terracotta, flame, paprika, wine and burgundy, is guaranteed to bring deep colour and texture. Pictured are the Savoy chenilles, from ÂŁ22 per m at Iliv. Temper textural plains with a dose of ornate fabric on curtains. We love this Pembury fabric in Henna, from ÂŁ30 per m at Iliv, which is a modern interpretation of Jacobean trailing flower designs.

Period Living 27

WELL READ There’s something about old libraries that conjure up cosy autumnal scenes. Cole & Son’s Fornasetti Senza Tempo

Ex Libris wallpaper in Gold/Magenta, £170 per roll, is perfect for papering spaces where you want to curl up with a good book.

For a warming twist, paint woodwork in a rich wine shade – for similar, try Zoffany’s Crimson, £49 for 2.5ltrs of Elite emulsion.

28 Period Living

Decorating RESTFUL RETREAT Bring a warming glow to a bedroom while keeping it light with a rich orange shade, such as Sanderson’s

Rowan Berry, £45 for 2.5ltrs, and add interest with artisan fabric on bedding and headboards. Inspired by 20th- and 21stcentury artists, the new prints by Michael Kirkman at St Jude’s would transform any bed into a work of art. Based on the story of creation, Eden linen in Squid Ink/Pink, complete with creatures great and small, shines against this backdrop. £78 per m.

nature

Carved from

Inspired by the simple beauty of sustainably sourced timber, Jonty Hampson shapes and transforms the raw wood by hand into smooth, tactile designs for his eponymous serving boards Words Sian Williams | Photographs Bridget Pierson

Made in Britain

Opposite: Jonty’s workshop is in an 18th-century barn just a stone’s throw from the old farmhouse in the Cumbrian countryside where he lives with his wife Lea and their Springer-Cocker-Poodle, Batman This image: A variety of chopping boards sit on the work bench waiting to be labelled with provenance details ready for sale. Jonty finishes each board using his own balm, made on site from oils and waxes, and which brings out the wood grain detail

Period Living 31

Left: Jonty takes time out from the production line to hand whittle some wood and try out a new idea for a board handle Opposite: A few comfortable chairs sit next to the woodburner for quick warm ups and hot drink breaks through the day. From the beams hang the characterful, organic shaped boards, ready and waiting to be shaped by the carpenter’s hand tools

J

onty Hampson’s workshop is nestled between meadow and ancient oak woodland on the upper level of an 18th-century stone barn. Once used to house the farm’s animals, fruit crops and other farm paraphernalia, its characterful oak beam and stone interior is now home to his lathe, saws, sanding equipment, chisels and wood for his craft, with enough space for a small wood-burner and two chairs nestled nearby to warm up in the colder months. Serving boards in various stages of production hang at the beams, with plywood templates and the odd whittling tool and knife at hand for shaping the boards. In this lovely rural spot there is space and fresh air to spread out and have more time to take stock and be creative, which has been key for Jonty in running his business, Hampson Woods, for nearly ten years.

‘I feel I’ve come right back to my roots,’ he explains. ‘My wife Lea and I have both had country upbringings – Lea grew up in Texas and much of my childhood was spent here in Cumbria – and we had both been yearning to be back among nature for some time.’ The couple eventually moved out of London in 2016, and set up home in the old farmhouse that was Jonty’s old family home, just up the lane from his workshop.

‘My father had bought the dilapidated farmhouse almost 50 years ago and for many years after the family had moved, kept it from crumbling 32 Period Living

and dampness by renting it out,’ explains Jonty, who now often roams the surrounding woodland, with the couple’s Springer-Cocker-Poodle, Batman, as he did as a child. ‘The woods were always the highlight when growing up,’ Jonty remembers. ‘As well as collecting firewood for the house, my brother and I made endless structures, toys and forts out of wood, so the inspiration to work with wood began early.’

Although there were no trained artists or designers in the family, Jonty’s father was a big influence on his work. He’d worked on the early computers as an occupation but spent all of his free time walking the fells, studying nature, writing poetry and painting. ‘Even though he’s no longer around, his paintings, bird boxes and words have continued to inspire me,’ says Jonty. ‘He gave us the chance to roam and taught us an appreciation of use, of natural beauty and simple design, an influence that continues to echo in my work.’

Jonty’s dream was always to run his own company, so he chose to do a degree in business, combined with urban studies surveying, architecture and land use at Nottingham Trent University in 1996. He followed the post-degree road to London and spent a year in marketing for the British Standards Institution, but realising office work wasn’t for him, he handed in his notice, and began apprenticing as a furniture restorer. Six months later he was designing and making his own work, almost all his skills self-taught.

For many years Jonty was self-employed as an interior carpenter, project manager, tree-farmer and decorator, living nomadically between London, Austin in Texas, New York City, Long Island and the family home in the Lake District. He set up a workshop in east London in 2011 after being inspired by a gap in the market for high quality, handmade British products crafted from wood.

‘Homeware and design retail was being overrun by product either mass produced or made thousands of miles away, so I set about starting a company where there was no compromise on high design ethic or production,’ says Jonty.

He began with a corner of space in a yard in Hackney, which over the years spread out further.

The first serving boards he made combined practicality and design. ‘They were characterful right from the start and so anthropomorphic that I wanted to give them names,’ Jonty laughs.

‘My key mission was not to over-design and to let the wood do the talking.’

The timber itself, with its varying hues and patterns, was there to be shown in its full glory, so sympathy for the material was vital as well as the durability and practicality, too, with an end product that had to be useful and beautiful. His aim was to achieve sustainability, with the promotion of small-batch production, a local focus and a friendly network of like-minded ethical suppliers.

‘We make everything by hand; wood supplies come from all over the country, some also from

Made in Britain

Period Living 33

Clockwise from right: ‘Once the holes are cut at the top of each handle, I use a gouge that I inherited from my grandfather to create a rounded smoother look,’ explains Jonty; his old family home is a 17th-century vernacular-style farmhouse set within an ancient oak woodland and surrounding meadows; Jonty and his wife Lea stroll up the lane from their workshop with finished serving boards in hand

France, and are supplied to us by small rural sawmills who have felled, sawn and dried the wood – we know the provenance of everything we make,’ Jonty explains. This network of suppliers has taken many years to build up some community organisations, some family run, and all of them ethical in their work.

Every board length is marked out by Jonty by hand to allow for minimum waste and optimum appearance. Shaping is mainly done through sanding, where the boards take on their more sculptural form. Then, it’s a long process of finishing, sanding and quality control until finally they are oiled with his own wood balm made on site. They are then tagged with provenance details, and packed with eco friendly materials.

Alongside his regular range, Jonty has enjoyed co-designing many commissions and projects over the years: giant kitchen boards two metres long; scorched boards; scooped boards; carving boards for Fortnum & Mason, to name a few, and all manner of wooden serving options for humble cafés as well as Michelin starred chefs. ‘Our biggest challenges have been sticking to the use of local, 34 Period Living

British, high quality materials that are also affordable, and to survive financially,’ says Jonty.

‘At every corner there is an opportunity and temptation to take a short cut to compete with cheaper brands, but we have been heartened by UK institutions such as SCP and The Conran Shop, who put quality above margins.’ This has been massively encouraging and helped to reinforce an industry that can hopefully move towards a more sustainable and ethical approach.

Jonty is constantly producing new work.

‘Recently we’ve introduced gift vouchers for weddings and birthdays, which are a scaled down, miniature versions of our boards. They are sent to customers and are redeemable on our online shop.’

They also have a new set of utensils coming out soon, and have launched monthly drops of limited run products through their Instagram account. ‘For us it is vital to keep a balance with tradition and the human connection with the making, because that is what our customers love about us and buy into.’

For more details visit hampsonwoods.com or telephone 07980 648773

Keeping the colour palette mainly pink and blue has allowed Jeannie to mix and match her furniture without losing a sense of cohesion, resulting in a look that is relaxed and elegant.

An existing footstool was re-covered by Felbrigg Design in Fontane fabric in red from Jane Churchill, and a selection of cushions from Ochre Lighting add a contemporary twist

Cotswold Farmhouse

HOME FROM HOME Jeannie and Ross Aldridge were determined to find their perfect period house, but never dreamed it would turn out to be the one they’d been living in all along Words Caroline Foster | Styling Pippa Blenkinsop and Karen Darlow | Photographs Kasia Fiszer

THE STORY Owners Jeannie, a managing director of a photography company, lives here with her husband Ross Aldridge, who is a lawyer, and their golden retriever, Hobson Property A six-bedroom, 17th-century, Grade II-listed manor farmhouse with a 1920s extension, in Woodmancote, Gloucestershire What they did The couple converted the loft into a guest bedroom with en suite. They fitted a new kitchen and updated the bathrooms, redecorating the interior throughout

pting to rent for a while, to allow themselves time to find the right property to buy, Jeannie and Ross prepared themselves for a long wait. They knew that finding their ideal family home in the Cotswolds could take them months or even years. ‘You don’t mind making compromises with a rental house, because it’s not for ever,’ says Jeannie, ‘but when I saw the manor farmhouse for rent, I just couldn’t believe my eyes. I had always wanted to live in a period house and, for me, it was like discovering my very own Howard’s End.’ In spite of numerous property viewings during the two years they were renting, the couple never found a house to match the farmhouse that they now considered their home.‘We tried not to get too attached to the house, but it was impossible not to as it pulled on my heartstrings and had such charm,’ says Jeannie. ‘So when we heard the news that it was going up for sale, we snapped it up.’

Although the interior was in good order, Jeannie set to work changing the colour scheme to one that reflected the styles she and Ross preferred. ‘I didn’t want an entirely traditional feel, and I’d been inspired by a visit to friends in Long Island,’ says Jeannie. ‘Their home had quite a colonial style, which I liked, and Ross and I had some beautiful furniture handed down that I wanted to include.’

In the early years, the couple converted a boot room into a more practical utility and installed plantation-style shutters in many of the rooms, as well as having bespoke fitted wardrobes built for the bedrooms, ‘In our en suite, we removed a wardrobe to expose the original beams,’ says Jeannie. ‘We also installed a wood-burning stove in the living room, because the open fire smoked so badly that we’d be forced to leave the room.’

Of all the changes they made to the farmhouse, by far the most important for Jeannie was having a new kitchen. ‘My must-have item was a large island that we could huddle round with family and friends, with solid units in a traditional style that would look at ease within a period house,’ says Jeannie. ‘I wanted to recreate a dresser-style unit, so we used tongue-and-groove panelling to connect the wall and floor units.’ The finishing touches in the kitchen were the granite and teak worktops.

38 Period Living

Jeannie turned to her interior designer friend Jane for colour inspiration, ‘She encouraged me to be more confident and we chose bold colour tones in key areas throughout the house to give each room a statement accent,’ says Jeannie. ‘Ross is colour blind, so he left everything to me. If it was up to him, he’d choose Monet-style interiors in a definitive blue, green or yellow. I humour him by adding bold splashes here and there.’

Another key room was the large drawing room, where Jeannie was keen to create a classic English look, but with a contemporary twist. ‘I didn’t want this to be the room we never used, so it couldn’t be too formal and I didn’t want all the furnishings to match slavishly either,’ she says. ‘I tried to approach the room with confidence, but there was a bit of trial and error, too. I would group things together, moving them around until they looked right, and added the odd cushion in an unexpected and exciting fabric. Redecorating this house has made me a lot braver in my design choices.’

An attic conversion created a luxurious guest suite with a master bedroom and bathroom. Jeannie has allowed the exposed eaves beams to do the talking by stripping them back to their natural tone and painting the sloped ceilings white. ‘I really wanted the guest suite to look uncluttered and fresh,’ she says. ‘The bathroom exemplifies this simple approach and is the reason a Lloyd Loom chair can look at ease next to a giant faux cactus!’

In tackling such a large refurbishment, Jeannie has not been afraid to experiment or to mix and match different styles. ‘I must have painted the dining room a dozen times before I finally arrived at the wonderful rich red finish that we have today,’ says Jeannie. ‘I never wanted a stereotypical country house, or anything too grand. I wanted my children to look back and think of this house as home. With eight grandchildren who often visit, it wouldn’t suit us to have a precious interior.’

Having refurbished the farmhouse from top to toe, Jeannie says: ‘You never finish working on a period house. They require constant attention, but I can’t imagine living anywhere else,’ and adds, ‘We occasionally rent it out as a holiday let, decamping temporarily to the small cottage in the garden. One day we may downsize, but I love our home so much that I think I will have to be carried out.’

Above: The front entrance has a period fleur-de-lis motif in the porch and a stone plaque above says the house was restored in 1936. Slate tiles and Cotswold stone walls are typical of the area. The door paint is Farrow & Ball’s Mouse’s Back Left: Jeannie and golden retriever Hobson – ‘We tend to use this back door much more than the front entrance,’ says Jeannie

Below: Painting the dining room walls in Eating Room Red by Farrow & Ball provides a dramatic backdrop to family celebrations, ‘The red brings out the warmth in the oak floor and makes the stone fireplace stand out in sharp relief,’ says Jeannie. A French oak table is surrounded by classic Vincent Sheppard Lloyd Loom dining chairs

Jeannie’s preferred shades are classic neutrals, though she loves to inject a splash of colour to give her traditional kitchen a contemporary twist. Iliv’s Aquitaine, from Curtainfabric4u, is a similar fabric to that used for the blinds.

For similar bespoke kitchen cabinetry, try Martin Moore. The footstool is from Ikea, and the walls are painted in Joa’s White from Farrow & Ball

Cotswold Farmhouse An ancient stone arched recess is the perfect place for the Aga range cooker, the quintessentially English addition for any country home

Period Living 41

Simple, neutral walls and flooring allow the ancient A-frame beams to steal the show. The rug is from Ikea, and the bed is from Loaf, with a Walton throw in Mink from Rosie B Home & Interiors. Jeannie deliberately chose mismatched table lamps from Pooky Lighting to create a relaxed, informal look

42 Period Living

Cotswold Farmhouse The focal point of the en suite, along with the beams, is the slipper bath, from Active Plumbing Supplies.

The butler’s tray table is perfect for an awkward corner and handy for towels. Jeannie placed a tall stand next to the bath, specially for champagne glasses, and a faux cactus adds a quirky element of surprise, both from Parlane. Glass pendant lights from Jim Lawrence add a subtle vintage element

Left: A tiny bathroom window seat looks picture perfect with Vauxhall Gardens toile de Jouy wallpaper and matching cushions from Lewis & Wood, made up by JH Designs.

The gingham window seat brings a country house feel to the master en suite. Jeannie opted for shutters, thinking that curtains would overwhelm the small frame Below left: The antique sleigh bed was an Ebay find. For similar, try the Palais bed from And So To Bed. The throw is from Beaumont & Brown. Jeannie inherited the Victorian mirror with barley twist struts from her grandmother. ‘I remember dancing in front of it when I was a little girl,’ says Jeannie Below: A dolls’ house has been changed from a plaything to a beautiful landing night light; for similar, try the Grosvenor Hall Kit

by Dolls House Emporium, through Minimum World. For similar wallpaper try Cordonnet by Zoffany

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46 Period Living

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Period Living 47

The living room is in the original part of the coach house, built in 1752. The first tasks were to sandblast the beams and lay a new oak floor.

Barbara had furnishings help from Abi Birch of Hudson Homes & Interiors, who also supplied the sofas. The coffee table is from Tom Faulkner, the fender is from Acres Farm, and the curtains are made up in Anna French’s Bird in the Bush design

Converted Coach House

a sense of harmony Creating a harmonious home from a disjointed collection of small, dark rooms with no view of the garden, might sound like a challenge too far.

Luckily, Barbara Brooks had a clear idea of how to make it work well Words Karen Darlow | Photographs Clive Nichols

nchanged for the most part since 1968, the coach house that Barbara and Stephen Brooks now call home was a series of small dark rooms when the couple first set eyes on it. Or when Barbara saw it, since she viewed, offered, and arranged a bridging loan to buy it before Stephen had even stepped inside.

The one-acre garden was hidden from the house by some old outbuildings, and the interior layout was badly arranged. Most of the property’s original features had been removed, either when it was converted from a coach house in the 1930s or in later work in the 60s. The historic beams had been painted black, the windows were devoid of any character, and an unattractive pine parquet had been laid in the main living room.

As Stephen looked round for the first time he shook his head, ‘I just can’t see it.’ But Barbara was convinced it would make the perfect family home, and was so won over by the warm atmosphere of the house as she looked round again that Stephen said: ‘If you can see it, that’s all right – you’ll make it work.’ Luckily, she did. For although there was lots of work to do inside the house, there was so much to recommend it on the outside. Its setting, on the edge of a picture-perfect Surrey village green, its tennis court, swimming pool and walled garden, with endless scope for Barbara to create planting schemes for every season.

Before she could even think about picking up a trowel, however, Barbara wanted to inject some life, light and character back into the house. The Brooks stayed in their existing home for a couple of months, then moved into a cottage in the village as the builders knocked through walls to enlarge the hall and some of the main rooms. The house began to shine as builder Mark Slade sandblasted all the beams and replaced the parquet with wide oak boards. ‘That was a horrible job, as the pine flooring had been there since 1968, fixed to the ground with bitumen as sticky as black treacle,’ recalls Barbara. The heating, plumbing and wiring were updated, and the house was redecorated.

With architect Ian Adam Smith, a specialist in country homes, Barbara came up with plans to 50 Period Living

build a breakfast room extension and garden room in a second phase of work. To do this the outbuildings were knocked down. ‘At last we could see the garden from the house,’ says Barbara, ‘and it made such a difference. We couldn’t get planning permission to convert the outbuildings, but we were allowed to demolish them and extend right up to where they had been.’ Barbara had a clear vision of exactly how each room could be improved, and amazingly the huge project came in almost on time - just three weeks late – and pretty much on budget. ‘You only go over budget if you change your mind about what you want to do,’ says Barbara, ‘and I didn’t change my mind. I went over the plans very carefully – every socket, every light fitting.

Mark made a variation notice for anything he needed to alter so there were no nasty surprises and we worked really well together.’

