Ahhahahhah

9000

900

PERIODLIVING 30 BEAUTIFUL OLD HOMES

DECOR ATING & SHOPPING

GARDEN ANTIQUES INSPIRATION & VINTAGE

RENOVATION & MAINTENANCE

BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

Brighten up your interior with a rich and vibrant palette RENOVATION FOCUS REPAIR OR REPLACE WINDOWS IDEAS FOR EXTENDING

AR Y

th

RS

Classic elegance NN

A

Embrace

FEBRUARY 2020

IVE

Beautiful homes: from a Victorian townhouse to a Georgian gem

RESTORING TIMBER BEAMS

PLANT A WILDLIFE HAVEN

Attract creatures great and small to your garden

s

Celebrate this iconic era of glitz and glamour

Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

eople often ask me how old a house should be to be considered ‘period’.

As far as I am aware, there is no legal or dictionary definition, but the era that’s often bandied about as being the last true historic architectural period is Edwardian. However, as time moves on, so too does our perception of what is period, vintage and antique. Over the last few years, I have noticed a shift in the terms to encompass the interwar era, and beyond to good examples of mid-century design – and these boundaries will keep on moving in the years to come. I often wonder what future generations will think of our modern estate houses; it’s hard to imagine they will be considered historic gems – more likely blank canvases in need of an overhaul to keep up with the latest trends – but stranger things have happened.

This issue, we take a look at two important eras of the early 20th century, starting with the design of the Roaring Twenties, an iconic decade that brought us cocktail party glamour, Hollywood ‘It’ girls and Art Deco interiors (page 92). Then, conservation and heritage expert Lee Bilson uncovers Edwardian house design (page 124). This short but influential period felt like a breath of fresh air following its Victorian predecessor, with a greater emphasis on natural light and gardens. Both features make fascinating reading.

Elsewhere this month, we kick off the gardening year with a look at creating a wildlife haven (page 141). Last summer, Period Living launched its Save the Bees campaign, and throughout 2020 we hope to advise you in supporting not only these essential pollinators, but other treasured garden visitors. Along with assessing planting, my own plans include adding a bee hotel and more feeding stations for birds.

Finally, this month don’t miss the chance to subscribe to Period Living for just £20 for six issues, and receive a set of five Orla Kiely cake tins, worth £45, completely free (page 52). 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 5

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 rebecca.vincze@futurenet.com; 01527 834415 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

(WV V IH[O U I\YU ZOLK IYVUaL Z aLZ THU\MHJ[\YLK

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

Printed by William Gibbons & Sons PO Box 103, 26 Planetary Road, Willenhall, West Midlands WV13 3XT. 01902 730011; williamgibbons.co.uk Distributed by Marketforce 5 Churchill Place, Canary Wharf, London E14 5HU. 020 3787 9001; marketforce.co.uk ISSN 0958-1987 ĂĄĆş Ć?ȸƺ ƏȒȅȅǣɎɎƺƳ ÉŽČ’ Ȓȇǟɾ ɖɀǣȇǕ ČľĆ?Ⱦƺȸ ÉŻÇ?ÇŁĆŹÇ? ÇŁÉ€ ƳƺȸǣɎƺƳ ǔȸȒȅ ȸƺɀȾȒȇɀǣƍǟɾ Č…Ć?ȇĆ?ǕƺƳً ƏƺȸɎǣ˥ƺƳ ǔȒȸƺɀɎȸɾ Ć?ȇƳ ĆŹÇ?ǟȒȸǣȇƺ‍َ‏ǔȸƺƺ Č…Ć?ȇɖǔĆ?ƏɎɖȸƺŮ?

The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and ɀȒƏǣȒƺƏȒȇȒȅǣƏ ɀɎĆ?ȇƳĆ?ȸƳɀŮ? Ă Ç?Ćş Č…Ć?ȇɖǔĆ?ƏɎɖȸǣȇǕ ČľĆ?Ⱦƺȸ ȅǣǟǟ Ç?ȒǟƳɀ ǔɖǟǟ IÂł! ٢IȒȸƺɀɎ ³ɎƺɯĆ?ȸƳɀÇ?ÇŁČľ !ȒɖȇƏǣǟ٣ ƏƺȸɎǣ˥ƏĆ?ɎǣȒȇ Ć?ȇƳ Ć?ƏƏȸƺƳǣɎĆ?ɎǣȒȇŮ?

All contents Š 2019 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) ÇŁÉ€ ȸƺǕǣɀɎƺȸƺƳ ǣȇ 0ȇǕǟĆ?ȇƳ Ć?ȇƳ ĂĄĆ?ǟƺɀŮ? ƺǕǣɀɎƺȸƺƳ Ȓǔ˥Əƺ‍ ي‏ªɖĆ?Éľ RȒɖɀƺً Ă Ç?Ćş ȅƍɖȸɾً Ć?ÉŽÇ? ‍×? ×?â€ŹĂˆ Ů? ǟǟ ǣȇǔȒȸȅĆ?ɎǣȒȇ ƏȒȇɎĆ?ǣȇƺƳ ǣȇ ÉŽÇ?ÇŁÉ€ ȾɖƍǟǣƏĆ?ɎǣȒȇ ÇŁÉ€ ǔȒȸ information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other ĆŹÇ?Ć?ȇǕƺɀ Ȓȸ ɖȾƳĆ?Ɏƺɀ ÉŽČ’ ÉŽÇ?ƺȅŮ? Ă Ç?ÇŁÉ€ Č…Ć?Ç•Ć?ɿǣȇƺ ÇŁÉ€ ǔɖǟǟɾ ǣȇƳƺȾƺȇƳƺȇɎ Ć?ȇƳ ȇȒɎ Ć?ǔ˥ǟǣĆ?ɎƺƳ ǣȇ Ć?ȇɾ ÉŻĆ?Éľ ÉŻÇŁÉŽÇ? ÉŽÇ?Ćş ĆŹČ’Č…ČľĆ?ȇǣƺɀ ȅƺȇɎǣȒȇƺƳ Ç?ƺȸƺǣȇŮ?

If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Art prints: All Getty Images

6\Y ZWLJPHS TH[LYPHS 0ZV ,UHTLS RLLWZ `V\Y IH[O OV[[LY MVY SVUNLY HUK VUS` H [OPYK VM [OL ^LPNO[ VM H JHZ[ PYVU IH[O

9LX\LZ[ `V\Y IYVJO\YL VM V\Y YHUNL VM V]LY IH[O [\IZ [HWZ HUK ZHUP[HY`^HYL P[LTZ

HSIPVUIH[OJV JVT

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com

Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford !Ç?ǣƺǔ ˥ȇĆ?ȇƏǣĆ?Çź Ȓǔ˥Əƺȸ Penny Ladkin-Brand Tel +44 (0)1225 442 244

C 55 74 Cover Photograph Colin Poole

Decorating & shopping

13 20 23 24 26 103 32 83

92

Journal We round up the latest interiors offerings, news and exhibitions Rich velvets Add warmth with plush fabrics

84

Calm and collected Create a restful space with mint and sage toned homeware

88

Stunning artwork Stamp some personality on your space with these colourful prints

92

ON THE COVER

Embrace colour How to incorporate contrasting colours into your scheme Focal-point stoves Keep cosy and warm this winter

Features Made in Britain We visit Rachael South, who is keeping the chair caning craft alive Antiques journal This month’s fairs and auctions, plus expert advice on collecting

8 Period Living

147 148 153 155

Decorative details Marc Allum explores gilding Gilding techniques Ruth Tappin shares her expertise on the antique restoring process ON THE COVER

1920s design A century on, we look back at the iconic era that brought us Art Deco February journal The best activities to get you out and about this month Heritage weekend Visit the university city of Oxford with our guide to the highlights Food journal Events, eateries and kitchen essentials for keen home cooks Recipes Cook up dishes inspired by recipes from Paris, the city of romance

24

23

Homes

42 55

ON THE COVER

Time for change Carla Isolano and Ben Lillywhite have transformed a tired Victorian house into a characterful home

131

A new lease of life Alix Bateman’s converted Georgian coach house is now brimming with heritage charm

Henk and Lianne have turned their modest farmhouse into a home fit for the 21st century

74 Welcome home

139 141

A Victorian vicarage has been renovated to create a cosy and environmentally friendly home

99 105 115

ON THE COVER

Extend your home How to achieve the perfect blend of old and new on a period house

Advice & inspiration House journal New products and expert advice for improving a period home Luxury bathroom inspiration Create a relaxing sanctuary ON THE COVER

Health check Advice on restoring timber beams

11 38 52 163

Gardens Garden journal The latest products for your garden, and horticultural advice ON THE COVER

Garden advice Find out how to transform your garden into a mini nature reserve

Regulars Your journal Readers’ letters and pictures 30 years of Period Living Celebrating our anniversary year Subscribe Get a free set of Orla Kiely cake tins worth £45 when you subscribe Stockists All the suppliers in this issue

ON THE COVER

Windows Find the best designs for your home, plus maintenance tips

42

I R P C T S

ION

SUB

118

Edwardian design We uncover the unique details of this popular architectural era

ON THE COVER

64 Down by the meadow

64

124

52

OF 148

F ER

YOUR jour a Share your o

STA R

R

T

E

L

U EU U T

d thou

Letters

the magazine

TABLES TURNED

I love upcycling furniture.

I’ve painted many pieces of furniture for my home, including a lamp table, two kitchen chairs and some small shelves in my kitchen. I don’t really remember when I came into possession of this Edwardian table, but I know it used to belong to my granddad. It was in quite a battered state for many years until I finally decided to give it a new lease of life by upcycling it for my new summerhouse, which has a beach theme.

I love it it’s the perfect place to relax and enjoy some peace and quiet.

Erica Gaize, Bromsgrove

This month’s star letter prize is a gift set from Nordés Gin, with a bottle of its delicious Atlantic Galician gin and a luxury recycled cotton Cornish blanket from Atlantic Blankets, worth £120.

DINING DILEMMA

Would you rather have a family-friendly kitchen-diner or dedicated dining room?

Annette Thompson: I have a separate dining room and love that I can walk away and not have to look at dirty dishes!

Ian Todd: My kitchen-diner is the heart of my home. It’s such

a social space and stops you being left alone in the kitchen.

Beth Von Black: It makes my heart sad when people knock down walls in period homes. Why don’t they buy a new build if they want open plan? Leave the old houses alone for the people who want original features.

IN PRAISE OF CONSERVATION I’ve been a member of the National Trust for many decades and love exploring all the different properties with my family, but I’ve never thought to look into the organisation’s history. Your article in the January issue gave a fascinating insight into the Trust’s founders and early properties, as well as those who are preserving these architectural gems for the next generation. Nigel Roe, Chester

THE CHALLENGE OF OLD HOMES

Feature Holly Reaney

As an owner of a 300-year-old house with roof tiles just like these (featured in the December issue), all I see is the vast quantity of maintenance required to keep it looking this good. My roof took a bashing over the weekend and about 20 tiles now need replacing. But saying that, I’ve tried living in newer houses and didn’t like it!

You can’t beat the character of period homes. Miranda Powell, Shepton Mallet Get in touch: periodliving@futurenet.com

@periodlivingmagazine

@PeriodLivingMag

@period_living Period Living 11

The latest interiors offerings, from refreshed archive prints to handcrafted accessories Feature Pippa Blenkinsop

w

he bloc t k on

N e

In homage to its rich heritage, Cole & Son has drawn inspiration from its extensive archive of block-printed designs to create a range of timeless wallpapers.

Taking its name from the fruit wood originally used to create the 19th-century printing blocks, The Pearwood Collection sees seven designs from the archive – one of the largest block print collections in Europe – reinvigorated for the 21st century. From the fruit-laden branches of Vines of Pomona to Boscobel Oak, which depicts monarchal symbols of England, the colourful, ornate papers are perfect for those with a passion for pattern. Looking for a modern chintz? Try Midsummer Bloom in Purple and Teal on Ink, £120 per roll.

Period Living 13

Neil Thomas, technical director at Gainsborough, talks about how the historic weaving mill is keeping its heritage alive What’s the story behind Gainsborough?

It was founded in Sudbury, Suffolk in 1903

by Reginald Warner. Apprenticed as a silk weaver at the age of just 13, he travelled widely in Europe during his lifetime, collecting fabrics as he went and laying the foundation of Gainsborough’s archive, which today is one of the UK’s leading textile libraries. Warner quickly became known as an expert in damask, brocade and velvet, producing important commissions for companies such as Liberty, Morris & Co and for the Royal Household, with whom Gainsborough works to this day, gaining a Royal Warrant in 1981. Another long association was with Cunard and the White Star Line; in 1911 Gainsborough produced bespoke silk for RMS Titanic.

Today sees Gainsborough fabrics starring in many movies and TV productions, including Downton Abbey.

How do you keep the brand’s heritage alive?

By drawing on our incredible archive to create new collections. The Design Studio at Gainsborough can recreate, rescale and recolour from over 7,000 historic references in the library. There is a minimum order of just 20 metres, making special commissions feasible for a wide range of projects. Also, our fabrics are still made by employing traditional manufacturing techniques.

Our hank dyeing machines allow for great accuracy when repeating a colour as well as creating one from scratch. All our processes – winding yarn, making warps and finally weaving – are of a traditional nature using tried and tested machinery; our oldest looms will turn 100 next year and still weave our highest quality silk damasks. When it really makes a difference we intersperse this with the latest technology, ensuring it doesn’t compromise on quality.

What’s new?

We recently launched two new collections, both of which draw on Gainsborough’s remarkable archive. The Saluté Collection offers seven archival designs, recoloured for modern living, and includes an Italian baroque design that featured in the Titanic.

Grand Masters offers 21 designs covering a wide range of historical references, especially those fabrics that have been widely used and loved over the decades. (gainsborough.co.uk) 14 Period Living

in

ts

Introducing Morris & Co’s heavenly new collection: Rouen velvets, comprising six vibrant prints inspired by the colourinfused interiors of the cathedrals of Northern France. A visual feast of the most skilled medieval craftsmanship, from stained glass to intricate wood carvings, the majestic interiors of France’s Gothic cathedrals left a profound impact on William Morris and were formative in the creative direction of Morris & Co. Drawing on the jewel colours of illuminated stained glass, the Morris & Co design team has now refreshed a number of iconic prints, setting them against a pure cotton velvet backdrop to further enhance their richness and depth. This Fruit design, although originally dating to 1864, looks of the moment in Indigo/Slate, £115 per m.

Plush pr

BEST OF BRITISH

From top: Neil Thomas; Gainsborough founder Reginald Warner weaving on a hand-operated jacquard loom; the Makins Paisley fabric being woven; Gainsborough Saluté fabric in Titanic Green & Honeysuckle

delft, e v i t he a figur m across t A). o t s & ro ign n des ceramics f Hudson/V a i n a r s& ric I y of hame omet ual histor T e , g 5 g 9 rin vis 19.

Featu ire (£ k is a o p s o n B i d ile The T ght an i l e d to globe Images (tiles clockwise from left) Delft tile, Netherlands, 18th century; moulded frieze tile from the Ilkhanid Palace at Takht-i Sulayman in north-west Iran, probably Kashan, Iran, c.1275; London Individual fritware tile from a decorated chimney piece belonging mostly to the repertory of ornament developed by the Ottoman court in the 16th century, c.1731; all © Victoria and Albert Museum, London

LF E H S BOOK

A PASSION FOR COLOUR Perfectly timed for a spring refresh, Benjamin Moore has introduced the Century collection, a new paint range of 75 curated colours. Carefully formulated to create a softtouch matt finish, the paint is designed to bring unrivalled richness and depth to interior walls. Looking to banish winter blues? Try this warming palette of Wild Caraway (this image) teamed with (left from top) Sémilion, Realgar, Saffron, Terrarosa, Sumac and Red Jasper, from £11 for 118ml.

Period Living 15

News

EASTER

N

I

This month the V&A will open Kimono: Kyoto to Catwalk - Europe’s first major exhibition celebrating the iconic Japanese costume. Showcasing kimono from across the centuries, the show will chart the sartorial and social significance of the garment from the 1660s to the present day. Examining its impact on Japanese culture and the wider world, the show hopes to present the kimono as a constantly evolving icon of fashion. 29 February - 21 June, entry £16.

NS CO

An under-kimono for a man (juban). Fabric made in Britain or France, tailored in Japan, 1830–1860

Fashionable brocade patterns of the Imperial Palace, woodblock print, made by Utagawa Kunisada, 1847–1852, Japan

Images (kimono) Image courtesy of the Khalili Collection; (woodblock print, top right) Museum no. Circ.636 to Circ 638–1962 © Victoria and Albert Museum, London

TALENT SPOT ‘I’m reinterpreting a past product with my own twist,’ says designer Petra Palumbo of her beautiful hand painted glassware.

‘I remember as a child being mesmerised by my parents’ lovely collection; I particularly remember a ruby crystal carafe.’ Indeed Petra’s appreciation for the handmade was sparked at an early age and has inspired her to go on to create high quality, handcrafted products to pass down the generations. Beautifully handpainted with an array of floral designs, from roses to thistles, her carafes and tumblers brighten up the bedside table. ‘I’m inspired by nature and what it has to offer,’ says Petra.‘Living in the Highlands, where the seasons are so drastic and wild, brings me so much inspiration in terms of colours and mood.’ While it’s easy to be deceived by the effortless, sinuous

brushstrokes, Petra explains how glass painting is a skilled and multiphase process that requires lots of patience, starting with the careful preparation of paints through to the heat curing needed to set them in place. Passionate about print, Petra began her journey into surface decoration with a degree in Sustainable Textiles at Chelsea College of Arts, where she specialised in screen printing before experimenting with tableware and now glass. At the heart of her creativity is a deep concern for the environment. Consciously choosing to focus on high quality, plastic free products, Petra also ensures sustainability at each stage of the manufacturing process, from using water based inks through to recycled packaging. Since moving to Scotland from London, the future’s looking rosy, as her creations have turned the heads of Liberty’s buyers, who invited her to design exclusive pieces for their curated maximalism showcase, Floribunda. There are also exciting plans in the pipeline to extend her bedside collection and even open a shop.

Hot pink rose bud carafe and tumbler, £62 (petrapalumbo.com)

Period Living 17

Left: Tricia Guild surrounded by the Geranium collection, 1976. Designed by Kaffe Fassett for Designers Guild Right: Howard Hodgkin for Designers Guild collection, 2011

ONE TO VISIT Founded by Tricia Guild OBE, the influential brand Designers Guild will mark half a century in interiors this year with its own retrospective at the Fashion and Textile Museum. Out of the Blue: 50 years of Designers Guild will trace the evolution of the brand from 1970 and its beginnings as a small section of a shop in Chelsea’s Kings Road, to a global enterprise, changing the way in which people view colour, pattern and texture in their homes. Celebrated for her intuitive approach and bold, artistic juxtaposition of colour, print and texture, Tricia Guild’s vision is brought to life through displays of archive documents including never before seen original designs and artworks, plus visitors can glimpse into the workings of the design studio. 14 February – 14 June, entry £9.90.

Green c le As you embark on

ing an

the big new year clean, spare a thought for the environment by choosing eco-friendly cleaning products made from 100 per cent natural and organic ingredients. Produced in small batches in Somerset, the National Trust’s new range of laundry and household cleaning products use organic, fair trade essential oils, which are sustainable, ethical and safe for people, animals and ecosystems. Helping keep your home – and the environment – happy and healthy, all the products are certified by the Soil Association, Cruelty Free International, Allergy UK and The Vegan Society.

From £5.

HERITAGE HOMEWARE

British weaver Ian Mankin has once again teamed up with The Landmark Trust to add a range of cosy homeware to its 1485 collection.

Woven in Lancashire, the throws, cushions and draught excluders take inspiration from British architectural heritage, using motifs drawn from historic properties across the UK. Made from recycled cotton, this Langley throw has a linear design reminiscent of the timber façade of Langley Gatehouse, from £59.50.

18 Period Living

Soft touch

Create spaces brimming with texture and luxury using an array of sumptuous velvets.

Whether patterned or plain, try fabrics in rich rusty hues for ultimate warmth

Backdrop: Accent Teal Verdigris wallpaper mural, £36 per m2, Murals Wallpaper. Velvets from left: Orkney F6920-14 velvet, £40 per m, Osborne & Little; Nikita cotton velvet in Marina, £179.78 per m, Lewis & Wood; Bourlet velvet in Terracotta, £75 per m, Designers Guild; Fruit velvet in Madder/Bayleaf, £115 per m, Morris & Co; Manipur velvet in Sienna, £95 per m, Designers Guild; Lennox velvet in Terracotta, £69 per m, Jane Churchill; Floriana velvet in Red, £110 per m, Colefax & Fowler; Albano velvet in Cinnamon, £125 per m, Marvic Textiles; Tiffany cotton velvet in Spice, £136 per m, The Design Archives; Lennox velvet in Russet, £69 per m, Jane Churchill; Smokey F7322-03, £103 per m, Margo Selby for Osborne & Little

Styling Pippa Blenkinsop Photograph Kasia Fiszer

Fabrics

Shopping Vivian mint crackle table lamp, £641, Arteriors Home Bagsie sofa in Powder Green Clever linen, from £1,695, Loaf

Venus sage glass decanter, £45, Curious Egg

Mr Clarke modern Scandi wall clock in plywood and Bubble Green, £65, Newgate Clocks Ikat silk square cushion in green and pink, £95, Rosanna Lonsdale

Edo mural design wallpaper panel in Mint Green, £470, Rockett St George

Gold rim coffee cup with saucer in Sage, £26, The Hambledon Sarah Went porcelain teapot, £140, Made by Hand Online

Sophie Conran Colour Pop dinner plate in Celadon, £72 for 4, Amara

Gluggle jug in Sage, £34, Graham & Green

Use on-trend soothing sage and mint shades to create restful yet uplifting spaces

Fishbone wool throw in Seafoam Green, £40, National Trust Shop

Green Berry napkins, £24 for 4, Sarah K

Bo stonewash rug, from £2,607, the Geometric collection at Luke Irwin Intro small bowl in Mint, £11, Denby

Washed cotton percale bedlinen in Duck Egg, £49 for a double duvet and £9 for a pillowcase, Secret Linen Store

Feature Sophie Warren-Smith

Glazed terracotta wall tiles in Agua Marina, £114 per m², Indigenous

Harvard bar cabinet, £399, John Lewis & Partners

Shoreditch chair in Jennings Mist, £999, Parker Knoll

Period Living 23

Wordsworth’s House original linocut print, H30xW26.5cm, £120, Clare Curtis A Vision of Fiammetta

by Rosetti framed print, H100xW70cm, £385, Mind the Gap

Inthe

fram

Galerie Maeght Henri Matisse ‘Eaux Fortes’ Exhibition poster framed print, H70xW53.5cm, £175, John Lewis & Partners

Valencia print, from £60 for H50xW50cm, Bluebellgray

Simply Spring by Reg Cartwright poster print, £50, H76xW50.5cm, London Transport Museum Shop

Stamp personality on your space and spark joy at every turn with these beautiful art prints, from Pre-Raphaelite portraits to artisan lino prints

Hare & Hillside print, £65 for A3, Vanessa Bowman

Hampton Court Palace giclée print, from £25 for A4, Josie Shenoy

Dali & Ocelot by Raphael Balme limited-edition print, H59.5xW42cm, £155, The Shop Floor Project

The Greenhouse print, from £29.95 for H30xW19.5cm, Sam Wilson

Plate 113 by Pierre Joseph Celestin Redouté, from £120 for a H62xW48cm framed print, King & Mcgaw

Feature Pippa Blenkinsop

Shell Study limited-edition giclée print, H20xW20cm, £38, Brie Harrison

OPPOSITES ATTRACT

Feature Pippa Blenkinsop

Fall in love with colour and combine hues from across the spectrum to curate lively interiors that will provide the perfect antidote to grey winter days

TO THE MAX If you’re looking to liven up the living room of a period home then flamboyant florals are a great way to inject colour and wow factor. New from Cole & Son, this Aurora design in Mulberry and Sage, £110 per roll, is based on archival documents and conjures an enchanted forest feel, with its dense thicket of foliage. To prevent busy designs from taking over, try tempering them with soft pastel hues, as shown here with a delicate duck egg shade on panelling. Furnishing with contemporary boxy pieces in bold shades will help to cut through chintz to bring the look up to date – try the Marlon suite in colour pop velvets, from £719 for an armchair at Love Your Home.

