Homes & Antiques Sample Issue

NORDIC DESIGN MASTERCLASS: THE HISTORY, TRENDS & NAMES TO KNOW

FINE FIGURES

WIN!

INTERIORS WITH SOUL

TWO HOTEL STAY PRIZES WORTH

£1,320 EACH

How to display your treasures from every era THE ART OF LIGHT ILLUMINATE YOUR SPACE IN STYLE

Be inspired by

INVITING HOMES Tour our autumnal interiors, from a cosy Scotish castle to an atmospheric Georgian townhouse

The Sussex Chair

A MORRIS & CO DESIGN ICON PLUS LOST BLOOMSBURY PLATES RETURN TO CHARLESTON SHOP FOR ANTIQUE DOOR KNOCKERS GEORGE CLARKE’S STYLE STORY

NOVEMBER 2018 £4.99

the SALE

MARIE ANTOINETTE’S JEWELLERY One of the world’s most important jewellery collections will be sold at Sotheby’s Geneva on 12th November – Royal Jewels from the Bourbon-Parma Family. The sparkling lots span centuries of history, and a few glitering pieces once belonged to Marie Antoinete. sothebys.com

the PATTE RN

INSPIRED BY VERSAILLES Speaking of Queen Marie Antoinete and iconic French designs, we adore this new Montserrat duvet cover from Wallace Coton.

Inspired by the symmetrical ornamental gardens at the Palace of Versailles, this reversible duvet set features a prety green design on one side, and blue on the other.

Prices start from £100.

Give your bedroom a glamorous edge with bedding inspired by the gardens of Versailles.

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Fine Art Images/Heritage Images/Getty Images; model wears dress and jewellery by Lord & Taylor, photo by Ruzzie Green. Private collection

wallacecotton.co.uk

theMONTH

the EXHIBITION

NIGHT AND DAY: 1930s FASHION AND PHOTOGRAPHS Celebrate the heyday of fashion photography at the Fashion and Textile Museum this season (until 20th Jan 2019). As trends moved away from the decadence of the Twenties towards the utilitarianism of the Second World War, silhouetes became refned, elegant and thoroughly grown-up. ftmlondon.org

Called ‘One of New York’s young marrieds’, this image was published in New York Woman magazine in 1936.

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Wishlist

Fringe Benefits

This playful Victorian trend is back to make a statement in your home

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1) Three-tier fringe chandelier, £165, Rockett St George.

2) 1930s cut-crystal perfume bottle, £245, Richard Hoppé Antiques.

3) HK Living burgundy and mustard boho wall hanging, £83, Trouva.

4) Victorian Murano glass lamp, £3,150 for two, 1st Dibs.

5) Cushion, £41.39, Maisons du Monde.

6) Vintage easy chairs, £300 for two, Pamono.

7) Footstool in Midnight Garden fabric, £895, House of Hackney.

KEY: OLD/NEW

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S T Y L E . N O W.

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Wishlist

Fields of Gold

Harvest the shimmering sheaves and rich tones of wheat in your scheme

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1) French 1950s sheaf of wheat coffee table, £3,066, Pamono.

2) Botanical ‘Corn’ wall chart by Jung Koch Quentell, £165, Otto’s Antiques.

3) Pair of mid-century Hollywood regency gold gilt candle sconces, £195, Mustard Vintage.

4) Mark Hearld Harvest Hare fabric, £66 per m, St Jude’s.

5) 1950s wheatsheaf lamp, £500, Vinterior.

6) Angie Lewin Meadow’s Edge cushion cover, £42, St Jude’s.

7) Set of three sheaf of wheat gilt metal chairs (one shown), £1,943, 1st Dibs.

KEY: OLD/NEW

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LA VIE EST BELLE Create the romantic French country look in your home with an elegant blend of historic antiques, artisan pieces and gilt touches… STYL ING JAI N E B E VAN P H OTO G R A P H S P H IL IP S O W E L S

October 2018 Homes & Antiques 41

Meet the Maker

SIMION HAWTIN-SMITH

Using bold contemporary fabrics and traditional techniques, furniture upholsterer Simion Hawtin-Smith breathes new life into antique and vintage chairs IN TE RV IE W S OP HI E HANNAM PH OTO G R AP HS J ES S E WI L D

A G Plan Housemaster chair upholstered in Bute Fabrics.

