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BEAUTIFUL OLD HOMES
DECOR ATING & SHOPPING
GARDEN ANTIQUES INSPIRATION & VINTAGE
RENOVATION & MAINTENANCE
PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE
Cosy
country
Homes to inspire – from a converted Georgian schoolhouse to a classic Victorian rectory
FEBRUARY 2021
Fragrant
gardens Plants to appeal to all of the senses through the seasons SHOP FOR…
BATHROOM BLISS Create a luxury look for all budgets
Trueblue Fresh ideas for decorating with sophisticated inky shades, warm mid-tones and soft pastels
FLORAL PRINTS ANTIQUE BEDS STYLISH RUGS EXTERNAL DOORS
EXTENSION DESIGNS TO MIX OLD AND NEW
Illustration Sarah Overs Photograph David Lloyd
Editor’s Letter
xtending a period home can be a divisive issue. Many people believe older properties must be adapted to make them work for 21st-century living, but some would argue that they are architectural relics and, as such, should be preserved intact for the benefit of future generations. I’ve often heard the suggestion that if a period property doesn’t meet your needs then, rather than enlarging it to suit your lifestyle, you should simply move on. I can’t say I entirely agree with that sentiment, but I do think a line needs to be drawn somewhere – it feels wrong to destroy a home’s character with an over-large, unsympathetic addition. Of course, if you belong to the pro-extending camp, then you will likely have an opinion on the way it should look – utterly seamless, as if it has always been there; sensitive but distinct, using harmonious materials but not attempting to mimic the original; or a minimalist modern contrast that shows how the property has evolved through the centuries. Each option has its merits and there are many stunning examples of successful projects – I’d love to hear your thoughts on the issue. If you’re hoping to extend your own home in 2021, then don’t miss our Room to Grow feature, where we look at beautiful ideas for gaining space (page 108). Elsewhere this month, the magazine is focusing on lifting your spirits at what can feel like the bleakest time of year. If you’re suffering from the winter blues, then confront them head on with a fresh new decorating scheme, as style editor Pippa Blenkinsop shows you how blue can feel surprisingly warm, inviting and uplifting (page 24), and adds a touch of sophistication to a period home. Meanwhile, garden expert Leigh Clapp reveals the most aromatic plants for creating a scheme that invigorates all of the senses (page 130). Start planning now, and spring will soon be here. Finally, this month you can subscribe to Period Living for just £25 for a year, saving 50 per cent on the cover price (page 44). Subscribing means you’ll never miss a copy, and will give you something to look forward to each month in 2021. Enjoy the issue! Melanie Griffiths Editor, Period Living
Period Living 3
Decorating & shopping
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Journal
Homes
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We round up the latest interiors offerings and news ON THE COVER
Floral designs
Pretty blooms and pastel shades to inspire romantic decorating ON THE COVER
Shop for rugs
Keep cosy underfoot with this array of statement designs
How to decorate with blue
46 57
ON THE COVER
Embrace this timeless and tranquil shade in your décor
67 77
Features
Love at first sight Aoife Kenny’s classic yet quirky style has brought to life this stunning London home ON THE COVER
Gardener’s world
A passion for gardening guided Christopher and Lillie Edgar’s update of their Victorian rectory ON THE COVER
Top of the class
Restoring a schoolhouse proved to be a steep learning curve for Ciara and Harvey Appelbe ON THE COVER
70
Made in Britain
79
Antiques journal
82
Decorative details
137
February journal
139
Romantic days out
147
Food journal
149
Recipes
History at work
Sofia and Bruno’s Scandi home is filled with a fascinating mix of heirlooms and tools of their trade
Reader survey What do you love about Period Living? What homes would you like to see more of? Let us know
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We visit Jason Mosseri’s workshop, where he crafts timeless Windsor chairs
Discover the latest antiques trends and hear collectors’ stories
Marc Allum delves into antique beds, with advice on buying