One of Barbara’s main requirements was to make the coach house look more attractive from the outside. ‘I wanted to add period-style windows and exterior details in keeping with its Georgian beginnings as the coach house for the manor next door.’ For the interior finishes Barbara decided she would benefit from a bit of extra help. ‘If I’d done it on my own I might have chosen the same paint colour for every room, but Joa Studholme from Farrow & Ball came up with a paint scheme for the whole house, which worked brilliantly.’ Joa’s colour choices created a sense of harmony and flow from room to room, and when the second phase of building work was completed in 2013, she came back to advise on options for the garden room, breakfast room and new kitchen.

By this time Barbara was completely absorbed in designing and replanting the garden, having completed a garden design course at The English Gardening School in 2012. ‘It was a career-changing experience,’ she says. ‘I enrolled on the course specifically with our garden in mind, but it became such a passion that I decided to set up a garden design business.’ This left little time for sourcing furnishings – cue Abi Birch of Hudson Homes & Interiors. Using Barbara’s precise instructions, Abi found exactly the right pieces for the new rooms.

‘I would say to her, “for the living room I want country house hotel look, floral curtains with a bit of red, three different sofas, a club fender, a glass coffee table,” and she would pull it together for a cohesive look,’ says Barbara. Abi even had the garden room sofas specially made in a smaller size so they didn’t get in the way of the glass doors.

After all this work on her home and her garden, where is Barbara at her happiest? ‘Definitely inside the house,’ she says. ‘I love my garden, but it’s very needy. There’s always weeding, pruning, and tidying to do. But now the house is finished, apart from keeping it clean, there’s nothing pressing to do and I completely relax inside. As a garden designer I can create a garden like this anywhere, but the house is special, and I knew it would be right from the start.

Converted Coach House

Above: Barbara reinstated some period detailing, with Georgian-style windows.

The breakfast room extension (on the left of the picture) and the garden room, with its unusual curved roof, were part of the second phase of alterations, all built by Mark Slade of Clarkes Builders Left: Barbara, known as B, said the house had a welcoming feeling Right: Stephen’s gallery office makes good use of the living room’s double height. The side table is from Julian Chichester.

Walls are painted in Farrow & Ball’s Joa’s White

tHe story Owners Barbara and Stephen Brooks live here with their three children, Polly, 22, Harriet, 20, and Edward, 16.

Barbara is a garden designer (bbgardendesign.co.uk) and Stephen is deputy chief executive of Christie’s Property A converted coach house near Guildford, Surrey, in a Conservation Area and Area of Outstanding Natural Beauty. The timbered living room is the oldest part of the property, dating back to 1752, and there are later additions What they did The couple altered the property in two phases. First tackling the plumbing, heating and rewiring and removing walls to open up the hall and kitchen. They later extended the property to add a garden room, snug and a spacious breakfast room

Open plan to the kitchen, the bright breakfast room extension features dining furniture from Hudson Homes & Interiors, and St Arbois tumbled limestone flooring from Mandarin Stone. The curtain fabric is Zimmer & Rhode’s La Verna and the pendant lamp is from Lumart. The demi-lune table, just seen, is from Chelsea Textiles. The walls are painted in Lime White from Farrow & Ball.

Flowers by Cherfold Cottage Flowers

Converted Coach House Barbara chose a Plain English kitchen with blue limestone worktops and is delighted with the quality and the finished look.

She wanted the room to have plenty of natural light, but not direct sun – a requirement she says architect Ian Adam Smith completely understood. For a similar wooden stool, try Garden Trading’s St Mawes. The walls are painted in Stony Ground by Farrow & Ball

Period Living 53

Barbara and Stephen spend most of their free time in the garden room. The chair and side table are from Three Gates Gallery, the standard lamp is from India Jane and the sofa is from Hudson Homes & Interiors. Barbara had the floral footstool made in New York when she and Stephen were living there. The curtains are made up in Ian Sanderson’s Poppinjay Linen, the flooring is from Crucial Trading, and the walls are painted in Farrow & Ball’s French Gray

54 Period Living

In preparation for tackling the extensive walled garden, Barbara completed a garden design course at The English Gardening School in Chelsea. It proved a good investment, not only for her own garden but also leading to her new career as a garden designer (bbgardendesign.co.uk). Barbara runs occasional garden workshops

Converted Coach House

The dining room was originally a family sitting room. To ring the changes, Barbara chose oak flooring, and added a chandelier from India Jane, a console and lamps from Margaret Boyd, with a portrait by Carol Peace above. The dining table and chairs are from Hudson Homes & Interiors and the walls are painted in Farrow & Ball’s Charleston Gray

Above: The bed in the main bedroom is from The White Company, side tables from Oka, and headboard and valance from Hudson Homes & Interiors Above right: Polly’s room, with cushions by Oka and Hudson Homes & Interiors.

Bed and valance, as before Left: The chest on the landing was from Three Gates Gallery, the mirror is

by India Jane and bench from Chelsea Textiles.

The wallpaper is Astrid & Rudolf’s Selma, and the linen blind fabric is from Lewis & Wood with a Zoffany trim Right: Restful blues for the guest room – blanket from Neptune, cushions as before

58 Period Living

Mill House Renovation

New begiNNiNgs A major renovation and radical update to an old wool mill cottage took on an extra sense of urgency as Ruth and Barry Scott prepared to welcome their new baby to the world Words Alison Gibb | Photographs Douglas Gibb

Ruth and Barry’s pretty five-bedroom home in Moray, Scotland, was originally owned by Barry’s parents, who in the 1970s converted it into their family home from its original use as a wool mill

Top: With eight acres of grounds there is plenty of room for a swing and a luxurious garden room, affectionately known as the barbecue hut. The artificial lake created behind the hut serves a practical purpose – it ensures that the house will never flood again. The cushions and throws are from Broste Copenhagen, and the blind fabric is by Scion Above: This atmospheric room, with the original mill wheel mechanism at its heart, serves as a snug and a bar. A joiner’s bench, found on Ebay, makes a characterful countertop for serving drinks. The leather sofa is from Rose & Grey, the quirky bird motif wallpaper is from Harlequin, the cushions are from Achica and the rug is from Broste Copenhagen

62 Period Living

Mill House Renovation THE STORY Owners Ruth Scott lives here with her husband Barry. Ruth (left) is a designer and Barry is a surveyor.

They own a caravan park on the Moray Firth and have three young children: Lachie, eight, Louis, six, and Georgie, now two. They also have a dog called Fergus Property An unlisted, five-bedroom mill house in Moray, Scotland, built in stages over several centuries.

Barry’s parents converted it into their family home in the 1970s.

Ruth and Barry renovated the house again from top to bottom in 2016.

It stands in eight acres of garden What they did The house was stripped back to the stone walls and earth floor. They removed partition walls and knocked through the stone wall between the kitchen and living room. The staircase was relocated and a two-storey extension was added with a second staircase enclosing the mill workings

here’s nothing like the imminent arrival of a new baby to focus the mind on seeing a building project through to completion. So when Ruth and Barry found out they were expecting their third child, just a month or two into a major redesign of their Scottish mill house, it gave them an extra incentive to get things finished as soon as they could.

Ruth and Barry had been happily living in the house for nine years. ‘We bought it from Barry’s parents, who had converted the property into their home in the 1970s,’ says Ruth. The couple had decorated the property throughout when they took it on, but hadn’t made any structural alterations.

‘Then one day, we noticed a leak and lifted a floorboard to investigate,’ says Ruth. ‘We found out that the whole ground floor was flooded. We knew we needed to deal with it properly, so we decided to take the opportunity to make the house exactly as we wanted it.’

The couple had recently bought a nearby caravan park, as a business venture, which had live-in

accommodation, so they were able to move out quite easily, but they still wanted to complete the work as quickly as possible, for one very good reason: ‘We were expecting our third baby, Georgie, by now, so I really wanted to be able to move back in by the time she was born,’ says Ruth.

‘Barry did a lot of the work himself, but we had a great team as well. My brother Lachie is a joiner and we found a good plumber. Everyone got on well and really pulled together,’ recalls Ruth.

Between them they stripped the house right back to its original stone walls and earth floor. They removed the partition walls downstairs, knocked through the original stone wall dividing the kitchen and living room and installed a double-sided wood-burning stove in between the two spaces.

The staircase was originally in the kitchen, taking up valuable space, so Ruth and Barry decided to move it to just inside the front door.

They also added a two- storey extension with a second staircase enclosing the mill workings, which had until then just been housed in a shed.

The couple now call this ‘the wheelhouse’ and it’s home to a well-stocked bar, with a new guest bedroom upstairs.

With a mammoth effort on everyone’s part and the deadline of the new baby to motivate them, the work was completed in five months and the family were able to move back in for Christmas and celebrate Hogmanay with a housewarming party.

It may have happened in a hurry, but the results are dramatic. Not surprisingly, as Ruth studied theatre in Edinburgh when she first left school and became a drama teacher, and bold visual choices come naturally to her. She and Barry have also been inspired by their travels – frequent visits to Spain, France and Italy have influenced Ruth’s Mediterranean colour and design choices. There are also lots of interesting accessories and souvenirs from the couple’s trips to India.

Ruth stopped teaching when she was expecting their eldest son, Lachie, and retrained as an interior designer. She opened a gift and interiors store in Inverness but as the family grew, the commute to Inverness became increasingly difficult. ‘We bought the caravan park as a business we could work on together and knew it would enable me to be at home for the children,’ says Ruth.

Life is still frantically busy and evenings are often taken up with paperwork for their business.

‘Entertaining in this house is easy, though,’ says Ruth. ‘In summer we have the barbecue hut in the garden, which is such good fun, and in winter we can just throw open the bar in the wheelhouse!’

Period Living 63

Above: The bespoke kitchen cabinetry was made to the couple’s designs by joiner Lachie Ralph, and has been finished in Hague Blue paint by Farrow & Ball. The worktop is a composite with a rough-hewn, distressed finish, and the range cooker is by Lacanche. Ruth collects Mauviel copper pans and utensils, often picking them up in France Right: Ruth bought the kitchen table at a local auction; the benches are by Bloomingville. The matt black pendant lights above the table are from Industville, the copper tone on the inside gives out a soft, warm glow. The indigo rugs are by Broste Copenhagen. ‘They are so practical, you can just stick them in the washing machine,’ says Ruth

64 Period Living

Mill House Renovation

Top: The wooden staircase makes a stunning centrepiece to the house. It was made and installed by local craftsman Duke Christie, who also made the table for the formal dining area. The navy leather sofa is by French Connection Above: A double-sided Chesneys stove means both kitchen and living room benefit from its glow. The wooden bench is from Bloomingville, and the hanging chair, nest of tables, furs and cushions are all by Broste Copenhagen. Some carpets and rugs are travel souvenirs, others from The Nomads Tent. Walls are painted in Hague Blue by Farrow & Ball Right: Ruth alternated ladderback chairs from Ebay with country-style chairs from a local antiques shop for a more relaxed look. The striped rug is by Myakka, the pendant lamps are from Zenza, and all the tableware is from Broste

66 Period Living

Mill House Renovation

Top left: The guest room is in the new extension. The bed and bedding are from John Lewis & Partners, the stools, used as bedside tables, are from Bloomingville and the hanging basket chair and throws are from Broste Copenhagen Top right: The sanitaryware in the updated bathroom is from Duravit, with a cotton stripe towel by Laura Thomas Above: The bed, the bedside tables and the footstool in the master bedroom are all from Feather & Black. The eiderdown is from Bianca Lorenne and the silk blinds and cushions are made up in a fabric Ruth found in a junk shop

68 Period Living

the garden cottage Lisa and Gregg Hector transformed their riverside cottage with a smart garden room extension and a sunny patio Words and styling Alison Gibb | Photographs Douglas Gibb

It’s hard to imagine, but this homely kitchen was originally a bedroom and a bathroom. Lisa opened up this part of the old cottage to the rafters, adding rooflights to create a light and spacious open-plan kitchen. The Esse range cooker comes into its own when Lisa bakes for her regular open garden days. The wall tiles are from Fired Earth and the cabinetry is from B&Q, painted in Sky Blue by Little Greene. Gregg added the chunky wooden worktop. For a similar farmhouse table, try Cotswold Co’s Wiltshire painted kitchen table

Extended Cottage

THE STORY Owners Lisa and Gregg Hector live here with their children Stella, seven, and Charlie, two, plus black Labrador Moss and cats Lexi and Bud. Gregg works in the oil industry and Lisa designs gifts and textiles and writes a gardening blog (@girlthatlikestogarden on Instagram) Property A three-bedroom miller’s cottage, built in 1703 and extended in 2009, in a wooded, riverside location in Perthshire What they did Added a three-bedroom extension, with a family bathroom. The original kitchen, bathroom and bedroom were knocked through to create a new open-plan kitchen-diner.

The old dining room is now a snug

rom the moment they first set eyes on the old millworker’s cottage, Lisa and Gregg knew they had finally found their perfect home. They had been househunting for a while, looking all over the Highlands. ‘We bought the cottage as a couple before we had children,’ Lisa explains. ‘It looked like a bomb site with a ramshackle extension, but we were enchanted by the riverside woodland setting and it really caught our imagination.’ The 40-year-old greenhouse in the garden was another selling point and Lisa set to work outside before they even started to think about renovating the house. ‘Gardening is my passion and I wanted to build a craft studio where I could work on my plant-inspired textile designs,’ she says.

Before long, Lisa was holding open gardens several times a week, serving tea and her homebaked cakes, and selling crafts in her studio – named Primrose Hill after her grandmother’s country house in Stirlingshire. ‘She was very creative and such an inspiration to me,’ says Lisa, ‘my grandfather, too. He grew all the vegetables for their family of six children, and he taught me how to garden.’ The studio meanwhile has become a popular local destination.

As far as the house was concerned, Lisa and Gregg took their time over its renovation – four years in fact, giving the extension a lot of careful thought before they committed. Full of history, the cottage has had a few overhauls in its lifetime.

‘You can tell by the roofline that it was originally

72 Period Living

thatched,’ says Lisa. ‘We wanted to modernise it, in that we wanted our 21st century comforts, but we didn’t want to compromise any of its rustic charm.’

They used a local architect, Norman MacLeod, now retired, who had done an extension for a friend. ‘He was easy and straightforward to work with and we are delighted by the results. The cottage looks as if it has always been like this. The extension is very organic in its appearance and doesn’t look new or jarring at all,’ says Lisa. ‘There are still some finishing touches to do: we need a front porch, somewhere to hang our coats, and of course the garden is a never ending project.’

Their home now has two living rooms: a cosy snug for watching TV in front of the fire and a lighter, more spacious front room for entertaining.

‘The house flows nicely,’ says Lisa, ‘and works just as well for family get togethers as it does for every day.’ The kitchen is a great success. Since it opens onto the garden room, it is a bright and cheerful room all year round, despite having only rooflights.

‘The only drawback is we need more storage, often a problem in picture postcard cottages,’ she adds.

Lisa’s interior style is quirky and rustic. She’s not a fan of designer labels and would rather make practical choices, particularly while the children are young. ‘I don’t want to be precious about things, it’s much better to feel relaxed,’ she says. With some great salvaged and vintage furnishings, the result is a characterful and comfortable family home.

Details are all important so when they replaced all the windows with traditional style double glazing, Lisa made sure that the window catches were traditional too. There are no pendant lights hanging from the middle of the ceiling, as she prefers to use carefully placed downlighters and to light the edges of the room with soft lamps.

Since Charlie arrived, Lisa has cut back on her open gardens and craft business. ‘I am enjoying being a full time mum for a while, but I look forward to picking it all up again when he starts school,’ says Lisa. And with such beautiful surroundings, and a garden full of produce, she won’t be short of inspiration.

Extended Cottage

Above: Rooflights provide a brighter light than ordinary windows and make a big difference to a room all day long – the sun is never going to be on the other side of the house Right: Lisa collects Emma Bridgewater pottery, and finds it hard to resist buying crockery of all kinds

Above: Open to the kitchen and part of the extension, this living area is sunny all day. The sofa is from Ikea and the blinds are made up in linen from Merchant & Mills in Rye Below right: The Roman blinds in the snug are made up in Limosa fabric by Harlequin, which complements the traditional cottage-style windows by Stonehaven Joinery.

The sofas are from DFS and the charcoal herringbone blanket is from Laura Thomas Co. Lisa installed a Morsø ‘Squirrel’ stove, wishing to be faithful to the period of the house. The plastered walls are painted in Joa’s White and the woodwork in Elephant’s Breath, both Farrow & Ball, with Dulux masonry paint for the stone walls Opposite, top: Cottage-style tongue-and-groove panelling is painted in a specially mixed Valspar grey from B&Q, with bespoke shelves made by a joiner. The sofa and armchairs are all from Ikea

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Extended Cottage

Above: The unusual metal bedhead was made to Lisa’s design

by Glasgow-based blacksmith Alan Kane. The curtains are in a Cabbages & Roses fabric and the bedding is from John Lewis Below: The white iron bed is from Feather & Black, with bedding from Aspace. The pink herringbone blanket is from Laura Thomas Co, and the flooring in all the bedrooms is fitted sisal Left: Lisa rescued the bath from a friend’s garden and painted it in a specially mixed shade from Valspar at B&Q. The rest of the sanitaryware is from Bathstore. Walls and panelling are painted in Porcelain White from Dulux, with allium heads in antique bottles to decorate. The mirror is from Crush Interiors

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Swedish Apartment

Cool, Calm and ColleCted

Packed with mementos from trips around the world and closer to home, Karolina and Daniel’s Malmö apartment has been updated for family life and is full of style and comfort Styling Emma Persson Lagerberg/House of Pictures Photographs Andrea Papini/House of Pictures | Words Karen Darlow

The panelling in the living room was originally from Karolina’s lifestyle and fashion store, Miloii. When the shop moved to a new premises, Karolina decided the panelling would be a great addition to the family’s apartment. The coffee table is from Nina Hartmann Antiques, and the pendant lamp from Ay Illuminate is available at Miloii

Karolina layers richly textured throws, rugs and cushions in neutral shades, creating a calm, cohesive look. The vintage glazed display case is filled with quirky treasures, the mirrors are from Gubi and the standard lamp is from Madame Stoltz.