26 Period Living

Decorating

‘When creating an interior full of colour try using a pattern as your starting point. It can be either a wallpaper or fabric, but it should be the biggest and boldest; then pick out some colours to build a palette for your room. Pair muted, soft pastels with dark, rich tones within the same colour family – for example sage and olive, mulberry and rose – which allows for a contrasting yet considered and harmonious look.’ Carley Bean, design director at Cole & Son

Period Living 27

COLOUR CONFIDENCE It’s important to feel uplifted in everyday spaces, and that could explain why homeowners are being ever more adventurous with colour in the kitchen. Not only will a kitchen made from real wood stand the test of time, but the cabinets can be easily customised with paint to create a unique and exciting scheme. ‘Using two colours and worktops is a design feature we love,’ says Helen Parker, creative director at Devol. ‘The vibrant colours of this Classic kitchen lift the spirits and prove that traditional handcrafted furniture can be both fun and classic.’ Indeed the pink island makes a cheery statement paired with Farrow & Ball’s Arsenic on walls and forest green on base cabinets.

Complementing the walls, Devol’s Emerald Green London tiles, £25 each, have a beautiful irregular glaze and bring welcome texture.

28 Period Living

Decorating

SPAN THE SPECTRUM Love statement furniture upholstered in artisan prints? Try setting pieces against a contrasting colour to make them shine. With its alluring cobalt blue, this Phil chair in Bethie Tricks Large Waves fabric, £1,800 from KD Loves, looks great against zesty orange, its spectral opposite. For similar paint try Little Greene’s Marigold.

EXPRESS YOURSELF In line with his signature ‘greco disco’ style, artist and designer Luke Edward Hall has teamed up with The Rug Company to launch a range of colourful wall hangings and cushions full of energy and personality. This Valentine wall hanging in Aubusson wool, £750, makes the perfect finishing touch to a vibrant, creative room.

WEATHERED FINISHES If opting for bright colours, introducing plenty of texture is essential to prevent surfaces from looking flat. The chips and scrapes of old painted furniture will bring inimitable character to a period home.

For similar vintage Indian furniture, try Nkuku. Walls in Yacht Blue, £45 per 2.5ltrs of Active matt emulsion, Sanderson.

BLANK CANVAS Colour can really enhance a gallery wall, as this raspberry shade proves when used as a backdrop to these monochrome prints, from £44 at John Lewis & Partners. Add an exciting contrast with a sofa in a clashing colour, such as the Draper large three-seater velvet sofa in Lucca Sienna, £1,699.

Period Living 29

‘The trend for strong and vibrantly painted walls is here to stay. In a bedroom it’s a good idea to soften them with ornate prints that include hints of the same colour, as well as sugary pastel tones’ Rebecca Craig, lead designer at Sanderson

NEW WAYS WITH BLUE Bold cobalt blue often conjures coastal schemes, but why not drift away with an oriental palette instead by teaming blue with layers of contrasting coral, peach and pastel pinks? Used wall to wall, Yacht Blue from Sanderson, £45 per 2.5ltrs of Active matt emulsion, is given an exciting edge teamed with sugary shades. It also works wonderfully as a backdrop to timeless blue and white china, and exotic prints such as Sanderson’s Clementine fabric in Indienne, used to cover this headboard, £63 per m. To add that quirky touch accessorise with handmade pieces, such as Sarah Vanrenen’s jute scallop rugs, from £396, and original artwork from Laura Gee. 30 Period Living

Decorating

COLOUR BLOCK For an easy but effective feature wall that will bring a twist to a traditional bedroom, try painting up bands of contrasting tones in murky hues. Although opposite ends of the spectrum, Dulux’s Heartwood – a dirty lilac – and its Burnished Brass have a similar tone, allowing them to sit harmoniously with each other. Ensuring the darker colour sits beneath will help to ground the scheme and emphasise the height of the room. Included in Dulux’s creative palette inspired by autumnal shades, the paints cost £29.16 for 2.5ltrs of matt emulsion.

RICH PICKINGS Conjure the luxury of a boutique hotel bedroom by choosing a deep wall colour and furnishings, with saturated, opulent hues from saffron and rust to damson. Embracing a variety of textural surfaces, such as suede upholstery, deep-pile woollen carpets and velvet bedspreads, will help to create that five-star feel. Wellington rug in Paprika, £65; Connubia by Calligaris New York velvet dining chair in Rust, £329; Mid-century Sweep upholstered double bed frame in Erin Damson, £699; Boutique Hotel velvet stitch throw in Tiger’s Eye, from £200; Tom Dixon Spring LED medium ceiling light in Gold, £925, all John Lewis & Partners.

Period Living 31

DREAM WEAVER

A third generation chair caner, Rachael South is helping to keep alive an ancient craft, but adding a contemporary approach for a natural evolution Words Rachel Crow | Photographs Polly Eltes

32 Period Living

Made in Britain

This image: Rachael in her studio in east London, a creative environment where she counts among her neighbours architects, fashion and interior designers, weavers and artists. The space is filled with hanks of cane and cord, and bolts of hand-picked rushes destined for the woven seating that is stacked on shelves awaiting her skilled repairs. On the trestle lies a part-woven door panel, part of a set commissioned for a wall of cabinets in a London hotel Opposite: Cane, cord and rush weaves sit in happy harmony, demonstrating the breadth of her craft – from an envelope pattern rush stool, Danish paper cord basketweave, to intricate cane double daisy design

R

achael South’s studio, tucked away in a side street of Dalston, east London, is like a mini museum to cane, cord and rush seating. Stacked on shelves, hanging from wall hooks or jostling for floor space, the chairs in a multitude of styles, designs and states of repair, represent the embodiment over the centuries of this varied craft.

Victorian nursing seats with strands springing free from their frame; Thonet bentwood café chairs, the gentle criss-cross seat pattern interrupted by holes; to flamboyant rococo pieces or mid-century Danish paper cord designs.

With an audio book chattering away in the background, from here Rachael restores and upcycles neglected pieces of furniture, carrying on the artisan trade passed down from her father and grandfather. Light floods through the wall-length window overlooking the rooftops surrounding this converted former rag trade factory, and the air is filled with the sweet, spicy scent of bundles of native rushes and hanks of exotic cane mixed with an aromatic medley of wood dyes and varnish. With well-practised precision, her fingers deftly travel across a caned panel destined for a wall of cabinets, as she quickly builds up the layers of the intricate double daisy weave using her few simple, traditional tools.

‘My grandfather was from a large Irish community that settled in Ladbroke Grove in the Victorian times. He was once a prizefighter and bare knuckle boxer, but as that career waned he got a pedlar’s licence to mend chairs,’ Rachael explains, as she teases cane lengths up and under the latticework of strands. The Irish community has a long history of chair caning and basket making, and in an era when the cries of traders could still be heard daily across the city, and much of the capital’s business was done on the streets, Michael South would ply his traditional craft on the roadside through Kensington and Knightsbridge.

Brought up caning chairs, her father, Terry, left school at the age of 14 to apprentice with an interior decorator, eventually setting up his own upholstery workshop in Harrow. ‘I was always in his shop as a child and I loved getting involved and the banter among the upholsterers. It was a real working man’s atmosphere, but when I watched my dad working with fine materials he had a way of handling it so delicately – it almost seemed a contradiction,’ Rachael reminisces. She in turn learned the seat weaving craft from her father

34 Period Living

while she was still at school, and later earned her way through art school, where she studied textiles, by repairing seating for local upholsterers and secondhand shops in her spare time.

For some years Rachael worked in the textiles industry, designing bespoke passementerie for interior designers; but yearning to work for herself, about 16 years ago she inherited her father’s established upholstery business. ‘That’s when I really saw the value of the seat weaving and realised that it should be a big part of what I do.

I didn’t appreciate when I was young that I had been handed this living craft, but I came to learn that it was something quite special,’ she explains.

Like three-dimensional artworks, examples of the numerous cane and rush patterns she will recreate in seating are displayed in vignettes on the walls, the variety of weaves showcasing the beauty of the craft and the natural inconsistencies that occur in this organic material.

Alongside the well-known, ancient patterns that have been used for centuries in the chair caner’s craft, are more complex designs that Rachael has tweaked to make her own and which she incorporates with mixed materials for a contemporary interpretation – a child seat woven with satin ribbon, or a bentwood rocking chair laced with leather strands. ‘While a trimmings designer, I worked in India and Guatemala with weavers and braid makers, where the skills are passed down through generations of females, and I soaked up the vitality and colour of their designs. That has fed into the Above: Rachael’s grandfather, Michael South, peddling his chair repair craft on the roadside in Kensington during the 1940s Opposite, clockwise from top left: Rachael gently twists lengths of rush as she weaves; she created this complex weave inspired by the 1920s Heal’s Owl cabinet; a Victorian child’s chair woven with silk ribbons to mimic the richness of a Victorian rug; the six-way weave has endured for centuries; Rachael takes great enjoyment from the variety and skill of her craft; she wove the seat of this walnut Thonet bentwood chair with a mix of cane and pink waxed linen, for a contemporary take on tradition; the simple tools of her craft, from bodkin to rush dolly, can be fitted in a pocket; a hank of cord; ‘for weaving I mostly just use my hands and a knife,’ she says

Made in Britain

Period Living 35

Left: This 1930s nursing chair with its rush seating will soon be restored to be enjoyed by future generations. Alongside restoration commissions, Rachael will scour secondhand shops, Ebay and Kempton Park Racecourse furniture market for vintage and antique pieces she can rework with mixed materials for her contemporary projects – such as the bentwood rocking chair that will have a woven leather seat. Displayed on the walls are examples of weave designs, from traditional to contemporary, including the rare, labour-intensive craft of split willow weave – close caning (middle left). ‘I want to do more of this work as there are so few people doing it,’ Rachael explains. ‘I find caning relaxing, quiet and calm. There is almost a meditative quality to it’

contemporary pieces I create, moving away from recognised patterns,’ Rachael explains.

With the revival in the popularity of midcentury modern designs, she has seen a rise in demand for Danish paper cord seating and its enduringly popular basketweave design, but the standard little Victorian caned bedroom chair and rustic rush seating have remained staples of her oeuvre. Rachael harvests her own rushes from a riverbed in Somerset each summer, the bolts gradually turning from green to golden as they slowly dry in a corner of her workshop.

‘It takes about 20 to 30 years for the rush to go through its whole life cycle and that is the lovely thing about working with natural materials – once the seat is rewoven that is just the beginning of its aesthetic story,’ Rachael explains. ‘When I do a chair restoration, I ask a client if they prefer a wood stain or polish and pigment applied to give it an instant aged appearance. Matching colours down is another art in itself, but I like it when the material takes on its own colour naturally as time passes.’

Rachael values that her skills focus on restoring and recycling old pieces of furniture. ‘My father 36 Period Living

would never have seen it that way because that was not the zeitgeist of his era. Now people are so much more appreciative of restoring pieces of furniture with history and provenance, that have been in the family for generations or part of their life for years.’

Alongside the preservation of pieces, she is also helping to preserve a craft, and teaches workshops to pass on her skills. ‘You have to learn from someone as there is so much small detail that you can’t get from a book or by watching Youtube,’ says Rachael, whose own niece spends two days a week in the studio and Rachael hopes will pick up the gauntlet to continue the family tradition.

‘Sometimes I can’t believe that I’ve been doing this for so long and still enjoy it so much,’ she explains. ‘There is only a small community of seat weavers left in this country, and while there has been a resurgence of interest in chair caning in recent years, the contemporary work also helps to keep the craft alive: taking the traditional skills and then expanding them with new ideas.’

To find out more about Rachael’s work or the workshops she runs visit rachaelsouth.com

38 Period Living

Anniversary

30th A

NN

I

n the first ever issue of Period Living, editor Kirstie Rogers announced ‘a new type of home magazine for people who enjoy living in period homes; who enjoy the sense of history, the elegance, the atmosphere, the character, but who can also brave the dry rot, the damp, the seemingly inexhaustible demand on the pocket and patience, to see that character lovingly restored.’ That mission statement could have been written today, and while the magazine has evolved with the times, it still inspires people to live the period home dream.

This year, Period Living turns 30, and the team will be celebrating over the coming months with a series of special content. Over the years, dozens of people have contributed to the magazine from section editors and writers to designers and photographers and helped it to go from strength to strength. Last year that hard work and passion paid off as we became Britain’s fastest growing homes magazine.

Of course, we wouldn’t have got here without you, our loyal readers. We thank you for supporting us for three decades, and hope you will be with us for many more years to come.

RS

In 1990, a new magazine was launched with the intention of helping readers care for and enjoy their period homes.

Three decades later, it’s almost unrecognisable from its original form, but the aim remains the same

AR Y

PERIODLIVING E IV

Supported by our anniversary sponsors:

Period Living 39

Authentic appeal Timber Windows’ Listed collection has been approved by several planning authorities and seeks to ease the process of updating windows and doors OVER THE PAST 15 YEARS, Timber Windows has developed a network of craftspeople specialising in the expert installation of beautiful timber windows and doors. It has launched the Timber Windows Listed collection, a range of timber sash and casement windows and doors specially designed for listed homes. The collection has gained lots of positive feedback and has been approved by several planning authorities throughout the UK as suitable for listed homes.

Perfect for period homes Owners of listed properties are proud to be the custodians of these historic homes, entrusted with their preservation. Many will recognise the challenges they face when making improvements – sourcing the right materials and designs to match those of the period, while also complying with local authority rules. Following consultation with planning specialists and local authorities, paired with their own experience, the experts at Timber Windows have created a dedicated range, featuring products befitting a listed structure while also easing the frustrations of historic homeowners.

Beauty meets performance Putty glazing, true bars and individual glass panes are all important aspects incorporated into the range; the use of factory-painted, engineered timber eliminates warping, twisting and sticking previously associated with wood. This results in an authentic timber appearance with none of the downsides of the past.

The range carries a number of glazing options to suit everyone’s requirements, giving sympathetic

aesthetics while regulating heat effectively and vastly improving sound insulation. The 4mm single-glazed option is ideal for areas where the rules are most stringent, while the next step is the 14mm ultra-slim double-glazed unit through to 18mm and 24mm high-performance doubleglazed units.

The most popular option to date has been the ultra-slim 14mm double glazed unit, with its thermally insulating krypton gas. Its slender appearance has allowed it to be accepted in replacing original single glazing in a number of examples already. Although, even where single glazing is still specified, this is both warmer and quieter than the original glass.

Planning success Trailblazing owners are using the Timber Windows Listed collection to sympathetically modernise their homes, even in places where it was previously deemed impossible to satisfy the regulations.

Successful cases include homes in the national parks of the Yorkshire Dales, a former granary in Hampshire, a Worcestershire school house and a Gloucestershire manor estate. All have eradicated the draughts, damp and noise pollution which previously had seemed impossible to resolve.

The forward-thinking Timber Windows system makes the process of filling in application forms easier for the homeowner and much simpler for planning officers to consider, owing to its computerised drawings and specifications.

Customers have commended the comprehensive paperwork, which has been tailored to their homes, making completing council forms a breeze.

Left: This bespoke slim box sash window successfully gained approval from English Heritage Above right: These cottage casement windows are made from engineered European redwood, finished in the shade Oxide Gold Right: New timber sash windows were specified to match the style and formation of the glazing bars from the original windows. The windows and doors have fine astragal bars and are manufactured in engineered European redwood Far right: Putty glazed cottage casement windows in a White internal finish with horizontal glazing bars

40 Period Living

Advertorial

About Timber Windows With over 40 showrooms nationwide, the local experts at Timber Windows will be happy to show you the options that could suit your listed property, as well as offering expertise, unbiased advice, and providing assistance in planning applications. For more information or to find your nearest showroom, call 0800 030 2000 or visit timberwindows.com.

www.timberwindows.com

Period Living 41

TIME FOR CHANGE Carla Isolano and Ben Lillywhite took on a tired and tatty turn-of-the-century townhouse, transforming it into a modern family home while honouring its history and preserving its period charm Words Annabelle Grundy | Styling Pippa Blenkinsop | Photographs Colin Poole

Right: The original living room fireplace has a painted, fauxmarble surround. The gilt-edged mirror above and the upholstered chair were both inherited from Ben’s parents. Carla chose Dulux’s Urban Obsession for the living room walls, with Valspar’s Graceful Grey to create a pale contrast on the panelling 42 Period Living

Victorian Townhouse

efore she even stepped inside the house that would eventually be hers, Carla Isolano was in no doubt that she had found her new home. ‘Just as soon as I pulled the iron doorbell and heard it ringing inside, I knew this was the one,’ she smiles. ‘Who could possibly resist a house with a lovely old bell like that?’

Once inside, Carla looked past the worn carpets and tatty 1980s décor, focusing instead on the original tiled hall floor, elegant staircase, open-plan living area and spacious, high-ceilinged rooms.

‘The house clearly needed a massive amount of work, but the more I saw of it, the more I fell in love with it,’ she says.

Carla and her partner Ben were keen to move closer to Ben’s work and gain some extra space for their growing family. However, a home combining period charm with a family-friendly layout had eluded them until now. Although Ben was equally taken with the property, securing it once they had found it was by no means easy. Over several months the couple lost out twice to other buyers and were close to agreeing a different purchase themselves when they heard the house was back on the market yet again.

‘After over a year of looking, it was finally third time lucky for us,’ says Carla. ‘We’d considered so many houses and in desperation I’d even viewed some new-builds, which just confirmed that for me, it had to be an older property. They have character and warmth that you just can’t recreate.’

Ben and Carla launched an ambitious renovation, starting with the large family bathroom. The worn-out, wall-mounted boiler was dismantled, along with a dated corner bath and fussy suite.

A modern boiler and new water tank were fitted in the loft, and new pipework laid.

‘We made do with the en-suite shower room, but floorboards were up and it was quite disruptive,’ says Carla. ‘The work was absolutely essential, but it felt like a lot of time and budget were going on things we couldn’t actually see.’

Once the behind-the-scenes structures were in place, Carla designed a crisp, monochrome 44 Period Living

bathroom, including a walk-in shower and traditional, freestanding bath, and incorporating the original fireplace as a focal feature. She and Ben saved money by researching and buying the components themselves online, and arranging a local installer. Meanwhile, the old carpets were thrown out, and Ben sanded and restored the living room and bedroom floorboards. At the same time, Carla masterminded the fitting of elegant wall panelling in both rooms. It was custom-built to her specification from MDF and she then painstakingly filled, rubbed down and painted it to achieve an immaculate finish.

‘We decorated and did whatever DIY we could, partly for budget but also for the satisfaction,’ she says. ‘We had next to no knowledge at first, but we picked up tips from the skilled trades we used, and learned a lot through the process.’

Major alterations were also made in the kitchen and dining room, which were partially separated with an internal wall. Carla wanted maximum natural light and a practical, open-plan layout.

Although knocking the rooms together was an obvious move, it proved less than straightforward.

With two storeys above the kitchen and a cellar below, a huge support beam was required to take the weight. Once the space was opened up, the old tiled floor and wooden units were replaced with parquet-style flooring, a large central island and smart, simple grey cabinetry. The palette echoes the colour schemes through the rest of the house, ‘Greys are easy to live with, and feel classic but modern at the same time,’ says Carla. ‘Although we’re a young family, I’ve got quite traditional taste and we’ve inherited a lot of antique furniture that we love. I wanted to embrace our period setting without the house seeming old-fashioned.’

Much of the couple’s furniture was brought from their previous home, including many cherished items that belonged to Ben’s parents who were antiques dealers. There is an eclectic blend of heirlooms, antiques, high-street buys and charity shop finds, all of which slotted comfortably into the new surroundings.

‘I just go with what I like, so there are different styles, though I do prefer dark oak furniture,’ says Carla, adding, ‘It’s not very fashionable right now, so beautifully made items can be amazing value.’

Attention to detail gives Carla’s home its calm, cohesive ambience. Warm gilt and brass touches complement the multi-toned grey palette. Plastic power sockets were replaced with brass, the kitchen units are finished with vintage-style brass handles and there are numerous decorative gilt frames suspended from original picture rails.

‘I’m really proud of what we’ve achieved, and I love being here with all our treasures and mementos around us,’ says Carla. ‘We’ve created our ideal family home and given it a real personal touch.’

Victorian Townhouse THE STORY Owners Carla Isolano (below), a studio production manager, and her partner Ben Lillywhite, an insurance sales director, live here with their four-year-old son Luca and daughter Aria, aged six months Property A turn-of-the century, semi-detached, five-bedroom home in Shrewsbury. It had been converted from flats back into a house in the 1980s, when a dining room extension was also added What they did The couple opened up the kitchen-dining area and renovated the entire interior, upgrading plumbing and wiring, fitting a new kitchen and bathrooms, sanding wooden floors and redecorating throughout

Above: The L-shaped velvet Schreiber sofa was bought at Homebase. On the dark grey wall behind, Carla has hung gilt-framed prints and an old mirror from Antiques & Curios Creations, a favourite independent. The leather trunk, now used as a coffee table, was among Ben’s father’s muchloved pieces Left: Original coloured tiles give the large hall plenty of period character. Carla bought the piano as a gift for Ben some years ago.

‘It doesn’t get played much now, but it’s still a beautiful object,’ she says. The mirror above is one of a pair inherited from Ben’s parents

Period Living 45

Victorian Townhouse

Left: By removing a dividing wall, Carla and Ben achieved the roomy, family-friendly kitchen-diner they were hoping for. New bi-folding doors from Matthews & Peart and a glass door on the utility room help to maximise the light. Carla has teamed retro-classic chairs from Ebay with the chunky dining table, for a chic mix of old and new. The new flooring came from Wood Floor Warehouse Above: Carla and Ben designed and bought their painted timber kitchen online from DIY Kitchens.

‘It was nerve-wracking taking the measurements ourselves, but we saved money and it’s a high-quality kitchen,’ says Carla. The inglenook that neatly accommodates the range cooker from Belling is one of the home’s many original features

Above: A roll-top bath was top of Carla’s bathroom wishlist and she chose a shapely black design from Victorian Plumbing, adding classic Burlington floor-mounted taps. The Barnet Harrow floor tiles from Tiles Direct echo the traditional feel of the original flooring in the entrance hall Left: Pipework for the basin and walk-in shower is neatly concealed behind a false wall, so the bathroom has a smart, streamlined look. The large console basin, from Heritage, makes a glamorous statement and stands out against walls painted in Valspar’s Earthy Beige Opposite: This small bedroom has been turned into Ben’s dressing room. The feature wall displays old photographs and keepsakes, including newspaper cuttings, certificates and documents relating to Ben’s parents, grandparents and great-grandparents. Carla mixed the dark grey shade herself from leftover paint from other rooms.