The Green Lady scatter cushion was made by Simion in collaboration with artist Stanley Chow.

S T Y L E . N O W.

pholsterer Simion Hawtin-Smith is obsessed with vintage chairs and, the more daring and colourful, the beter. ‘I’d like to be like Iggy Pop,’ he laughs. ‘His house is flled with beautiful chairs and apparently he makes time to sit in each and every one of them – maybe one day I’ll get there!’ Simion’s studio in Stockport, which he moved to earlier this year, is crammed with curious antique seating, ofen brought to him by clients.

‘It’s very dangerous,’ he says.

‘If ever anyone sends me an unusual chair, I simply have to upholster it.’ His company, Reloved Works, ofers bespoke upholstery services and creative workshops for budding furniture fanatics.

What’s more, Simion also upholsters skip-salvaged seating for the BBC One show Money for Nothing.

What’s your background?

I’ve always been interested in interiors, especially when it comes to making and restoring things. When I was a child, my mum caught me stripping the dark stain of my bedroom furniture to bring it back to the pale wood. I studied design at college but ended up working in the bar industry, opening my own cafe and art gallery in Manchester. I worked hard to perfect the interior, designing it myself and working on the upholstery. Afer that, I bought a house in France and November 2018 Homes & Antiques 39

HOMES Scotish Tradition

My home is

my castle Annie and Lachlan Stewart have reconstructed a piece of Scotish history – a 16th-century castle. The interior is just as impressive as the exterior, decorated and furnished in a pared back, almost Spartan style ST YL I N G WIL M A CUS TERS FE AT U R E G ER A L D I N E N ESBIT T/FE AT U RES & M O RE PH OTO G R A PH S IVA R JA N S SEN/FE AT U RES & M O RE

Annie and Lachlan made the traditional-style benches themselves, using locally sourced oak. The pine kitchen table came from the closingdown auction of Kynoch Mill in Keith. LEFT The castle stands on a peninsula and is surrounded on three sides by the sea. The garden is walled, to protect it from the wind.

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HOMES Scotish Tradition

CLOCKWISE FROM TOP Anta’s Ochil and Frances Farquharson Highland Tweeds; Annie uses Anta’s textiles and ceramics in her home; Archie Stewart serving plate, £72, and Ruaridh Waugh milk jug, £48.

FOCUS ON

ANTA’S TARTANS Can you talk us through the history of clan tartans?

I think that the idea of clan tartans, where families have deep associations with particular designs, was actually a Victorian invention. In reality, I believe families would end up wearing the same tartans because they lived in the same area (and tended not to move) and it’s much easier – and cheaper – to weave one long patern, rather than a variety. In early portraits, if the same person is depicted wearing a number of diferent tartans in diferent paintings, then this is probably because they could aford to travel around and to buy them.

Tartan seems to be a focus in your designs – what do you love about it?

Tartan is quintessentially Scotish, so it makes sense for us to work within its 66 Homes & Antiques November 2018

discipline. And, as a colourist, using tartan allows me as a designer to employ an orderly system and work on endless subtle colour variations. It’s the versatility of tartan that makes the designs so intriguing. I’m fascinated by the ways in which colours behave when combined. When two colours cross in a tartan they create a new intermediate shade.

Do you collect antique tartans?

I’ve inherited a few Cockburn (my maiden name) family tartans, which date from the 18th century – I have one silk, one heavy wool and one in fne wool. Some are quite faded now as they’ve been exposed to the light. The subdued hues inspired me to begin playing with colours in my own designs.

What was the frst tartan that you designed for Anta?