The coffee table is from Nina Hartmann Antiques

Swedish Apartment

lways busy, Karolina Vertus had to abandon her kitchen redesign halffinished when her second daughter arrived to complete the family. ‘When the paramedics got here the kitchen was so full of timber, boxes, cabinets and equipment that they couldn’t reach me,’ says Karolina. ‘Daniel had to clear a pathway through it all to get me out.’ Happily, baby Bon was delivered safely and by the time she and Karolina left the hospital four days later, Daniel had finished the refit and the new, sociable kitchen-diner was all ready for the family of four.

The couple had been in the apartment for five years and hadn’t needed to make many changes to it up until then. ‘I’ve lived on this street in the centre of Malmö ever since I moved out of my parents’ house,’ says Karolina, ‘and I was so happy in my previous two apartments that when we saw this one for sale, we knew it would be perfect.’

In a prime, corner spot on the fifth floor of a property built in about 1914, the apartment was in good condition and needed very little work, other than a few cosmetic touches and redecoration to suit the couple’s style. ‘We loved the fact that it had views of the city from its balconies, and it worked very well for us,’ says Karolina. ‘When we first moved in the only major change we made was to enlarge the tiny bathroom, which wasn’t very practical for life with a toddler.’

With their second child on the way, Daniel and Karolina had decided to make some more radical

THE STORY Owners Karolina Vertus, stylist, make-up artist and lifestyle store owner (miloii.se) lives here with partner Daniel Magnusson, a carpenter, and their daughters Trinnie Lee, seven, and Bon, two Property An early 20th-century apartment in the centre of Malmö, Sweden What they did Karolina and Daniel reconfigured the layout of the apartment to give them more space for their young family and created a sociable kitchen-diner.

They also redecorated throughout

changes to the layout of their apartment. The three main rooms – kitchen, dining room and living room – were all in a line on one side of the apartment and the kitchen was relatively small.

‘We decided to knock down the walls between the kitchen and dining room, as we knew we didn’t want to live like that with two separate rooms,’ explains Karolina. ‘No one wants to be cooking in a room on their own away from all the fun – we’re much more about having everyone together in one big sociable space, so that’s what we set out to do.’

Karolina, a fashion stylist, make-up artist and lifestyle shop owner, wasn’t short of ideas for the new open-plan kitchen. In fact, she is always dreaming up designs for homes and interiors just for fun, and has done ever since she was a child.

She had big plans for a fabulous made-to-measure kitchen but realising there was no way bespoke cabinets could be designed, ordered and fitted before the new baby arrived, Karolina had a rethink. She simplified her plans and went for basic off-the-shelf kitchen units from Ikea and budget worktops to save time, stress and money. Daniel, a carpenter by trade, was able to fit it all and apart from calling in plumbers to reroute the pipes and that brief hospital stay, the couple were able to complete all the work themselves in three weeks.

Now settled in their new-look apartment, Daniel and Karolina are delighted with how the changes to its layout have made the space work for them and their young family, although Karolina is the first to admit that she’s always thinking of the next project. ‘I can’t help myself! Before we had even finished renovating the apartment I was coming up with ideas for more changes I wanted to make,’ she says. ‘But just for now, I’ll keep my ideas to myself – I don’t think Daniel is ready to take on any more projects. We’ve just relocated my shop and renovated and kitted it all out ourselves.

Although maybe a lick of new paint around the house here and there would be fine…’

Décor aside, the apartment is full of beautiful things. Many of them are family antiques or souvenirs from the couple’s travels abroad and from Karolina’s frequent visits to Copenhagen’s antiques shops. ‘I love all the special things I’ve collected over the years. Daniel is more minimalist than me - he’s happy so long as he has somewhere to keep his vinyl records,’ says Karolina.

It’s not unusual to find a surfboard propped up alongside bits and pieces of Karolina and Daniel’s work, Trinnie and Bon’s Lego models and bags of clothes waiting to be sent off to fashion shoots. Yet somehow, amid all these trappings of everyday family life, the apartment still feels calm and relaxing. Plans are already afoot for yet another incarnation for it, involving moving walls and borrowing space from the existing bedrooms to create a small third bedroom for Bon. And there’s soon to be a weekend home in the country – Karolina is already dreaming up its interiors.

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Clockwise from top left: Simple voile curtains and warm white décor and furnishings make the most of the apartment’s plentiful natural light; the best seats in the house – vintage kitchen chairs from Tolix and Charlotte Perriand are set round the kitchen table, which came from Lauritz, one of Denmark’s online auction sites. The striking ceiling lamp is by Petite Friture at Miloii; a tall vintage cabinet holds the stereo and Daniel’s vinyl records. The fig tree is from Anna Gouteva; the porcelain doll and glass bell are both from Day Home Right: The kitchen cabinets are from Ikea and marble splashbacks came from a reclamation yard. The wall lamps are by Bestlite, at Nest

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Swedish Apartment

Swedish Apartment

Clockwise from top left: Bon sleeps in a vintage cot in her parents’ room. The canopy is from Numero 74, and the blanket is from Lucky Boy Sunday; the linen bedspread is from Merci, with sheets from Lexington, cushions from Day Home, and bedside lamps from Bestlite at Nest; the house shelf in Trinnie’s room is from Ferm Living. Canopy, as before, and the bedspread is from a fleamarket. The toys are from Lucky Boy Sunday; the green cabinet and dolls’ house in Trinnie’s room are both fleamarket buys. The stool belonged to Karolina’s grandmother Opposite: The bedspread and rug in the main bedroom were both from Casa Marrakesh. The ceiling lamp is one of Karolina’s vintage finds

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Advertorial

Left: These revival chairs are £549 each Right: Cricket table with tapered legs, from £980 Below: The Washburn river table with Pippy Oak top, from £2,520

MADE TOLAST Over the past 60 years this small family business in the Yorkshire Dales has become one of the leading specialists in bespoke handcrafted furniture atheaston has become a name to trust and a sure sign that a piece of furniture has been made to stand the test of time, with no compromise and unprecedented attention to detail.

Starting at the beginning of the process, the Gill family carefully select their oak and ash trees from sustainable woodlands, making sure they are of the highest quality. Then using traditional methods and techniques handed down through the generations they begin to shape them into the heirlooms of the future.

Batheaston specialises in oak tables and cabinets that can be made to measure to suit all tastes and fit specific spaces – catered to your individual needs. In addition to fixed tops, extendable tables are a handy space-saving option for occasional entertaining.

The backbone of the family business is the distinctive Windsor chair and its many different styles; a timeless classic that

B Above: Sam sands the refectory oak tabletop Left: Miles applies the signature Rye finish to a Yeoman’s chair; Below: Julie gives a dining set its final polish

86 Period Living

brings an elegance all of its own and is essentially the finishing touch to any room, be it round the kitchen or dining table or at the fireside.

As well as producing the definitive pieces for which the company is renowned, Batheaston is also constantly working on new designs and ideas.

Recent additions include the much sought-after Washburn river table and Yeoman’s armchair.

A large selection of wood finishes are available to choose from and samples can be sent out to you. New furniture can also be colour matched to existing items you may already have.

Visit batheaston.co.uk to find the right piece of furniture for you or call 01943 880622 to personally speak to Miles, Julie or Sam – the furniture makers themselves. You can also see ‘Batheaston Bespoke Furniture’ being made on Instagram and Facebook.

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Period Living 87

o r f t m t o

fa ny if

louis c

The GreaT DesiGners

Known principally for his colourful and decorative glass lighting, the American designer played an important part in the Art Nouveau and Aesthetic movements, as Antiques Roadshow specialist Marc Allum explains lass is an amazingly versatile medium and its continual evolution, both as a utilitarian and decorative material, has given us a wonderful historic legacy of craft and creation underpinned by innovative designers, scientists and ancient dynasties. It is a material that crosses divides, allowing for continual experimentation and development with its varied properties, strengths and weaknesses. Yet it is partly this fragility which also makes it so special, for in many ways it can also be ephemeral and impermanent, creating objects and works of great rarity and originality.

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Key among those notable and creative protagonists in the world of decorative glass is Louis Comfort Tiffany. Famed mainly in popular terms for his much copied lamps and lighting, his contribution to the world of decorative arts is indisputably one of America’s greatest creative exports, putting him at the forefront of the Art Nouveau and Aesthetic movements.

Fa m i ly F o r t u n e s Born in 1848, Louis was the son of Charles Lewis Tiffany, who founded Tiffany & Co. Charles’s first venture – a small general stationery store and gift shop in New York – spawned an empire and his

Images (Louis Comfort Tiffany, charger and butterfly window) courtesy of the Charles Hosmer Morse Museum of American Art, Winter Park, FL, photos Jospeh Coscia Jr; (table lamp, floor lamp and ceiling light) lots from Dreaming in Glass: Masterworks of Tiffany Studios sale, May 2019, courtesy Sotheby’s New York; (‘scarab’ mosaic box), courtesy Macklowe Gallery, New York, POA

Antiques

Clockwise from opposite: Louis Comfort Tiffany; charger from Laurelton Hall, and ‘butterfly’ window, c.1885, on display at the Morse Museum; five-light Moorish ceiling light in favrile glass and patinated bronze, $68,750; rare ‘dragonfly’ floor lamp with a ‘chased pod’ base, $350,000, both Sotheby’s; mosaic and gilt bronze covered box with favrile glass scarab beetles, illustrating Tiffany’s fascination with Egyptian archaeological discoveries, Macklowe Gallery; ‘arrowhead’ table lamp with rare ‘cattail lily pond’ base, $150,000, Sotheby’s

specialism in jewellery is still synonymous with the Tiffany & Co that we all know today. His son Louis was initially educated at military academies but later trained as a painter and spent time under the tutelage of Léon Belly at the National Academy of Design in New York. Famed for his Middle Eastern subjects, Belly’s influence is apparent in Louis’s early works. By the mid 1870s, however, Louis had become increasingly interested in glassmaking and gained experience working at several glasshouses in the Brooklyn area.

In 1879 Louis joined forces with Candace Wheeler, Samuel Colman and Lockwood de Forest to form the business Louis Comfort Tiffany and Associated American Artists. Wheeler is credited with being the first American female interior designer and was considered a national authority on the subject, encouraging women to work in the business and to design textiles. She is particularly

associated with the Aesthetic and Arts and Crafts movements in America and worked with Colman, also an interior designer and painter, and de Forest, a designer and painter, too, to produce a plethora of ‘Gilded Age’ wallpaper, textile and furniture designs. The ‘Gilded Age’ in America refers to a period starting in the late 1860s and lasting until around 1900. It epitomises the disparity between the very wealthiest and the poorest in an era of rapid economic growth and soaring wages in America. Millions of immigrants flooded into the States keen for opportunities, and Louis’s initial business capitalised on the wealthy patrons created in this climate.

The business lasted just a few years, but Louis’s reputation had already become firmly established with commissions such as decorating Mark Twain’s House in Hartford, Connecticut, quickly followed in 1882 by the prestigious job of redecorating much of ➤ Period Living 89

the Whitehouse for President Chester Alan Arthur.

He installed numerous glass lighting fixtures, screens and window decorations, but this was all removed by Roosevelt in 1902 when he returned it to the Federal style. The firm closed in 1885 but Louis quickly established his own glass-making factory known as the Tiffany Glass Company.

Glass act Key to Louis’s increasing success was his experimentation with glass-making processes.

He considered the European tradition of mounting glass in leadwork to construct stained glass windows as awkward. His method of using patinated copper foil, which could be closely soldered, allowed for a finer degree of detail and preciseness and this is obvious in his stunning windows and lampshades.

One of the main reasons for establishing his own glass works was to produce various types of material that other manufacturers simply couldn’t supply him with. In this instance, quality wasn’t necessarily the all-important factor: poorer quality forms of glass with impurities afforded him a much greater degree of variety. Pictorial panels might, 90 Period Living

therefore, have a remarkably fine degree of painting in the face of a figure, but might also be surrounded by a number of specially developed types of glass. These included ‘streamer glass’, which has a twig-like effect of strands laid across the surface; ‘fracture glass’, formed from waferthin shards pressed into the surface of a glass sheet; ‘drapery glass’, used to emulate folds in clothing; or ‘ripple glass’, formed from a roller creating ripples on the glass surface. Such was the combination and variety of glass and colours used that the effect is kaleidoscopic and intensely colourful, which, of course, is designed with the use of natural and artificial light sources in mind.

In 1893, Louis constructed a new factory called the Stourbridge Glass Company, in Corona, New York. In the same year, he introduced ‘Favrile’ glass into his range – an iridescent amalgam of colours fashioned into sinuous and fantastical shapes.

Tiffany likened the iridescence to the necks of pigeons and the wing covers of beetles, and it was a popular product. The influence of French glass makers such as Gallé is apparent but not intrinsic to his designs; but it’s also important to note that his creativeness – and that of his own designers,

Images (table lamp and window) lots from Dreaming in Glass: Masterworks of Tiffany Studios sale, May 2019, courtesy Sotheby’s New York; (counter balance lamp, jewellery box), courtesy Macklowe Gallery, New York, POA

Clockwise from far left: ‘peacock’ table lamp inset with favrile mosaic glass, $175,000; ‘wisteria trellis’ leaded window, $131,250, both Sotheby’s; counter balance lamp featuring a ‘damascene’ shade; green glass and bronze ‘pineneedle’ covered jewellery box, both Tiffany Studios, Macklowe Gallery

Antiques

Images (rose window, vase, shade) courtesy of the Charles Hosmer Morse Museum of American Art, Winter Park, FL, photos Jospeh Coscia Jr; (‘dragonfly’ chandelier), courtesy Macklowe Gallery, New York, POA

Clockwise from top left: Rose leaded window in the Laurelton Hall collection at the Morse Museum; ‘dragonfly’ glass and bronze chandelier, with borders made of rippled glass, c.1900, Macklowe Gallery; an example of a modern reproduction, Quoizel Tiffany Belle Fleur lamp, £139.99, Tiffany Lighting Direct; Tiffany and his designers’ creativity also extended to pottery – vase, enamel on copper, c.1898–1902; ‘blackeyed susan’ shade, both Morse Museum

such as Clara Driscoll – produced a whole crosssection of interior design items ranging from bronzes, windows, mosaics, lighting and pottery, with combinations of each.

SYNONYMOUS STYLE

Such is his legacy that Tiffany items are now synonymous with high-end American collectors.

The Sotheby’s sale in December 2016, Tiffany: Dreaming in Glass, provided a typical benchmark of what you might have to expect to pay for Tiffany items these days. Favrile ‘Jack in the pulpit’ vases were typically around $20,000; a fish mosaic panel realised $432,500; lamps often sold for $50,000 upwards, with an ‘Elaborate Peony’ pattern lamp making $300,000. Obviously, it is fairly rare for works of such stature to come up for sale, but if you have deep pockets the Tiffany inventory of the Macklowe Gallery in New York will be able to accommodate you. Alternatively, you’ll have to settle for one of the many copies that can easily be found on the internet.

In 1902 Louis became the design director of his father’s company, Tiffany & Co. He continued to create his successful brand, collecting numerous

international awards and recognition throughout his career, with his glass company becoming Tiffany Studios in the same year and attracting further significant commissions, such as the ‘glass curtain’ in the Palacio de Bellas Artes in Mexico City, made with over a million pieces of glass.

His own home – Laurelton Hall, on Long Island – was a tour de force of Tiffany’s creative genius.

Its Arabian and Art Nouveau melange captivated visitors and also became an artistic enclave and foundation. Sadly, it fell into disrepair after his death in 1933, was sold in 1949, and burned down in 1957. Its subsequent sale for a mere $10,000 after some $2million dollars spent on its construction in Louis’s lifetime, was a sorry end for such a magnificent creation. Luckily, many major works were salvaged after the fire and the Morse Museum in Florida opened new galleries in 2011 to exhibit the Laurelton Hall collection.

The loss of Laurelton is a sad legacy to such a great man, but his design influence is so great that the name Tiffany is now synonymous with important American design and style. His subsequent worldwide influence means that Tiffany is a now a household name.

Period Living 91

Tim e

armth w s s With cold weather le on the horizon, it’s time to

invest in a stylish wood-burning stove to create a cosy focal point.

The new Holborn, from £1,099 at Arada Stoves, features the latest heating and eco-design technology combined with a classic design. Comprising three models, the Holborn is available in 4.9kW and 7kW outputs plus a 4.9kW widescreen option with a large glass door for a wide flame view, plus a choice of seven colours. Turn to page 101 for more stoves.

Handled to perfection Period-style door furniture often looks too shiny and new, while better designs can be expensive. Ironmongery Direct has got the balance right with its Old Forge range, which is handmade from solid brass and finished in an antique bronze finish for an authentic touch.

This mortice knob set costs £33.54 per pair.

j

USE urnal

Di he latest products to e your period home and pick up top tips from industry experts

elegaNt SaNctuary taking influence from the classic styling of the late 19th century, new bathroom brand holborn offers a twist on traditional designs by using the latest technologies and materials.

Set across sanitaryware, baths, furniture, heating, brassware, showers, enclosures and accessories, each piece in the range has a quintessentially British feel and comes in a range of luxurious finishes, with prices that won’t break the bank. this camden Victorian-inspired slipper bath costs £745.

New Shaker Style Kitchen Makers is a new luxury brand from British kitchen specialist Burbidge. Featuring new interpretations of the classic Shaker design, there are three styles: Alderley, Haddon and Somerton. The kitchens balance practical needs with customisable storage solutions, contemporary finishes and refined detailing.

Made from sustainable timber and high-quality components, the kitchens are available in one of 16 standard colours, or colour matched to swatches from any paint. All cabinetry is made to order in the UK, starting from £15,000.

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ASK THE EXPERT

are made using high quality ingredients, smart formulations and complex colour recipes. The combination of durability and rich colour is epitomised by the family of ‘Intelligent’ paints – a range of finishes designed for busy people and lively homes. They are long lasting, environmentally friendly, completely washable and available in all Little Greene shades. Being water-based, they are fast drying and virtually odourless. To complement the current range of four Intelligent finishes – matt emulsion, eggshell, exterior eggshell and gloss – Little Greene will introduce three new finishes this month: floor paint, £70 for 2.5ltrs; satinwood, £72 for 2.5ltrs; and all-purpose primer, £41 for 2.5ltrs.