The best activities to get you out and about this month
Explore some of the country’s most romantic places, perfect for a Valentine’s outing
Eateries, edibles and kitchen essentials for keen home cooks
Lift everyone’s spirits with these feel-good winter warmers
22
Cover Photograph Anne Nyblaeus /A Design Features
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130
Advice & inspiration
89 92
House journal New products and expert advice for improving a period home
Luxury bathroom inspiration ON THE COVER
Create a sumptuous sanctuary to wash away the stresses of the day
101 108
ON THE COVER
External doors
Refresh your home’s exterior with a front or patio door ON THE COVER
116
Project journal
120
Design details
125
Health check
Be inspired by these stunning renovation works-in-progress
Conservation expert Lee Bilson tells the evolution of fireplaces
Expert Roger Hunt advises on maintaining old plumbing
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129
Garden journal
130
Scents of the seasons
The latest garden products, and horticultural advice ON THE COVER
Create a garden that appeals to all of the senses with these lovely fragrant plant choices
Regulars
11 44 161
Your journal We share our readers’ letters and photographs
Subscription offer This month save 50 per cent on a subscription to Period Living
Stockists Where to find all the suppliers featured in this issue
Extensions
Discover how to enlarge your home by extending, without damaging its character
129
Gardens
92
Readers’ letters, projects and views on the magazine
STA R
T HOOKED ON PL
Josie Shenoy’s fantastic, whimsical illustration on the cover of the December issue really inspired me during the challenging second lockdown. My little crochet creation will be displayed on my mantel throughout the festive season, alongside the print, which came free with Period Living. Amie Paxton This month’s star letter writer receives this beautiful handmade Goldcrest and Cornflower cotton and velvet cushion in navy, worth £35, from Particle Press
SEASONAL SPLENDOUR
Feature Holly Reaney
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Thank you so much for the beautiful illustration that came with the December issue. I thought you might like to see how I made use of mine. It was perfect to slip into the front cover of my Christmas Recipes folder (I didn’t even need to trim it to size). A good reason to sort out those recipes at the same time. Julia Ritchie
E
PERFECTLY PLANNED
We loved seeing Olympia Koutra’s festive mantelpiece (above) on Instagram. She’s filled it with colourful candles and candlesticks, inspired by the Merry & Bright decorating ideas in our December issue. If you’ve also been inspired, be sure to share your decorating photos with us on social media. SEW HOMELY Having only recently subscribed to Period Living, I wanted to share my recent projects, including an embroidery of my home (left) and a card for my friend’s birthday (right). I have no training, but it’s a great hobby and I would encourage anyone to pick up a needle. I have done various projects over the years and thoroughly enjoy the challenge and pleasure that it provides. Graham Jones
Get in touch: periodliving@futurenet.com
@periodlivingmagazine
@PeriodLivingMag
@period_living Period Living 11
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beaut m o if ro d u e Winter is the
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Discover the latest collections from our favourite brands and new work from British designers
time for snuggling up, so why not treat yourself to some luxurious bedding to create that special sanctuary? Brilliantly timed, Morris & Co has added two designs to its bedlinen collection. Inspired by the embroidery work of Morris’ daughter May, this Seasons by May design, from £22 for a pillowcase, features a trellis of parakeets and stylised roses against a warm saffron backdrop – the perfect antidote to winter blues.
Period Living 13
magic and dream-like quality of nature, the work of Cornish artist Rebecca Polyblank will form the basis of an exciting solo exhibition at St Ives’ New Craftsman Gallery. Discover an array of sculptures and mixed media paintings created with foraged hedgerow specimens, which celebrate Rebecca’s endless fascination with the Cornish landscape. Open 13 February – 13 March or view online at newcraftsman stives.com.