Generally, I like to make up my own paterns, but the frst tartan I recoloured and made my own was a version of the historical Erskine design in 1984. Traditionally, this is a perfectly balanced red and green patern [below]. The green checks exactly repeat the red in reverse. When two opposite colours in the colour wheel appear together at the same pitch, and you half close your eyes, they disappear to form a mid-tone grey. The frst time I played with this concept was with Erskine – and I used pink and lime green.

I like to think of it as a ‘cocktail’ tartan. When it comes to our designs, I disrupt the rules while still working within a system.

Antony McAulay/Alamy Stock Photo

Annie Stewart talks about her love of tartan and how it has inspired her designs

RIGHT Deben fabric in Yellow, £41 per m, Sanderson.

BELOW Kemi merino wool throw, £180, Anta.

BELOW A tea bowl with saucer, £250 for a pair, The Lacquer Chest at Decorative Collective.

ABOVE Fine portrait, £4,250 for a pair, Walpoles at Decorative Collective. BELOW Light Blue Estate Emulsion, £45 per 2.5l, Farrow & Ball.

Get the Look

SCOTTISH TRADITION Mix country furniture and prety lustreware with tartan textiles

Georgian tripod table, £990, Thakeham Furniture.

ABOVE Burr walnut tallboy, £1,650, Camden Antiques at LoveAntiques.com.

BELOW Cadboll runner rug with Selkirk binding (70 x 240cm), £655, Anta.

Annie table lamp in Blue, £40, John Lewis.

BELOW Pink lustre jug, £115, Appleby Antiques at The Hoarde.

LEFT Aröd foor lamp, £50, Ikea. ABOVE Cornish Windsor chair, £325, Cunningham White’s.

November 2018 Homes & Antiques 67

THE

GREATEST

SHOW ON EARTH

As the fantastical and glitering world of the circus celebrates its 250th anniversary this year, Rosanna Morris takes a look at the history of this intriguing art form and discovers its impact on design over the centuries

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The Circus CELEBRATING 25O YEARS

Images: Getty Images/MPI/Stringer; Getty Images/Bert Hardy/Stringer; Getty Images/ Heritage Images; Getty Images/PicturePost/IPC Magazines

t’s 1899 and the greatest show on Earth has come to town. In a time before flm and television, animal rights awareness and mass travel, a three-mile parade through towns from Torquay to Aberdeen, announcing the arrival of the circus, gives glimpses of a wider world.

Children and adults gaze in awe at the dazzling array of acrobats, clowns, horses, wagons and hundreds of mounted elephants prancing past them. And, in a giant big top on the edge of town, on a patch of wasteland transformed into a wonderland, a heavy velvet curtain lifs to reveal trapeze artists soaring through the air, a ringmaster in a red tailcoat and top hat twirling round the ring, lions jumping through hoops and sawdust thrown in the air by the thundering hooves of galloping horses.

And, as magically as it appeared, the circus disappears overnight – but not before it has cast its spell.

The circus has enthralled, mesmerised and inspired

‘People can imagine themselves as the circus performers – it’s a believable fantasy,’ says Nell Gifford.

CLOCKWISE FROM ABOVE Sixteen-year-old Ella Freeman, or Ella Clarissa the Ballerina, one of the most popular acts in her family’s circus; a magazine cover from 1946 featuring a performer from the Chipperfeld Circus; a depiction of Astley’s Royal Amphitheatre in Lambeth, before 1895.

LEFT A circus trapeze act c1890.

people around the world – from young children to artists and designers – for over 250 years.

It was a cabinetmaker’s son named Philip Astley who created the modern day circus as an art form when, in 1768, he began performing daring equestrian stunts in an amphitheatre. While, thankfully, we rarely see wild animals in the ring in Britain today, the circus is currently enjoying a resurgence in popularity.

‘People love it because it’s inclusive,’ says Nell Giford of Gifords Circus, which she started 18 years ago with the aim of creating a miniature, jewel-like, beautiful circus for village greens. In doing so, she has revived a tradition that was dying out as some of the world’s largest circuses closed. ‘It’s funny, a bit

mad, there’s a touch of danger, a bit of glamour and it is for everyone. People can imagine themselves being the performers – it’s a believable fantasy,’ she adds.