FEEL -GOOD WOOD

Introduce a natural, rustic look in a bathroom or kitchen with Harvey Maria’s new MSeries, a collection of ultra-authentic wood-effect vinyl floors. Priced from £26 per m2, the new range takes a pared-back neutral palette and gives it wood grain, providing a surface that’s clean, sustainable and practical. With a 25-year guarantee, the floors are recognised for their low lifetime environmental impact as they require no harmful chemicals for cleaning or maintenance – just use a neutral detergent – and at the end of their lifecycle, they can be recycled.

The Homebuilding & Renovating Show takes place in two locations this October – ExCeL London, 4-6, and the Royal Highland Centre Edinburgh, 19-20. Discover sessions, experts and exhibitors to help bring your renovation project to life. homebuildingshow.co.uk 94 Period Living

Q

Any tips for using timber laths with new lime plaster?

If you are plastering over existing timber laths, ensure that they are fixed firmly and free from serious rot, the remains of old plaster and dust. Where you have to use new lathing, riven (split) laths are preferable. Sawn laths are inferior, being smoother, weaker and less flexible. Laths must be stored dry and should not be ‘green’ (recently cut).

The laths should be fixed with a gap of 7 9mm between them (the thickness of a little finger) and 3mm between their ends. The ends should be staggered rather than placed in a straight line. Avoid treating the timber with a preservative, which can cause salt damage in plasterwork. Laths should be dampened thoroughly before plaster is applied.

Q

How should I care for the metal finishes on my old fireplace?

Metal components are integral to many old fireplaces. Where cast iron is corroded or dirt covered, it can be rubbed down and burnished using wire wool, then cleaned with white spirit.

Historically, the surface would have been polished with ‘black lead’ but this is no longer available. Fireplaces can be blackened with a modern equivalent that contains graphite and linseed oil.

Q

How do I make limewash?

To make it yourself, you can dilute lime putty to the consistency of milk. Any pigment should be alkali resistant (‘lime fast’) and pre mixed with hot water. As colour matching is tricky, make enough limewash to complete a single coat. Standard (non hydraulic) bagged lime is sometimes used instead of lime putty for limewash but can result in inferior finish that is dusty and rubs off easily onto clothes.

Hydraulic lime may be used instead of putty, however, for extra durability in damp conditions or to improve adhesion on less absorbent surfaces. Limewash can also be supplied ready made.

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

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

er fini v e sh l C Little Greene paints

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

Advertorial Bath shower mixer in Black Topaz, £537

Ceiling-mounted shower head and arm, £339

Vivo mirror, £317

Colosseum triple column traditional radiator, £418

Luna basin and semi pedestal, £125

Sloane double panel designer radiator, £579

Wall-hung cabinet and basin in Solar Indigo Blue, £919

Create a beautiful bathroom Whether you are looking for contemporary or period style, Ultra Finishing has it covered

Kingsbury freestanding bath with corbel leg set, £922

Soar mono basin mixer, £134

Period Living 95

Range Cookers

Teal 110i electric range cooker, from £4,755, Everhot

Top of the range A staple of the country kitchen, there is more to the classic cooker than its iconic design

Feature Holly Reaney

Britannia Delphi 110 dualfuel range cooker in gloss red/stainless steel, £3,799, Currys PC World

HR1956 G dual-fuel range cooker, £16,299, Miele

Cormatin 70cm classic range cooker in Provencal Yellow, £3,650, Lacanche

Professional series electric double oven with induction top in Arancio, £4,729, Bertazzoni

ER3 160i in Blush, £13,995, Aga

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1092 continental dual-fuel range cooker in China Blue, £2,699, Falcon

Classic deluxe 110 range with induction hob in Racing Green, £2,779, Rangemaster

1200 dual-fuel range cooker in Blueberry, £4,649, Mercury

Belling Sandringham 90cm dual-fuel range cooker with gas hob in cream, £979, AO

Victoria Aesthetic dual-fuel four-cavity cooker with gas hob in pink enamel, £2,299, Smeg

Stoves Richmond Deluxe S900DF in Anthracite with Zeus bluetooth connected timer, from £2,099, John Lewis & Partners

5 QUESTIONS TO ASK BEFORE BUYING A RANGE COOKER ARE THEY BETTER THAN CONVENTIONAL OVENS? Made from cast iron, the archetypal heat storage range cooker uses radiant heat from all four sides, resulting in an even and efficient bake. However, modern range-style cookers work in the same way as electric fan-assisted ovens, using air to distribute the heat.

Bear in mind that range cookers take up more space than conventional ovens (90cm, 100cm and 110cm are the most popular widths, although some models are 60cm) so they may not work in a very small kitchen. If you can fit one in, however, they offer multiple ovens and plenty of hob space – not to mention classic good looks.

DOES IT ALWAYS NEED TO BE ON? Traditional range cookers were intended to be permanently on, with heat transferred into the ovens and 98 Period Living

hotplates, giving a constant temperature while heating the room. However, most modern designs can be turned on and off as needed, with each part of the cooker independently controlled. Many models can even be programmed to come on at specific times.

WILL IT HEAT THE WHOLE HOUSE? Some ranges, such as models by Esse and Rayburn, are designed to supply the central heating and hot water to a home as well as a cooker. For example, the Rayburn 600 series is capable of heating up to 20 radiators. Many models, though, are designed just for cooking.

WHICH FUEL TYPE IS BEST? There are three main options – gas, electric and dual fuel (a combination of the two, and the most popular choice) – but some cookers are wood or oil fired. Electric is the most common

option for ovens, which can either be fan assisted or use radiant heat. However, gas ovens are known for producing moister bakes and feature different heat zones, allowing you to cook a range of dishes at the same time. Gas hobs have a traditional look and are favoured by purists, but induction hobs are growing in popularity as they are fast to heat, highly controllable and safer.

ARE THEY EXPENSIVE TO RUN? One of the common misconceptions is that range cookers are expensive to run. While this is often true of older, more inefficient models, many modern designs are A-rated for energy efficiency. Traditional heat storage cookers don’t have the same rating system and are more expensive to run, but since they also provide the heating for your kitchen, you will save on radiators in this space.

Advice

&

Stoves fireplaces A Guide

Feature Holly Reaney

Make this autumn your cosiet yet with a centrepiece fire

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here is nothing like kicking off your shoes and snuggling up on the sofa in front of a roaring fire, watching the orange flames flicker and dance on the hearth. It is no wonder that a stove or fireplace is top

of many people’s wish list. From the latest stove innovations that will reduce your carbon footprint and slash your household bills, to fireplaces befitting every period, we have all the advice and inspiration you need for investing in a new centrepiece.

Above: Ecoburn widescreen plus 5 DEFRA approved stove, priced from ÂŁ1,171, Arada

Period Living 101

STOVES

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imply put, a stove is a fire contained in an enclosed unit, resulting in a tidy aesthetic.

The input of air is controlled by vents, which means stoves are a much more efficient option than an open fire, with some achieving over 80 per cent efficiency. They must be connected to a flue to remove the smoke and harmful fumes, which may be contained in an existing chimney or left exposed for a more contemporary style.

Because they are not restricted by the need for a fixed chimney, stoves offer a flexible option for interior design. They can be freestanding, dual sided – a popular option for open plan spaces or can be inset within an existing fireplace.

Essential maintenance It is vital to keep on top of stove maintenance to ensure it is running at its most efficient and that it is safe. When using a stove regularly, give it a weekly check: empty the ashpan to prevent the grate becoming distorted by hot ash; check the rope seals to ensure the door closes properly, thus limiting the airflow; clean the baffle or throat plate, as if this becomes full it can block the flue.

Regardless of your fuel choice, it is essential that carbon monoxide and smoke alarms are installed

and checked frequently to protect the household.

Visit hetas.co.uk for more details and advice.

Going greener 2022 marks an important deadline with regards to environmental stove choices. Currently stoves must be 60-80 per cent energy efficient in order to be sold within the EU; from 2022, stoves must be 80 per cent efficient. For comparison, open fires are 32 per cent efficient. Trade body SIA is already working with a number of manufacturers to create compliant, EcoDesign stoves, some of which emit 90 per cent fewer particles than open fires.

If you live in a Smoke Control Area then there will be additional limits for a stove or fire; however, there are an increasing number of DEFRAapproved stoves suitable for homes in such areas.

Which fuel is best?

Wood l It is carbon neutral l Needs a moisture content of less than 25 per cent or it won’t burn efficiently l Fresh, ‘green’ logs need to be left to dry for a year so you will need storage space l Dried, ‘seasoned’ logs have lower moisture levels but still need to dry for a few weeks l Kiln dried logs are ready to burn but are much more expensive to buy Wood Pellets l Usually made of recycled or waste wood, such as sawdust, that has been compressed l Purchased ready to use l Avoid the price fluctuations that are common with fossil fuels l Pellets burn hotter than standard wood, so are a more efficient option Coal & Mineral ForMs l Very energy dense, so combine a high heat output with a slow burn time l The most polluting option. Smokeless fuels, although slightly more eco friendly, still fall short in terms of sustainability

Rowandale multi-fuel stove, £1,520, ACR

102 Period Living

Gas l The tidiest option for the home since they don’t produce deposits or smoke l One of the most cost effective methods for heating your home l Instant and highly controllable l Some models don’t need a chimney or flue l It is a non renewable fossil fuel and releases small quantities of carbon monoxide

Advice MCZ Deco pellet stove, £4,065, Specflue

Warmheart wood-fired stove with cooking capability, £1,700, Esse

4043 wood burning stove, £1,399, Morsø

Bassington Stove in warm white enamel, £1,438, Percy Doughty

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FIRES

ou can’t beat the sound of crackling logs and the welcoming warmth of an open fire – it is one of the most desirable features in all eras of period home.

However, since up to 80 per cent of heat is simply lost up the chimney, it is the visual effect of flickering flames that is the primary attraction of open fires. Enclosed in stone or brick, fires are characterised by an internal flue that allows smoke to escape outside, along with a hearth to protect the floor and a decorative surround.

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Authentic designs Whether you opt for a reclaimed fire surround or a replica design, it is worth knowing the key features for each period to ensure you find the best fit for your home TUDOR O Simple brick fireplaces with wood or stone lintels that were plain, moulded or carved O In grander houses some had renaissance details and overmantels had decorative panels

Original fireplaces If you already have a fireplace and chimney in your home, then including an open fire is not only going to be cheaper but also a lot more convenient than a stove at the installation stage. Depending on the state of the fireplace and chimney, it can be as easy as having your chimney swept and investing in a grate, although you may need to have your chimney relined. Many pre-1939 properties have hidden fireplaces, identifiable by a chimney breast with alcoves to the side. Before attempting to uncover a hidden fireplace, consult a surveyor to ensure it will not cause any structural damage.

EARLY GEORGIAN O A fireplace was the visual centrepiece of an early Georgian room O Designs were marble or wood depending on the status of the house, with a brick inlay O Often featured carved or applied details

Safety first

REGENCY O Became simpler and more austere O Featured reeded decoration on the legs and corner tablets with decorative roundels O Mantel was separate and distinct, with greater dimensions than before in order to accommodate the rise in displayed items O White statuary marble or lightly veined marble were popular; this style was mimicked in poorer houses, where wood surrounds were painted in imitation marble

Carbon monoxide and smoke alarms are essential if you have open fires in your home. Have the chimney swept at least twice a year when burning wood or coal, and at least once a year when burning smokeless fuels, to reduce the risk of uncontained or chimney fires. The sweeps will also check the chimney’s lining and clear any build-ups that could potentially ignite. The National Association for Chimney Sweeps (nacs.org.uk) will have a list of professionals in your area.

Uncovering and restoring a pre-existing fireplace will create a statement focal point in the room that celebrates your home’s original features

LATE GEORGIAN O Made from marble, wood or stone with medallions or classic motifs O The grandest styles of mantelpiece also featured an overmantel mirror

VICTORIAN O Essential feature in Victorian homes, appearing in almost every room O Comprised of two parts: cast-iron grate and a marble, slate or wood surround O Large open fireplaces had dog grates; townhouses often had register grates O Panels of coloured and decorative tiles on either side of the grate were popular EDWARDIAN O Main preoccupation was achieving greater efficiency with less fuel consumption O Cheeks of fireplace were brick with splayed sides and sloping back to project more heat into the room O Smaller grates as less fuel was needed O Often ventilated directly from outdoors to avoid draughts

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Advice William IV cast-iron mantel in matt black with adelaide insert and ashpan cover £3,050, Stovax

Buckingham fireplace, £3,480, Chesneys

The Chesham Bath stone fireplace, £8,160, Jamb

Hogarth 56” mantel in Aegean limestone, £1,320, Capital Fireplaces

Period Living 105

Renovation

HOME MAINTENANCE

Repairing and overhauling

Tackle issues with leaks as soon as they occur, and keep on top of maintenance to preserve pipework

Work to old plumbing systems sometimes needs specialist skills, especially where lead pipework is present so, if in any doubt, always call in an experienced plumber. Monitor repairs or new plumbing work, including waste pipes, for a few days after they have been completed to ensure there are no leaks. Don’t forget that moisture on pipes is sometimes associated with condensation rather than a leak.

If blow torches are used to solder joints in pipework be aware of the fire risk. Always stop these ‘hot works’ at least an hour before the end of the working day and check the area thoroughly before it is left unattended.

Plumbing Feature Roger Hunt, author of Old House Handbook

Illustrations Sarah Overs

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lumbing can present challenges in old houses as piped water was a luxury when many of them were first built. Over the years, as modernisation has occurred, pipework will have been threaded through the home’s interiors to provide hot and cold running water. This often creates challenges when it comes to maintenance or replacement, and great care has to be taken to avoid unnecessary damage to the fabric of the building.

It is sometimes hard to judge the overall condition of a plumbing system as it may have been added to and altered over the years to meet changing needs. When problems occur they are not always easy to trace but cannot be ignored: leaking water from split pipes, failed joints and cracked sanitaryware can be disastrous. Escaping water is also wasteful so raises environmental concerns, pushes up water bills and, in the case of hot water, energy costs.

Old buildings commonly had lead water pipes, so it is advisable to have the drinking water tested to ensure lead levels are safe.

Isolating the supply Be sure to know the location of the mains water stopcocks. The internal stopcock isolates the supply within the property and may be under the stairs or in a cupboard. If you have a meter, it is generally located in the same chamber. It may require a special key from a plumbers’ merchant.

At least once a year turn it on and off to ensure that it works. If this fails you may need to use the external stopcock, which is usually near the property’s boundary. In some older homes it is shared so, by turning it off, you may also shut off your neighbours’ supply.

It makes sense to fit separate isolation valves to each pipe feeding basins, WCs, baths and showers to enable the water to be easily shut off locally.

Pipework Bear in mind that old pipework is likely to be sized in imperial measurements but new pipes and Period Living 107

Wherever possible, avoid notching the tops of joists to fit new pipes as this will weaken the floor structure and makes the pipes vulnerable to damage. For future reference, draw plans that record pipe routes and stopcocks.

Maintenance checklist O Repair dripping taps without delay.

O Test for weeping joints in pipework by running

a dry finger around them.

O Where possible remove bath and other panels to check hidden pipework.

O Check waste pipes from sinks, baths and showers are not damaged or leaking.

O Look behind WCs to ensure there are no leaks from the soil pipe or cistern.

O Ensure ball valves in tanks and cisterns are operating effectively.

O Check tanks are covered and insulated.

Fit for the future

fittings will almost certainly be metric so, when joining them, suitable converters will be required.

Where it is necessary to connect old lead pipes, the joints will need to be ‘wiped’ and not all plumbers have the skills to do this.

Traditional basins, baths and WC cisterns tend to be large and wasteful of water. If renewing, opt for versions that require less water and select flow-limiting taps and showers, such as those that score well on the Water Label. Minimising the length of hot water pipe runs is important as this reduces the amount of water that is run off and wasted before hot water reaches the tap. Where old WCs are being retained, cut the amount of water used by putting a brick, or one of the devices offered by water companies, in the cistern.

Taps Old taps that are dripping, hard to turn or are affected by limescale will need to be overhauled.

Often they are attractive and delicate so, where work is required, use a plumber who appreciates their value. Specialist companies recondition, polish or re-plate old taps.

Useful contacts ANTIQUE BATHROOMS OF IVYBRIDGE – bath

restoration. Tel: 01752 698250; antiquebaths.com

Above: Old, dripping taps that are hard to turn need delicate care and handling Top: Plumbing may have been added to or altered over the years, so it is often difficult to assess its condition. If in any doubt, have it checked by an experienced, skilled plumber

108 Period Living

Insulating pipes

CP HART - luxury, traditional and contemporary

Guard against heat loss and freezing by thoroughly insulating both hot and cold water pipes. Special pipe insulation that consists of a split foam tube is easy to fit but take care to cover joints, bends and hard-to-reach sections. Insulate the sides and covers of tanks in loft spaces but not underneath, as some residual warmth from the room below is helpful. Outside taps must also be lagged and there should be an indoor stopcock so they can be isolated in cold weather.

bathroom supplies. Tel: 03458 731121; cphart.co.uk DRUMMONDS – bespoke bathroom ranges. Tel: 01483 237202; drummonds-uk.com STIFFKEY BATHROOMS – antique baths and fixtures.

Tel: 01603 627850; stiffkeybathrooms.com THE BATH BUSINESS – tap and bath refurbishment.

Tel: 01342 324577; thebathbusiness.co.uk THE CAST IRON BATH COMPANY – baths, sanitaryware and taps. Tel: 01723 585896; castironbath.co.uk THOMAS CRAPPER & CO – range of bathroom fittings.

Tel: 01789 450522; thomas-crapper.com UK WATER LABEL – product efficiency label scheme.

Tel: 01782 631619; europeanwaterlabel.eu VICTORIAN PLUMBING – bathroom retailer. Tel: 0345 862 2878; victorianplumbing.co.uk

Minimising damage Some disturbance to joinery and floorboards is inevitable when repairing or upgrading plumbing.