LIVING WITH HISTORY
Cole & Son has partnered with Historic Royal Palaces to celebrate 1,000 years of British history with the launch of its Great Masters wallpaper collection. Paying homage to the master artisans, craftspeople and monarchs that brought to life the six iconic palaces now in the care of Historic Royal Palaces, Great Masters presents 17 new designs inspired by the palaces’ architecture, interiors, collections and gardens. Drawing on Tudor woodwork and 17th-century tapestries to the baroque architecture of Sir Christopher Wren’s wing of Hampton Court Palace and the Antonio Verrio murals that adorn its interior, the wallpapers translate centuries of the finest craftsmanship into new designs for contemporary living. Paying homage to King William III and Queen Mary II’s famous ‘Exoticks’ plant collection, Royal Jardiniere (above), £165 per roll, features classical urns of orange trees first conceptualised by Antonio Verrio in his ceiling painting in The King’s Little Bedchamber at Hampton Court Palace.
IN THE FRAME The Victoria & Albert Museum shop has released a collection of limited-edition artist prints commissioned as part of its V&A Select programme. Chosen for the way their work connects with the museum, the six artists have each created a piece in response to their favourite work in the V&A collection. We love printmaker Clare Curtis’ fantasy Art Deco garden scene, Jardin de Suzanne, £250 (H47xW67cm), which takes inspiration from a floral carpet designed by Suzanne Guiguichon and made in Paris in about 1925. With just 75 editions of each print available, you’ll need to be quick!
14 Period Living
Images (Rebecca Polyblank) Mark Polyblank; (middle left) Joy Thistles and Grasses, Rebecca Polyblank, £950
D
miss t ’ on Capturing the
EYE ON DESIGN Fabric designer and block-printer Molly Mahon chats about her new Greencombe collection of hand-block-printed fabrics inspired by nature How did the Greencombe collection come about?
There are certain things in life that give us that magical feeling: getting married; taking a walk in nature; and another one for me is block printing. It’s an addiction! This collection sums up everything I find so beautiful about the great outdoors, from primroses signalling the start of spring to the colourful blooms in India. We named it Greencombe, which felt fitting as we photographed it in a beautiful house down in a verdant valley; there was something really romantic about the location. The collection has been brewing for a long time, so I’m excited to finally launch it. I had a long trip to India back in January 2020, just before lockdown, so that we could test the blocks which had been pre-carved with the new designs. The fabrics are full of hope, joy and bold colours, so the new year is a good time to be launching them; I feel we all need something to look forward to. I’m most excited about the Strawberry print; it’s so sweet, innocent and nostalgic. We have wild strawberries in our garden, and the children and I love finding these little bursts of deliciousness. Talk us through the creative process
I find inspiration everywhere but I collect a lot of it in my head as I never seem to have a pencil and paper handy! It’s usually a Sunday afternoon when I can finally get them all down as doodles, and as and when time allows I will build from there. I used to create the pattern and work out what I could make with it, but now we’re thinking about products and what pattern might fit them well. I have such a strong vision of the whole thing. The fabrics are then printed in Jaipur, India, by skilled block printers. Hand-block-printing has a
From top: Molly in her studio; Trellis in Sky/Indigo/Grass, £164 per m; Tulip in Rose/Copper, £152 per m; Seed in Mustard, £116 per m, and Garden Path in Sky/ Midnight, £164 per m
certain added energy to it created by the slight misplacement of the blocks that just happens under a human hand. What inspires your colours?
We have used a set palette, so we have worked out the colours first and then applied these across the collection to allow all the different prints to work together. I don’t know why but I get a real kick out of seeing certain colours together, like green and blue or red and pink; it makes the fabric seem happier somehow. I love to look to nature for combinations. When I was in Scotland last year I was mesmerised by the bright colours of the heather next to the green, so in the Trellis fabric the pink is slightly mauve, like in the heather. My children will often give me their ideas on combinations, too; children are much more daring and they don’t think it through as much, which is so refreshing. What’s your advice for decorating a period home?