Today, Gifords Circus appears as if by magic in towns, cities and villages every summer with its troupe of performers, a menagerie of horses, dogs and birds, and velvet-lined wagons to bring old-fashioned Thirties-style entertainment to its September 2018 Homes & Antiques 99

The quietly elegant and calming living room of Finn Juhl’s open-plan house, north of Copenhagen. The Danish architect designed the house (built in 1942) and the furniture in it.

NORDIC DESIGN From practical functionality and big-name designers to natural materials and efortless simplicity, Ellie Tennant explores the enduring appeal of Scandinavian style

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Henrik Sørensen

The H&A Guide NORDIC DESIGN

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DESIGN TRAIL

THE IMPRESSIONISTS France’s northern coast was the cradle for one of art’s best-loved movements. Eleanor O’Kane follows in the footsteps of the Impressionists, who captured Normandy’s extraordinary light and scenic coastline during the 19th century

hile Normandy’s towering chalk clifs, picturesque fshing ports and extraordinary light are ofen most associated with the work of Claude Monet, it was a less celebrated 19thcentury artist, Eugène Boudin, who lit the touch paper for Impressionism. Born in Normandy, the son of a sea captain, Boudin was largely self-taught. It was in his Le 136 Homes & Antiques Art Issue 2018

Havre framing shop that he met the artist Jean-François Millet, who encouraged him to shun the formality of the studio and instead work outdoors to capture the local landscapes in shifing light. In Le Havre, Boudin also met the 16-year-old Claude Monet. Born in Paris in 1840 but raised in Normandy, the burgeoning artist had turned his back on the family business to pursue a creative life. Under Boudin’s

wing, he set up his easel on the beaches and quaysides to paint ‘en plein air’, travelling to Paris to mix with others who, like Monet, were snifed at by the strait-laced Parisian art establishment.

Atracted by the light and encouraged by the new railway line from Paris, many painters from Monet’s Paris circle began to arrive in Normandy’s coastal towns and villages, seeking inspiration.

© OTAH; © Ludovic Maisant; Luis Portugal/Getty Images; NaLha/Getty Images; © Philippe Bréard

Saint Roch Square is a large public park in the centre of Le Havre. Decorated with statues, and a Belle Époque-style bandstand, it is also home to 30 varieties of tree including willow, tulip and Japanese cherry.

TRAVEL The Impressionists

LEFT See how architect Auguste Perret envisaged Le Havre residents would live in his rebuilt city at Témoin Perret Apartment.

BELOW The tower (inside and out) of St Joseph’s Church, Le Havre.

Don’t miss…

The Alabaster Coast Beach landscapes were a favourite of the Impressionists and the Alabaster Coast, with its expanses of chalky white cliffs and entrancing luminescence, drew them to set up their easels on the pebbly beaches in droves. The Côte d’Albâtre stretches from Le Tréport westwards to Le Havre, taking in the seaside resorts of Étretat and Fécamp, both of which are worth a visit. Étretat will be familiar to many Impressionism fans, with its natural chalk arches and pointed L’Aiguille, or Needle, jutting from the sea; Monet painted around 80 works here alone. Make another stop at Fécamp, 30 minutes to the east and surrounded by towering cliffs, to enjoy a lively mix of art and history and, if you have time, a trip to the Palais Bénédictine – the historic liqueur was frst made here by monks in the early 16th century (benedictinedom.com).

FIRST PORT OF CALL It was in Le Havre that Monet created the work that would give a label to this new movement. The 1872 work Impression, Soleil Levant (or Impression, Sunrise) was one of a series in which Monet captured the harbour while working quickly, refecting the movement of light rather than striving to capture a still scene

to perfection. Two years later, the work was shown in Paris, prompting a critic to dub Monet and his fellow exhibitors ‘The Impressionists’. If ofered as a slight, the term was happily embraced by the artists.

Visit today and the Le Havre of Monet’s era is almost unrecognisable. The port sufered heavy bombing

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