Try to minimise potential damage by employing a good carpenter to take up boards or remove panelling before work starts. Floorboards that may have to be taken up again in the future are best refixed with screws rather than nails. If feasible, create hatches to make access easier.

Advertorial

Best of both worlds Wood Window Alliance members combine authentic period-style windows and doors with modern performance

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uge technological strides in the wood window and door manufacturing process mean there is no longer the need to trade natural beauty for performance, durability or efficiency. By choosing to work with a member of the Wood Window Alliance (WWA), an organisation supported by the British Woodworking Federation to raise standards, you can be confident that your doors and windows meet stringent quality, performance and sustainability criteria.

*Whole Life Analysis of timber, modified timber and aluminium-clad timber windows report by Heriot-Watt University.

Low-maintenance wood window frames A typical wood window frame made to the WWA specification has a service life of up to and beyond 60 years, depending on the level of exposure – double that of its uPVC equivalent, which has between 26 and 35 years*. All windows require maintenance, regardless of the material they are made from. However, factory-finished wood windows and doors made by a WWA member require minimal maintenance and, under normal conditions, are typically provided with a 10-year, supplier-backed paint warranty.

A collection of traditional wooden sliding sash windows and stunning entrance doors made by members of the Wood Window Alliance

Restoring the beauty of your home Between them, WWA members offer every type of wood window and door you could desire. From traditional box sash windows and classic French doors, to contemporary tilt and turn windows and bi-fold doors. For a perfect fit, members offer a made-to-measure service and there are any number of design configurations, paint and stain options and hardware collections, too. For authentic period detailing, decorative glass, sash horns and glazing bars can be incorporated.

Heritage designs for listed properties For properties that are listed or in a Conservation Area, many WWA members offer heritage designs for sympathetic replacement.

To find out more, including details of members and the strict membership criteria they must meet, visit woodwindowalliance.com Period Living 109

7

Advice

ways to add value Whether you’re here to stay, or ready to improve and move on, it’s wise to consider these key projects for maximising your home’s potential

Update the kitchen Replacing a tired, dated kitchen with a beautiful and practical new design can add upwards of six per cent to the value of your home – much more if you extend the space or remodel to improve the layout. However, it’s important not to overspend.

Budget between three and five per cent of your current home’s value for the project, and look for clever ways to save money without compromising on the finish. Bespoke hardwood in-frame kitchens are highly desirable for period homes, but can run into tens of thousands. Instead, look at painted solid pine or MDF in-frame designs for a fraction of the price. Alternatively, opt for off-the-shelf carcasses and customise them with solid wood door fronts. This kitchen features Chicester cabinetry from Neptune, where a 60cm base cabinet costs £710.

Build an extension Extending will add more value than any other improvement, and when done well more than pays for itself in the long run. However, don’t go too big it’s important that the addition is subservient to the main house and doesn’t detract from its original character. Extensions to period properties work best when they are either seamless and look like they have always belonged there, using materials that complement the existing property, or are more contemporary in style, creating contrast. Your local authority can provide guidance on the types of design that will be acceptable.

The most popular type of extension is to create a sociable kitchen-diner – this listed home has received a sensitive new addition, with Clement conservation rooflights to fill the space with light.

Expect to pay around £1,500–£2,500 per m2 for a single-storey extension.

To find out more about planning permission, see planningportal.co.uk.

Converting the loft to create bedrooms and bathrooms can add as much as 25 per cent to a home’s value, and can be a more sympathetic and cost-effective way of increasing space in a period home than an extension.

Expect to pay between £500£1,500 per m2, depending on the location and work involved.

A key factor is head height – there needs to be at least 220cm between the bottom of the ridge timbers and the top of the ceiling joists. Think about how the space will be lit, too – the most common solution is to insert rooflights between the rafters, as dormers are often unpopular with planners on period homes.

This project used Velux rooflights for a bright, relaxing bedroom.

112 Period Living

Photograph (bottom left) Rachael Smith, (previous page) Katie Lee

Include rooms in the roof

Advice

Invest in windows and doors It’s no cliché to say that windows are the eyes of a house, and if original sashes and casements – not to mention the front door – are looking a bit lacklustre, or have previously been replaced with inappropriate PVCu designs, then rectifying the situation will significantly improve your home’s kerb appeal. Period windows and doors are highly coveted features, and removing them will detract from your home’s value, so always look

to restore rather than replace it’s also much more cost-effective than buying new. These timber sash windows were expertly restored

by Ventrolla, where prices start from £500 per window, including draughtproofing, which will improve their efficiency. If you have unsympathetic modern frames, then replacing them with authentic designs can be upwards of £1,000 a window, but the cost will largely be recouped by the uplift in value, and the house will be infinitely more desirable.

Add an orangery Not only can a bespoke orangery or conservatory add 10 per cent to the value of a home, but it can also completely transform your lifestyle, increasing space and light to create a happier, healthier place to live. Painted timber or solid oak are classic options for period homes, but aluminium can add a modern edge. This stunning painted timber orangery from David Salisbury costs from £40,000.

Period Living 113

Maximise bathrooms An extra bathroom can increase the value of a home by over six per cent, while, conversely, having the bathroom downstairs could knock over £10,000 off its value. Sacrificing a bedroom is a risky way to fit one in upstairs, but can be a good option if you are converting the loft or extending to add bedrooms.

Alternatively, look at whether you can take space from the landing or bedrooms to squeeze one in. This stunning bathroom was designed by Rory Dobner and features fittings from Drummonds, including the Spey freestanding bath, from £3,570.

Go underground

Photograph (bottom) Malcolm Menzies

A basement is the ideal location for a snug, playroom or wine cellar and it is also a great place to relocate the utility room, boiler and storage areas, freeing up more valuable above-ground space. Converting a cellar costs around the same as a loft conversion and often creates more space directly accessed from main living areas. If you don’t have a cellar, you can dig down to create one, although it’s rarely financially viable unless you live in a high-value urban area. Waterproofing, or ‘tanking’ is a key issue – there will usually be a cementitious waterproof render system on the walls, linked to a waterproof screed on the floor; alternatively a cavity membrane, which constantly drains away any small leaks, may be employed. Converting an existing cellar doesn’t usually require planning permission, but creating a new one will. The extended basement of this Georgian townhouse in Islington houses the kitchen-diner and has fabulous links to the garden.

114 Period Living

Advertorial

LIGHTER AND BRIGHTER

Velux top-hung windows are suitable for roof pitches between 15˚.

They are also suitable for pitches between 55˚ and 75˚ with special springs.

From £354 excluding VAT

Fill your loft with natural daylight with stylish roof glazing from Velux

atural daylight is essential to our wellbeing, and as we’re spending more time than ever indoors, getting our glazing right is even more important. Both the size and the number of windows in your space can completely transform your room’s look and feel. Combining roof windows with vertical glazing maximises natural light, allowing daylight to enter your home from different angles. For optimal comfort, around 15-20 per cent of the overall floor area should be glazing.

Lofts are commonly smaller than the other rooms in the house, so when planning a conversion you need to think carefully about how you can make the most of your space. Top-hung roof windows are ideally suited to loft conversions, as they open outwards to create uninterrupted views and a feeling of extra space.

A loft flooded with daylight looks and feels amazing, but to create the most comfortable space, you need to be able to control the amount of heat and light coming in. Velux blinds and awnings let you do just that. They come in a wide selection of colours and sizes designed to perfectly fit your Velux roof windows, and complete the look of your new space.

To find out more information and discover the whole collection from Velux, head to velux.co.uk.

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Download the Velux My Daylight App to your phone and visualise how your own loft space could look with added daylight through the roof

Above: A set of four Velux roof windows let in lots of natural light in this stunning loft conversion Period Living 115

Regency

Y o u r • p e r i o d • h o m e

Continuing his series delving into the unique features of houses from different design eras, conservation and heritage expert Lee Bilson looks at a period that mixed elegant restraint with flamboyance and exoticism

D

uring the 18th century, the array of Palladian motifs found in the great houses of the Georgian era had filtered down to even the smallest of homes.

But as with the earlier periods we have explored in this series, a new generation of young architects yearned for classicism beyond the confines of Palladio. Out of this sprang a plethora of styles, from austere neoclassism to ornamentation en masse, with all things ancient and foreign by famous architects like John Nash, Samuel Pepys Cockerell and James Wyatt.

Architectural expression was back but with an aura of grace and refinement, which would flourish under the flamboyant Prince of Wales, the future George IV – and with the expanding British empire near its peak, unsurprisingly colonial styles were on trend – from chinoiserie and Indian Mughal, to Egyptian antiquity.

While some come could consider the plethora of Regency schemes as extensions, or even part of, Georgian architecture, its vast range and mixture of flamboyant and reserved use of styles compared to those earlier in the 18th century, certainly warrants consideration independent of its older sibling.

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Design evolution While the Regency period only lasted between 1811 and 1820, the Regency style stretched from the 1790s to 1830, and although similar to Georgian architecture, it was generally even more elegant.

It is the elegant and distinctive buildings created during this period that still grace many of Britain’s most beautiful towns and cities.

As is the common theme in architectural developments, towns and cities across the country were experiencing huge growths in population, precipitating a building boom, and fashions were dictated by the elite – in this case inspired by the developments and flamboyant extensions being carried out by the Prince of Wales. His crowning glory in an architectural sense, was the exuberant, whimsical, and over-the-top exotic Royal Pavilion in Brighton.

The opening years of the period were marked by reduced spending due to the Napoleonic wars, but with their end after the battle of Waterloo, a long financial boom allowed Regency architecture to spread across the country – however, unlike the Royal Pavilion, the archetypal Regency home was elegantly restrained, instead being graced

Photographs (top left) Getty Images, (saloon and portrait) Royal Pavilion & Museums, Brighton & Hove Royal Pavilion & Museums/Jim Holden (exterior) Royal Pavilion & Museums, Brighton & Hove

Design

Opposite: A typical Regency crescent in Brighton Above: View of the eastern front of the Royal Pavilion.

The former royal residence was built in three stages as a seaside retreat for George, Prince of Wales, who became the Prince Regent in 1811. Architect John Nash is responsible for its current appearance, with its domes and minarets influenced by Indian design. The Pavilion epitomises the exotic style that provided an alternative to mainstream classicism in the Regency era Left: Portrait of George IV, standing in garter robes, by Sir Thomas Lawrence, c1821 Top: The Pavilion’s saloon was restored to its original regal splendour, and reopened to the public in 2018

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with Regency touches in the form of intricate ironwork balconies, Chinese-inspired porches and classical-style porticos.

A new vision While much of the plans and structure of Regency architecture remained similar to that of Georgian architecture, the emphasis in wealthier households was certainly placed on entertainment and decoration. It was in this period, with the further cementing of the use of architects and pattern books, that alongside the usual design drawings the era witnessed a developing fashion for the use of perspective representation drawings. This provides the clear picture of the new aesthetic sensibility – with the likes of Sir John Soane noting how perspective drawings could show clients the beauties and magical effects of a building.

Architectural design would no longer be the same, with aesthetically produced perspective and representational drawings continuing to be in vogue to this day.

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Photographs (clockwise from top left) Lee Bilson, Mark Bolton, Getty Images, Lee Bilson

STONE AND BRICKWORK Stone continued to be a relatively expensive material, so solid stone external walls were rarely raised in areas away from quarries instead stonework would be used sparingly in the form of string courses or occasional ornamentation. With many houses now being built speculatively, to accommodate the growing population, the builders opted for the cheapest ways to construct. A whole manner of systems were developed, such as modern approaches to timber framing incorporating brickwork courses, or regional methods like ‘bungarouche’ (a mix of materials set in hydraulic lime) in and around Brighton. Exposed brick elevations became increasingly unusual, as decorative stucco prevailed offering the look of stonework but without the expense.

WINDOWS In the Regency period the windows were much more considered in the design of a façade than in earlier periods. It was in this era that long, tall windows were the fashion, with older properties often being modernised by dropping the sills and installing new taller sashes.

Delicate designs were used to add a refined flamboyance to otherwise often plain façades, adding touches of whichever style the builder or architect preferred to make their designs stand out from the rest one popular detail was Y shaped tracery, often used in fanlights.

IRONWORK From the tragedies of war often technological improvements abound, and out of the Napoleonic wars came improvements in casting and metalworking processes, giving Regency designers greater freedom to express their chosen styles in the ironwork on buildings.

Elaborate balconies and tented porches or 118 Period Living

Above and below: Thanks to manufacturing developments elegant ironwork became widespread, including balconies, porches, verandas and balustrading Right: Built at the turn of the 18th century, this rectory features a restrained, classical façade with formal Regencyinspired gardens and interiors (see overleaf) Below right: Set in the Cotswold countryside near Moreton in Marsh, Sezincote is a romantic Mogul Indian palace, and is credited with influencing the design of the Royal Pavilion

Design verandas became commonplace in town façades, while fine balusters formed elegant staircases and railings. Rainwater goods received similar attention, with hoppers cast in forms to suit.

CHIMNEYS AND FIRES Regency use of classical ornament meant a range of eclectic styles are found, inspired by the likes of Wedgwood’s famous ceramics with motifs from Greek and Roman antiquity, or similarly the emerging Gothick and Egyptian influences.

DECORATION While the majority of Regency façades were relatively restrained, their interiors were sumptuous and bold, arguably more so than any period before – wallpapers, gilding, elegant furniture, and ornaments inspired by antiquity adorned the main rooms. For many it is in this mix of restraint and luxury that makes Regency homes so appealing. Regency style is also applied to interior design and decorative arts of the period, typified by elegant furniture and vertically striped wallpaper, and to styles of clothing; for men, as typified by the dandy Beau Brummell, an iconic fashion figure in Regency England, who was at one time a close friend of the Prince Regent.

Decoration was a crucial feature of the period – with advances in painting techniques few surfaces wouldn’t be decorated. The use of graining or marbling to decorate woodwork, from doors and windows, shutters and wainscoting, and everything in between – otherwise cheaper woods or surfaces were turned into fine examples of oak and exotic timbers, or marbles mimicking those of classical Italy and antiquity. These kinds of treatments weren’t just reserved for the interiors, as external windows received similar decorative touches – whereas today we see windows and doors painted in flat colours (usually with inappropriate gloss finishes), in the Regency period these would have regularly had grained finishes applied to imitate expensive oak.

STAIRS The staircases in Regency homes were often made up of slight ironwork sections topped with slender dark wooden handrails, terminating in beautiful spirals at the foot of the stair – the most famous designers of the period, like Sir John Soane, often included roof lanterns or skylights over the stairway in their designs to flood the area with light. Whereas the stairs of previous periods tended to be dark spaces and often more private, those of the Regency and Georgian periods now took centre stage, often one of the first things guests would see. r

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things to look out FoR l As you walk around towns, try spotting the

delicate ironwork balconies or porches with their chinoiserie-style tented roofs. l Where stonework was expensive, stucco was a favourite in the Regency period, adding the appearance of stone to even the most humble of Period Living 119

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structures. This can be spotted almost anywhere craftsmen would incise the plasterwork to give the appearance of smooth, crisp ashlar.

O Keep an eye out for refined oriental detailing on façades or in interiors this can be a lovely little tell tale that a property has Regency origins.

O Fanlights get more ornate in this period, and are predominantly cast iron with lead details the detailing will undoubtedly be inspired by ancient ornamentation.

O Lastly, look out for Gothick designs don’t go emailing the editor, the K is not a typo, it distinguishes it from later Victorian gothic revival this used wide pointed arches, crenelated gables, and stucco decorated with medieval designs.

MAINTENANCE ISSUES O Given the fine nature of Regency brickwork and

masonry, repointing needs to be carried out with great care and skill to maintain the finish of the original builders many a historic building is harmed with unsympathetic pointing work.

O One of the main ingredients in paint used during the Regency period was white lead, which was the colour base mixed with linseed oil. Both had their drawbacks linseed oil had a tendency to yellow, while white lead was quite obviously toxic but their use continued well into the 20th century because it was felt that there were no suitable alternatives. If you need to remove any paint coatings it is worth testing the paint for any lead content and taking advice where it is present.

O Regency fanlights were commonplace, as they were in Georgian homes, their flamboyance forms wonderful detail and should be properly maintained but where they have been removed or are beyond repair sadly only a few companies in the country exist today that can reproduce truly authentic fanlights. Companies like Sambrook & Temperton, Recclesia Stained Glass, and London Fanlights, all repair and make fanlights using traditional methods, so if in doubt give them a call.

O I was once taught that in England, on average, original windows are removed countrywide at the rate of one per minute even if this is an exaggeration I think it is safe to say that they are removed all too often to be replaced with supposedly better modern systems. Do not be fooled, however a well maintained and repaired original sash window can outlive many a modern casement.

WHERE TO VISIT O The seaside splendour of Brighton & Hove is

home to the biggest and best of Regency buildings there are no limits on the elegant crescents and terraces around the area. Look out for ADELAIDE CRESCENT, BEDFORD SQUARE, POWIS SQUARE, THE ROYAL CRESCENT, LEWES CRESCENT, MONTPELIER CRESCENT, and REGENCY SQUARE, to name but a few.

O CHELTENHAM’s heyday as a spa town corresponded with the styles of the Regency period, so it is no surprise that it is often described as England’s most complete Regency town.

O While many of the finest buildings in BATH were built in the period before the Regency, a visit will give you an alluring glimpse into what Regency society life was like. Exploring the town you will feel as though transported to a scene from a Jane Austen novel.

O The V&A is home to many Regency designs, including those by the famous Thomas Hope, which will inspire any Regency homeowner to rediscover their home’s beautiful period style.

O Probably one of the most unique places to visit and see Regency architecture at its extreme is SEZINCOTE here you will find nestled in rolling Cotswold countryside a rather unexpected and radiant Mogul Indian palace.