The beautifully-preserved RAF uniform was Ben’s father’s

Victorian Townhouse

Period Living 49

As the large, lofty bedroom would have required replastering, Carla opted instead for large-scale wall-panelling, which adds to the imposing feel. Valspar’s Oyster Shoal has been used to create a tranquil atmosphere, while gilt finishes and touches of mustard yellow lift the room. The bed is from Esupasaver. Carla created her own simple floral displays, using jars of faux flowers suspended within old picture frames that had belonged to Ben’s father

Victorian Townhouse

Subscribe today & get FREE Orla Kiely cake tins 45 worth £ SUBSCRIBE SIX MONTHS FOR £20

52 Period Living

Subscription Offer

Great reasons to subscribe Brilliant value – save money on the cover price You’ll never miss an issue Delivered direct to your door

Get two free tickets to all eight Homebuilding & Renovating Shows worth £216

SUBSCRIBE NOW Go to www.myfavouritemagazines.co.uk/PLFEB20 or call 0344 848 2852 and quote PLFEB20

ONE-YEAR OFFER Subscribe upfront for a year for £43 and you’ll also receive Cake Decorating for Beginners, worth £9.99 *Terms and conditions: This offer entitles new UK Direct Debit subscribers to pay £20 every 6 months and receive an Orla Kiely cake tin set, worth £45, when taking out a subscription. Alternatively, subscribers can pay for one year and receive an Orla Kiely cake tin set, plus Cake Decorating for Beginners, worth £9.99. Gifts are only available for new UK subscribers and are subject to availability. Please allow up to 60 days for delivery of your gift. In the event of stocks being exhausted we reserve the right to replace with items of similar value. Prices and savings quoted are compared to buying full-priced print issues. You will receive 12 issues in a year.

Your subscription is for the minimum term specified and will expire at the end of the current term. You can write to us or call us to cancel your subscription within 14 days of purchase. Payment is non-refundable after the 14-day cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. Prices correct at point of print and subject to change. UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) or are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). For full terms and conditions visit: www.bit.ly/magterms. Offer ends 28 February 2020.

Period Living 53

Converted Coach House

A NEW LEASE OF LIFE A dilapidated Georgian coach house that once belonged to the church next door has been turned into a welcoming home for writer and gilder Alix Bateman, who worked hard to keep its heritage charm intact Words Sara Emslie | Photographs Rachel Whiting

Alix and Bedlington terrier Vincent in the living room, where underfloor heating was installed under stone slabs. Alix painted the shutters and architraves in Farrow & Ball’s London Stone and White Tie – shades that really suit the building’s heritage. The vintage school desk and chair are from Sunbury Antiques and are easy to move when Alix is hosting an event and opens up the study and lounge to make a large open-plan space

Left: A slim window at the top of the room lets in light but maintains privacy. It also acts as a display shelf for ceramics and glassware.

Alix picked up the oak chest in a Chiswick car boot sale – it’s the perfect place for a pair of 1950s American flocked nodding lions found at Sunbury Antiques and some vintage metal toys. The circus plate on the wall is by Pia Bramley and the van print is a reminder of the one Alix used to drive Below: The original window between the front room and the yard gets opened up when Alix hosts events.

It makes a quirky ‘cloakroom’ with antler hooks from Graham & Green, a gilded shop sign from Sunbury Antiques and a painting of Vincent the Bedlington terrier’s uncle, Dorian, by Cadogan Doggy Dogs Below left: ‘When we bought it there were rotten wooden gates into the passageway (now the lounge) that the coach and horses used to get to the stable yard,’ says Alix. A new wooden frontage and brass door furniture have replaced the old gates, in keeping with the listed building criteria. The house sign is from Inkpin & Boot, gilded by Alix

56 Period Living

Converted Coach House

The living room was originally the passageway leading to the stable yard. It’s furnished with a velvet sofa from Peter Jones and a cane sofa, which is a charity shop find. The sign is from Wiltons, one of the oldest surviving grand music halls. ‘The architect who oversaw its renovation is a friend of mine and told me they were selling off props. It was part of the Live at Wiltons sign above the stage.

It turned out to be too long for the wall so we prop it up wherever there’s space,’ says Alix.

The cushions are by Chocolate Creative

rom as early as the 12th century, there has been a church on the plot next door overlooking the Thames, explains Alix Bateman, the current custodian of a small but beautiful slice of history in leafy Clapham Old Town, south-west London.

The coach house that she now calls home stands next to the church and was built during Georgian times on the site of the original manor house of Clapham. ‘Old plans show Glebe House, as it is known, to be actually in the position of the kitchen for the great house,’ says Alix.

By 1825 this section of the original building was part of the stable yard and associated buildings of Russell’s Livery Stables and was used to house horses and carriages until it was eventually gifted to the church next door in 1903, along with a sitting tenant. Old maps show its different surroundings over the years, including the episode in 1895 when part of the building was demolished to make way for a Victorian road to be built.

Poor upkeep over the years meant that when the church finally came to sell the coach house it was in need of total renovation. Step in Alix, who was six months pregnant at the time with son Ply and adamant she didn’t want a building project. This heritage wonder won her over and work began. ‘It was its uniqueness and its potential,’ she says. ‘And it is in an amazing position, detached, next door to glorious church grounds and a listed Georgian church, and opposite a small chapel, which is now a community pottery. Behind it are walled allotments and community gardens with beehives and a pond, all in our large bustling, crowded capital city!’

Restoration seemed to ‘take an age’ says Alix.

‘As areas were uncovered, I sometimes chose to leave them in their distressed state; the patina was often too good to cover up. Materials that were not original to the house were removed and more sympathetic ones reinstated.’ But the major alteration to the property is the conversion of the covered side passageway into the family’s living space. This original thoroughfare for the horses and carriages was accessed through large rotten wooden gates that Alix removed and replaced with a wooden frontage in the same style to satisfy the requirements of the home’s listed building status.

58 Period Living

At the back, wooden folding patio doors were added and large windows were fitted inside the original brick arches. The result is a space full of light and character that serves as the perfect modernday complement to the building’s heritage charm as well as the perfect backdrop to its current contents.

Alix and Ply both love collecting and the entire house is an assortment of curios and period pieces picked up along the way. As a former antiques dealer Alix admits that nothing gets her out of bed quicker in the morning than a trip to a fleamarket.

‘I’m at the gates at 6am with all the mad men in macs awaiting the market’s opening,’ she confesses.

And it has paid off with an enviable collection of Georgian furniture. ‘I took my cue from the bare bones of the house and its period features,’ says Alix. ‘Some good bits of Georgian oak furniture just work so well alongside striking contemporary lighting and slightly idiosyncratic objects or furniture and keep it looking current, as I had no wish to create a Georgian pastiche.’

These antiques work well alongside Ply’s impressive collection of natural history curiosities too. The original Georgian sitting room at the front of the house is not only Alix’s study but home to her son’s burgeoning collection of fossils, taxidermy and other Darwin-esque finds showcased on a couple of Georgian bureaux, including a woolly mammoth rib, a rattle snake’s rattle and a bleached horse’s hip bone found on a beach in Antigua.

They all come in handy as props, too, for the photo shoots, private parties and events that Alix sometimes hires the house out for – a business that developed organically. With so many possible variations on a theme it seemed a waste not to let others enjoy the charm of the property and its history. ‘The exterior is quite unusual and arouses people’s curiosity,’ says Alix, ‘so I get a lot of people tapping on the window mouthing, “What is this place?” Which led me to hosting mini pop-up events such as artists’ and authors’ talks, craft workshops, supper club nights, mindfulness workshops and so on.’ Alix also hires out the property for filming, parties and private dining, and runs a boutique B&B here.

It is like an old curiosity shop with layers of history in every nook. Keenness to preserve the character has meant that the coach house ‘squint window’ still remains - a narrow glazed aperture in the kitchen through which the coachman could see the horse and carriages arriving and leaving.

And so too does the original window from the study onto the yard that is now the living room. ‘When we have events we throw it open. It’s been used as a DJ booth, a bar, and an opening through which classical singers sing musical numbers at parties,’ says Alix. ‘I feel very lucky to have found such a special building and privileged that I could give it a new lease of life and be a small part of its history,’ she says. The entire house it seems, along with all its contents, really is a window into the past.

Converted Coach House THE STORY Owner Alix Bateman, writer, gilder and former antiques dealer, lives here with her 13-year-old son Ply, and Vincent, a Bedlington terrier.

Alix runs a boutique B&B from her home (theglebehouselondon.com) Property A converted Grade II-listed Georgian coach house in south-west London, that was built around 1825 and started life as Russell’s Livery Stables. The coach house was gifted to the church next door in 1903 What she did Alix oversaw a sympathetic renovation throughout.

The covered courtyard was converted into a new living room with access to a patio garden. An internal wall was removed to enlarge the kitchen. Original fireplaces and panelling were restored

Above: The Georgian shutters, panelling and fireplace in the study have all been lovingly restored.

‘When stripping the fire surround I discovered the original marbling. It was too good to cover up,’ says Alix.

The space serves as a workshop, where she creates gilded glass panels and embellishes antique furniture with gilding or painting Above left: The Georgian bureau came from Kempton Park Antiques market. On top is a gilded house sign, made by Alix for a client in Antigua. A neighbour gave Ply the stuffed squirrel and Alix bought the elephant’s tooth in a fleamarket in Belgium to add to Ply’s collection Left: Treasures here include Alix’s gilding tools, her son’s Darwin-esque finds, a plate from Anthropologie and a couple of antique sea-life prints Period Living 59

Above: The reclaimed cast-iron range is the focal point of the kitchen, while a drying rack, an old oil painting, and some vintage pots and kettles add to the period charm Right: Alix had the concrete trough sink custom made and found reconditioned laboratory taps online Above right: A large dining table is paired with mismatched chairs Opposite: The open-plan kitchendiner is full of Georgian character and modern-day essentials. The range cooker is by Mercury, the steel trolley is from Ikea and the clock is

by Newgate; for similar pendant lights try Original BTC. At the far end of the kitchen is the original ‘squint’ window from where the coachman kept an eye on the horses and carriages coming and going

60 Period Living

Converted Coach House

Period Living 61

Below and bottom right: Alix found a discarded gilded overmantel in the street nearby. She brought it home, restored it and infilled with foam and tartan fabric to make a stunning headboard that works well in this warm-toned room. The lights at either side of the headboard are made from reclaimed Victorian railway lanterns found online, and the cushions are from Chocolate Creative. The walls are painted in White Tie by Farrow & Ball Right: Alix collects vintage tin toy cookers. Most are stored in the loft but some of her favourites, like this one, are out on display Below right: Alix opted for simple utility styling for the bathroom, with classic brick wall tiles and traditional fixtures and fittings

Opposite: There are plenty of authentic period details in the blue bedroom with Georgian oak furniture bought at antiques markets and plenty of decorative china and glassware. Alix is a big fan of Chocolate Creative and chose one of its pendant lampshades and a pair of cushions. Alix sourced reconditioned cast-iron radiators from The Old Radiator Company for the bedrooms. The walls are painted in Arts and Crafts 12 from the Crown Trade Historic Colour Collection

Converted Coach House

DOWN

BY THE MEADOW A simple shepherd’s dwelling, next to the fields where his sheep graze, is home to Henk and his partner Lianne, who restored the mid-century farmhouse into a characterful and comfortable home Words Geraldine Nesbitt Styling and photographs Pia van Spaendonck/Coco Features

64 Period Living

Shepherd’s Cottage

Left: Lianne makes her own sheepskin rugs, weaving the wool from the shorn sheep onto a felt underlay; no animals are slaughtered for their skins Far left: Henk’s sheep keep the 270 hectares of common land in good shape around the house in Veluwe in the Netherlands Below left: In lambing season Henk and Lianne sell some of the new lambs but only to other grazing shepherds Below: The barn is a listed building and is maintained by the local council – it also provides a bit of shelter for the flock from the cold northerly winds

razing his sheep on the meadows and heathland around his childhood home, Henk is carrying on the work of his father before him. The rustic shepherd’s house comes with the job and when Henk first moved in with his family he was keen to update it completely and give it a new look.

Renovating and reimagining a house takes vision, but to repurpose the space in a small house takes even more imagination, especially if you’re working to a modest budget. Henk was also determined to retain the look and feel of the original building, so it was quite an undertaking.

The house was built for the shepherd in 1950 by the Netherlands’ Sheep Flock Foundation, who promote the use of sheep to sustainably manage the land. Since the late-1990s Henk has been breeding and keeping a flock, not for their meat, but specifically to keep the 270 hectares of common land in shape, just as his father’s sheep did when he was there during the previous two decades.

The first round of renovations to the little house took place in 1976 when Henk’s parents took it over. They tackled the rewiring and updated the gas supply, as well as adding dormer windows upstairs to create enough sleeping space for the seven children who still lived at home. Two attic bedrooms were built for the boys, while Henk’s mother, father and sister slept in the two downstairs bedrooms.

Just over 20 years later the house was updated again when Henk took over as shepherd and moved in with his (now ex-) wife and their four children.

The roof was repaired and the ground-floor space was reconfigured more logically. What was once the living room is now the main bedroom, while the bathroom and original downstairs bedrooms were transformed into the current living room, and a new kitchen and bathroom were installed.

The solid oak floors were stripped and rewaxed, and the original doors and window frames restored.

Although central heating was installed, they are still more likely to use the stove for heating. ‘The wood-burner is so much cosier than central heating 66 Period Living

and it helps add to that authentic feel we wanted in the interior,’ says Henk. The house is cosier still since double glazing was fitted in a further round of renovations that took place when Henk’s partner Lianne moved in. The weatherboarded exterior was painted and a new barn was built. Originally a carpenter, Henk was able to do some of the jobs himself, which not only saved money, but ensured the work was done to his and Lianne’s satisfaction.‘Where we can do the work ourselves, we do,’ says Lianne. ‘I love the built-in wardrobe in the bedroom and the vintage-style shelf above the bed, both handmade by Henk. They finish the room off perfectly.’

Lianne chose black slate floor tiles for the kitchen and dining room, which Henk laid in a traditional diamond pattern. The floor and new granite worktop transform the budget kitchen into a very appealing and homely space. There is, however, one more thing Lianne would love to change: ‘I really don’t like the red wallpaper in the living room. If I had my way, I’d paint over it but unfortunately Henk likes it!’

Lianne has a flair for combining new pieces with vintage finds to create interesting corners throughout the house. There’s a uniformity of colour, style and design, which she puts down to careful buying and curating from fleamarkets and auctions. ‘I hardly buy anything new. It’s always worth checking out online auctions and keeping your eyes open for vintage pieces,’ she says.

The couple take a similarly holistic approach to the land. ‘We do our best to be as environmentally and animal friendly as we can. As well as grazing our sheep, we organise open days here with sheep shearing contests and organic produce markets.

The locals can come and take a look at what we do here, and they can roll up their sleeves and muck in,’ says Lianne. ‘People are surprised by our lifestyle. It’s a sustainable way of life that really suits us, and it makes us happy.’

THE STORY Owners Lianne van de Blaak, who works for a catering company, and Henk van den Brandhof, a shepherd, live here Property The small three-bedroom house, surrounded by the stunning scenery of Veluwe in the Netherlands, was built in 1950 specifically for the shepherd who grazed sheep on the meadowland around the house What they did Henk’s parents lived here in the 1970s, and rewired and updated the gas supply, as well as adding two attic rooms with dormer windows. In 1997, when Henk took over as shepherd and moved in, the roof was repaired, central heating was installed and the ground floor was reconfigured. More recently double glazing was added along with a new barn

Shepherd’s Cottage

Above: Some vintage frames are a feature in themselves and can be used in unusual ways. Lianne is keen to point out that she found the skulls during a walk in the woods and the deer died a natural death Right: Henk and Lianne removed the wall to the utility room to extend the dining room. The walls are painted in Pure & Original’s fresco lime paint in a natural tone to complement the striking black floor tiles. Lianne’s daughter made the little bench Below: Henk and Lianne have made the most of the freely available and sustainable wool supply in furnishing their home – adding a Dutch take on hygge

Period Living 67

Left: Henk built the shelf around the extractor fan and used antique white tiles for that 1950s feel. Again, Pure & Original Paints have been used.

The feeding trough left of the hob is from Van Hees Design and is used to store condiments Below: ‘I economise on most items, but when it comes to my kitchen equipment, I want the best of the best. So I asked for this Kitchenaid mixer for my birthday,’ says Lianne.

The green enamel pots came from Henk’s parents Right: Rustic farmhouse furniture looks the part here, gathered from fleamarkets, auctions, and handed down through the family. For a similar bench with a back, try Nordic Style, and for similar industrial-style pendant lights, try Industville. There are plenty of places for Lianne to display her extensive collection of antique pottery and glass pieces, many of them found at De Potstal in Valburg

68 Period Living

Shepherd’s Cottage

Above: Lianne was delighted to get her hands on a secondhand Jøtul 602N stove, which gets plenty of use. The hanging basket is from Van Hees Design and the chandeliers were bought online Right: The vintage coffee table is from Sober & Stoer Wonen and the sofas are from Mart Kleppe. At the back is an old apothecary’s cabinet, which Lianne has had for 25 years.

Next to it is a standard lamp that she designed and made herself from a branch of a cherry tree, with a little help from Henk 70 Period Living

Shepherd’s Cottage

Above: The walls in the master bedroom are painted in Pure & Original’s Post Modern Mauve. The bedlinen is from H&M and the ceiling pendants are from Sober & Stoer Wonen; for similar, try Industville.

The cabinets were auction finds and the shaving set was Henk’s father’s Right: The basin is one of Lianne’s budget buys from a local DIY store and the shelving was originally in Lianne’s grandfather’s textiles shop Top right: Lianne is delighted with the pine wardrobes Henk built

72 Period Living

WELCOME HOME This draughty old vicarage was crying out for an update, and for interiors to suit its impressive faรงade. Luckily Melinda Swann had clear ideas about how to warm it up, adding numerous environmentally friendly features and a sense of style to the historic home Words Karen Darlow | Photographs Matthew Cattell

Renovated Vicarage

Built in 1857, the brick and flint vicarage has a handsome Victorian faรงade. Inside, however, it was cold and neglected with a higgledypiggledy layout. Melinda and Chris put their trust in SDA Build London, who set about restoring it from the tips of its chimneys to its subterranean wine cellar. The most important element of the brief? To make the house as environmentally friendly as possible

76 Period Living

Renovated Vicarage

Left: The vicarage was up for sale along with its coach house and a small school building. Melinda and Chris’ challenge was to unite the three buildings. The couple enlisted the help of garden designers Creative Landscape to bring the extensive garden back under control Above: A greenhouse from Alitex’s National Trust range is the centrepiece of Chris’ beloved vegetable garden. He also keeps five hives of bees. Melinda’s speciality is the flower garden Right: A glass corridor links the main house with the old schoolroom, which now houses a boot room and luxurious living room. The coach house has been transformed into a spacious guest suite, with bedroom, bathroom, living room and kitchen Below right: A sweeping drive leads to the front door

THE STORY Owners Melinda and Chris Swann.

Melinda worked in the pharmaceutical sector and Chris is the managing director of a gas trading company Property A former vicarage, and adjoining buildings, built in 1857 near Henley-on-Thames in Oxfordshire What they did The couple enlisted SDA Build London to renovate the house from top to bottom, adding a glass walkway to connect the buildings. The couple added numerous eco-friendly features

ooking for a home and a major project to keep her busy, Melinda thought she’d struck gold when she found an old brick and flint vicarage. ‘It was a handsome house from the outside, but inside it was unloved,’ says Melinda. ‘It was freezing cold and draughty as a church hall, but it had potential.’

The only snag was that it was in Oxfordshire, 7,000 miles away from Singapore where Melinda and her husband Chris were based for her husband’s work. After selling her own business, and due to return to the UK in a year’s time, Melinda decided it would make the perfect renovation project even though she would have to manage the work from the other side of the world.

One thing that was clear from the start was that the layout needed a rethink. ‘The configuration wasn’t ideal,’ says Melinda. ‘Rooms had been subdivided here and there, and although it was sold as a nine-bedroom house there were only two bathrooms. We needed to tackle the heating and insulation, too. The tenant who’d been living there told us she had to put extra clothes on to go to bed!’

The Swanns wanted to make the vicarage an environmentally friendly home and specified air-source heat pumps. To ensure the house stayed warm, Thermalite linings were used for the walls and floorboards. At this stage some rotten floorboards were replaced.

‘We wanted to put double glazing in too, but do it sympathetically so it looked like the original windows,’ says Melinda.

Next door to the vicarage was an old singlestorey building where the vicar had run a school, and Melinda was keen to incorporate this into the new layout, keeping as many of the original features as possible. A contemporary glass-box extension now links the two buildings, providing a striking covered walkway between the two spaces.

‘The Victorian foundations were somewhat lacking, so we had to dig down. It was a big project, and took a year from start to finish,’ says Melinda.

‘We were still out in Singapore, so I was project managing a team of 12 builders, plus some specialist tradespeople, using email and video calls to see what the issues were. The builders were living in 78 Period Living

the house while they were working on it, so they were always close at hand.’ A new kitchen was fitted, together with five new bathrooms, and even a new spiral staircase. ‘There were originally two staircases either side of a dividing wall - a central one for the vicar, and one for the servants leading straight from the kitchen to the attics,’ says Melinda. ‘And it was fascinating - all the doors that the vicar would have used had crosses on the back of them. The servants’ doors had no crosses.’

The couple kept this detailing when they fitted replacement doors, and used some of the wood from the old stairs to commission a coffee table and some trays from a local artisan.

Melinda wanted to bring more the light into the home. ‘We added extra windows and had to get planning permission for that – and we built up the height of the chimneys too. They’d been gradually reduced in height over the years, so the builders matched them back to their original heights using old photos as a guide.’

The couple moved back to the UK for the last three months of the project. ‘Just in time for all the nice finishing touches, the wallpapers, paint colours and the carpets - all the fun bits,’ says Melinda.

Melinda was able to gather together some unusual furnishings and accessories on her travels around the world. ‘When you’re doing up a house you’re not just looking for a bowl or something like that, you’re looking for bigger things as well,’ she says. ‘When we were in India I found the most fantastic hand-embroidered cotton curtains that I’ve used in two of the bedrooms. After I came back I saw the same design at William Yeoward, and I was so happy I got them at a fraction of the price!’

Melinda is rightly proud of her comfortable and harmoniously renovated home, with its eco features and striking furnishings. ‘I chose all the décor myself. I had no interior designer, and I’m as pleased as punch with how it’s turned out. Above all I wanted to be sympathetic to the house. I didn’t want it to look old-fashioned – more classic and traditional with a modern twist.’

So if the Victorian vicar were to walk back in after all these years, it would be nice to think he’d still recognise his not-so humble abode, but would find it infinitely warmer, more practical and very much more welcoming than he remembered.

Renovated Vicarage

Above: Two leather chesterfields from Old Boot are set either side of a handcrafted rug from The Rug Maker in Singapore. For a similar yellow sofa, try Sofas & Stuff. The large footstool, used as a coffee table, is from William Yeoward, as are the console tables. The light fitting is Pieter Adam’s Twiggy chandelier, the table lamps are by Porta Romana, and the curtain fabric is Romo’s Tremont Bark Right: Along with the living room, the kitchen is Melinda’s favourite room.

The cabinetry is by McCarron & Company, who fitted the kitchen in the couple’s previous home, with worktops and splashback in Brazilian quartzite. The barstools are from Pinch Design, the armchair next to the French window is from One World, and the pendant lights are Tom Dixon’s Melt design

Period Living 79

Right: The vicarage originally had two staircases – the main stairs and the back stairs that led directly to the kitchen from the servants’ quarters.