Photographs Mark Bolton

Above: Inside, Regency homes were sumptuously decorated. This living room uses a limited palette of ivory, peach and terracotta, with opulent gilded and marbled accessories, elegant furniture and curtains reminiscent of the Royal Pavilion Right: Walls painted in warm terracotta – a popular colour in the Regency era – are balanced with an alcove of faux rusticated stonework. The marble bust is from 1830

Above: Andy and Elaine outside The Old Yard in Oswestry – the couple opened the business from their home on the Welsh border in 2012 Left: A vintage advertising sign Right: Details of a carved face on a large stone planter Far right: One of the showrooms, which has been converted from an old outbuilding on the site

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Reclamation

Second chances

After years of running antiques shops and trawling fairs and auction rooms, the Jennings set up The Old Yard from their home in Oswestry to give new life to salvaged finds and vintage furniture Words Karen Bray | Photographs Jeremy Phillips

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ndy and Elaine Jennings have salvage hunting in their genes. ‘Andy’s mum spent a lot of time in auction rooms when he was growing up; she had a good eye for finding interesting pieces, which her son has inherited,’ says Elaine. ‘Coincidently my parents did the same – they used to spend hours in auction rooms and I used to go along with them.’

The husband and wife team started running antiques shops in the early 1990s, initially specialising in art and offering a frame restoration service, as Andy is a trained gilder in gold leaf. They then went on to sell traditional furniture and antiques from two shops, one in Shrewsbury and the other in Oswestry, Shropshire, before Andy branched out and set up his own guttering company, providing traditional cast-iron gutters to listed buildings, barn conversions and churches. ‘The business was successful for a few years, but then the recession hit in the late 2000s and it wasn’t sustainable anymore,’ says Elaine. Around the same time Andy went to Kempton Antiques Fair with a friend and got the salvage bug again. ‘The industrial trend was taking off so we decided to deal mainly in industrial furniture and lighting and made one-of-a-kind repurposed pieces from reclaimed materials for commercial and private clients, as well as trading at the large fairs such as Ardingly and Lincoln.’

At the beginning of 2018, fed up with sleeping in the back of the van and the constant loading and unloading after the fairs, the couple decided to open up to the public from their home on the outskirts of Oswestry, on the Welsh border. ‘We have two large outbuildings and a big yard so we turned one of the buildings into a showroom and the other into a showroom-cum-workshop,’ says Elaine. ‘The yard is a great space to display pieces for the garden, such as troughs, planters and benches. We now stock a wide variety of antique, vintage and timeworn furniture, and lighting and decorative pieces for the home and garden, ranging from the industrial to traditional country pieces.’

Andy and Elaine believe that now more than ever it is important for people to reuse and repurpose items. ‘You need to give everything a second chance,’ says Elaine. ‘We live in such a throwaway society and I think it’s crucial that people don’t buy something just to achieve a current trend. You can go into John Lewis and buy an enamel shade for £40, but if you pay a little more and buy an original design you will save resources and, I think, it looks better too.

I know it’s a personal choice, but things used to be made to a higher quality. We’ve got some really early pieces of cast-iron furniture and they are going to survive another 100 years.’

Stock is sourced from trade fairs, other salvage yards and passing trade. ‘Andy often finds stuff while he’s out and about – it’s surprising what he comes across on his travels,’ says Elaine.

‘Plus, people are used to us being here now, so we often get offered pieces that we can sell on.

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Garden items seem to be increasingly popular, as people would rather buy an old pot with an authentic weathered look than a shiny new one from a garden centre. We’re lucky in that there aren’t many local places like this to visit – there’s a large salvage depot probably five miles away, but they stock mainly reclaimed building materials, tiles, doors, roofing, slates, bricks – all the stuff we don’t do – so it makes sense for us to focus on furniture, lighting and decorative pieces as it’s our area of interest and expertise.’

Elaine’s favourite item in stock at the moment is a late-19th-century continental painted chest of drawers. ‘It’s a lovely quality piece with the original paintwork,’ she says. ‘We went on a break to Dorset recently, and came back with three or four nice pieces, one of which is this chest of drawers. As soon as I saw it I fell in love with it.

I’m hoping it doesn’t sell…’

Antiques expert Drew Pritchard visited The Old Yard for his TV programme Salvage Hunters back in 2015, which helped the business raise its profile.

‘The episode gets repeated quite a bit,’ says Elaine, ‘which is obviously a huge boost for us, as people check out the website more and enquiries increase.

‘Our aim is to provide a good service and offer high-quality fresh stock, so when repeat customers walk through the showroom they can see new pieces and not something we’ve had for the last year – we want to keep people interested,’ says Elaine. ‘I quite often come home and my kitchen table, a cabinet, or the mirror in the sitting room has gone. But actually I don’t mind that, it means I can get nice fresh furniture every few weeks.’

The Old Yard, 5 Wootton Cottages, Queen’s Head, Morda, Oswestry, Shropshire SY11 4LJ Tel: 07871 734500; theoldyard.co.uk

Elaine’s tips for buying antique furniture

1

Take your time looking around, whether it be at a fleamarket or an antiques establishment, that perfect piece you are looking for could be under a table or high up on a shelf.

Look for quality and condition and that any signs of wear and tear are where you would expect to find them.

Don’t be afraid to ask the seller for more information about an item you are interested in.

Always buy something because you love it.

And finally, if you do find what you are looking for don’t miss out, it may not be available for long.

2 3 4 5

Reclamation

Clockwise from above: The interior of the showroom, where you will discover an interesting mixture of vintage furniture and decorative collectables; a vintage industrial sugar beet pulper; the main showroom is piled high with more furniture and decorative pieces alongside a wide selection of reclaimed industrial lighting; detail of a figure on the top of a reclaimed cast-iron water feature

Period Living 125

Clockwise from left: Selection of garden statuary and stone troughs; a vintage elephant playground ride

by Wicksteed; cast plaster bust

by D Brucciani & Sons; Elaine’s favourite item currently in stock is this late 19thcentury painted chest of drawers; a vintage cigarette vending machine repurposed into a display cabinet

126 Period Living

se n pe Embracing

An Apple A dAy

In s us

Catch a falling apple in this whimsical, fruit-shaped basket. Store the fruit and vegetable harvest from your kitchen garden in the decorative as well as practical braided rattan design by Ferm Living, or keep snuggly throws within in readiness for the change of seasons. £75 from Hoos.

the sustainability trend, Cocoon & Me’s woven plant hanger is made from recycled cotton, dyed in a variety of lovely hues, from navy blue to mustard. Team with a contrasting, colourful plant pot for a vibrant, natural display. Priced £22.50 from White Space Home.

GARDEN j ur G of

tumnal harv e self sufficie

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On the bOOkshelf A resurgence in interest for heritage orchard fruits has led to us rediscovering many delicious varieties, and none more so than the archetypal apple. In Heritage Apples (£25, Bodleian Library Publishing), depicting original 19th-century illustrations, Caroline Ball tells the stories behind more than 100 types of apple from the Victorian era that are still available today. Featuring varieties such as the Worcester Pearmain and Ribston Pippin, the book advises on how to grow them and their eating, cooking and cider-making merits.

digging up the pAst A snip in time A bunch of old scissors you wonder? Well, what is on first sight a medley of vintage snippers could, in fact, become a rustic hanging display in a potting shed or on an outside wall, a feature in potted plant displays…

So, not just old scissors: they are art in the making. From £6.50 each at Scaramanga.

Enjoy archive photos and memories of wartime vegetable gardens in the RHS Dig for Victory exhibition. Running from 14 October until 17 November at all RHS gardens to mark the 80th anniversary of the outbreak of WWII, it will look at the role the gardening society played in the government’s campaign to get the nation growing its own food, such as publishing The Vegetable Garden Displayed. Visit rhs.org.uk/shows-events for more details.

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Bloom & Wild has teamed up with Morris & Co to release limited-edition autumnal bouquets. Available until 31 October, the Aviary, Bramble and Hazel florals are inspired by prints of the 19th-century collective.

Flower boxes featuring the original designs from £35; bouquets from £46.

Overground, underground…

Discover some of Cumbria’s glorious gardens on the ‘Heritage Cumberground Garden Line’, produced by Cumbria’s Living Heritage. The newly launched map highlights 17 stops on the imaginary line: see rare Sino-Himalayan specimens at Muncaster; a garden representing Dante’s journey to Paradise at John Ruskin’s Brantwood; the rhubarb patch in which Jemima Puddle-Duck tried to hide her eggs at Hill Top; to the garden where the young William Wordsworth chased butterflies.

Visit cumbriaslivingheritage.co.uk

SHED HEAVEN As the autumnal weather draws near, thoughts turn to storing away garden tools for the colder months. You can keep equipment dry and secure in the lockable Forest Garden Shiplap Pent garden store, which with its compact design is easy to tuck away in a corner.

Mounted on bearers and with a pent, mineral felt roof, the shed will protect its contents from the elements. From £154.95 at Cuckooland.

BOTANICAL NOTES Send your greenfingered chums a visual memento of summer blooms with this set of 10 postcards with hand-picked and pressed flowers, or frame them for a set of miniature prints. £15 from JamJar Edit.

EXPERT TIPS...

GARDEN PONDS Mick Lavelle, gardening expert and senior lecturer in horticulture at Writtle University College, Essex* Late autumn is an ideal time to give a garden pond a good clean, as the plants and many pond creatures become less active. In almost all cases this will involve emptying it of water and, unless you have a very small feature that can be bailed out by hand, the easiest way do this is to use a pump. If you don’t have one, they can be rented from a machinery hire shop.

If your pond is home to fish, then you will need to set up a temporary ‘holding tank’ for these before you remove the water. This is also an excellent idea for preserving deep water plants or other pond occupants you come across. The tank should be half filled, ideally with some of the pond water, as this will cause the plants and animals less stress during the temporary housing. If the water is very murky, however, you can use rain water, where available, or mains water the latter you will need to let stand in the tank for around 48 hours before you start the pond clean out.

Once you start draining the water, remove plants, or any ‘livestock’, as they appear, and put these into the holding tank. Only save what you need, as submerged plants can become very overgrown over time. Before you take any excess away for composting, though, leave the piles of aquatic plants at the side of the pond for a day or two, as it will allow smaller creatures hidden among them to crawl back into the pond when it is refilled.

Cleaning the pond will generally just involve removing silt and debris.

Keep a bit of silt to one side so that you can reinoculate the refurbished pool with the myriad of micro organisms that are vital for the heath of your water feature. You can return this along with the saved pond water, plants and rescued fish and animals as you refill the pond. Lastly, stretch a net over the surface to catch falling leaves, and remove these regularly, as this will help keep the pool clean for longer.

Feature Rachel Crow Images (front cover and double page chart from ‘Dig for Victory Leaflet No. 1’ issued by the Ministry of Agriculture, circa 1940-1945 © Ministry of Agriculture & RHS Lindley Collections; photograph of three women digging in Portrush, County Antrim, during the Dig for Victory campaign © Julia Makra / RHS Lindley Collections. *Writtle University College runs a variety of short, weekend and evening horticultural courses. To find out more visit writtle.ac.uk

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utiful bea

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Clockwise from above right: Examples of the bulbs available for colourful spring displays – Peach and Apricot Tulip Collection (261039), 20 bulbs £11.95; Tulip ‘Sarah Raven’ and Tulip ‘Menton’ with Wallflower ‘Ruby Gem’ (200661), 15 items £16.50; New Allium Collection (260870), 33 bulbs £12.50; Dark Peony Flowered Tulip Collection (260998), 20 bulbs £14.50

Period Living 133

The large medieval fishpond is surrounded by stone edging and a sinuous low hedge. Around the water’s edge are diverse plantings, such as strappy Phormium tenax, hostas and Cortaderia selloana, or pampas grass.

A path leads around the expanse of water and seats have been strategically placed to make the most of the views

Gardens

the mists of time The great storm of 1987 became the impetus to reawaken the gardens around the 13th-century house at Nettlestead Place, which are now filled with burnished colours and wafting textures throughout autumn Words and photographs Leigh Clapp

key facts Character Designed to provide a series of vistas. Kentish ragstone walls frame the large sunken medieval fish pond fed by a natural spring, and other areas include a herbaceous border garden with late-season perennials and grasses, island shrub beds and rose garden Size Ten acres Aspect Various. The herbaceous garden on the south-west side Soil Neutral, fertile, well draining Owners Roy and Annabel Tucker, since 1977 House Imposing 13th-century manor of weathered stone with mullioned windows. In the 17th century some of the house was demolished for building materials. It was restored and extended in 1921 Open Through the National Gardens Scheme on 9 October (ngs.org.uk)

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n first glimpse, as you enter through the early 14th-century gatehouse at Nettlestead Place, you are immediately drawn into the sense of heritage of this ancient site, with its atmospheric manor house that was listed in the Domesday Book.

Gardens stretch out from behind the manor on different levels, with beautiful views of the surrounding farmland in this picturesque valley of the River Medway, near Maidstone in Kent.

The shimmering vistas are often shrouded in mist, enhancing the dreamy feel around the large medieval fish pond that dominates the south side of the house, reflecting the myriad colours of the autumnal foliage in its still waters.

Although now the past and present combine with picturesque effect, the property has seen many changes in fortune. In the 17th century part of the medieval house with its adjacent Saxon church was demolished for building material and it was used as cattle byre, until in the 1920s it was restored and extended and the structure of the gardens was laid out, including an avenue of Irish yews along the drive and a formal rose garden. This short-lived phase came to an end when during and after the Second World War, as with many large estates, the gardens again fell into a state of decline.

When Roy and Annabel Tucker bought the property in 1977, the garden was rather run down and for this very busy couple the priority was just to keep it looking tidy. Then the hurricane of 1987 hit, the worst storm in the south-east for around 300 years, and 46 mature trees were lost, littering the garden. This, however, became a positive catalyst for change, giving Roy and Annabel the opportunity to assess the garden and spurring them into action, redeveloping and extending.

The couple decided to remove the large orchard to the south with its many diseased apple trees, and extend the garden, more than doubling it in 136 Period Living

size. ‘I had always been interested in land and nature and with the help of our previous head gardeners, Ted Shepherd and Norman Edgar, we designed it ourselves,’ recalls Roy. The first step was to plant a native woodland with oaks, alders, ash and hawthorns at the farthest end, create more hedges, and develop new island beds. With neutral, fertile, well-draining soil and a relatively mild climate, a large range of plants could be used to reawaken and enhance the garden.

The aim was to create different areas with a wide palette of long seasonal interest, while embracing the far-reaching views. ‘I like things a little bit open, not too many branches close together so you can see through to other features; the vistas are important,’ says Roy. Over the years the garden has evolved with a co-operative effort between the owners and their gardener. Since Norman’s retirement, Anthony Bradshaw has taken over as gardener, and is continuing the creative partnership. ‘We work very well together as he has a great amount of energy, enthusiasm and is always imaginative,’ says Roy. Across the ten-acre garden there is a wide palette of plants in different areas, all sitting well in the landscape and blending with the mellow tones of the ragstone architecture. In autumn the medley is one of tawny russets, muted crimsons and transparent parchments. ‘I tend to like the overall effect with the subtle colours and a mix of fruits and flowers, rather than any plants in particular,’ says Roy. It is the herbaceous border garden, in particular, that reaches a crescendo of interest in autumn with textures and hues in large swathes from the final flowers, seedheads and wafting grasses. ‘The layout is planted in an island bed design to allow visitors to wander among the plants rather than along a straight edge,’ adds Roy. Sinuous movement from swaying grasses, such as Miscanthus sinensis ‘Gracillimus’ and Stipa gigantea, in combination with Sedum ‘Matrona’, Verbena bonariensis, Salvia uliginosa, and other late-season perennials, stands out against a backdrop of evergreen hedges, trees and shrubs. Towering stands of miscanthus catch in the slightest breeze, their feathery seedheads backlit by soft sunlight. Purple heads of Cynara cardunculus and Echinops bannaticus ‘Taplow Blue’, golden rudbeckias, candy-pink Echinacea purpurea ‘Rubinstern’ and massed, dusty sedum flowers form an interwoven tapestry.

Each year annuals are added to aid the late show, including sunflowers, cosmos, tithonia and zinnias.

Tall varieties aren’t confined to the back of borders; instead they can be in the centre of beds or in beds on their own. With layers of different heights of grasses and perennials down to ground covers, you feel totally immersed in the effect. ‘I am keen on grasses as they are quite architectural, colour from chrysanthemums and I love a lot of the salvias, such as S. guaranitica and S. patens; we always try them even though they are tender,’ says Roy.

Gardens

Opposite: Annabel and Roy Tucker admire one of the many salvias Clockwise from top: Mist rolls over the mellow autumnal scene of echinops and Chamaenerion angustifolium ‘Album’ seedheads, accompanied by spiderweb-threaded grasses and the last colour from Echinacea ‘Moodz Sympathy’ and Salvia villosa; airy Gaura lindheimeri combined with Verbena bonariensis gives interest through summer into autumn; dancing Cosmos bipinnatus ‘Cupcakes’ is a pretty variety of this plant that is worth hunting out for your own garden

Gardens

Clockwise from above: A bench is positioned to take in the scene in the border garden of deep purple Aster amellus ‘Veilchenkonigin’, Aconitum napellus, or monk’s hood, and the last of the deep red Rosa ‘Dublin Bay’; sky blue Salvia uliginosa likes to have its feet wet and can tower up to 1.8 metres; the classic mauve Aster x frikartii ‘Monch’ is an ideal companion for late-season beauty, and is long lasting and disease resistant

The relaxed, dreamy quality is particularly atmospheric when surrounded by such an array of plants. ‘It is important to have late-season interest, especially from the grasses and perennials. I like a slightly wild look and am more interested in the form of the plant rather than the flowers,’ adds Roy. ‘I am not really a specimen person; I like the whole architectural effect, including the textures and shapes of the leaves.’

Further areas of interest include hips in the rose garden, terraces of alpines, island shrub beds, a pinetum, a species bamboo garden and a collection of acers. ‘We are rather spoilt having a large garden, as you have the advantage that you can have parts of interest at different times of the year,’ says Roy. The process of evolution at Nettlestead Place will no doubt continue gradually as befitting this timeless garden, with its series of custodians adding to its rich tapestry of history.