This new curved staircase is from Kevala. The Wychwood tumbled floor tiles are by Artisans of Devizes Below: Space and luxury are abundant in the master bedroom, where the striking Merian Palm wallcovering by Timorous Beasties is the star. For a similar bed, try The Four Poster Bed Company. The footstool is by Sofas & Stuff, the curtain fabric is Romo’s Quinton Pesto, the lights are from Porta Romana and the cushions and chairs are covered in Manuel Canovas’ Tiana fabric

80 Period Living

Renovated Vicarage

Above: Simple dÊcor in the coach house guest room with a cast-iron bed from Feather & Black and a blind made in Colefax & Fowler’s Amelie fabric. The bedside table and lamps are from One World Left: An all-white scheme for the attic bathroom allows the architectural details to shine. The Bath is the Derrymore freestanding acrylic double-ended roll top, with a floorstanding Crosswater Belgravia bath and shower mixer, all from UK Bathroom Store

Period Living 81

of

r i a f e Kicking off 2020 with tha bright and beautiful bang, the

Fu n

Winter Decorative Antiques & Textiles Fair returns to Battersea Park from 21-26 January, showcasing 150 specialist antiques, design and art dealers from across the UK and Europe. It runs alongside the London Antique Rug & Textile Art Fair (LARTA), featuring colourful carpets, folk rugs, tribal weaves and textiles from around the world. But most exciting of all is this year’s Fair Showcase, Alice in Wonderland: Adventures in Decoration, consisting of a styled space in the entrance foyer.

Highlighting the many design disciplines on offer, the space will celebrate the bicentenary of John Tenniel, illustrator of Alice’s Adventures in Wonderland, paying homage to the book’s whimsy and humour. Entry £10 or register online for free tickets.

OLD MEETS NEW Impressionist painter Chloë Holt RCA FRSA carefully marries her oil, raw pigment and multi-media works with antique frames from across the centuries. ‘The objects and places I paint connect to the same time periods, and even before, so it makes sense to present them in old, time-worn frames,’ she says. ‘They provide a window into the past, allowing you to view the scene through new or ancient eyes.’

Her frames range from 1700s Venetian to mid 1900s, and even some late-19th-century ones from Versailles store rooms. ‘All are important to me and sometimes inform what I paint.’

From top: Handpainted folding screen c.1970, £2,900; playing cards in papier-mâché box c.1900, £160; toy rabbit c.1930s, £180

Feature Alice Roberton Images (top right) Opus, oil, graphite and gesso on board in antique frame, Chloë Holt (screen, playing cards, rabbit) The Decorative Antiques & Textiles Fair (Amanda Leader) layeredlight.co.uk

s and vintage ctors’ stories

IN FOCUS DUTCH DELFT TILES Originating from the city of Delft, these tin-glazed earthenware tiles were handmade from the end of the 16th century up to 1900 and typically depict everyday scenes, people, animals and items from iconic periods such as the Dutch Golden Age. Known for their blue and white decoration - although other colours were used delft tiles were heavily influenced by Chinese pottery of the time, resulting in a fusion of designs. As reproduction tiles were made on a grand scale during the 1900s, it is advisable to buy from a professional dealer who can confirm when and where tiles were made and clarify the pictorial detail, notably of abstract ornaments, biblical scenes, mythology and symbols. A good dealer can tell the condition of the tile and whether it has been restored or repaired.

Clockwise: Landscape with post mill, c.1760, £148; polychrome flower with a Chinese ‘Wan-Li’-style border c.1640, £295; rare owl tile of outstanding quality, c.1650, £500; scene of three wise men, c.1750, £230, REGTS Antique Tiles

MEET THE COLLECTOR Amanda Leader What I collect: Antique French household linens, from plain, homespun, rustic pieces to fine works.

Most of my collection consists of 19th-century country pieces and I have a weakness for monogram embroidered sheets with my family’s initials.

Why I collect: I’m warmed by the connection with the women who originally created linen in their homes; they are the unsung heroes of domestic life who uncomplainingly stitched, laundered, pressed and kept life going. The linen is a wonderful glimpse into the past.

How I collect: I scour rural French markets and vide-greniers. My well-trained eye can spot a good piece from 100-yards away.

My collection highlight: An unused 100-year-old sheet bearing a half-stitched monogram with the needle and thread left tucked in – it had completely rusted into the sheet. I’ll forever be intrigued by the story that lies behind this piece. (amandaleader.com) Period Living 83

e v d i etai t a r ls eco D

I D N L G I G

Antiques Roadshow specialist Marc Allum takes a look back at the vast history and various techniques of this ornate craft

84 Period Living

of financial success, but also has strong historical associations with myth and spirituality.

GOLDEN AGES Gilding is not a singularly distinct process and, like many crafts and artisan based forms of decoration and design, has developed over the millennia to suit the many different applications for which it has been required. If it were not for the writings of Herodotus and Pliny, we would have far fewer insights into such historical information, but as we know from the riches of the Egyptian world and the discovery of Tutankhamun’s tomb, the Egyptians were extremely skilled at gilding, using it widely.

Photographs (Regency mirror) Windsor House Antiques, (rococo mirror) Lorfords

he advice of an interior designer friend of mine once, as I was pondering the treatment of an 18th century cornice, was that ‘if in doubt, gild it.’ I did exactly that and, although this might seem a rather extreme solution to many decorating dilemmas, it has, in fact, proved rather sage advice over the decades.

Gilding is the most opulent and lavish statement: a mark of success, wealth and grandeur sometimes of excess but it is also symbolically important in conveying messages of love, compassion, wisdom and illumination. Its richness is therefore not only associated with the baseness

Antiques

Photographs (Saltram) © National Trust Images/Andreas von Einsiedel, (commode) 1stdibs, (chair) Christie’s

Left: This corner of the saloon at the National Trust’s Saltram, in Devon, perfectly exemplifies the passion over the centuries for gilding items of furniture

Historically, it is important to define what gilding actually is. The ancient Greeks, Persians and Chinese all gilded objects and the use of gold in sheet or beaten form, which was applied to largescale statuary, furniture and boxes, for example, does not in modern terms constitute ‘gilding’.

Our use of the word generally refers to the application of gossamer-thin sheets of gold leaf to various mediums, such as picture frames, furniture, leather, stone and architectural detail. Ancient craftsmen were naturally not capable of producing sheets of such microscopic thinness; however, archaeological remnants of Roman gold leaf showing its thickness give us a good indication of their processes and the applications for which it was routinely used. Pliny the Elder leaves us first-hand written evidence of its popular utilisation in decorations for temples, civil buildings and even domestic Roman homes.

Modern gold leaf is around 4-5 millionths of an inch in thickness. Ancient gold leaf was about ten times that, and by the medieval period about half of its ancient equivalent. It is the most ductile metal on the planet, hence its incredible malleability.

Various types of gilding also became highly important in art and particularly religious art, where we see it used in many cultures and importantly Christian art and architecture.

The use of gilding is not necessarily carried out to give the impression that objects might be solid gold, although this became the case in Europe, specifically when gilding silver. However, silver also tarnishes, so a layer of gold was useful in adding a protective layer and also as a lining for ‘salts’ and snuff boxes, in which the contents would corrode the silver. The French historically call this process vermeil, a term we still use today.

BURNISHED BRIGHT Most people are familiar with traditional techniques, which are still extremely important today. These include various processes that are categorised as ‘mechanical’. ‘Water gilding’ or ‘oil-gilding’ – traditionally used by decorators, woodcarvers and signwriters – necessitates the use of a base, such as gesso – a fine gypsum or chalk and glue mix – which when smoothed and dry, allows the gold leaf to be applied with a ‘sizing’,

Opposite, from left: This Regency-style giltwood convex wall mirror has retained its original gilding, £2,850 from Windsor House Antiques; a 20th-century reproduction of a rococo-style mirror, £1,450 at Lorfords Top: A 1950s example of a decorative Italian parcel gilt commode, from 1stdibs Above: One of a pair of Chippendale armchairs, sold at Christie’s for more than £2million

Period Living 85

in 1805 but perfected by entrepreneurs such as George and Henry Elkington, who were granted a patent in 1840. As a result, gilding became far cheaper and far less dangerous.

Yet, nothing ever quite comes close to the quality of mercury gilding. Its colour is far superior to electroplating and for all of its dangers it is preferred by connoisseurs. French Empire clocks evoke a richness and quality in their mercurygilded cases and the decorative features of French ormolu furniture mounts are a sublime addition to the intricate marquetry pieces that they often adorn. The particularly French skill for producing ‘bronze doré’ is no more apparent than at Versailles, where the Baroque excess of Louis XIV made the French the masters of fire gilding.

Above: Made in 1765 by John Linnell, this sofa for the Drawing Room at Kedleston Hall, Derbyshire, interpreted a Robert Adam design. Such pieces were gilded using traditional water and oil gilding techniques

86 Period Living

or water-based glue. This can then be burnished with a special agate tool, producing a mirror finish.

The oil variation uses boiled linseed oil and need not be burnished.

Much of the architectural majesty that we see in our churches and stately homes, with their 18th-century giltwood Adam console tables, Chippendale mirrors, elaborate picture frames and furniture, such as The Keddleston Hall drawing room sofas by John Linnell, for example, are gilded in this way. It is the incorruptible nature of gold that gives us this incredible longevity; history and originality in the medium is cherished, although re-gilding is also often deemed highly acceptable.

‘Fire gilding’, as it is commonly known, became prevalent in Europe in the medieval period, and the use of the ‘mercury amalgam’ method is documented from the mid-16th century and prolifically used in the later part of the Italian Renaissance. This skilful and complicated process has gone down in popular culture as one of the most dangerous processes in the world of art and antiques; this stems from the highly toxic nature of mercury, which was used to form an amalgam with gold (or other precious metals) creating a butter-like consistency that was applied to metal surfaces and then driven off by heat to leave a plating of gold. The process, however, produced a toxic vapour, which when inhaled was highly debilitating to the workers and resulted in neurological disorders and premature death.

As the perils of the process became more apparent its use declined and was eventually replaced by electroplating, a process invented

by Italian chemist Luigi Valentino Brugnatelli

Whether buying gilded pieces for investment or purely for decorative reasons there is a plethora of different mediums you can choose from.

Statement overmantel mirrors are currently fashionable and you can expect to pay in excess of £1,000 for a large Victorian example. A period Chippendale or Adam-style mirror might cost tens of thousands of pounds, but the Victorians and Edwardians made countless reproductions and these can often be bought at auction or retail for just a few hundred pounds. Other popular styles include Regency convex mirrors with eagle surmounts and Regency triple-plate overmantels with gesso pictorial friezes, which were also reproduced later. Condition is not always important as worn gilding can be absolutely acceptable, but beware large sections of missing decorative gesso as this can be expensive to restore.

Gilded picture frames were often specifically designed to go with period pictures but when alienated and spotted at auction, can easily be repurposed as mirror frames. However, good gilded picture frames merit specials auctions and can run into the thousands.

There are varying degrees of quality in everything; I often see ‘decorative’ items that are poorly gilded and perhaps even ‘Dutch-leafed’, which is brass leaf instead of gold, lacquered to prohibit it from tarnishing. But some items are purposely naive and Italian parcel gilt furniture can be very decorative, with pre- and post-war examples selling quite reasonably at auction.

Popular items include chests of drawers with painted and partially gilded decorative elements - £200-300 will secure a reasonable 1950s example. Gilded Italianate standard lamps are also popular decorator’s items.

It is important to exercise caution when dealing with gilded items as it is very easy to damage the finish by quickly abrading it or perhaps knocking off the often fragile gesso base to which the gold leaf is applied. Small repairs can be carried out with modern ‘gold’ waxes and pens but if you are unsure always seek professional advice.

Photograph © National Trust Images/Nadia Mackenzie

GOING FOR GOLD

The

RESTORERS From her workshop in Leek, Staffordshire, antiques restorer Ruth Tappin specialises in gilding work using traditional methods and materials Words Karen Bray | Photographs Kasia Fiszer

R

uth Tappin has been professionally restoring and gilding for 20 years, since completing a fine art sculpture degree. She has gilded a plethora of items, from antique gilt mirrors, picture frames and furniture, to internal architectural features, large wrought-iron gates, chandeliers, copper baths and sandstone, and is often commissioned to create reproduction, antique-style gilded items.

A passionate advocate of her craft, here she shares some of her knowledge and expertise.

with rabbit glue, which provides a flexible surface that can be burnished. Then, the gold leaf is laid on immediately with a gilder’s tip – a flat brush made from squirrel hair. This is then burnished with an agate stone to achieve a mirror-like finish.

The oil gilding gives a matt look to the gold in contrast to the burnished water gilding, and can be used for both internal and external surfaces. An oil size – or mordant – is painted onto a prepared surface and after becoming tacky, the gold is applied. This form of gilding cannot be burnished.

Once the gilding is dry, around a week later, you can age the gold to match the original gilding.

Can you explain the process of gilding?

There are two main types of gilding that are used on pieces. Water gilding is always first, mostly on the high points of decoration and flat or scooped sections of the frame. For this process a water and glue solution – gilder’s lacquer – is brushed onto the smoothed bole surface; the bole is clay mixed 88 Period Living

What does gilding restoration involve?

When a picture frame, for example, comes into the workshop it can have a range of issues. A lot of frames will have been poorly repaired in the past, so this work needs to be corrected. Sometimes the frame has been covered with gold-coloured

Antiques

Clockwise from opposite: Ruth in her workshop; a reproduction fern oval mirror; compo decoration ready to be attached to a frame in the midst of repair; she uses a selection of brushes for gilding; water gilding involves the delicate process of picking up gold leaf with a small gilder’s tip that she’s first brushed on her face to get a tiny bit of grease on it; she lays the leaf on to an Italian Florentine carved wood mirror; the gilder’s lacquer is painted on just before the gold leaf is laid; jars of tree resins, which are used for making varnishes; the process of oil gilding where, once the oil size is at the right tackiness, a 23.5ct gold leaf is gently lifted out of the book with a brush and patted down onto the decoration; Ruth trims down small sections of compo decoration to replace missing pieces

Period Living 89

paint or emulsion. This can be dry stripped (scraped off) or wet stripped with paint stripper, but this will remove any original oil gilding, which will then need replacing.

The gesso – a mixture of size and whiting that is painted on to give a very smooth surface – can be missing in places, which needs filling and sanding.

The compo decoration – a composition of glue, rosin and whiting, which is pressed into moulds and carved – can also be damaged and need replacing. Any repair then needs an application of bole. The colour of the bole clay differs between countries: the French used red, Italians orange, and in Victorian England the preference was for yellow, or pink and black under the water gilding.

The bole needs to be very smooth, as any brush strokes will show in the gold.

How long does it take to master these processes?

Oil gilding is fairly easy to learn once you know what to feel for as the oil size dries – this is how you know when to apply the gold. For water gilding, learning to control the gold leaf is vital; it is so light and thin that just breathing on it can blow it away.

Your breathing slows and your movements become controlled and slower; a bit like meditating. Trying to lay down a piece of gold without it tearing takes years of practice.

What skills does it call on?

There is a lot of preparation work before any gilding can be done. Repair and preparation can take 80 to 90 per cent of the time, with only a small amount the actual gilding. Any scratches in the gesso or bole will show, so every process you go through needs sanding until it is smooth, which can be very time consuming. It calls for a lot of patience and a good eye for detail.

What difficulties can it entail?

When a repair on a frame is gilded the new gold is very bright; however, the original gold will have aged over time, so you have to tone down the shine on the repairs and simulate possibly 200 years of ageing so that it matches. This can be challenging as each frame has had its own life: placed in different environments they will age in different ways. Toning can involve the removal of gold or application of pigments to replicate an aged patina.

There is no one way to age gold.

What do you enjoy most about the process?

Some days the gold goes on like a dream and it’s so satisfying. When someone says ‘I can’t see what you’ve repaired’, I know I’ve done a good job.

Why is it important to retain these types of skills?

Gilding is on The Heritage Craft Association’s Red List of Endangered Crafts, which means it is a craft that could decline even more if the next generations do not take it up as a career. Gold has always been a luxury material, so to have some on a frame 90 Period Living

Above: Picture frames awaiting restoration.

A mix of water and oil gilding is used on most frames, which gives contrast and depth

around a mirror, painting or on a piece of furniture denotes it as a special item. This is then often handed down the generations, which means it acquires sentimental as well as real value.

For more about Ruth’s restoration work visit ruth-tappin.co.uk or see her on the TV series Salvage Hunters: The Restorers, on Quest

A century on, we look back at this remarkable decade and its striking interiors – from opulent Art Deco to cutting-edge Modernism

THE ROARING TWENTIES

A

fter great turmoil and heartache, it is testament to the strength of the human spirit that we somehow find our way back to hope and to light. In the aftermath of the First World War, with Europe reeling from the catastrophic loss of life and the old sense of order, bold and defiant creative ideas emerged. These ideas were to translate into dramatic new styles of art and interior design, and were to show humanity’s innate need to strive forward, against the odds, embracing change and modernity. The 1920s is one of the most iconic decades of the 20th century and one whose ethos and innovation was to influence the decorative arts for many years to come. It introduced an array of cutting-edge, ambitious design, and 100 years on, we still look to its originality and its inventiveness for our own interiors inspiration.

The roaring 1920s was the decade of jazz, of flappers, of bobbed hair and dark red lips, fast cars, dance halls, and that prevailing sense of glamour and decadence that was so unique to this era. It was Coco Chanel and Clara Bow, it was Bertie Wooster and Noel Coward. It was loud and adventurous, a celebration of life and vitality; it was cocktails and

92 Period Living

Coco Chanel created her revolutionary perfume, Chanel N°5, in 1921. The bottle was designed to resemble a whisky decanter

Photographs (main image) Rayon des Soieries poster by Maurice Dufrene; Swim Ink 2, LLC/Corbis via Getty Images, (border) Getty Images, (Chanel N°5) Eric Feferberg/AFP via Getty Images

Feature Kate MacDougall

Design of the 1920s The 1920s epitomised glamour, elegant fashion and cocktail parties, evocative of The Great Gatsby

Photographs (party illustration) Historica Graphica Collection/Heritage Images/Getty Images, (Savoy Hotel flyer) Transcendental Graphics/Getty Images (Chrysler Building) Angelo Hornak/Corbis via Getty Images, (Noel Coward) Hulton-Deutsch Collection/Corbis via Getty Images, (Robj statuette) DeAgostini/Getty Images

Doors in New York’s Chrysler Building.

Built between 1928– 1930, it is a paragon of Art Deco design

Witty dialogue and Art Deco glamour were hallmarks of Noel Coward’s plays. Here, he stars in Private Lives with Gertrude Lawrence

1930s flyer promoting the Savoy Hotel. Its Beaufort Bar provides a theatrical Art Deco setting, serving cocktails in vintage glasses

clubs and dancing till dawn. ‘The parties were bigger, the pace was faster, the shows were broader and the morals were looser,’ said F Scott Fitzgerald in his era defining novel, The Great Gatsby.

Society wanted to put the austerity and bleakness of the war years well behind them and that not only included fashion and night life, but also art, furniture and interiors, with designers of the day creating broad and distinctive looks that incorporated the whole room or, indeed, the whole building. From the tables to the rugs, the tiles and the ornaments, the 1920s aesthetic was as all encompassing as it was original and dynamic.

The old, heavy classicised styles of yesteryear were utterly swept away to make room for something far more avant garde.

Art Deco

Art Deco ceramic statuette in the shape of a Spanish dancer, 1929, by Yvette Guerbe for Robj Paris

Enjoying a healthy resurgence of interest in recent years (with some finger pointing towards the ‘Downton effect’) Art Deco is perhaps the most prominent and easily recognisable look from the period. Taking its name from the rather wordy ‘Exposition Internationale des Arts Décoratifs et Industriels Modernes’ (the era’s shorter, catchier moniker was not actually coined until the 1960s), its origins lie in Paris, around 1915, although it couldn’t

Period Living 93

be showcased properly until the 1920s due to the war. The exhibition, staged by the leading artists and designers of the day, was to launch Art Deco onto the world stage, and its influence quickly rippled its way across Europe and the Atlantic to America and beyond.

Political and societal repercussions aside, Art Deco is a look that gleans inspiration from a huge number of stylistic influences, from the local and the contemporary to the more exotic and the ancient. In essence, it was a thoroughly modern style, progressive and industrious, and sought to encapsulate the dynamic changes that were happening in design, technology and engineering at the time. Paris was the epicentre of many of the century’s key art movements, with one of the most revolutionary and significant being cubism.

Art Deco is perhaps most recognisable for its smooth lines, angular forms and its striking geometric patterns, with many critics of the time referring to the style as ‘cubism tamed’.

The fan was a popular Art Deco motif and has been interpreted on many wallpaper and fabric designs

A Collector’s Study, circa 1925, arranged and furnished by Émile-Jacques Ruhlmann with painted mural by Jean Théodore Dupas

Nature motifs are also a key element in Art Deco, the preceding Art Nouveau style playing a large part in this, with flowers, shells, sun beams and leaf patterns all frequently used, albeit in a far more streamlined and stylised way in Art Deco. This organic imagery was often used in repeating patterns to create striking wallpaper, fabric and tile designs, one of the period’s key looks. While the use of vivid colour is believed to have come from the recent Fauvist style of painting, there is also the distinct influences of Egyptian, Aztec and African art. Early-20th-century artists often looked to the primitive for inspiration, and with the discovery of Tutankhamen’s tomb in 1922, the public’s romanticised fascination with Egyptology and its dynamic forms quickly found its way into the Deco aesthetic.

Opulent materials

A woman tries to choose which dress her love interest will prefer. 1924 illustration by Higgins from The Bystander 94 Period Living

Like the Egyptians, the Art Deco designers favoured the opulent, particularly at the beginning of the movement when the backlash to austerity and the remnants of Victorian sensibility was at its fiercest.

Art Deco was escapism, an expression of life at its most luxurious and decadent, and there was no expense spared when it came to the materials that were used. Silver, jade, tortoiseshell, pearl and ivory were all frequently used in furniture making,

Design of the 1920s

Photographs (fans) Getty Images, (woman on bed) Dea/Biblioteca Ambrosiana/Getty Images, (A Collector’s Study) Print Collector/ Getty Images, (dressing table) DeAgostini/Getty Images, (Clara Bow) Hulton Archive/Getty Images, (cantilever chair) Italy Classics

Left: Sleek, minimalist and functional, the Cantilever chair is a Modernist icon, designed in 1926 by Dutch Bauhaus designer Mart Stam Right: Eileen Gray’s Bibendum chair, now sold by Aram, is ironically named after the Michelin man

with the emphasis being on the polished and the shiny to help create a sense of a lightness of touch.

Pieces were often made with contrasting inlays of wood, or in high-gloss lacquer, and often finished with glass and intricate metalwork. The overall effect was certainly striking.

Perhaps the most remarkable thing about Art Deco is that its designers didn’t just make tables or chairs or cabinets – they devised the entire room, from the fabric and wallpaper to the lamps and ornaments. The foremost creative of the age was Frenchman Émile-Jacques Ruhlmann, a furniture designer whose commissions included rooms on the luxury ocean liner Ile de France, the Chamber of Commerce, the Palais de l’Élysée and numerous other hotels, restaurants and public buildings.

Some of his furniture pieces could take up to eight months to complete due to their hugely intricate nature, yet they remarkably retain Deco’s core aesthetic of sleekness and pared-down elegance.

Another notable Art Deco designer was Eileen Gray. Irish born but resident in Paris for most of her life, she was one of only a handful of successful women in a very male-dominated field. She is possibly best known for her dramatic lacquered screens and iconic chairs, such as the Bibendum.

The Hollywood effect

American actress and ‘It’ girl Clara Bow, pictured at home, symbolised Hollywood glamour in the 1920s

such as animal skins, velvet and large thick rugs.

You could, if you had the means, create your own Hollywood-inspired interior inside your home.

Lighting was no longer purely functional as electricity became far more widely available by the start of the 1920s. Ceiling lights or wall sconces would often form the centrepiece to a room, and were often used in conjunction with mirrors to help reflect more light and shine back into the space and to add that all-important sense of drama.

Huge, angular glass chandeliers in steel, chrome or polished bronze were often seen in some of the period’s most fashionable houses, and as more larger commissions were undertaken in hotels, cinemas and theatres, the lighting became bigger and far more adventurous. Top London hotels like Claridges, The Savoy, and the Park Lane Hotel all incorporated stunning Art Deco lighting into their lobbies, restaurants and ballrooms.

The 1920s was also the decade that saw the rise of Hollywood, with the silver screen becoming an important cultural influence in its own right.

Historian AJP Taylor called cinema ‘the essential social habit of the age’, as going to the movies was all part of the glorious escapism of the day. Movie stars such as Rudolph Valentino and Mary Pickford became household names, and society at large began to feel a sense of aspiration as the glamour and elegance of the film world became something people wanted to recreate in their own lives. Cocktail Small French Art Decocabinets, drinks trolleys with ice style dressing table in buckets and silver shakers, cigarette Macassar ebony, circa cases and ashtrays all became hugely 1921–1922, stamped by Émile-Jacques Ruhlmann popular interior items, as did luxurious fabrics and soft furnishings

Modernism Walking side by side with Art Deco is the decade’s other key look – Modernism. Taking its inspiration from Germany’s Bauhaus movement, the two styles share many of the same principles and forms and were both born from the same need to push forward towards a brighter future.

Period Living 95

Claridge’s foyer shimmers with Deco glamour. The glass chandelier features a Lalique base

Their main difference perhaps lies in the Modernists’ love of the functional, a paring back to the absolute minimum. The ‘Deco’ part was superfluous as Modernists looked to machines, automobiles and movement as their primary inspiration with furniture and other household objects, such as lamps and everyday appliances, all appearing curved, sleek and even aerodynamic.

What sparked the beginning of the end of pure Art Deco was Modernism’s great triumph. As the decade drew to a close, Art Deco had become more and more exclusive and expensive, so when the devastating stock market crash of 1929 happened, the style could only really survive through the advent of mass-production. Deco had to become more muted, less ostentatious, and easier to reproduce on a large, affordable scale, and as a result, it married better with the more streamlined vision of the Modernists.

Our 1920s heritage We are fortunate to have a wealth of 1920s treasures in this country, from the grand and majestic to the small and surprising. A trip to London will could

incorporate tea or a cocktail at one of the many Deco hotels, including Claridge’s or the Strand Palace, whose foyer gleams with mirrors and lights.

West End theatres such as Her Majesty’s or the Apollo have fine Deco interiors, as do cinemas such as the Odeon Leicester Square (recently restored), the Rio in Dalston or the Troxy in Stepney.

Further afield, don’t miss the stunning 1927 red, black and silver bathroom at the National Trust managed Upton House in Warwickshire, the glamorous cocktail bar at Devon’s Burgh Island Hotel, or the sleek Modernist Midland Hotel in Morecombe, Lancashire.

Five stylish buys to create the 1920s look in your own home

Stockholm table lamp, from £36, John Lewis & Partners

Lene Bjerre Feline round mirror, £575, Houseology Bercy Geometric wallpaper in Blush and Rose, £16.99 per roll, Cult Furniture

96 Period Living

Green Octagon tile, £6, Bert & May

Nancy vintage leather chair, £255, Perch & Parrow

Photographs (Upton House) National Trust Images/Andreas von Einsiedel, (Claridges) View Pictures/Universal Images Group via Getty Images

The Art Deco bathroom at Upton House, created in the late 1920s by architect Morley Horder for Dorothy, wife of the 2nd Lord Bearsted

Luxury materials

ALL FIRED UP Esse’s new 990 Hybrid is an elegant range cooker with fire in its belly. Part wood-burning cook stove, part electric range, the Hybrid brings the inviting scent and atmosphere of wood smoke into the kitchen while offering reliable cooking performance. The firebox gives you the ability to make rustic foods, such as pizza, and also powers the hot plate.

Meanwhile, two electric ovens give versatility for everyday cooking.

Available in a choice of 20 colours, from £7,600.

Lapicida’s new Antique Marble tiles combine the authentic look and feel of reclaimed natural marble with the durability and easy installation of porcelain tiles. A clever way to achieve a luxury shower enclosure in the bathroom, or create a classic black and white chequerboard floor, the tiles come in two sizes – W119xL59.5cm, £70.80 per m2, and W59.5xL59.5cm, £58.80 per m2 – and six different marble effects.

Shown here in Arabescato (left) and Nero Marquina.

HOUSE j ur al D the latest pr i our period pick up top tips from industry experts

TIMELESS UPDATE Second Nature Kitchens has added two new designs to its popular Shaker collection: Clarendon and Hunton.

Fusing a simple Shaker door with a traditional framed design, Clarendon offers a sophisticated, bespoke appearance. It’s available from stock in Porcelain and Dust Grey (as above), as well as in 30 paint-to-order colours with the additional option of a sanded format. Meanwhile, Hunton’s slimframed cabinetry features shallow centre panels and is available in three colours – Porcelain, Dust Grey and Hartforth Blue – as well as the paintto-order palette. Second Nature Kitchens are priced from £12,000 and available from specialist retailers across the UK.

GOING WITH THE GRAIN Inspired by the raw beauty of natural wood, the latest addition to Amtico’s Signature luxury vinyl flooring collection, Rustic Grains, beautifully emulates the pronounced textures and defined graining of salvaged, aged timbers.

The hand-worked designs are available in three distinctive palettes – Sawn Woods, Winter Oaks and Continental Oaks – all of which feature the new Rustic Grains finish, to create a range that offers seeming endless natural variations. Shown here is the Signature Rotterdam Oak design in Halcyon Pleat, £70 per m2.

Period Living 99

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

Han gi

Showcase your favourite treasures or create some much needed hanging storage with this factory style industrial metal hook rail, £25 from Nordic House. The rail features a sturdy aged metal frame with six hooks, and is ideal for use in the kitchen, bathroom or home office, as well as hanging collections of photos and decorations.

STYLE MEETS FUNCTION Combining simple Shaker design with innovative open and closed storage solutions, the new Wentworth collection from Neville Johnson is available across its range of fitted furniture for the bedroom, home office and dressing room. Handcrafted in Britain, the furniture is available in 70 colours shown here in Sorrell and its bespoke built in design will allow you to utilise every inch of space without compromising on style. Bespoke designs start from £3,000.

MAKING A SPLASH Crosswater has introduced 11 new countertop basin designs to its striking Gallery collection.

Crafted from luxurious materials, including fire clay, marble and travertine, the basins come in a variety of shapes and sizes, from round to square. There is also a choice of finishes from gloss and matt white to on-trend grey and statement platinum.

Stain-proof, lime-scale resistant and 100 per cent recyclable, the basins are priced from £229.

100 Period Living

From top: Castellon Carrara marble Plus basin, £569; Castellon travertine Plus basin, £685; Navarre ceramic basin, £289

Q

Our old house faces directly onto a busy road. Can the noise through our sitting room windows be reduced without replacing them?

The best approach is to fit secondary glazing combined with draughtproofing, to reduce low and high frequency noise respectively. Secondary glazing comprises an extra layer of glass that is installed to the insides of the existing windows and, if well designed, is unobtrusive. There should be a wide air space between the panes (minimum 150mm) and their thickness should differ by at least 30 per cent. A little ventilation should be maintained through the outer window to prevent condensation.

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

n

g

Q

splay i d

We recently removed inappropriate paint from the external brickwork of our Georgian house. This has revealed areas where the pointing needs attention. Can small repairs be carried out or do all the joints need refilling?

I would strongly recommend that you repoint your walls only where the mortar has receded leaving the joints open or has become very loose. Old pointing can be an intrinsic part of the fabric and character of a building and removing it, however carefully, risks damage to the edges (arises) of bricks.

My advice is to patch point the areas where the mortar has eroded back behind the general wall face to a depth equal to the joint width using a lime based mortar. It is important to use a suitable contractor who will take care to avoid a patchwork appearance ideally ask them to do a trial in a discreet area to check the finish before proceeding.

The exception would be if you have ‘tuck pointing’, where joints are filled flush with a coloured mortar into which is inserted a ribbon of fine contrasting mortar. Tuck pointing was often used on façades between the late 17th and early 20th century to imitate superior ‘gauged’ work. Unlike with other types of pointing, a distinct section or even complete elevation is usually renewed in one job.

Advertorial

Winter sale now on Willow & Hall handcrafts British furniture, uniquely personalised for you.

Its January sale is now on, with 10 per cent off all designs, and as a Period Living reader you can also save an extra five per cent WILLOW & HALL’S BEAUTIFUL FURNITURE is all handmade by skilled craftsmen to your own bespoke design specification.

Personalise from a curated edit of over 200 fabrics, a handpicked selection of quality seat cushions and, if purchasing a sofa bed, from three luxury mattresses: open sprung, pocket sprung and memory foam.

All designs come with a 25 year wood frame guarantee; are delivered within four to five weeks for personalised furniture and from five days for in stock designs; and Willow & Hall offers a 14 day returns policy.

Discover the furniture at willowandhall.co.uk, call on 020 8939 3800 or visit the London showroom in person or via a live video appointment.

How to get your extra discount Simply enter code PL310120 at the checkout by 31 January for an extra five per cent off.

Top: The Foxcote sofa or sofa bed, from £1,112 and £1,400 Left: The Buttermere sofa or sofa bed, from £833 and £1,121 Below left: The Bulford sofa or sofa bed, from £1,625 and £1,913

Period Living 101

Shopping

Jubilee 10 wood-burning stove, from £1,495, Lotus

Stockton 5 multi-fuel stove, from £869, Stovax

Huntingdon 40 gas stove in matt ivory, £1,545, Gazco

Turn up the heat

Keep cosy and warm this winter with a focal-point stove – we’ve sourced the best designs for every fuel type

Ø6 multifuel stove, £1,299, Morsø

Vintage 35 wood-burning stove, from £2,239, Dovre

Orion wood-burning stove, from £789, Nordpeis

Large Ellesmere EC5W wide electric stove, £1,575, Aga

Farringdon multi-fuel stove in Spice, from £1,307, Arada

Dimplex Grand Noir Opti-Myst electric stove, £562, B&Q

Feature Soophie Warren-Smith

Bornholm woodburning stove, from £1,219, Varde

Phoenix eco design Firebug tall stove, from £1,918, Woodwarm F602N wood-burning stove, £1,149, Jøtul

Alpine 4 Series wood-burning stove, from £1,550, with Atlantic Blue finish, £85, Chesneys

Period Living 103

Soak up the luxury

Bathrooms

If you dream of a relaxing bathroom where you can enjoy bathing bliss, then be inspired by the latest designs that will help revitalise your sanctuary Words Holly Reaney

ORE INSPIRING A copper bath is a stunning addition to any bathroom. Its polished exterior ages gradually over time, transforming from a deep pinkish hue to a warming red-brown. Plus, copper’s inherent properties means that it heats up faster and retains its warmth longer than enamel or acrylic tubs. The deep style of this bateau bath with artisan tin interior, from £4,831 at William Holland, allows you to fully immerse yourself for the ultimate soak.

Period Living 105

PERIOD DRAMA Swap mundane magnolia walls for moody shades to create a cocooning, atmospheric space.

Add depth and texture with painted waterproof panelling.

Whether you go for glamorous grey, dramatic black or classic blue, make sure you pick a matt finish, as glossy sheens can make the space feel cold. For a similar shade to this, try Little Greene’s Scree, £50 for 2.5ltrs of Intelligent matt emulsion, which is ecofriendly as well as completely washable. Add to the intimacy with a low-hanging pendant light, like this St Ives Harbour design, £55 at Garden Trading.

106 Period Living

Bathrooms WONDER WALLS Below: You wouldn’t think twice about wallpapering a bedroom or living room, so why not the bathroom? The injection of pattern can completely reinvent a tired space. Devon & Devon’s vinyl wallpaper is impervious to damp, making it the perfect choice for a humid environment. It is also ecologically sustainable, made using water-based inks that are non-flammable, odourless and nickel-free. We love Francesca Greco’s Lilies design, £121 per m2.

FROM THE EARTH Above: Evoke the serenity of the natural world by incorporating raw materials into your design.

Mandarin Stone’s Lavastone basin, from £354, is created from volcanic boulders sourced from Indonesia, and each basin is unique in size, colour and design. Pair it with the beautiful mink-grey shaded Fume Emperador honed limestone tiles, £83.98 per m2, to complete the natural look.

‘Bathrooms should exude as much comfort and style as your bedroom, and lighting plays a key part. A much overlooked lighting trick is to use an IPrated central pendant to gently diffuse light, rather than the more common downlighters, which create a harsh glare.’

Cassie Rowland, creative director at Jim Lawrence Period Living 107

TURKISH TWIST Right and above: Make a statement with an ornately patterned floor. Opting for a bold colourway in a vintage design will add a modern edge to a classic that will work well in a period home. This Nova porcelain tile, £68.97 per m² from Ca’Pietra, evokes the feel of an exotic Turkish hammam.

Available in Peacock (right), and also (above, clockwise from top left) Cloud, Powder Blue, Custard and Graphite.

EBB AND FLOW Left: Take inspiration from the serenity of the sea with these Indian Ocean aquatic glass mosaics in Madagascar Seaspray, £154.90 per m2 from Fired Earth. Made from a proportion of recycled glass and hand-finished, each tile is subtly different, creating a haze of blue and green tones that add texture as well as colour to the room.

108 Period Living

Bathrooms

PRETTY PRIVATE Being able to shut off from the world is essential in creating a soapy sanctuary. Blinds not only provide that all-essential privacy but also give you the opportunity to introduce pattern into the room. Choose a pastel background with nature-inspired patterns for a serene feel. These Camellia Chinoiserie Plaster Pink roller blinds start at ÂŁ190 for H50xW50cm from the V&A Collection at Surface View.

Period Living 109

Bathrooms ON THE LEVEL Not purely the preserve of new builds, a wet room can be created in many period homes.

It is perfect for irregular-shaped rooms or those with awkward spaces as it removes the need for an in-built shower enclosure.

A clear glass shower panel will provide subtle zoning, but still allow the space to feel open and light. Complete bathrooms cost from £12,000 at Ripples.

DOUBLING UP Right: Reminiscent of luxury hotels, a double console is a grand edition to a bathroom or en suite. The epitome of opulence, this Victoria double console basin, from £795 at Heritage Bathrooms, has a sleek, Victorian-inspired silhouette, which will work effortlessly in a period scheme. Plus it will avoid arguments as you’re both trying to get ready in the morning – there’s nothing more relaxing than that.

Period Living 111

PRACTICAL LUXURY

The material of choice for classical monuments and the most lavish buildings, marble is perfect for creating a luxury look, but this reputation doesn’t come without a hefty price tag. Instead, treat yourself to a bit of affordable luxury with this Bianca Luna marble-effect shower wall panel, from £159 for H240xW60cm at Victoria Plum. Complete the luxe look with chrome brassware, such as the Dulwich riser system in chrome, £349, to beautifully highlight the marble veining.

SMALL SANCTUARY

Create the illusion of more space in a smaller bathroom by opting for a wall-hanging vanity unit, which will open up the floor.

Choose a design with a deep drawer, such as the Burlington 65 design with integrated basin, from £1,068, to keep a minimalist aesthetic, while ensuring that all your ablution essentials are still on hand.

112 Period Living

Renovation

HOME MAINTENANCE

Timber beams

Original beams are a highly desirable period feature, but over time they may suffer from decay or inappropriate finishes, so it is important to know how to spot problems Feature Roger Hunt, author of Old House Handbook

T

imber, a vital structural element, has long been used to form door and window lintels, floor joists, roofs and, in early houses, the building’s frame. Beams may be hidden behind plaster, render or cladding; others are highly visible and are loved for their character and beauty, and are also important pointers to help unravel a home’s history.

Maintenance checklist l l l Illustrations Sarah Overs

l l

Investigate signs of beetle infestation.

Note timbers that have been cut or altered.

Tackle rot and decay.

Check timber is not taking up moisture.

Deal with damp problems at source.

Repair guide Early timber-frame properties were constructed of locally felled oak, which was used while it was still ‘green’ and easy to work. The sections were

prefabricated and joined together with wooden pegs. Carpenters’ marks a form of Roman numerals scribed on each timber ensured the sections were correctly assembled on site.

The most common issues are insect attack and fungal decay. Both are caused by high moisture levels within the timber and are usually attributable to leaking roofs or gutters, cracked cement renders or high ground levels. Inappropriate alterations both historic and recent also result in problems.

Replacement dos and don’ts Do remember the historic importance of original timber so try to conserve it. l Don’t replace more timber than is necessary. l Do think carefully before cleaning or stripping timber. l Don’t shot blast or sand beams. l Do seek specialist advice if in doubt. l Don’t ignore structural problems. l

Above: Original timber beams are a much sought after character feature in older properties, and the way the timber has been employed, cut, finished and jointed can give important clues to the history of the property

Period Living 115

they are or a more serious intervention could be considered if failure is believed to be imminent.

Q

There appears to be structural movement and broken joints to the timber frame. What is the best course of action?

Above: Check old timbers for signs of beetle infestation, but historic signs in oak beams is generally of little concern Below: Areas of discolouration on timbers adjacent to plaster can be a sign of ongoing damp issues that need to be dealt with

Expert Q & A Rick Lewis of Traditional Oak Carpentry, specialists in timber conservation and construction, answers common questions about timber frames and beams.

Q

How do I know whether beetle infestations or damp are a problem?

Many ancient timbers will show signs of insect damage. This is very often historic and, within oak timbers, it is usually within areas of sapwood so it is of little, if any, concern. Ongoing damp issues can be indicated by discoloration to the timbers, as well as staining to adjacent plaster and other materials. A moisture meter can be useful but many materials will give readings that may be misleading; it is best to take a holistic approach and understand as much as possible before reaching conclusions.

Q

Is it a good idea to hack off the surface of timber that has been affected by woodworm?

Q

The end of a beam is rotten; does all the timber need to be replaced?

As a general rule no; although, once we commence repairs to a timber, we will locally remove some frassy surfaces in an attempt to work out where the poor section ends and the better timber begins.

Almost always this is not the best approach. There are occasional exceptions but, in most cases, a timber can be repaired. That said, even a superbly effected repair is never as strong as a whole and intact timber, so it does have to be well executed if it is to give a decent level of performance.

Q

Should I remove any inappropriate plaster and render finishes over the timber frame and re-coat with lime plaster?

If the render is not too old and is in good order, it may not be causing too many problems. Therefore, although it ought to be replaced at some point, this might not be necessary immediately.

Q

If ceiling beams are sagging, should they be replaced?

It is important to first establish why they are sagging and when this started. If it is historic deflection, it may be of little concern. If it is believed that the deflection is ongoing, the cause of the problem must be dealt with first and then the sagging timbers could either be held as

116 Period Living

Mechanical failure needs to be fully understood before any intervention is commenced. The advice of an appropriate engineer is probably useful, although they need to be well versed in historic framed structures to be of real use. A timber buildings specialist should also be engaged to assist with the diagnosis and then, once all factors have been considered, a plan can be drawn up and approved by all parties before – or if – any remedial action is then taken.

Q

How can beams be cleaned and paint removed?

Q

Should I finish beams with beeswax or linseed oil?

It has been common to recommend trialling the use of poultice stripping methods, but many historic buildings had some degree of painted schemes at various times, both on the plaster surfaces and the exposed timber framing, and any stripping of later layers will remove the underlying schemes, too. Consider testing a trial area, but it may be worth asking the advice of a paintings conservator before any work is done.

The timbers will function without either being applied, so it is a subjective issue and one of aesthetics and personal taste. Bear in mind that oils, in particular, will allow dust to fix to the surface and the timbers will darken over time.

Useful contacts B MULFORD HISTORIC CARPENTRY – timber repair

and conservation. Tel: 07786 195098 bmulfordhistoriccarpentry.co.uk DECADET - conducts timber-frame surveys.

Tel: 07836 746520; decadet.co.uk HUTTON + ROSTRON - historic building surveyors.

Tel: 01483 203221; handr.co.uk OAKWRIGHTS - timber-frame builders, engineers and repairers. Tel: 01252 794325; oakwrights.com PEELAWAY - poultice paint remover.

Tel: 0117 960 0060; peelaway.co.uk STRIPPERS PAINT REMOVERS - paint removers.

Tel: 01787 371524; stripperspaintremovers.com TIMBER FRAMING AND CONSERVATION - timber-frame repairs. Tel: 01509 414477; ewdcrane.co.uk THE CARPENTERS’ FELLOWSHIP - database of timber framers around the country. Tel: 01249 782100; carpentersfellowship.co.uk TRADITIONAL OAK CARPENTRY - oak-frame conservation and construction. Tel: 01449 768817; traditionaloakcarpentry.co.uk

IN THE FRAME Windows help to define the character of a period property, so it’s important to invest in authentic designs. Discover the best fit for your home and how to maintain them

There is a timeless elegance to timber windows, whether in the worn patina of original frames or the welcoming touch that smart new designs bring to a home’s interior and exterior. Alongside its inviting aesthetic, wood offers excellent thermal efficiency and so boosts your home’s insulation while also being an environmentally conscious choice.

WHICH STYLE? Timber sash windows are icons of Georgian and Victorian properties. Comprised of two individual sashes, each with panes of glass held in place by wooden glazing bars, sash windows slide vertically

in grooves, which are operated by weights and pulleys concealed in a timber box frame. Earlier Georgian designs were typically in eight over eight or six over six pane configurations, although as technology improved along with the ability to produce larger panes of glass, two over two and one over one became popular in Victorian homes.

Throughout all the eras, side hung timber casement windows were widely used, particularly on rural and humbler properties. Casement windows are hinged and open like a door; they can be made up of one or several panes.

MATERIAL MATTERS There are two main types of timber used in windows: softwood and hardwood. Windows made of hardwood, such as oak, are the more expensive option, due to the fact that the trees are slower growing expect to pay £350 to £500 per m2. However, its tighter grain offers more stability within the wood, providing it with a typical lifespan of around 60 years.

Softwood, such as Douglas fir, carries a lower price tag, from between £200 to £350 per m2, and money can also be saved by glazing on site. Yet, the lower price is reflected in its shorter longevity, which varies depending on the type of wood used.

Two other options that are rapidly gaining popularity are engineered and modified timber.

In engineered timber, sections of individually

Feature Holly Reaney Photograph (top left) Darren Chung

Timber windows

Windows

Clockwise from far left: Bay sash windows were a popular feature of Victorian homes; flush casement window with specialist leaded stained glass and arched head, from ÂŁ7,000 for fully painted, finished and installed windows, Timber Windows; Residence Collection offers timber alternative windows that have been approved for use in some listed properties; flush casement with decorative glazing bars, from ÂŁ1,800, Jack Brundson; Georgian-style hardwood sash windows, ÂŁ1,440, Scotts of Thrapston

weaker wood are glued together to create a stronger single piece, while modified timber has been treated with chemicals or exposed to high heat to achieve the same result. Depending on the specific glue, chemical types or heat used, engineered and modified timber can be up to 60 per cent stronger than the alternatives, offering a lifespan of up to 80 years. As a result, both types of wood are being increasingly specified by the construction supply chain as they offer a desirable alternative to uPVC and metal, providing many of the benefits of hardwood at a lower price point.

Traditionally, uPVC has been frowned upon as an alternative to timber; however, there are a small number of high-quality designs that have been approved for use in listed homes and in conservation areas. If you go down this route, choose carefully.

DO I NEED DOUBLE GLAZING? In order to comply with building regulations, most new windows are fitted with double glazing for increased energy efficiency. However, double glazing can cause issues when it comes to replicating authentic single-glazed windows.