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Clockwise from above: Glowing embers of Miscanthus sinensis ‘Haiku’ and M. ‘Nippon’ with their feathery seedheads light up among clumps of Penstemon ‘Garnet’, spires of Verbena bonariensis and pale lilac Aster lateriflorus horizontalis; Rudbeckia fulgida; bright orange Kniphofia uvaria ‘Nobilis’; red jewelled berries of Cotoneaster cornubia stand out against the rich green leaves; semi-cactus Dahlia ‘Veritable’; berries hang in clusters on Crataegus crus-galli

IN THE AREA GREAT COMP GARDEN AND DYSON’S NURSERIES,

Platt, Kent TN15 8QS. Plantsman’s garden with autumn colour and national salvia collection.

Open daily until October (11-5). Admission adult £8.50. Tel: 01732 885094; greatcompgarden.co.uk LEEDS CASTLE AND GARDENS, Maidstone, Kent ME17 1PL. Glorious gardens around a moated castle, including cottage garden and Mediterranean terraced garden overlooking the Great Water.

Open daily. Admission adults £26. Tel: 01622 767865; leeds-castle.com GODINTON HOUSE AND GARDEN, Ashford, Kent TN23 3BP. Ancient estate with series of gardens, including formal Italian, walled potager and herbaceous borders. Open daily until 1 November.

Admission (gardens only) adults £5. Tel: 01233 643854; godintonhouse.co.uk.

Gardens

BulB Bonanza From the first harbingers of spring, through a vast range of narcissi, flamboyant tulips and alliums, you can create a succession of charming scenes with bulbs, and now is the time to start planting these little powerhouses of stored energy Words and photographs Leigh Clapp

A magnificent weeping cherry that is underplanted with a sea of contrasting colours from orange and purple tulips, makes a stunning spring display

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ently nodding golden daffodils; swathes of crocuses; jewel-coloured tulips… Springflowering bulbs herald an end to winter and bring colour back to the garden after its period of dormancy. Easy to grow and resilient, they give a reliable and colourful display with minimum effort required – most will naturalise over time and pop up unaided year after year. So whether you aim for a carpet of flowers planted under deciduous trees, massed displays in borders, or even a few in potted combinations, make some room for bulbs in your garden, whatever its size.

Planting plans Autumn is the ideal time to start planting your succession of choices – whether bulbs, corms, tubers or rhizomes – while the soil is still warm, finishing in early December before the coldest winter weather sets in. When you buy bulbs you acquire a bag full of promises to come; through the energy stored within they will transform into an array of lovely blooms the following spring. But before you start planting, consider the following: l Always select good quality, plump, firm bulbs with little or no root, and reject very small, soft, shrivelled or marked ones. l Use the best grade for containers, beds and borders, and the more economical second-size for naturalising in grassland or woodland. l Plant your bulbs as soon as possible after purchasing, but if you can’t, then store them in a cool, dark, relatively dry place, using the paper or mesh bags they came in. l To ensure the bulbs thrive choose the best planting site. Good drainage is important, so that the bulbs do not rot, and ideally plant in soil on the loamy, sandy side, in sun or areas of light shade. l In heavy soil mix grit into the base of the planting hole. Loosen the soil in beds and borders before planting, fork the soil over and work in some bone meal. A dibber is useful to make individual holes for small bulbs and for large a good quality carbonsteel bulb planter is invaluable. l Different bulbs are planted at different depths, generally three times the height of the bulb. Press them gently in the hole before burying the right way up – with the pointed growing tip facing upwards. Some tubers, such as begonias, are flatter and should be placed just below the soil surface with the indented side facing upwards.

Spring succession To have a succession of different bulbs from January to May, plant a variety, from the early-blooming snowdrops, winter aconites and crocuses, through snowflakes, scillas, muscari, fritillaries, hyacinths and narcissi, to tulips, alliums and camassias.

Hardy snowdrops are lovely mixed with hellebores and aconites, planted in naturalised drifts on lawns, against contrasting coloured winter stems or in troughs. However, they are best bought and planted ‘in the green’ as dried bulbs are more 144 Period Living

difficult to establish. Tulips are the most prolific, along with cheerful daffodils, which come in a variety of shapes and colours, from the common yellow to whites and pinks, with singles, doubles or split-coronas. Don’t overlook some other stunners, though, such as muscari and fritillaries, to create your spring scenes.

Container bulbs Pots filled with bulbs will enliven patios and create seasonal focal points in the garden. They are a wonderful opportunity to get really creative and plant a garden on a small scale. Plan your colours, a succession of blooms, one main impact or to temporarily augment an architectural evergreen.

Different bulbs need to be planted at different depths in a large mixed container, starting with the deepest first, adding a couple of inches of soil between layers. Use a good quality general purpose compost and mix in a handful of fine grit to improve drainage, or choose a specially prepared bulb compost, and water regularly.

The layering approach, or lasagne planting, is ideal for containers. For example: put potting mix at the bottom of a pot, add a layer of tulips, cover with soil then add hyacinths, then another layer of soil and miniature daffodils, topped with soil.

Try not to put bulbs directly on top of each other.

In containers you can keep a closer eye on pests, move your display, and enjoy more closely some of the tiniest, scented bulbs.

Top tips The lower-priced bulbs are generally the ones that are easier to grow. l New cultivars are usually more expensive. l Lie bulbs on the ground where you want to plant them, in drifts or rows. l Place bulbs for naturalising by dropping handfuls and plant them where they fall. l Wear gloves when planting bulbs as some can be a skin irritant, in particular hyacinths, daffodils, irises and scillas. l Deadhead spent flowers and let the foliage die down naturally, as the bulbs need the energy to produce next year’s flowers. l Grow other plants around the bulbs so that they will disguise the dying foliage. l Some bulbs will naturalise; others, such as tulips, need lifting and storing; while the rest need clumps divided and replanted in the green. l Older varieties of daffodils naturalise best. l Create a bulb meadow or jewelled section in the lawn with a succession of bulbs. l

Combination planting Whether you like to grow bulbs in formal displays, such as in parterres, or in a naturalistic style, add extra interest with companion plants.

Blocks of tulips or hyacinths filled in with flowering annuals or perennials covering the bare soil can be colour-themed for a pretty display.

Gardens

Above: An all-white scheme of tulips and narcissi is classically elegant in a formal garden Right: Pretty pale pink tulips and delicate forget-me-nots look charming with the aged patina of copper containers Left: To create a meadow effect with tulips, alliums, ammi and forget-me-nots, plant the bulbs in naturalistic drifts. ‘Bulb’ is a generic word to cover those plants that store their next season’s flower and the food and water it needs within a self-contained capsule that can survive until the following growing season. They come in different sizes and shapes and included in the definition is bulbs, such as alliums, tulips and daffodils; corms, including crocus and gladioli; tubers, such as dahlias and anemones; and rhizomes, for example lily of the valley and begonias

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Ground covers also act as an attractive backdrop foil and provide interest as the bulbs finish.

Layering the bulbs will get the most use out of a space. Orchestrate your display so that as bulbs fade in succession, annuals, perennials or shrubs come into play and cover the untidy foliage.

Consider the following combinations: O Plant daffodils under a specimen weeping cherry; O Select prunus with lovely autumn colour and interesting bark and underplant with bulbs and perennials for interest to match each season; O Plant bulbs among deciduous shrubs so that the flowers show through the bare branches in early spring, but then the dying foliage is covered by the newly emerging leaves on the shrubs; O Companion planting favourites include bellis, bergenia, erysimum, euphorbia, hellebore, forget-me-nots, primula, pulmonaria, saxifrage, viola, alyssum, honesty and geraniums; O Colour theme your planting – for example, pair white narcissi with blue scilla; yellow daffodils with purple polyanthus; pink and mauve tulips and hyacinths under pink cherries, or deep maroon tulip ‘Queen of the Night’ peering out of tufty, low carex grasses; O Brighten a dark and shady spot with white narcissi, ‘Spring Green’ tulips and white hyacinths.

Gardens to visit for spring displays RHS WISLEY, Wisley, Surrey GU23 6QB. The Royal

Horticultural Society’s flagship garden, with swathes of bulbs planted around blossoming cherry trees. Open daily. Adults £14.50. Tel: 01483 211113; rhs.org.uk/Gardens/Wisley PASHLEY MANOR GARDENS, Ticehurst, East Sussex TN5 7HE. Enjoy the carpet of more than 35,000 tulips around this 11-acre garden at the Tulip Festival in late April/early May. Admission £11.50.

Tel: 01580 200888; pashleymanorgardens.com CHENIES MANOR HOUSE, Chenies, Buckinghamshire WD3 6ER. Formal garden with massed tulips. Open April-October. Admission (garden only) adults £6.

Tel: 01494 762888; cheniesmanorhouse.co.uk ANGLESEY ABBEY, Lode, Cambridge CB25 9EJ. Enjoy swathes of snowdrops followed by drifts of daffodils, 4,000 blue and white hyacinths and massed tulips. Open daily. Admission adults £15.80. Tel: 01223 810080; nationaltrust.org.uk/ anglesey-abbey-gardens EASTON WALLED GARDEN. Easton, nr Grantham NG33 5AP. This ‘lost’ garden of Lincolnshire showcases beautiful spring bulb combinations.

Open March – October. Admission adult £7.70.

Tel: 01476 530063; eastonwalledgardens.co.uk

Specialist nurseries O blomsbulbs.com O avonbulbs.co.uk O dejager.co.uk O broadleighbulbs.co.uk

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BEST BULB CHOICES 1 CROCUSES are one of the first bulbs to brighten

up lawns, semi-shaded areas, rockeries and containers. Excellent for naturalising, make sure they are planted in well-draining soil.

2 IRIS RETICULATA are small early flowers to admire up close in planters or to carpet under trees and shrubs. Enjoy well-drained conditions, and a good baking while dormant in a warm, dry summer.

3 NARCISSI offer a wide variety of cheery blooms, including daffodils, paper whites and fragrant jonquils, and are very tolerant. Easy to grow, they require little maintenance.

4 HYACINTHS are prized for their impressive fragrant spikes. Plant new bulbs every year or two to ensure a good display.

5 MUSCARI OR GRAPE HYACINTHS naturalise well under trees and shrubs, scattered liberally in flowerbeds and also make lovely borders along paths. Mix with primroses, daffodils, pansies and early tulips for a pretty combination.

6 SCILLA, SQUILL, varieties offer blue, bright or pale flowers that are wonderful mixed with white narcissi or golden daffodils. Grow in sun to part shade and will naturalise in beds, borders or lawns.

7 BLUEBELL WOODS are a highlight in late April to early May. Plant native bluebells near wild areas as it is important that hybrids and Spanish bluebells don’t breed with the English native bluebell, one of our most precious wildflowers.

8 TULIPS are the most popular of spring bulbs, and come in a stunning range of colour choices, from early to late varieties. Lift after flowering or replace each year with new bulbs.

9 RANUNCULUS produce vibrant clustered blooms and make lovely cut flowers as well as brightening up flowerbeds and pots. Soak the tubers before planting in a sunny spot.

10 FRITILLARIES are bulbous perennials that include F. meleagris and the tall, impressive F. imperialis.

Different varieties have different soil needs, so check the label before planting.

11 AMASSIAS are ideal for naturalising in lawns and meadows. Take care not to plant them in children’s play areas or your pets’ favourite spot as they are poisonous.

12 ALLIUMS offer a wide variety of elegant choices in purples and white, are easy to grow and look superb planted en masse. Stand-out favourites include ‘Purple Sensation’ and ‘Globemaster’.

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TRULY SCRUMPTIOUS Handmade using traditional methods in a 16th-century barn in the Lake District, the new Sour Cherry and Prosecco jam by Hawkshead Relish, £2.99 for 220g, is perfect for spreading on freshly baked, buttered scones.

drama s u o i If watching the new

Downton Abbey film inspires you to get a flavour of aristocratic life, then whip up an authentic Edwardian recipe from The Official Downton Abbey Cookbook by food historian Annie Gray. Published to coincide with the film’s release, it is packed with historical details, bringing to life dining in this era, from kedgeree breakfasts, elegant dishes served at grand dinners, to garden party fare or staff suppers served below stairs. Priced £25, White Lion Publishing.

Café culture WHAT: The cosy café in the recently refurbished

Pump Street Bakery, located in a 15th century building in Orford, on Suffolk’s heritage coast FOOD: After sampling a baker’s breakfast or seasonal sandwich, take home some of the freshly baked naturally leavened breads, pastries or craft chocolates from the father and daughter award winning bakers and chocolate makers, Chris and Joanna Brennan. Enjoy the best of both worlds in their unique chocolate bakery bars, such as the Sourdough and Sea Salt or Brown Bread flavours.

OPEN: Tues to Sat, 9am-4pm; Sun 10am 4pm.

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CHEF’S CUT

Feature Rachel Crow Photograph (beetroot) Getty Images

October’s seasonal ingredient is selected by Antony Ely, Daylesford Group’s executive chef BEETROOT October sees our Market Garden bringing in a wealth of beets, which we use throughout our menus. A favourite of ours is to simply wash and bake it on sea salt with a little olive oil, a great accompaniment with Greek-style cheese. Jason at the farm is creating fermented beetroot. He layers shredded beetroot, celery, orange peel and juniper in a mild salt brine and will ferment it for four weeks. He has to ‘burp’ the jars to release the gasses produced daily. It has great gut health properties and we have paired it with scrambled eggs, which cut through the richness and give a great flavour profile.

Daylesford cafés showcase fresh ingredients grown on the organic farm in Gloucestershire

SEASONAL SNIFTER Aromatic quinces are ready to be harvested from this month, and taking inspiration from this lesser known UK fruit, the English Whisky Co has released its new Norfolk Quince Whisky liqueur. Batch made by hand, the zesty tipple is £19.99 for 50cl.

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Recipes

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Get your fill of these classic recipes inspired by kitchen garden harvests and traditional charcuterie, from the team behind The Pig restaurants with rooms

TomaTo & chilli jam This sweet, sticky jam is the perfect accompaniment to a freshly carved ham sandwich, but it goes with all sorts – from a nice bit of steak to a smoked mackerel salad. And the beauty of this recipe is that you’re in control of the heat. If you’re not good with fire you can keep it quite mild… but we like to be brave and give it some welly.

It might look like a lot in the pan at the start, but it reduces right down, so don’t panic if it looks like you’re making too much.

Makes one 500Ml jar 1kg plum tomatoes (not too firm) l Fresh chillies of your choice (or 1 dried chilli or 1 tsp chilli flakes, if you wish) l 80ml white cider vinegar – we use Willys Apple Cider Vinegar (willysacv.com) l 550g golden caster sugar l 1 bay leaf l

1. Cut the tomatoes into quarters and remove the seeds.

Halve the chillies, discard the seeds and finely chop.

2. In a wide, heavy-based pan, heat the vinegar and dissolve the sugar in it. Add the tomatoes and bay leaf and simmer on a low heat until thick. This will take a good hour, so put on some music and grab a book – but do keep returning to stir the mixture so it doesn’t catch on the bottom of the pan.

3. Allow to cool slightly, then pour into a sterilised jar and seal tightly. The jam will keep for up to a month in the refrigerator, but it’s so good, it’ll never last that long.

Garden herb oil Herb infused oil is perfect for dipping freshly baked bread in. It’s important to heat the oil to kill off any bugs that might be in the garlic or herbs. It prevents the herbs going mouldy, too. You can use the same method for making lemon or chilli oil.

Makes 2 litres

1 litre olive oil l 1 litre rapeseed oil l 10 sprigs of rosemary l 10 sprigs of savory (thyme also works if you can’t get savory) l 1 garlic bulb, cloves crushed and separated l

1. Put all the ingredients in a pan, and warm to about 85°C (185°F) on a food thermometer. The general rule here is that you want the oil hot but not boiling, because if it boils you will overcook the herbs and they will end up looking brown and horrible. Leave the oil to cool at room temperature, then pour into sterilised bottles.

Recipes

SquaSh Soup We think Crown Prince squash is the tastiest variety out there – it really packs a flavour-filled punch.

Incredibly easy to make, this soup is always an instant hit. It’s comforting and velvety smooth and is great served with a generous hunk of freshly baked crusty bread. serves 8–10 1 Crown Prince squash (if you can’t find it, use another variety) l 4 garlic cloves, peeled and chopped l 5 sprigs of thyme l Rapeseed oil l 2 onions, peeled and sliced l 2 sprigs of savory or thyme, just the leaves, chopped l A good knob of butter l 500ml vegetable stock l Salt and pepper l

To SERVE l A handful of pumpkin seeds, toasted l A drizzle of chilli oil (optional)

Preheat the oven to 200°C, 180°C fan (400°F), Gas Mark 6.

1. Cut the squash into quarters, scoop out the seeds and set them aside. Put the squash in a tray with two garlic cloves, half of the savory or thyme, salt, pepper and a drizzle of oil. Cover with foil, and roast in the oven for 30–45 minutes, until soft.

2. Sweat the onions, the remaining garlic and savory or thyme, in a large pan with the butter until soft. This will only take a few minutes.

3. Remove the squash from the oven, scoop out the flesh and add to the pan. Cover with the vegetable stock and cook for 15–20 minutes, gently simmering. Finally, blitz the soup in a food processor, or with a hand blender, until smooth, and season to taste.

4. Toast the pumpkin seeds that you set aside earlier in a hot dry pan for a couple of minutes.

5. To serve, pour into bowls and sprinkle the toasted pumpkin seeds on top with a drizzle of chilli oil, if using. tiP: Not everything tastes best when it’s freshly picked. Some crops are much better when cured (left to sit around for a while). Crown Prince squash is a good example. Cut straight from the vine, it’s basically just a big chunk of floury starch.

It’s only through the curing process that you get the best out of it. Store the squash in a dry place for 2–4 weeks to let the sweetness of its flavour fully develop. Don’t leave it any longer than that, though, as the flavour will start to deteriorate. ➤

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mr barTleTT’S hampShire hoGS Is there anything better than bangers and mash?

Everyone thinks there’s a bit of a mystique to making sausages, or that you need some kind of complicated machine, but it’s not true. The real skill is in getting the mix right, says Alan, and he should know – his family, the Bartletts, have been making sausages for over a century. Then it’s just a case of buying some natural sausage skins (there are lots of suppliers online) and getting cracking.