This is particularly the case for designs with elegant timber bars or leading, as both options traditionally involve joining together multiple smaller panes. To replicate this on new leaded double-glazed windows, leaded detailing is applied to the surface of the glass for an authentic appearance. Timber bars are traditionally widened to accommodate double glazing, although this can impact on their elegance. Ultra-thin double-glazing units have now been developed, however, that can fit within original frames; this means slimmer, more authentic designs are now possible for listed homes or those in conservation areas, without compromising on efficiency.

Period Living 119

Metal windows The first metal windows were made from wrought iron by medieval blacksmiths, but metal casement windows had a revival during the Arts and Crafts movement, towards the end of the Victorian era, and in the 1930s, when Crittall styles were popular.

Previously thought of as cold and inefficient, metal windows are now a thermally efficient choice thanks to modern technology. Aluminium, bronze and steel all offer exceptional stability and strength while being relatively low maintenance. Metal windows are competitively priced, with hardwood designs at around ÂŁ300 to ÂŁ600 per m2.

MEDIEVAL TO ARTS AND CRAFTS Glass was very expensive during the Tudor period, to the extent that when people moved they would often take it with them. Rural properties and those of more humble backgrounds tended to have wooden or stone openings that could be covered with boards, and later shutters. When glass was used in windows, they usually featured metal frames with leaded glass inserted into stone or wooden openings. Metal windows continued to be used throughout all eras, although saw a notable resurgence during the Arts and Crafts period as design became increasingly influenced by medieval styles and craftsmanship.

INDUSTRIAL INSPIRED Throughout the 1930s, Crittall windows rose to popularity and are ubiquitous in properties of that period, from small country cottages to industrial buildings and grand mansions. Crittall windows can also be spotted in many iconic British landmarks, such as the Tower of London and the Houses of Parliament. The influences of the Art Deco movement resulted in unusual shapes and ornate and coloured glasswork in some homes.

120 Period Living

Windows

Clockwise from left: A statement bay window floods the kitchen of this manor house with light; bespoke EB24 new steel windows, from £2,640, Clement; Advanced bronze casements and glazed doors with decorative beading in an oak frame, from £10,000, Bronze Architectural Casements; Homelight residential steel window, from approximately £600 per window, Crittall

Photograph (top left) Kasia Fiszer

WHAT ELSE DO I NEED TO KNOW? If you’re investing in new windows, the company making and installing them must be registered with FENSA to ensure they are compliant with building regulations. Once the work has been carried out, you should receive a FENSA certificate through the post, which you will need when you come to sell the property in the future. New sashes or casements fitted into existing frames are classed as refurbishment, and so the work does not require certification.

If you’re replacing windows that have trickle vents in place, It is likely they were installed to make sure that the building met regulations. So if your current windows have trickle vents then the replacements must also include them.

Fortunately, there are companies, such as Timber Windows, who offer very discreet options; for example, the vents can be hidden in the head of a sash window box.

If your home has no restrictions, then replacing like-forlike period-style windows or existing inauthentic designs will not require permission. If you live in a conservation area, however, the rules are slightly stricter as the style will need to be as close to the original as possible. If there is an Article 4 direction in place or your home is listed, then consent will be required. Find a company with experience in period window replacement for advice on acceptable styles.

Period Living 121

a discreet solution. By fitting an independent frame of glazing inside your home, you will have the benefits of double glazing without damaging your window or affecting the external aesthetic.

Secondary glazing is a particularly good option if you live in a listed building or conservation area, where replacing windows is more difficult. Some companies, such as Storm, specialise in creating unobtrusive designs for heritage homes.

DIY MAINTENANCE CHECK

Above: Prices for restored sash windows depends on the work involved, but new designs start at £1,700 from Bath Bespoke Left: The bottom section of this sash window was replaced, while the original top section was draught-proofed to improve the home’s efficiency. Prices for similar projects start at £995 from The Sash Window Workshop Below right: Most of the windows in this Grade II-listed Cotswold home were replaced by local company Hitchcock Woodworks, but the original glass was reused

While larger jobs and repairs require professional skills, there are smaller maintenance tasks you can carry out to keep your windows in good condition.

O Fixing putty – The main damage to putty is caused by sunlight. Depending on the severity of the damage, putty will need to be repaired by filling the gaps, or replacing it. To replace, remove old putty using a scraper and allow the exposed wood to dry out. Then prime the wood with paint, allow to dry and replace the putty.

O Draught-proofing – Applying DIY draughtproofing is an easy fix for a common problem in period homes. Use draught strips, or brush seals for sash windows, which are available from DIY stores.

O Repainting – Regular painting of windows is vital as poorly maintained and unprotected timber will rot and swell. Make sure you prepare the surfaces, sanding down to remove all loose paint and stripping paint layers using gel-type strippers.

Natural linseed oil paint offers good protection O Oiling hinges and sashes – Check hinges, locks and catches. Where necessary, realign, ease, repair and lubricate them. Apply beeswax or tallow to the edges of sashes to help them run.

Many original, single-glazed windows in period homes have sadly been replaced with new, often inappropriate, double-glazed designs in post-war renovations, greatly impacting character. So if you are lucky enough to still have the originals, always see if repair is an option before replacement.

Even if your windows look beyond repair – having succumbed to rot and broken glass – you’d be surprised at what can be achieved through expert restoration. If your windows do not require structural repair, they can still be significantly improved. ‘Draught-proofing and repairing original windows can dramatically improve functionality, security and efficiency at a fraction of the cost of replacement,’ says Richard Dollar, managing director of The Sash Window Workshop.

Additionally, the whole-life environmental costs of replacement will be much greater than repairing the architectural treasures that already exist.

SECONDARY GLAZING If you want to increase the efficiency of your home but don’t want to compromise the authenticity of your original windows, then secondary glazing is 122 Period Living

Photograph (bottom right) Darren Chung

Restoring original windows

Edwardian

Continuing his series delving into different design eras, Lee Bilson looks at a period that was a breath of fresh air compared to its Victorian predecessor

P

ut aside the thought of vast, monolithic, classically styled and flamboyant public buildings – the greatest architectural feats of the Edwardians were their homes.

With great social and political change at the start of the 20th century, this was a period that solidified the idea of leafy suburban developments, seeking to provide beautiful, functional homes for all.

Gone were the stuffy and cluttered Victorian interiors – this was a time for less formality, embracing a style that was seen as a breath of fresh air in comparison to those of earlier periods.

Vernacular ideas ran deep through the designs, but now the integration of technology to make homes and daily life more manageable was key.

It is for this reason that the homes of most Edwardians were transitional in nature – adapting traditional styles but for a modern era – and why they make such perfect homes today.

124 Period Living

DESIGN EVOLUTION As with earlier periods, building was dominated by a growing demand for housing, creating a boom. By the Edwardian era the middling portion of society was now well established, and with this they – not the wealthy elite – would become the big influencers on the fashions for home design.

Therefore, the early 20th century would see more manageable-sized, airy homes, set in leafy suburbs an easy distance to work, and with better home comforts than any period before.

This was an era that the ideas of the Garden City movement and suburban development for the masses would come into their own. With the continuing improvements to travel – thanks to ever-expanding railways and road networks – the outskirts of cities and towns saw swathes of new developments. But this was not a mere march of the bricks – the homes of the Edwardian era sought

Photographs (top left) Amanda Turner, (top middle) Chris Snook, (Shaw’s Corner) ©National Trust Images/Paul Watson, (top right) SSPL/Getty Images, (bottom left) DeAgostini/Getty Images, (bottom right) Construction Photography/Avalon/Getty Images

Y O U R • P E R I O D • H O M E

Design

Opposite, clockwise from left: Edwardian interiors were brighter and lighter than their Victorian predecessors; tiled paths to the front door were typical; built in 1902, Shaw’s Corner in Herefordshire is an Edwardian Arts and Crafts-inspired design, home to playwright George Bernard Shaw for over 40 years, and now managed by the National Trust

This page, clockwise from top: Fireplaces typically incorporated shelving and built-in mirrors; this home epitomises Edwardian ornate charm, from its stained glass front door and intricate porch to the bay windows featuring diamond top sashes; Art Nouveau-inspired Tiffany lamps were a covetable item in Edwardian homes Period Living 125

to expand upon the ideas of the Arts and Crafts movement, but fashioned for a mass market. It was also a period that would give a glimpse of the future to come, seen in the designs of architects like Charles Rennie Mackintosh and Edwin Lutyens, through to Frank Lloyd Wright.

PLAN AND STRUCTURE With the boom in construction, Edwardian homes now covered a huge range of types, from small terraced and semi-detached homes, to larger detached dwellings – all of which served a range of classes. But unlike the Victorian, Georgian or earlier periods, even the cheapest homes demonstrated great advances in planning. Homes from this era tend to be taller and deeper in plan than those from a century before, but with a growing emphasis on gardens, front and back – every façade was considered equal in attention to detail and design.

Even then, many 19th-century social, economic and architectural influences still prospered, so despite the 20th century being here to stay, homes were also designed with more traditional spaces like the pantry or scullery; however, gone was the outhouse – now new homes for all levels of society came with an inside bathroom and toilet, which is something we’re all very much grateful for! Along with this, homeowners were embracing new labour-saving devices and innovations, like developments in gas lighting and even early washing machines and vacuum cleaning systems.

The internal spaces were now larger and tended to be designed to offer rooms with dual aspects wherever possible, adapting the traditional pile systems employed in previous periods and embracing the gardens and greenery with window 126 Period Living

Design seats and French doors. The Edwardian hall was also much larger than its Victorian predecessor, offering a lovely movement through the space while still incorporating the staircase.

Above left: Every Edwardian gent would have approved of the Billiard Room at Polesden Lacey in Surrey, managed by the National Trust Left: This former Edwardian bakery was converted into a family home – its generous front garden adheres to the period’s ideals, with a bay window positioned to take advantage Above: Tranmer House at Sutton Hoo in Suffolk was built in 1910 for artist

John Chadwick Lomax. Its rendered walls, tall chimneys and dormer windows are hallmarks of Edwardian design. It later became the home of Edith Pretty, who had the site excavated to reveal Anglo-Saxon artefacts including a ship burial, and is now run by the National Trust Below: Taken in 1905, this photo shows the hallway in an Edwardian home – it’s the picture of elegance

INTERIORS AND DECORATION Many 19th-century ideas of design and décor were still considered, usually in areas like the entrance hall, where patterned wallpaper was regularly employed to hide the dirt that had encroached from the soot-filled city.

Generally, however, the clutter loved by the Victorians was discarded to create cleaner, brighter spaces. Where it could be afforded, or wouldn’t be exposed to soot, this would be emphasised through the choice of paler colour schemes and a better appreciation of light. The Edwardians wanted to bring the sunshine into the house.

WINDOWS AND DOORS As in the Arts and Crafts era, porches were a mainstay in Edwardian design, often being highly decorative, with bold white woodwork with fretwork patterns. Stained glass and leaded lights were also used prolifically, with front doors incorporating bold coloured and textured glass of greens, yellows, blues – in floral motives, often referencing ideas of the European Art Nouveau movement and designers like Charles Rennie Mackintosh (and his wife Margaret Macdonald).

LIGHTING With greater technological advances in lighting, came fashionable accessories – the most famous being the Tiffany lamps from America with their coloured stained glass, inspired by the likes of the Art Nouveau movement.

FIRE SURROUNDS Edwardian fire surrounds typically incorporated shelving, either above or below the mantelpiece, for ornaments and built-in mirrors. Many design influences were considered, from classicism to various revival styles, with Edwardian versions tending to be more plain in form and construction.

THINGS TO LOOK OUT FOR Think tree-lined avenues and greenery – a sense of the country in even the most urban of environments. This treatment extended to the design of most homes, with borders of hedges and low fences forming a picture frame of the modern take on traditional British cottages in this countrified urban setting. l Almost every home, from terraces to detached villas, incorporated quaint dormer and casement windows, harled and rendered walls, and prominent patterned gables with Tudor revival notes. l Despite many of Britain’s more insular designers snubbing the wider architectural value of the Art Nouveau style from Europe, the characteristic forms were still regularly incorporated into more decorative elements such as handles, tiles, stained glass and ironwork – so if you spot a sinuous Art Nouveau detail then this may well indicate Edwardian beginnings or inspiration. l

Period Living 127

Photographs (Polesden Lacey) ©National Trust Images/Andreas von Einsiedel, (bakery) Amanda Turner), (Tranmer House) ©National Trust Images/John Millar, (bottom right) SSPL/Getty Images

TYPICAL FEATURES

O Extended chimney stacks are a key feature of

Edwardian homes. While not always included, it is a stylist point that can help you pick an Edwardian home from later revival styles.

MAINTENANCE ISSUES O With increasing light being a key objective for

PLACES TO VISIT As with the Arts and Crafts era, Edwardian period homes are closely associated with the Garden City movement, so Letchworth Garden City has many fine Edwardian houses, but you can find its influence in almost every suburban street in Britain. Notting Hill is famed for its Victorian and Georgian architecture, but it’s got a wonderful array of Edwardian homes too.

O At the different end of the spectrum, the grand ruin of Witley Court in the care of English Heritage is a marvel to see. Although built over several centuries, the Edwardian owners enjoyed many an extravagant party before a fire in the 1930s led to it becoming a ruin. This is a great place to visit, for both the scenery and the sheer scale where you really can get a sense of the large parties enjoyed here in its Victorian and Edwardian heyday.

O Another grand beauty, Voewood House, is a fine example of the Arts and Crafts movement continuing to influence design in the Edwardian era. Designed by ES Prior, a lesser known architect of the period, it is now a luxury hotel and wedding venue, and set in stunning gardens.

O

Clockwise from top: A number of influences were considered in fireplaces – this copper and tiled design features Tudor roses and a heavy mantel; the Edwardian house at Overbeck’s, Devon, run by the National Trust; an Arts and Crafts influence is seen on this home, with leaded lights; wisteria was a popular design – this Farrow & Ball wallpaper would complement an Edwardian home

128 Period Living

Photographs (top) Brent Darby, (middle right) ©National Trust Images/Chris Lacey, (bottom right) Brent Darby

Edwardian designers, windows are a prominent feature – and with this come the usual problems with timber and leaded light maintenance.

Make sure to check your windows regularly – in most cases the work required is limited to painting timberwork.

O Something to keep in mind is what paint to use: in the case of timber windows the best option is a linseed paint (try Bulmer Paints and Brouns & Co). Linseed paint is a tried and tested system of finishing timber - not only is it easy to use, but it’s environmentally friendly and breathable, which helps to preserve the timber and stave off decay.

It can also be used on doors and porches; if it’s timber, think about using linseed paint.

O As in most British housing before the period, leaded lights remained popular in Edwardian design. You’ll find it in bay windows, casements, doors, and porches to match. Unfortunately, once these are in need of maintenance all too often people opt to remove them, thinking it too costly or difficult to repair. However, in the hands of skilled craftspeople it is straightforward.

O When it comes to maintaining period homes, regular checks and keeping on top of things is the key. But if work is beyond your levels of DIY, find a specialist in the Building Conservation Directory.

Alternatively, look up some courses on leaded lights, and you can learn a craft to bring that extra bit of pride to your home.

Extensions

A D D I N G

Extending a period home so that it both enhances your lifestyle and complement’s the property’s architecture can be a difficult balancing act.

Find out how to get started with this practical advice and inspiration

Feature Mel Lloyd Photograph Malcolm Menzies

This light-filled extension to the kitchen of a Victorian villa has created a family-friendly dining area with French doors leading onto the garden

Period Living 131

Left: Extensions don’t have to be big. The pretty porch-cum-sunroom addition to the front of this Georgian cottage has gothic-arched windows to further enhance its character Below: A generous kitchen-diner was added to this Grade II-listed Georgian farmhouse. It uses bricks from an old extension and is flooded with light from the large roof lantern and classic windows and doors

ost homeowners fantasise about having more space, and extending is the obvious way to achieve it. However, enlarging a period property can present numerous design challenges, and be a potentially controversial endeavour. You are uniting a heritage structure with a modern addition, built to different standards, regulations and possibly using different materials. When the house was originally constructed, it was intended to be the finished article, perfectly placed next to the surrounding properties and garden. But living standards have evolved so dramatically that many older homes no longer lend themselves to modern family lifestyles, and so extending can sometimes be the only way to secure their future as a home in the decades, and hopefully centuries, to come.

SHOULD I EXTEND? If key areas of your home function poorly and feel cramped, or you could benefit from having one or two extra rooms then, as long as you have enough outdoor space to accommodate it, it’s an option worth considering. Sometimes just adding on a very modest extension, such as filling in the side-return, and reconfiguring the room’s layout, can be transformative. But if you would need to add on an oversized extension to achieve the space you want, then think about moving on, as going too big could completely destroy 132 Period Living

the house’s character, which is likely the reason you fell in love with it in the first place.

Before extending, it’s worth looking at other options for maximising space, which can also be much more cost-effective. Do you have a loft or cellar that can be converted? In both cases, you’ll need at least 220cm of head height and can expect to pay around £500 to £1,500 per m2. Perhaps you have an outbuilding that could be converted, or you could build a new one, such as a home office.

Remodelling by removing or repositioning walls can enhance the functionality of a space, although

Extensions

Above: This 19th-century rural stone house has received a sympathetic two-storey extension with a dining area downstairs and bedroom above. Matching windows were specified to help it to blend in Right: A modest extension has transformed this Victorian semi, adding a family-friendly kitchen-diner that’s open-plan to the living room

this in itself can be detrimental to the character of certain homes, especially if it involves sacrificing attractive original features to achieve it.

Photographs (left-hand page) Jeremy Phillips, (right-hand page) Brent Darby

WHAT ARE THE DESIGN OPTIONS? Some people believe that a new addition to a period house should be traditional and perfectly in-keeping, giving the impression that it has always been there – and this approach may well be the most appropriate for your home. However, seamlessly recreating the design of a heritage building can be difficult, requiring expensive materials that are reclaimed or handmade to match, and yet still fail to replicate the patina of the original. For this reason, extensions to old homes are increasingly more contemporary in their design, revealing how the property has evolved over time. Indeed, this is often the preferred option for local planning officers, so ask them for their views in the early stages.

A contemporary extension does not have to be ultra modern. It should usually reference the house’s original materials and design, perhaps using timber to harmonise with the natural setting and incorporating large expanses of minimalist

glazing to maximise light and avoid detracting from the original structure. On more sensitive projects, such as listed homes, there may be a glazed link added to join the new and old parts of the building, meaning exterior walls do not need to be removed.

ONE STOREY OR TWO? You are more likely to get planning permission for a one-storey extension than two – and may not even need to apply for planning permission (see page 135).

However, if you are able to get two storeys approved you will be getting twice as many square metres of extra space in your home for considerably less than double the cost of a single-storey addition.

It really comes down to what type of space you want to add. Single-storey extensions are usually about creating a family-friendly space, like a kitchen-diner, with roof glazing to allow daylight to flood in. Meanwhile, first floors are extended to add or enlarge bedrooms and bathrooms.

HOW WILL THE NEW SPACE WORK? Consider how the new addition will relate to existing spaces. You don’t want to create a series of rooms that are only accessible through one Period Living 133

Left: New additions tend to have to be subservient to the original with a lower roofline. On this listed home in a conservation area, the stone beautifully blends in with the original Below: This glass-box extension to an unlisted early-18th-century farmhouse with adjoining barn conversion, is clearly distinct from the property and shows how it has evolved through time. The minimalist glazing doesn’t detract from the house’s character

another, or to turn existing rooms into thoroughfares.

For example, if you create a kitchen-diner, you will ideally want it to be accessible from the hallway and to have garden access. To achieve this, it may be necessary to remove an internal wall or relocate the kitchen from the front of the house to the back.

Adding an extension to the rear of a first floor can create awkward spaces, leaving rooms in the middle with no daylight and requiring wasteful areas of corridor. Such problems, however, are usually solvable when a skilled designer helps to work out the floorplan.

HOW MUCH DOES IT COST? The cost of extending is largely influenced by location, with the south-east and other urban centres the most expensive. You can expect to pay anything between £1,500– £3,000 per m2.

Materials specification is also a big factor – premium woods such as oak, high-performance glazing, and handmade materials such as bricks, may be key to the design but will add significantly to costs.

If you are on a tight budget, then prioritise the elements that can’t easily be changed and economise on aspects that can be upgraded in a few years time.

So, invest in windows, doors, cladding and flooring, for example, but buy more affordable cabinetry and 134 Period Living

light fittings. DIY can help to reduce costs, but don’t spoil the finish of key aspects if you aren’t capable.

Get quotes from at least four builders. Each of them will likely give different costs for the same work using the same materials. If you only approach one or two, you run the risk of only obtaining high quotes, rather than getting an idea of an average.

SHOULD I HIRE AN ARCHITECT? It’s tempting to think you can save money by coming up with a design yourself – and if you are adding a very modest extension you might make a success of it. However, a skilled house designer or architect with experience of period properties will be able to look at your home with fresh eyes and suggest solutions for the layout and design that would never have occurred to you. They will likely also have experience of dealing with the local planning department, and an understanding of what may be acceptable.

DO I NEED PLANNING PERMISSION? In many cases it is possible to build generous side and rear extensions without the need for a formal planning application under your property’s

Extensions

Photographs (from left) Darren Chung, Jeremy Phillips, Nikki Crisp, Brent Darby

Above: Oak-frame extensions tend to add the most value to period homes. The stunning garden room added to this 17th-century house in the Cotswolds has been designed to make the most of the beautifully landscaped gardens beyond Right: Modern glazed links are ideal for connecting old and new buildings, and provide a great spot from which to view the garden

permitted development (PD) rights. These apply to the original house, which is either as it was first built or as it stood on 1 July 1948. l For single storeys, you can extend by up to 4m to the rear of the house if it is detached or 3m if it is a terrace or semi-detached property. You can double this if you supply the planning authority with a set of basic plans and details. Having notified your neighbours, if they receive no objections within 21 days then you should be able to proceed. l If the house is in a designated area, such as a conservation area, area of outstanding natural beauty or site of scientific interest, it may only be a single-story rear extension – the limit is 4m for a detached house, or 3m for attached. l Single-storey extensions to be no higher than 4m. l Extensions of more than one story must not extend beyond the rear wall of the original house by more than 3m. l Side extensions can only be single storey and not make up more than half the width of your house. l The maximum eaves height of an extension within 2m of the boundary is 3m. l Two-storey extensions can be no closer than 7m to the rear boundary. l Maximum eaves and ridge height of extension to be no higher than the highest part of the roof.

In general, extensions are usually required to look subservient to the existing house. Where a full planning application is required, it’s worth sharing your ideas in advance with a planning officer. Many local authorities publish guidance that identifies the rules by which a planning application will be considered. For more ambitious proposals, it’s best to appoint an architect to handle this stage; if the application is refused they can advise you on whether it’s worth going to appeal. Once consent has been granted it normally remains valid for three years. Check planningportal.co.uk for more details.

WHAT IF MY HOME IS LISTED? Extensions to listed homes and those in designated areas, such as conservation areas, are subject to tighter planning controls. If your home is listed, consult with the local planning department as soon as possible to discuss plans. You will be required to apply for listed building consent for the work.

Materials will need to reference the original, but many planners prefer extensions to listed homes to show a clear distinction between old and new.

If you live in a conservation area, your permitted development rights are more restrictive (see left), so you will have to apply for permission to extend Period Living 135

Left: This guest bedroom extension to a 15th-century timber-frame home opens straight onto the garden Above: This glazed extension to an Edwardian terrace features Crittallstyle glazing. The stone flooring continues out to the garden over a level threshold for a seamless flow

BUILDING REGULATIONS A new extension can rarely be constructed in exactly the same way as the original building due to the demands of modern building regulations.

All home extensions need to comply with the building regulations. Most obviously this relates to structural stability — including foundations, window and door openings, lintels, beams and roof structures. Therefore, your design will normally need to incorporate a structural engineer’s calculations, submitted together with drawings as part of your building regulations application.

You can submit your application via local authority building control, or an independent firm of approved inspectors. There are two ways of making an application — either by submitting a full plans application, or by giving building notice.

For an extension, it makes sense to get your design approved before you start work. Building control will then carry out site inspections at key stages.

Once your extension is built, you will need to obtain a completion certificate to show compliance.

136 Period Living

TIPS FOR EXTENDING Maximise light. Adding an extension can cause original rooms to lose daylight. Rooflights can help to overcome this problem.

Match materials. Bear in mind that old materials, such as bricks, may be in imperial sizes, while widely available new ones are generally metric.

It is, however, possible to source traditional sizes, while reclaimed materials add an authentic touch.

Preserve original features. Avoid removing original fireplaces, joinery and mouldings where possible.

Also consider how existing features will match up in the new extension you can choose to replicate them or show a clear division between old and new.

Hire the right people. Employ architects, builders and other tradespeople who have experience of working with old buildings of a similar type and age to your home. Ask to see examples of their existing work before committing to hiring them.

Avoid overlooking. New first floor windows or balconies can be contentious if they overlook the neighbours. Carefully consider positions and think about frosted glass, high level designs or rooflights.

Prevent damp. The original structure needs to breathe, otherwise damp and other problems may develop. If the house has suspended timber floors, ensure the underfloor ventilation is not blocked.

Photographs (from left) Brent Darby, Malcolm Menzies

to the side or by two stories, and the limit is reduced at the rear. It is likely that you will need to submit extra information if you live near a flood zone or an area of ecological interest.

FROM LITTLE SHOOTS...

EXPERT TIPS… FEBRUARY IN THE GARDEN

Raise tender seedlings in the Latchmere raised cold frame, before planting them out once the signs of spring are on the horizon. Ideal for smaller gardens, its lower slatted shelf provides extra storage for pots and other seed sowing accessories. £140 from Garden Trading.

Mick Lavelle is senior lecturer in horticulture at Writtle University College* Although the start of February can be the coldest time of year, longer days and strengthening sun hold the promise of spring.

If one of your aims for the garden this year is to grow your own fruit or veg, start planning now.

You don’t need a very big area to grow a decent amount of food; a plot of around 250m2 (20m x 12.5m) can produce enough vegetables to keep a family of four or five going for most of the year. Make sure that you include crops that are your personal favourites, or are expensive delicacies or hard to find in the shops, as these will be most welcome when it’s harvest time.

If you do feel inspired to have a go at growing your own, here are my top five tips to starting a vegetable patch in February: O At the start of the month, mark out your plot and get digging. Leave it roughly dug until the month’s end for frosts to work on the soil. This makes it easier to cultivate later.

O Research the crops you want to grow and how to do it. Draw up a plan to show where everything will go in the patch.

O Only once you have a plan, go out and buy plants or seeds.

O Buy some early potatoes (first earlies) and sprout them in egg cartons on a light windowsill for a week or two before planting.

Nothing beats the taste.

O Finish cultivating your plot at the month’s end, choosing a fine, dry day to do this.

Mick is the co-author of the newly updated The Practical Guide to Allotment Gardening (£15, Anness Publishing)

Du potti tentative plantings and sowings ON THE BOOKSHELF Not generally thought of as garden plants, orchids could be if you follow the advice of Wilson Wall and Dave Morgan in their new book How to Grow Native Orchids in Gardens Large and Small (£19.99, Green Books). With tips on how to grow from seed or in containers, to starting a mini orchid meadow, these unexpected and beautiful flowers could soon colonise in urban to country plots.

stunners e l b a n Cost-effective, lighter

Sus ta i

Feature Rachel Crow *Writtle University College runs a variety of short, weekend and evening horticultural courses. To find out more visit writtle.ac.uk

GAR j u

BRUSH WITH THE PAST With this cast-iron scraper and brush placed strategically by the back door, gardener’s muddy boot prints in the house should become a thing of r.

to handle and perfect for mass planting, David Austin bare root roses can now also add eco-credentials to their benefits – delivered in plastic-free, biodegradable packaging. This is the season to be planting these dormant beauties, so their roots can establish in the moist soil in time for the show of fragrant summer blooms.

With all its rose varieties available as bare root, the only question remaining is which to choose? Prices from £18.

N l t

Gardens

ON THE WILD SIDE

Photographs Getty Images

Our gardens can become mini nature reserves by following some simple steps, as gardening expert Mick Lavelle explains

Period Living 141

I

n the strictest sense, there is no such thing as a ‘wildlife garden’, as practically all gardens are already alive with a rich variety of wildlife. Much of it is unseen – often microscopic – but is nonetheless vital for the health of the planet. By adapting the way you tend your garden, however, it is surprisingly easy to make your patch a haven for a rich variety of species. The trick isn’t to create a specialist type of garden; rather to encourage what is there already and tempt more species to move in.

While gardening for wildlife frequently relates to activities that attract ‘pretty’ things, such as birds or butterflies, it is important to protect the tiny things first. The presence of a good supply of insects, for example, is just as important as providing a nest box, as they are both needed to house and feed chicks. Furthermore, if you tend your garden in a way that encourages wildlife, it is possible to re-establish a natural balance between pests and their predators. You would not want to eradicate pests completely, rather keep them in check so that plants will remain healthier.

So why garden for wildlife? Arguably, the biggest benefit of a wildlife garden is that it can help to promote positive attitudes of caring and responsibility – not only for you and your family but also to others visiting the space. A wildlife garden is a natural, changing resource on your doorstep, full of interest and excitement that can be enjoyed without having to pay or travel.

Wildlife-friendly gardens can have benefits beyond their own confines. Many species depend upon habitats that are increasingly rare in nature, and while one garden may be a modest size, collectively they amount to a huge and important habitat capable of supporting large populations of otherwise rare species.

How to begin gardening for wildlife The space you have available is less important than what you actually do with it; even a window box full of bright and fragrant plants can attract butterflies, moths or other flying visitors.

The easiest start is feeding wild birds, and ready-mixed seed as well as an elaborate range of feeders and food are available in garden centres.

But while feeding birds is a positive step, gardening in an environmentally sensitive way will provide a more secure environment for them and other garden wildlife. The simplest way of doing this is to stop using insecticides and use plants that attract insects. Insects are the essential backbone of the life in the garden. Breeding birds are just one group of animals that need insects as food, so you must learn to cherish garden bugs.

Although a wildlife garden can be planned, it may well not need any sort of drastic overhaul.

Despite the insistence by some that an overgrown garden is a ‘wildlife paradise’, research conducted in UK gardens actually points to more kempt gardens being potentially richer habitats than those 142 Period Living

allowed to turn into a thicket. A truly diverse wildlife garden needs a mixture of open space, dense cover, water – to drink or live in – and, if space permits, a variety of height provided by trees, shrubs, lawns, hedgerows and climbers.

This structure is common to many gardens – so rather than needing a specific design, the trick to wildlife gardening is how it is managed.

What to include in a wildlife garden Plants are the single most important factor when it comes to attracting wildlife into a garden, as they provide the majority of the shelter and food source. Planting for wildlife need not mean losing colour or interest, however, as some of our most colourful and showy garden specimens will provide a valuable boost for garden wildlife. As a general rule of thumb, single-flowering varieties of plants – or plants that are similar to the original species form – are the best for wildlife.

Water is also a vital resource. Ponds provide this and are relatively easy to construct, although they need to be properly placed and designed in order for them to be useful as habitats. For best results, try to choose a nice sunny spot with shelter from the prevailing wind, and avoid overhanging trees as these both cut out light and drop leaves into it.

A pond of a minimum of 4m2 is needed to create a balanced environment, with a depth of at least 60cm to benefit a wide range of wildlife. Avoid hard edges and plant around at least two thirds of its perimeter to further enhance the wildlife value of a pond.

Long grass is a useful and easy addition to a wildlife garden. Try letting a patch of grass grow tall in a corner of the garden, ideally linking this to areas such as a pond or hedge or shrub border.

Homes for various creatures and animals are features that can be easily created, be this log piles, stone piles or a bug hotel constructed from a range of materials to make a super shelter.

Large trees, if space permits, will provide perches and nesting sites for many birds. Those that produce seeds or fruit are often a valuable source of food for many birds in autumn or winter, too. Many shrubs and climbers also provide shelter for birds enabling them to nest safely, and can be a further source for berries.

Maintaining a wildlife garden Avoid being overzealous in deadheading some of your border plants in autumn, with the obvious exception of those likely to self-seed and become a nuisance. Many birds visit spent flower heads and old plant stems, searching for seeds and insects during the leaner winter months. Wait until spring to clear the borders.

Make sure there is always some water for visitors to drink. Much of the countryside or towns and cities can seem like a desert for wildlife and even a small pool, birdbath or a bowl of water left out may be important during dry spells throughout the year.

Gardens

Previous page: All manner of wildlife will visit our gardens if we take the right approach to gardening. Add plants and flowers attractive to bees, butterflies and other insects.

Provide water as a drinking source or habitat, and leave log piles or create insect hotels. Introduce shrubs and trees to provide shelter and food, and leave spent flowers and seedheads as a feast for birds Above: The trick to a healthy wildlife garden is not how it is designed, but how it is managed. Most gardens have a mix of the elements that are inviting to wildlife, from climbers and trees, to open spaces, long grass and borders teaming with blooms Left: A fieldfare picks the tasty berries from a hawthorn bush

Period Living 143

Seasonal plants to tempt wildlife into your garden

When choosing plants for a wildlife garden there is a huge range of possibilities and most plots will only have space for a few of these. Ensure that you choose a selection of plants that provide benefits for wildlife throughout the whole of the year. Many resident species struggle through the leaner months, and an environment that offers a ready food supply all year round will have greater diversity and stability in the long term.

Winter

CHAENOMELES JAPONICA (JAPANESE QUINCE): The early flowers borne by

this deciduous, thorny shrub are a joy to see in late winter. The orange-red, scarlet or crimson flowers appear on bare stems and attract early bees and butterflies that emerge on mild days.

ILEX AQUIFOLIUM (HOLLY): This garden

DAPHNE MEZEREUM: Fragrant, sweet

favourite has lustrous, spiny, dark green leaves and long lasting, bright red berries from autumn to winter.

In spring, bees collect its nectar and pollen and it is the preferred food plant of holly blue butterflies. Many birds, such as thrushes, robins, dunnocks, finches and goldcrests, use it for nesting within its excellent protection.

smelling flowers adorn this deciduous shrub in late winter and early spring.

The flowers range from pink to light purple, and are borne on the bare stems before the pale green, lanceshaped leaves appear. Round red berries ripen in summer.

RIBES SANGUINEUM (FLOWERING CURRANT): A familiar garden shrub

THYMUS VULGARIS (THYME): This

Spring

PYRACANTHA COCCINEA (FIRETHORN):

This much maligned garden shrub is a top pick for wildlife, as its fearsomely spiny branches, clothed in evergreen leaves, provide superb protection for nesting birds. Furthermore, bunches of small white flowers attract bees in late spring, followed by bright, persistent late-summer berries for garden birds.

It’s usually best kept as a wall shrub.

144 Period Living

best known for the bright green leaves and hanging clusters of dark red flowers with white centres, which smother the bush in spring and are popular with bees. Easy to grow it is well suited to light shade.

small, bushy slightly woody garden stalwart has bright purple to white flowers in late spring and early summer. It is ideal for a sunny herb garden or a large, well-drained container. Thyme is a great food source for early butterflies and bees.

Gardens

Summer

ACHILLEA FILIPENDULINA (YARROW):

BUDDLEJA DAVIDII (BUTTERFLY BUSH):

LAVANDULA ANGUSTIFOLIA (LAVENDER):

Flat, plate like heads of deep goldenyellow flowers from June to September and light green, fern like leaves make this a wildlife garden must-have.

Bees, butterflies and hoverflies are particularly fond of this plant, and the larvae of the hoverflies are important aphid predators, making this beauty an essential specimen.

Fragrant, yellow-eyed blue, pink or white flowers on arching stems from July to September attract ‘swarms’ of butterflies. While a vigorous grower, it can be pruned back hard in winter, and a range of dwarf patio or pot varieties are also now available.

So familiar, yet such a jewel when it comes to helping garden bees in summer. The dense spikes of fragrant, pale to deep blue summer flowers set amid the grey-green foliage on lavender, will be buzzing all day long while providing their welcome scent.

HEDERA HELIX (IVY): So common, yet

HYLOTELEPHIUM SPECTABILE (ICE PLANT):

often overlooked as a garden plant, ivy is a versatile and vigorous evergreen climber. Flowering in the autumn means it proves an essential late food source for butterflies, bees and other insects, as well as offering a nesting opportunity for birds through the year.

It is also an alternate host for the caterpillar of the holly blue butterfly.

Formerly known as Sedum spectabile, the succulent, grey-green leaves, topped with large, flat heads of bright pinkish-mauve flowers, are a familiar sight to gardeners. The flowers provide a great food source for butterflies and bees well into autumn.

PEROVSKIA ATRIPLICIFOLIA (RUSSIAN SAGE): A magnificent plant, grown

Autumn

for its clusters of violet-blue, tubular flowers, which appear on upright, grey-white shoots in August and September above a mass of deeply cut, lobed, grey-green leaves. A real favourite with bees and hoverflies.

Mick Lavelle is co-author of the award-winning book The Illustrated Practical Guide to Wildlife Gardening (Southwater, £9.99)

Period Living 145

SPRING CLEAN – BLENHEIM STYLE

FEBRUARY jour Pla a

BASKETWORK Why not give the traditional craft of basketmaking a try in the inspirational setting of St Fagans National Museum of History, in Cardiff? The one-day beginners’ course under the guidance of local craftswoman Clare Revera takes place on Saturday 8 February from 10.30am–4.30pm and costs £75 (concessions £60), including light refreshments and all the materials you’ll need to make a traditional frame basket. Phone 0300 111 2333 or visit museum.wales/ stfagans for more details.

MUSICAL INTERLUDE St John’s Smith Square is the oldest concert hall in London, and is a Grade I-listed building offering a diverse programme of musical events all year round. Internationally renowned pianist Boris Giltburg will be performing five much-loved Beethoven Piano Sonata on 27 February at 7pm. Telephone 020 7222 1061 to book tickets (£15 for adults). Or visit sjss.org.uk for more details of this and other events.

to try your hand at this month

Winte r

Add a little white magic to your winter walk at RHS Garden Rosemoor’s snowdrop weekend on 2 and 3 February, featuring rare varieties from British growers. This special Devon garden is open from 10am-5pm. Adult entry costs £11.80. Visit rhs.org.uk/ rosemoor for more details.

ers nd wo

Feature Karen Darlow Images (Snowdrops) Leigh Clapp, (Queen) ©National Portrait Gallery, London, ©National Maritime Museum, London, (Concert hall) ©Nicholas Scaife

Go behind the scenes of the deep clean at UNESCO World Heritage Site Blenheim Palace, Oxfordshire. The palace’s Restoration and Conservation Tours run twice daily from 10 January – 9 February, excluding Sundays, and allow visitors to find out the secrets of the palace’s conservation and restoration programme, from the expert restorers and craftspeople involved in this highly skilled work.

The tour is included in the standard entrance fee, £28.50 for adults. For more details visit blenheimpalace.com.

PICTURE THIS For the first time in history, the three surviving versions of the Armada portrait of Elizabeth I will be on display together at the Queen’s House in Greenwich (13 February 31 August). Faces of a Queen will exhibit the only three portraits painted in the iconic queen’s lifetime, and which also depict events from the Spanish Armada.

The paintings are owned by the National Portrait Gallery, Royal Museums Greenwich, and Woburn Abbey respectively. The exhibition is free to visit; see rmg.co.uk/faces of a queen for more information.

Heritage weekend...OXFORD This world-famous university city is a hub of creativity inside and out.

Take a tour and be inspired by its stunning architecture and rich history

H

ome to poets, painters and scholars, Oxford is a melting pot of artistry and intellect. Reflecting on the city, Oscar Wilde wrote: ‘Oxford still remains the most beautiful thing in England, and nowhere else are life and art so exquisitely blended, so perfectly made one’. This is as true today as it was in 1885.

The city’s elegant rows of yellow stone buildings are enchanting, and famed architectural icons

stand on every corner. Inside you will discover art galleries, museums and libraries filled with stories of intellectual debates, inventions and academic achievements for which the city is known.

No visit to Oxford is complete without a tour of one of its famous colleges. Tucked behind wooden doorways and ornate arches, with secret courtyards at every turn, you will feel transported to the pages of a novel. The colleges offer tours at various times and prices; see ox.ac.uk for details.

Images Getty (watercolour) Louise Morgan

Feature Holly Reaney

Out and About Where to stay

Clockwise from far left: Hertford College’s most iconic sight is the Hertford Bridge.

Completed in 1914, it is nicknamed the Bridge of Sighs after the Venetian bridge; the Eastgate hotel is set in a beautiful 17th-century coaching inn; from brightly coloured buildings to iconic stone architecture, Oxford is full of captivating sights; the Bodleian library is one of the largest in the world; explore the river on a punt, the most quintessential pastime in this city of scribes; watercolour of Radcliffe Camera in Oxford, which stands opposite the Vaults and Garden Café

Down an unassuming side street, slightly off the beaten track, stands the Eastgate Hotel. A former 17th-century coaching inn, it is filled with heritage charm and stands on what was the town wall’s former east gate. The hotel has retained its beautiful grandeur and myriad of original features, and has a relaxed atmosphere with elegant rooms overlooking the Examination Halls and Magdalen Tower. From £115 per night. (accorhotels.com) For a stay you’ll never forget, Malmaison is set in a converted prison in the 1,000-year-old Oxford Castle. The former prison blocks have been knocked together and converted into luxurious guest rooms.

From £139 per night. (malmaison.com)

Where to eat You wouldn’t expect to find an artisan café in the vault of the 14th-century Congregation House of University Church; however, the aptly named Vaults and Garden Café is a fabulous reinvention of the space. Prioritising environmental consciousness, the café chooses ingredients based on a lower carbon footprint and no waste catering.

Wholesome organic specials, such as its signature rarebit, are the perfect home-cooked fuel for a day of exploring the city. (thevaultsandgarden.com) Steeped in heritage, the 17th-century Parsonage Grill has an intimate and bohemian atmosphere.

It is rumoured that the parsonage, when used as undergraduate lodgings, was home to Oscar Wilde.

The chefs transform quality local produce into classic British dishes for a delicious culinary experience. (parsonagegrill.co.uk) Supposedly built on the site of the first coffee house in England (according to Samuel Pepys’ 1650 Diary), The Grand Café is now very much an Oxford institution. Serving quintessentially English high tea all day, along with breakfast and lunch menus, its fresh produce is sourced from the historic Covered Market and from across the city, providing an authentic taste of Oxford. (thegrandcafe.co.uk) Period Living 149

Where to shop Any bibliophile’s dream, Scriptum Fine Stationery is like something from a fairytale. Hidden just off the high street, the unassuming shop is crammed to the rafters with bound books, fine pens and a whole host of curios, from tiny antique kitchen timers to magnifying glasses and Venetian masks.

From the ceiling hang miniature hot air balloons, and the walls are filled with sketches, paintings and vintage marionettes. (scriptum.co.uk) When it comes to antiques, you are spoiled for choice. Norah’s Antiques on Turl Street specialises in jewellery, particularly gold bangles, engagement and wedding rings, and Suffragette coloured jewellery. For larger pieces, Antiques on High is not to be missed – and it’s difficult to do so with its bright green exterior. The award-winning centre is home to over 40 dealers, with everything from Arts and Crafts furniture and artwork to antique writing equipment and ceramics. (antiquesonhigh.co.uk) Dating back to the 1770s, Oxford’s Covered Market provides a wonderful showcase for local produce from independent businesses. Take your time exploring the 40 permanent stalls, which sell everything from vintage clothes to local crafts, and the market also hosts several characterful cafés and eateries. (oxford-coveredmarket.co.uk)

Above: The streets are full of heritage, with buildings that date from the 14th century Right: Antiques on High is one of the many antiques shops on the buzzing high street Below right: The Covered Market is a must visit Below left: Be inspired by a visit to Scriptum Fine Stationery

Out and About

Photographs (14th-century building) Getty, (covered market) Oxford City Council, (Ashmolean) Emily Jarrett, (Young Rembrandt) Alte Pinalothek

What to do An icon of the city, the Ashmolean was founded in 1683 as the world’s first university museum.

Today it has one of the most varied and impressive collections of artefacts from around the globe.

Ranging from Egyptian mummies and marble Roman statues to contemporary art and installations, its three floors are filled with thousands of curiosities. Starting in February, the museum is hosting the first major exhibition of the early works of Rembrandt. Featuring 34 of his original paintings, along with works from his contemporaries sourced from both international and private collections, it will run from 27 February to 7 June 2020. The museum is free to enter, although the Rembrandt exhibition does have an extra charge of ÂŁ13.90 per adult and needs to be booked in advance. (ashmolean.org) You will never visit another museum like Pitt Rivers. Founded in 1884, it is housed in its original Grade I listed Victorian building, located at the back of the Natural History museum (also well worth an explore as you pass through). In the single room are over 500,000 items, many of

which have been donated by travellers, scholars and missionaries. It tells the story of humanity through the ages, exploring what it means to be human. Two mezzanine floors mean exhibits are layered sky high. Unusually, the museum is arranged typologically, according to how the objects were used, rather than by their age or origin. A traditional Inuit coat made from seal intestines in 1908 sits adjacent to centuries of violins and a wide variety of shrunken heads. Each case, filled with unique pieces of craftsmanship and artistry, illustrates progression in skill, showcasing the development of human design from the simple to the complex. Free entry. (prm.ox.ac.uk) No matter what the time of year, so long as the weather is dry, Christ Church Meadow is a must.

A peaceful place, it is a rare green space in the heart of Oxford. Take a stroll along the 17th century Broad Walk, which follows the rivers Cherwell and Thames known as the Isis while flowing through the city that encapsulate the meadows. It is the perfect place for a relaxing stroll; an idyllic contrast to the busier city streets. (chch.ox.ac.uk)

Top left: The Ashmolean is home to exhibits dating from 500,000 BC to the present day Top right: Explore the works of young Rembrandt, including his skilful 1629 self-portrait Above: Beautiful at any time of the year, the meadow looks across to Christ Church college Left: Christ Church meadow is also home to a herd of rare English Longhorn cows

Period Living 151

CHEF’S CUT

February’s seasonal ingredient is chosen by Mark McCabe, head chef at The Ethicurean RHUBARB This month can be a bit bleak for the seasonal cook, but thankfully rhubarb, with its vibrant pink stalks, will bring a splash of colour to any late-winter dish. If you are feeling more adventurous than the quintessential crumble and custard, try slicing some raw rhubarb and celeriac into fine matchsticks and dressing in a punchy mustard vinaigrette with plenty of parsley for a crisp and uplifting salad. If you have got a glut appearing in the garden, you can slice the stems into long strips and pickle them, safe in the knowledge that they will be in the fridge whenever you have some hot smoked mackerel in need of a pep up. If you still crave that sweetness, you can roast it, coated in honey and orange zest, until it is nice and soft and then serve with creamy, organic yoghurt for a tasty breakfast or light dessert.