This recipe for Hampshire hogs was Alan’s greatgrandfather’s, from around 1900. Mr Bartlett’s exact recipe is a secret, but if you follow the method below, you’re off to a good start. Keep experimenting and adjusting until you hit upon the exact flavour you prefer.

Makes 4 l 100g

breadcrumbs oil l 25g seasoning (roughly 20g salt, 5g sugar, and a pinch each of sage, thyme and garlic powder) l 700g boneless pork shoulder (80% lean meat, 20% fatty meat) l 150ml cold water l Sausage casings l Rapeseed

1. Fry the breadcrumbs in a pan with a little oil until golden brown, then mix with the seasoning.

Mince the meat straight onto the breadcrumbs (if you don’t have a mincer, pulse in a food processor) and mix, adding the measured water. Mince again.

2. Tie one end of a long sausage casing with string, then insert the narrow part of a wide-necked funnel in the other end. Using the back of a wooden spoon, push the meat through the funnel into the skin. Once it’s full, remove the funnel and tie the end with string. Pinch and twist into 4 individual sausages, then link and tie with string (each sausage should weigh about 200g). Put in the refrigerator overnight. For the best flavour, cook over charcoal.

With a fennel twist…

For our take on Mr Bartlett’s Hampshire hogs, use the same ingredients but punch things up a bit by adding fennel pollen (otherwise known as ‘spice of the angels’) and elephant garlic. Fennel pollen is the tiny dried heads of wild fennel flowers – you can buy it online. The flavour of elephant garlic is somewhere between garlic and leek – adding an extra kick to your hogs. If you can’t find any, normal garlic works fine.

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Recipes

GOOSEBERRY TARTLETS When you make the individual tartlet cases, roll them as thinly as possible. The filling-to-pastry ratio needs to be about 92–98 per cent, roughly.

The tartness of gooseberries varies, as do people’s tastes, so the sugar measurement is a guide.

MAKES 6–8 FOR THE SWEET PASTRY O 190g soft butter, plus extra for greasing O 170g sugar O 2 eggs, lightly beaten with a fork O 375g plain flour, plus extra for dusting FOR THE GOOSEBERRY COMPOTE O 500g gooseberries, topped and tailed O 200g caster sugar O 50ml elderflower syrup or cordial FOR THE HONEY CLOTTED CREAM clotted cream O 2 tsp local honey O 250g

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flowers (to garnish)

1. For the pastry cases, combine the butter and sugar in the bowl of a food mixer or processor with a paddle attachment. Keeping your mixer on the lowest setting, gradually add the beaten eggs. Then start mixing in the flour. Don’t over-mix, as your pastry will crumble when you try to roll it out. Tip onto a work surface and finish binding together by hand. Wrap it in clingfilm and leave it to chill in the refrigerator until firm.

2. Preheat the oven to 200°C, 180°C fan (400°F), Gas Mark 6, and lightly butter 6–8 tartlet tins

(about Dia.10cm). Remove the pastry from the refrigerator, lightly flour a work surface, and roll the pastry out to a thickness of 2mm. Use it to line the tartlet tins. Then cover the pastry cases with greaseproof paper and fill with baking beans. Place on a baking sheet and bake for 15 minutes. Remove the paper and beans and return to the oven, uncovered, for a further 3 minutes. Leave to cool, then remove the pastry cases from the tins.

3. For the filling, put the gooseberries in a wide pan, add the sugar, enough water to cover and the elderflower syrup. Warm to gently dissolve the sugar. Turn the heat down to low. Cook gently for 5 minutes, being careful not to break up the fruit.

Take off the heat and leave to cool. Whisk the clotted cream in a bowl and stir in the honey, for a hint of sweetness.

4. Spoon the cream into the pastry cases and add the gooseberries on top. Drizzle the syrup around the edge and garnish the tartlets with edible flowers, if you have them.

LAVENDER SHORTBREAD

These are nice as a little treat. Using margarine instead of butter makes them dairy-free – and they’re a very easy recipe to make with children.

MAKES ABOUT 25 O 25g

butter sugar O 125g cornflour O 270g strong flour O 125g

FOR THE LAVENDER SUGAR O Buds from 150g fresh lavender sprigs O 500g caster sugar

1. To make the lavender sugar (it should be made at least one day in advance), put the picked buds in a Kilner or jam jar. Fill the jar almost to the top with sugar, seal tightly and shake well. Leave to infuse for 24 hours.

The amounts listed make more than you will need, but the sugar will keep for months and is a brilliant topping for strawberries.

This is an edited extract from The Pig: Tales and Recipes from the Kitchen Garden and Beyond by Robin Hutson, photography by Emil Bendixen (£30, Octopus Publishing)

2. To make the shortbread, combine the butter, sugar, cornflour and strong flour in the bowl of a food mixer or processor with a paddle attachment and beat until you have the consistency of fine breadcrumbs.

Remove the bowl from the machine and use your hands to form a dough. Leave the dough in the bowl and chill in the refrigerator for 5 minutes, then turn out onto a cool work surface and finish binding together by hand.

Roll it out to a thickness of 5mm and cut into your desired shape (you won’t be surprised to learn that ours is a pig). Place the biscuits on a baking tray lined with baking parchment and chill for 10–15 minutes.

3. Preheat the oven to 170°C, 150°C fan (340°F), Gas Mark 3½. Bake the biscuits for 12–14 minutes, removing them before they take on any colour. Finally, sprinkle with lavender sugar and allow to cool completely before handling.

4. The biscuits will keep for a couple of days in an airtight container, but they are fragile, so layer them between greaseproof paper and no more than a couple of layers thick.

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PATCHWORK PERFECTION

Brush up your stitchery with a Scotch Plaid Star Quilt workshop at the Quilter’s Den in Warwick on 12 October, from 10am to 4pm. The course is led by patchwork and quilting expert Karen McIlwraith and is suitable for those with a little sewing or patchwork experience. Refreshments are included in the £45 fee, but you should bring your own fabric or buy a fabric pack at the shop, from £20. Patchwork purists may wish to complete their quilt by hand, but machines are available to hire and you will learn some quick machine methods to enable you to complete the patchwork in the day. Visit thequiltersden.co.uk or call 01926 408247 for more details.

A NIGHT AT THE OPERA Let Scottish Opera transport you to 1940s Rome, for its glamorous, passion-filled Tosca. This touring production is set in the shadow of Mussolini’s tyrannical rule, and the tragic tale of love, jealousy and loss plays out against Puccini’s deeply romantic score. No wonder the story of hot-headed opera singer Floria Tosca and her ill-fated lover Cavaradossi makes this one of the world’s favourite operas. Opens 16 October at Theatre Royal Glasgow. Visit scottishopera. org.uk for more details.

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Feature Karen Darlow Photographs (Garden) Mat Sunderland, (Opera) James Glossop (Whitby), Getty Images

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The gothic ruins of Whitby Abbey inspired Bram Stoker’s 1897 novel Dracula, and from 25-31 October, between 6–9pm, the North Yorkshire abbey will be illuminated to spooktacular effect, along with a dramatic retelling of the Count’s story. For those of a more nervous disposition, or earlier bedtimes, there are daytime ghost stories from 11am–4pm – fancy dress encouraged.

For details of the abbey illuminations (adults £12.50) and ghost stories (adults £9.80) visit englishGARDEN TOURS heritage.org.uk.

Join a guided walking tour of Waddesdon Manor grounds, exploring the history of the gardens, the manor and the Rothschild family who own it.

Tours take place every day at 11.30am, and also at 2pm on Thursdays and Fridays. The 45-minute tours are included in the admission price for the grounds.

Visit waddesdon.org.uk for details, or phone 01926 820414 to book a place.

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PICK UP A PUMPKIN Halloween in North Norfolk never looked so good, or so orange. Follow the wooded trail of pumpkins and scarecrows to the Pumpkin House in Thursford from 19-31 October to choose a pumpkin direct from the wooden house. The pumpkins are priced by size, and 50p from each sale goes to local charity The Benjamin Foundation.

Brookhill Farm, Thursford NR21 0BD.

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Welcome back to

Downton Abbey

As our favourite country home prepares to open its doors for a new film, director Michael Engler explains why Downton still appeals, reveals what’s in store for its familiar inhabitants, and what it’s like working with the inimitable Dame Maggie Smith Interview Jamie Graham | Additional words Karen Darlow

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so many of these bigger pageantry kind of things, you spend more time on them and you have more resources to spend on them,’ he says. ‘So in that way it felt different and that was what helped make it feel bigger, but it’s not like you do a different set of things when you’re filmmaking for cinema.’

Storyline We pick up the story in 1927, about 18 months after the events of the TV finale when Anna and Bates became parents, Mary found out she was pregnant, and Bertie and Edith had just married. ‘The movie moves everybody forward,’ says Engler. ‘There are things we’ve known about and things that haven’t changed much at all.’ One event, however, is about to change everything: the impending royal visit from King George V and Queen Mary.

The whole household, upstairs and downstairs, is in a spin preparing for the royal visit and it adds an interesting twist to Downton’s norms of class.

‘It’s a world where the top of society is pretty much defined by the Earl of Grantham, the Countess and

Photographs © 2019 Focus Features Llc. All rights reserved

here has been a huge, stately home size hole in our lives since 2015, when fans of TV drama Downton Abbey watched its Christmas Day finale and had to come to terms with the fact that it was all over. Over, that is, until its silver screen debut, with Downton Abbey the movie released on 13 September. It was a natural progression for the TV series, says the film’s director Michael Engler: ‘The world of Downton Abbey, even on television, was a very cinematic experience because of the scale, the locations, the period, and so many things about it. There was always an inherent possibility for a large scale cinematic event.’

Engler had previously directed four episodes of the TV series, including that Christmas finale, so is well placed to comment on how making Downton for a film compares with making it for television.

‘The process is essentially identical. Again, it has to do with scale. Because in the film you have

Preview The film picks up the story in 1927, 18 months after the TV finale when Anna and Bates had just had a baby, Mary found out she was pregnant, and Bertie and Edith got married.

The household prepares for a royal visit, which will completely change the dynamics both upstairs and downstairs

the Dowager Countess, and that already has a scale, grace and glamour to it and privilege,’ says Engler. ‘But when the king and queen come to Downton Abbey, with everything that entails in terms of what the house has to become and provide, what protocol is expected, and what meals and ceremonies take place, it takes what’s there, in the world of Downton Abbey, and by the virtue of the story itself raises the scale to the level of king and queen from the level of earl and countess.’

This upheaval in Downton’s pecking order won’t be lost on fans of the series, but what about people who have never watched Downton on TV? There’s

plenty in the film to entertain and engage them too, says Engler. ‘What creator Julian Fellowes has done brilliantly is make it feel like one whole, complete story that could exist without the series. So the story itself would not be lost on anyone who wasn’t a big fan,’ he assures. ‘Of course, the more you know about Downton, and its characters and back story, the richer the experience and the more complex it will be, and there are little callbacks to things about the series that you’ll appreciate.

But unlike the series, it accounts for everybody’s stories. In the TV series, each week some people’s stories come to the foreground and others shift to Period Living 159

the background; in the film you had to have one overarching story with a beginning, a middle and an end. And within that you have all the 20 characters and their little arcs and what they go through during this time period in the film.

‘This is something the movie does really well, balancing those two things out and making them both feel whole - even the little ones have a beginning, a middle and some sort of an end – everything is tied up in a bow, but you feel that somebody went through a process in this period.’

Spoiler alert As to the details of the plot, there was no persuading Michael Engler to get anywhere close to a spoiler alert. He simply promises that the story will contain ‘all the things you love about Downton – so romance, some comedy, some intrigue, jealousies and crushes, everything! It’s the same mixture, but with a new story.’ Just knowing that will be more than enough for Downton superfans.

One aspect of making this film that eased the way for Engler was that in working with this long-established cast he was dealing with actors who know every facet of their character’s personality. ‘When we’re talking about a scene or storyline, there is that assumption that they know who their character is,’ he says. ‘Sometimes it’s about filling in the missing pieces, working through just how much the character knows when. So even though they know all about their characters, it’s still about how exactly does everybody fit into the bigger story, at every moment. Each of them finding their balance and their separate journeys through it and how they all interact and intercept.’

Directing Dame Maggie In a cast of so many experienced actors, there’s one who stands out as perhaps equally tricky to deal with out of character as she is in character.

One imagines directing Dame Maggie Smith could either be tough or a dream. ‘She’s a tough dream!’ laughs Engler. ‘She’s so smart, so sharp, and as curious and interested as an actor as any I’ve ever worked with. Every scene, every line, every piece of behaviour is very specifically and carefully examined, and I love that and I appreciate it, and she and I had a mutual appreciation for those kinds of questions and how you answer them together.

‘And she’s got one of the great wits of anybody I know of any age. Yes, she doesn’t suffer fools and I wouldn’t expect her to, but she’s not someone who’s looking for a difficult time; she works hard and she expects everyone to work hard. And because there were a lot of familiar people who she enjoyed working with and had missed, I think she did genuinely enjoy it.

‘There’s something about the Dowager Countess that even though Dame Maggie always talks like she’s over it, I think she still loves being able to play around in that character, because it allows her to play with her own kind of magisterial mischief.

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Those are definitely two adjectives that I would say describe her: magisterial and mischievous.’

Mischief aside, what was the atmosphere like on set with actors who worked together for years on the series and then had a few years’ break?

Did it feel at the start like a big reunion?

‘From start to finish it felt like a big reunion.

That’s the thing about this show. There’s so many people and so many different combinations, that sometimes you’ll work for a week in some house in Yorkshire somewhere with a dozen people, and then you come into town and work on the downstairs set and it’s a completely different group of people. So there was really a sense of little companies within companies,’ says Engler.

‘The actors knew when they were in the middle of it that it was something really special. It felt special to make it, they loved making it and the world really appreciated it and told them so. It’s nice when that happens and everyone knows it’s rare, so when they got this opportunity to come back together, I think they all relished it, and it was an extremely joyous and relaxed and fun set.’

Worldwide appeal There’s no doubting the worldwide appeal of Downton, which by its second series in 2011 was being aired in more than 100 countries. But what is it about this period of English history and this story that makes it so universally compelling?

‘There’s a fascination for this elegant, orderly luxurious world – that’s a big part of its appeal,’ says Engler. ‘Also, in the discombobulated rancorous, culture we live in now, a lot of people don’t know where they fit in, and there’s something reassuring about Downton Abbey where people know where they fit in. Sometimes that feels like prison and sometimes it’s an opportunity – it can be both – but wherever you are in that society there’s a sense that you know where you are and you work from there.’

Are there any parallels between the world of Downton Abbey and our modern world? ‘In a funny way, it’s the fact of how different it is that might be the most relevant point,’ says Engler.

‘There was a different kind of order and decorum back then. And I think Julian Fellowes is asking legitimately, was that good? Does it make sense in the modern world? That is the main question the film deals with. There is this life that they all live and it’s glamorous, beautiful, lovely and historical, but does it make sense any more, is it worth it?’

For Downton fans, the answer is obvious – of course it’s worth it. Now we’ve finally got a fulllength feature film, is there a chance of sequels, or is this definitely the end of Downton Abbey? ‘I have no idea. I think there could be another,’ says Engler, ‘but that’s only because of gossip, not because of anything I know.’ So with this hint of possible return visits to Downton, let’s enjoy the spectacle, like Mrs Patmore: ‘A royal luncheon, a parade, and a dinner! I’m going to have to sit down.’

Downton Abbey is in UK cinemas from 13 September

Preview Left: In a spin – Robert and Cora Crawley (Hugh Bonneville and Elizabeth McGovern) Below left: Happy at last – Joanne Froggatt and Brendan Coyle as Anna and Bates, with their young son Below: Are Edith (Laura Carmichael) and Mary’s (Michelle Dockery) sibling rivalries finally over?

Or is Cora (Elizabeth McGovern) just keeping the peace?

Bottom: Always plotting, Thomas Barrow (Robert James Collier) sits in the spotlight

Top Dowager Countess put-downs O ‘I know several couples who are perfectly happy.

Haven’t spoken in years.’

O ‘Principles are like prayers; noble, of course, but awkward at a party.’

O ‘Don’t be defeatist, dear. It is very middle class.’

O ‘No guest should be admitted without the date of their departure settled.’

O ‘There’s nothing simpler than avoiding people you don’t like. Avoiding one’s friends, that’s the real test.’

O ‘If I were to ever search for logic I wouldn’t look for it among the English upper class.’

O ‘Don’t be mysterious. It’s the last resort of people with no secrets.’

Period Living 161

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In the Picture

AportraitoftheartistGauguin

s unconventional in his approach to life as he was in his portraiture and self portraiture, French artist Paul Gauguin (1848 1903) is laid bare in Gauguin Portraits at The National Gallery’s Sainsbury Wing.

The exhibition presents the story of this sometimes troubled soul through major loans from museums and private collections worldwide. Oscar Wilde said: ‘Every portrait that is painted with feeling is a portrait of the artist, not of the sitter’ and this is certainly true of

A

178 Period Living

Gauguin, who redefined portraiture and moved away from the established Western tradition, where social standing, wealth and family background were key to the image. There’s none of that in Gauguin’s portraits.

Sculptures in ceramics and wood, drawings and vivid paintings all have their place here in showing how Gauguin explored the genre through the years, influencing artists into the late 19th and 20th centuries, including Matisse and Picasso. Trace the dramatic

effects on his art of time spent in the artists’ colony in Brittany, and his controversial residencies in Tahiti and the South Seas, and the ever shifting persona of his portraits, including his self image as Jesus Christ, and a final understated self portrait, painted just before he died in 1903.

Gauguin Portraits, 7 October 2019 26 January 2020, Sainsbury Wing, The National Gallery. Admission from £20.

Visit nationalgallery.org.uk for details

Words Karen Darlow Paul Gauguin Clovis Asleep, 1884 Oil on canvas 45 × 55.5 cm private collection © Photo courtesy of the owner

The first exhibition dedicated to Paul Gauguin’s portraits reveals just as much about the artist himself as the people and objects he depicted