Set in a Victorian walled garden in Wrington, Somerset, The Ethicurean’s menu of vegetable centrepieces is guided by the seasons

ABSORB THEM ALL Get inspiration for family-pleasing recipes while drying up dishes with the new illustrated teatowels from designer Kate Guy, £12.

Printed from linocuts, the individual ingredients designs show easy-to-follow regional favourites, from Cornish Pasty to Scotch Broth.

Café culture

FOOD j r a Ev ess

edible n hom

en

WHAT: The newly renovated Strand Palace in the heart

Feature Rachel Crow Photograph (rhubarb) Getty

of London’s West End includes an Afternoon Tea salon, heavily inspired by the hotel’s roaring 1920s design.

Adorned with Art Deco glitz and gilded age elegance, it’s just the spot to treat a loved one to a Valentine’s outing.

FOOD: Nibble on dainty seasonal sandwiches, such as salmon and dill sour cream on rye bread, or egg, watercress and cucumber cream cheese on beetroot bread, then indulge your sweet tooth with handcrafted delicacies, including pistachio bakewell and, naturally, freshly baked scones with lashings of jam and cream. Priced from £25pp.

OPEN: Daily, 12pm–6pm.

THE BREAKFAST CLUB There’s no excuse to skip breakfast with a delivery of the likes of maple and pecan granola or carrot cake porridge through your letterbox each month.

Launched by former city worker Alex Jenkins, Oat Pantry is a subscription service delivering glutenfree and vegan breakfasts, baked in small batches in its Shropshire kitchen.

From £4.99 per month.

AHOY, ME HEARTIES!

Liven up any meal with one of the alcoholinfused mustards from new artisan brand Mutiny. The brainchild of former chef David Hicks, the honey-based mustards were invented on the converted Dutch barge where he lives. Although you’d have to eat a lot to get squiffy, the eight flavours, including Bloody Mary, ‘Ginglish’, and Peaty Whisky, are for the delectation of adults only. £7.99.

Period Living 153

Recipes

Serve up deliciously simple, Parisian-style dishes inspired by these popular recipes enjoyed in the city of romance

Fren

ch

flav

X

T

PA GE

FOR

RECIPE

rs ou

GOUGÈRE

S: S

N EE

E

Period Living 155

Gougères These delicate and deceptively simple cheese puffs could be your new party trick. With their combination of crisp golden exterior and airy, cloud-like interior, these dainty spheres are ubiquitous during the aperitif hour in Paris, from fine-dining restaurants to homes.

MAKES 15 l 40g butter l 75g plain flour l Pinch of smoked paprika l ¼ tsp sea salt flakes l 2 extra-large free-range eggs l 60g grated cheddar l 60g grated gruyère

Preheat the oven to 180°C/ 350°F (fan) and line 2 baking trays with baking paper.

1. Place the butter and 125ml of water in a small, heavy-based saucepan over a medium heat. Bring to the boil, add the flour, paprika and salt and stir with a wooden spoon for 1–2 minutes, until the mixture leaves the side of the pan and forms a ball.

2. Transfer the mixture to the bowl of an electric mixer 156 Period Living

Salade lyonnaise and allow to cool for two minutes. Add the eggs one at a time, beating the mixture well between each addition. Combine the two cheeses and add threequarters of the mixture to the bowl, stirring through until it is well combined.

The finished pastry should be firm and glossy.

3. Spoon the mixture into a piping (icing) bag, then pipe rounds onto the lined baking trays, or spoon tablespoons of the mixture onto the baking trays, allowing space in between for rising. Sprinkle with the remaining cheese mixture and bake for 10 minutes.

4. Reduce the oven temperature to 160°C/320°F (fan) and cook for a further 15 minutes, or until golden and hollow. Cool slightly on the trays.

5. Serve the gougères warm, fresh out of the oven. These are best enjoyed the same day, but can be baked the day before, stored in the fridge, and brought to room temperature for serving.

Hailing from Lyon, the capital city of the AuvergneRhône-Alpes region in eastern France, this simple but perfectly balanced salad unites bitter greens, a piquant mustard and lemon dressing, smoky bacon and creamy soft-boiled eggs.

Serve as an entrée or a light main with some fresh, crusty bread.

SERVES 4 l 4 large free-range eggs l 200g smoked bacon, thickly sliced, then cut into 2cm long batons l 1 French shallot, finely chopped l 1 tbsp lemon juice l 1 tsp Dijon mustard l Sea salt flakes l Freshly ground black pepper l 2 tbsp extra virgin olive oil l 1 frisée or curly endive lettuce (or other bitter or peppery greens, such as lamb’s lettuce, mizuna, cress or rocsket), washed and torn

1. Place the eggs in a small saucepan and cover with cold water. Put the lid on and place over a high heat.

Bring the water to the boil, then remove from the heat and stand, covered, for six

minutes. Drain the water, then cover the eggs with cold water to stop them cooking further.

2. Heat a small frying pan over a medium heat. Add the bacon and 250ml water.

Cook for 15–20 minutes, until the water has evaporated and the bacon is crisp. Add the shallot and cook for a further minute or two, until softened. Drain the mixture on a paper towel and leave to cool.

3. To make the dressing, combine the lemon juice, mustard and 1 tablespoon of water in a small mixing bowl. Season with salt and pepper. Add the olive oil in a thin stream while whisking to emulsify. Set aside.

4. To assemble the salad, place the frisée leaves in a salad bowl. Add the bacon and shallot, pour the dressing over and toss gently to coat the leaves.

Serve the salad as a nest on individual plates or bowls, and invite each diner to break their egg as they add it to their salad.

Recipes

Goat ’s cheese & tomato galettes As well as being open in form, galettes are open to interpretation in France.

In the southern part of Brittany, galettes are buckwheat crêpes with their edges folded around a sweet or savoury filling. In other parts of the country, they’re more like a rustic open pie with a charmingly haphazard flaky pastry crust; they can also, as in this recipe, be light and golden puff-pastry bases topped with cheese and seasonal produce.

SERVES 4 l 2 sheets (about 370g) frozen butter puff pastry l 2 tbsp olive oil l 350g mixed, vine-ripened cherry tomatoes l 1 red onion, cut into thin wedges l 1 tsp caster sugar l 25g fresh sourdough breadcrumbs l 200g soft goat’s cheese l Sea salt flakes l Freshly ground black pepper l 2 handfuls of rocket leaves

Preheat the oven to 200°C/ 400°F (fan). Line 2 baking trays with baking paper.

1. Allow the pastry to partially thaw, then place

on to the baking trays.

Without cutting all the way through, use a small sharp knife to cut a border about 1cm in from the edge of the pastry. Prick the centre area of each pastry sheet lightly with a fork.

2. Heat the olive oil in a frying pan. Add the tomatoes, onion and sugar and cook over a medium heat, shaking the pan occasionally, for about 3–4 minutes, or until the tomatoes are shiny and the skins begin to split. Drain them on a paper towel.

3. Sprinkle the breadcrumbs over the pastry sheets, staying inside the border.

Top with the tomato mixture, crumble the goat’s cheese over and season with salt and pepper. Bake for 15–20 minutes, or until the pastry is puffed, browned and cooked through.

4. Remove from the oven and cool the galettes on wire racks. Serve topped with the rocket. The galettes are best enjoyed on the same day.

Period Living 157

Pork & pistachio terrine Walking through the streets of Paris, you are bound to pass a traiteur, a kind of delicatessen specialising in ready-to-eat meals. A good traiteur’s cases will be filled with a dizzying selection of terrines made from pork, game, poultry, seafood, vegetables or a combination of ingredients. This terrine goes down the traditional pork path, with a generous dash of port for a boozy edge, and pistachios for a little texture and a nutty flavour. Pair with some

158 Period Living

crusty bread and a chilled bottle of white wine.

SERVES 6-8 l 700g pork, minced coarsely l 300g pork fat, minced – or ground – coarsely l 75g shelled pistachio nuts, roughly chopped l 60ml Cognac l ½ tsp ground white pepper l ¼ tsp ground nutmeg l ¼ tsp ground cloves l ¼ tsp ground cinnamon l 3 tsp sea salt flakes l 25g chopped flat-leaf parsley l 3 tbsp chopped chervil

1. In a mixing bowl, combine the pork, pork fat,

pistachios, Cognac, ground spices and salt. Mix them all together well, then cover and refrigerate overnight to marinate.

The next day, preheat the oven to 180°C/350°F (fan).

2. Add the parsley and chervil to the pork mixture and mix well. Transfer to a 30cm terrine mould (1 litre capacity), pressing down firmly. Smooth the top, cover with foil, then place in a deep roasting tray.

3. Pour boiling water into the roasting tray so that it

comes halfway up the sides of the terrine mould.

Transfer to the oven and bake for 1 hour.

4. Remove the terrine from the oven, remove the foil cover, and allow to cool for 1 hour. Cover with baking paper, then place a weight, such as a large, square bottle of olive oil, on top to compress the terrine.

Refrigerate overnight.

5. Cut the terrine into slices and serve as part of a cold platter.

Recipes

Lemon madeleines In Marcel Proust’s book In Search of Lost Time, the writer and critic famously used the taste of a madeleine dipped in tea as a trigger for nostalgia. These ‘squat, plump little cakes... which look as though they [have] been moulded in the fluted valve of a scallop shell’, as Proust describes them, are popular in France for breakfast with a coffee or for afternoon tea. They come plain or in an array of different flavours. In this recipe, fresh lemon juice adds an extra brightness to the cakes.

MAKES 12 l 125g butter, plus extra for greasing l Finely grated zest of 1 lemon l 3 extra large free-range eggs, at room temperature l 110g sugar l Pinch of sea salt flakes l 185g plain flour l 1 tsp baking powder LEMON GLAZE l 110g pure icing sugar, sifted l Finely grated zest of 1 lemon l 2 tbsp lemon juice

1. Melt the butter in a pan and add the lemon zest.

Set it aside to cool slightly.

Using an electric mixer, beat the eggs, sugar and salt together for five minutes, or until pale and thick.

2. Sift the flour and baking powder over the top of the

egg mixture. Fold them through, then gently fold in the butter mixture until well combined. Cover and refrigerate the mixture for at least 1 hour, or preferably 4 hours or overnight.

3. Preheat the oven to 180°C/350°F (fan).

Generously grease a standard 12-hole madeleine tin – or two tins, if you happen to have them – with some butter.

4. Spoon the mixture into each greased madeleine cup, to about three-quarters full. Bake for 10–12 minutes, or until golden and puffed.

Remove from the pan and cool for 5 minutes. If using

only one madeleine tin, clean it out, butter it again, then cook the second batch in the same way.

5. For the lemon glaze, combine the icing sugar, lemon zest and juice in a small bowl. Add one tablespoon of water and mix to a smooth glaze.

6. While they are still warm, dip the madeleines into the glaze to coat, then leave to cool completely on a rack.

7. The madeleines, being a sponge mixture, are best eaten fresh the day they’re made, so they don’t dry out.

Period Living 159

This rustic, near-foolproof dessert is as suited to a Parisian dinner party as it is a cosy provincial kitchen.

A sweet batter is studded with raspberries and baked until the mixture is just set – both custardy and slightly spongy. Traditional clafoutis is made with black cherries, but you can use any seasonal berry or fruit, with plums and apricots being other popular inclusions. Here, raspberries bring a seductive tartness.

160 Period Living

2 extra large free-range eggs 115g caster sugar O 1 tsp vanilla bean paste or extract O 50g plain flour O 250ml thickened whipping cream (35% fat) O Butter, for greasing O 125g fresh (or unthawed frozen) raspberries O Sifted icing sugar, for dusting (optional) O O

1. In a small bowl, whisk together the eggs, sugar and vanilla. Add the flour, then the cream, and whisk until smooth. Allow the batter to rest for 30 minutes.

2. Meanwhile, preheat the oven to 170°C/340°F (fan).

Grease four mini gratin dishes, about 125ml capacity, with butter.

3. Divide the raspberries among the gratin dishes, then pour the batter over.

4. Bake for 20–25 minutes, or until puffed and golden.

Dust with icing sugar just before serving, if desired.

5. The clafoutis are best eaten warm, within a few hours of making, but they can also be chilled and eaten cold.

This is an edited extract from Lunch in Paris by Suzy Ashford (£14.99, Smith Street Press)

Recipes Suzy Ashford Photographs Chris Middleton / Smith Street Books

Raspberry clafoutis

Advertorial

Choosing the right windows for your home The Sash Window Workshop seeks to combine an authentic design that will complement your home, with all the comforts of modern technology WINDOW DESIGNS HAVE CHANGED considerably over the centuries. Installing the incorrect style of window in your property can make it look out of place and will often reduce the value of your home. In general, buyers are prepared to pay a premium for a property with windows that befit its period.

Timber windows throughout history Timber sash windows were popular in the Georgian, Victorian and Edwardian periods, although there were variations in style.

Georgian properties often had smaller windows towards the top of the house, with larger windows on the ground floor.

Sash windows were also constructed with multiple glazing bars, as glass was expensive and construction was complex.

By the Victorian period, larger windows were more affordable.

Glass also saw a reduction in price, impacting design as fewer glazing bars were used in construction. In Edwardian homes, both casement windows and sash windows were popular.

Bay sash windows also became

a desirable feature in both Victorian and Edwardian homes.

Authentic designs for your home The Sash Window Workshop believes that windows should be both energy efficient and in keeping with the house’s architectural style. All of its replacement timber windows are draught-proofed on installation and, providing planning permission allows it, are double glazed as standard.

Established in 1994, The Sash Window Workshop has a wealth of experience working on period homes across London and the south of England, helping customers to identify the right traditional windows to suit their property. The company also offers a draughtproofing and complete overhaul service for customers whose windows do not need replacing.

Clockwise from right: Timber casement windows; Accoya bay sash window; Georgian-style timber sash windows, all manufactured and installed

by The Sash Window Workshop

Get in touch The Sash Window Workshop provides a high-quality, bespoke product and excellent customer service, as evidenced by its fivestar Trustpilot rating. To obtain a free, no-obligation visit and quotation contact 01344 868668 or visit sashwindow.com.

Period Living 161

A

tockısts S

1stdibs 1stdibs.co.uk Aga 0800 111 6477 agaliving.com Alitex 01730 826900 alitex.co.uk Amanda Leader amandaleader.com Amara 0800 587 7645 amara.com Amtico 0121 745 0800 amtico.com Anness Publishing annesspublishing.com Anthropolgie 0800 0026 8476 anthropologie.com Antiques & Curios Creations 0121 444 8334 Arada Stoves 01297 632050 aradastoves.com Arteriors arteriorshome.com Artisans of Devizes 01380 735888 artisansofdevizes.com

G

B

I

B&Q 0333 014 3098 diy.com Bath Bespoke 01225 920900 bathbespoke.co.uk Belling 0344 815 3746 belling.co.uk Benjamin Moore 020 7351 1489 benjaminmoore.com Bluebellgray 0808 164 0130 bluebellgray.com Brie Harrison brieharrison.com Bronze Architectural Casements 01476 249494 bronzecasements.com Burlington 01322 473222 burlingtonbathrooms.com

C

Ca’Pietra 01380 735885 capietra.com Cadogan Doggy Dogs 07788 445371 cadogandoggydogs.co.uk Chesneys 020 7627 1410 chesneys.co.uk Chloe Holt chloeholt.co.uk Chocolate Creative 020 7635 6371 chocolatecreative.co.uk Christie’s 020 7839 9060 christies.com Clare Curtis clarecurtis.co.uk Clement 01428 643393 clementwindows.co.uk Cole & Son 020 8442 8844 cole-and-son.com Colefax & Fowler 020 7244 7427 colefax.com The Cotswold Casements Company 01608 650568 cotswold-casements.co.uk Creative Landscape 0118 934 1500 creative-landscape.co.uk Crosswater 0845 873 8840 crosswater.co.uk Crown Paints 0330 024 0281 crowntrade.co.uk Curious Egg 01738 621111 curiousegg.com

D

David Austin 0800 111 4699 davidaustinroses.co.uk De Potstal depotstal.nl The Decorative Antiques & Textiles Fair decorativefair.com Denby 01773 740899 denbypottery.com The Design Archives 020 7349 7018 thedesignarchives.com Designers Guild 020 7351 5775 designersguild.com Devol 01509 261000 devolkitchens.co.uk Devon & Devon 020 7221 5137 devon-devon.com Dibor 0800 408 0660 dibor.co.uk DIY Kitchens 01977 608418 diy-kitchens.com Dovre 01392 219932 dovre.co.uk Dulux 0333 222 7171 dulux.co.uk

E

Ebay ebay.co.uk Esse 01282 813235 esse.com Esupasaver 0121 448 6987 esupasaver.co.uk The Ethicurean 01934 863713 theethicurean.com Farrow & Ball 01202 876141 farrow-ball.com

F

Fashion and Textiles Museum 020 7407 8664 ftmlondon.org Feather & Black 01243 380 600 featherandblack.com Fired Earth 01295 812088 firedearth.com The Four Poster Bed Company 01544 340444 fourposterbed.co.uk

Gainsborough 01787 372081 gainsborough.co.uk Garden Trading 01993 845559 gardentrading.co.uk Gazco gazco.com Graham & Green 01225 418200 grahamandgreen.co.uk Green Books greenbooks.co.uk

H

H&M 2.hm.com Habitat 0344 499 4686 habitat.co.uk The Hambledon 01962 890055 thehambledon.com Hand of Glory Antiques and Interiors handofgloryantiques.com Heritage Bathrooms heritagebathrooms.com Homebase 0345 077 8888 homebase.co.uk

Ian Mankin 020 7722 0997 ianmankin.co.uk Ikea 020 3645 0000 ikea.com Industville 020 7971 7871 industville.co.uk Ingenious 01993 824200 indigenous.co.uk Inkpin & Boot 07788 445371 inkpinandboot.co.uk

J

Jack Brundson 01993 885080 jackbrunsdon.co.uk Jane Churchill 020 7244 7427 janechurchill.com Jim Lawerence 01473 826685 jim-lawrence.co.uk John Lewis & Partners 0345 604 9049 johnlewis.com Josie Shenoy 07817594179 josieshenoy.com Jotul jotul.co.uk

K

Kate Guy kateguy.co.uk KD Loves 020 3866 4430 kdloves.com Kempton Park Antiques Market 01932 230946 sunburyantiques.com Kevala 01494 478844 kevalastairs.com King & Mcgaw 01273 511942 kingandmcgaw.com Kitchen Maid 0800 009 6233 castinstyle.co.uk

L

Lapicida 01423 400100 lapicida.com Lewis & Wood 020 7751 4554 lewisandwood.co.uk Loaf 020 3141 8300 loaf.com London Transport Museum Shop ltmuseumshop.co.uk Lorfords 01666 505111 lorfords.com Lotus 01392 474000 lotusfires.com Luke Irwin 020 7730 6070 lukeirwin.com

M

Made by Hand Online 07866 894201 madebyhandonline.com Mandarin Stone 020 3475 8805 mandarinstone.com Manuel Canovas 020 7244 7427 manuelcanovas.com Mart Kleppe mart.nl Marvic Textiles marvictextiles.co.uk Matthews & Peart 01743 460900 matthewsandpeart.co.uk McCarron & Company 020 7584 5736 mccarronandco.com Mercury 0800 804 6261 mercuryappliances.co.uk Mind the Gap mindtheg.com Morris & Co 020 3457 5862 stylelibrary.com Morsø morso.co.uk Mutiny mutinyfoods.com

N

National Trust 0300 123 2025 shop.nationaltrust.org.uk Neville Johnson 01618 738333 nevillejohnson.co.uk Newgate Clocks 01691 679994 newgateworld.com Nordic House 01872 223220 nordichouse.co.uk Nordic Style 0208 741 1709 nordicstyle.com Nordpeis 01392 474000 nordpeis.co.uk

O

Oat Pantry oatpantry.com Old Boot 020 3926 5500 oldbootsofas.com The Old Radiator Company 01233 850082 theoldradiatorcompany.co.uk One World one.world

Original BTC 020 7351 2130 originalbtc.com Osborne & Little 020 8812 3123 osborneandlittle.com

P

Parker Knoll 01773 604121 parkerknoll.co.uk Peter Jones 03456 100 337 johnlewis.com Pia Bramley 07708 726187 piabramley.co.uk Pieter Adam houseology.com Pinch Design 0207 622 5075 pinchdesign.com Porta Romana 01420 23005 portaromana.com Pure & Original pure-original.com

R

REGTS Antique Tiles antiquetileshop.com Residence Collection 01452 300912 residencecollection.co.uk Ripples 020 7449 9594 ripplesbathrooms.com Rockett St George 01444 253391 rockettstgeorge.co.uk Romo 01623 756 699 romo.com Rosanna London 020 3488 4116 rosannalondon.com The Rug Company 020 3369 3912 therugcompany.com The Rug Maker, Singapore therugmaker.com.sg

S

Sam Wilson Studio 01386 841116 samwilsonstudio.com Sanderson 020 3457 5862 stylelibrary.com Sarah K 020 7737 2508 sarahk.co.uk Sash Window Workshop 01344 868668 sashwindow.com Scotts of Thrapston 01832 732366 scottsofthrapston.co.uk SDA Build London 0208 191 7595 sdabuildlondon.co.uk Second Nature Kitchens sncollection.co.uk Secret Linen Store 01243 822599 secretlinenstore.com The Shop Floor Project 01229 584537 theshopfloorproject.com Smith Street Books smithstreetbooks.com Sober en Stoer Wonen soberenstoerwonen.nl Sofas & Stuff 01798 300353 sofasandstuff.com Sothebys sothebys.com Stovax stovax.com Strand Palace 020 7379 4737 strandpalacehotel.co.uk Sunbury Antiques 01932 230946 sunburyantiques.com Surface View 01189 221327 surfaceview.co.uk

T

Thames & Hudson 020 7845 5000 thamnesandhudson.com Tiles Direct 0113 253 0005 tiles-direct.com Timber Windows 0800 030 2000 timberwindows.com Timorous Beasties 020 7833 9867 timorousbeasties.com

U V

UK Bathroom Store 01524 841087 ukbathroomstore.co.uk

V&A 020 3481 6536 vam.ac.uk Valspar 01706 242010 valsparpaint.co.uk Van Hees Design vanheesdesign.nl Vanessa Bowman vanessabowman.co.uk Varde 01392 474000 vardestoves.com Victoria Plum 0344 804 4848 victoriaplum.com Victorian Plumbing 0345 862 2878 victorianplumbing.co.uk

W

William Holland 01305 251930 williamholland.com William Yeoward 020 7349 7828 williamyeoward.com Windsor House Antiques 01832 274595 windsorhouseantiques.co.uk Wood Floor Warehouse 0161 274 9565 woodfloorwarehouse.co.uk Woodwarm 01884 35806 woodwarmstoves.co.uk

Period Living 163

In the Picture

BRINGING ALICE TO LIFE

C

uriously and curiouser, the illustrations for which Sir John Tenniel is most famous, those for Alice’s Adventures in Wonderland, were created against a background of bitter disputes with Lewis Carroll over the interpretation and fine details.

None of this back story comes across in Tenniel’s finished illustrations and perhaps it was a case of two perfectionists meeting their match. When Tenniel, born 200 years ago this month, was asked to illustrate Through the Looking Glass he first refused, then begrudgingly told Carroll he’d do it ‘at such spare times as he can find’. He was then principal political cartoonist of Punch and so busy or so disinclined to do Carroll’s bidding that his images delayed the Alice sequel by four years but, like its predecessor, the book was a huge success and went into numerous editions.

178 Period Living

Words Karen Darlow Illustration by Sir John Tenniel/Andrew Howe Getty Images

Sir John Tenniel famously created the definitive Alice in Wonderland with his iconic illustrations. A strained relationship with Lewis Carroll, however, meant that it was one of Tenniel’s least favourite commissions