Strawberry linen in Grass, £158 per m
With period homes there can be a fear of changing things, and if a building is listed we do have to be careful, but I think it’s good not to worry too much. My fireplace had a huge, heavy grey stone surround that I found terribly dreary, so eventually, after a year or so of looking at it, I painted it. Honestly, it has lifted up that fireplace, and I feel proud of it now; even when it’s not lit it’s still cheery. I wasn’t thinking too much ahead about it. Decorate in the moment; if you find something you love, make a place for it. You never know what’s around the corner and the main thing is to make your home as joyful as you can. Period Living 15
News SOFT TOUCH Purveyor of beautiful Scottish cashmere and lambswool, Johnstons of Elgin has released a new fabric collection for interiors inspired by the brand’s Scottish origins and landscape. The new collection, Tempo, features five woven jacquard designs – Parquet, Geometric, Fan, Chevron and Herringbone – made with a two-fold twisted lambswool yarn. Available in 12 natureinspired colourways matched to the tones of the Scottish scenery, the fabrics range from subtle pink, blue, grey and soft neutrals to stronger shades of orange, teal and charcoal.
Images (porcelain vessels) Sylvain Deleu (Majeda Clarke textiles) Yeshen Venema
From left: Chair in Tempo Geometric Fiesta; sofa in Tempo Parquet Isle; cushions in Aria Blossom, Aria Zest, Aria Grapefruit and Aria Comet with mixed piping; footstool in Aria Yellowstone, all £118 per m
ONLINE MAKERS’ MARKET
Weaver Jacob Monk in his Cockpit studio
Helen Johannessen Textures of Time printed, cast, hand-built parian porcelain vessels, from £350 Welsh blankets, from £475, and cushion in the Caernarfon pattern, from £75, both woven from lambswool and angora, Majeda Clarke
Cockpit Arts, London’s leading studios for contemporary crafts, has launched an online marketplace offering the chance to browse and buy from an array of talented artisans. Home to over 140 independent creative businesses at sites in Deptford and Holborn, Cockpit launched the market after being unable to host its annual open studios this year, and plans for it to be a permanent online feature. From the comfort of your own home you can shop the wares of leather workers, furniture makers, ceramicists, weavers, and much more. ‘Our new platform brings together in one place Cockpit’s gifted community of makers and the stunning works they create,’ says Annie Warburton, CEO of Cockpit Arts. ‘With an immense variety of items available – in price range, product type and craft discipline – its appeal lies in the ability to seek out one-offs found nowhere else. It’s the place to come for gifts with meaning and soul.’
Polkra x Anna Glover Mirabilia placemats, £115 for a set of 6
SHOPPING DESTINATION Committed to offering stylish, original and highquality products for the home, the Polkra team travels the world to source the best in raw materials and craftsmanship, often partnering with talented craftspeople and artists. Shop beautifully illustrated placemats and scented candles, to quality basics such as luxury cotton bath towels and jazzy printed teatowels.
Polkra x Katie Scott scented candles, £49 each Period Living 17
PLATE UP Why limit artwork to walls when you can display it on your sofa, too? Renowned for collaborating with talented British artisans to create unique products for the home, The Shop Floor Project has partnered with artist Unity Coombes to serve up a range of colourful folksy cushions. Printed with an array of beautiful antique plate paintings on vibrant tablecloths, they’re a brilliant dose of quirky, £75 each.
TALENT SPOT
For decorative painter Amy Balfour, life is better in colour. Combining a passion for vibrant tones, pattern and folk art, Amy brings joy to interiors with her unique painted furniture, designed to be heirlooms of the future. Marrying together a signature bright, playful palette with simple abstract patterns, her paintwork sees no bounds as she transforms everything from vintage keepsake boxes and mirror frames to entire farmhouse tables and interior features such as fireplaces and door frames. ‘I have an illustration degree and love interior design; painting furniture and interiors perfectly combines both aspects,’ Amy explains. Indeed, it was after a career in interiors working for the likes of Sibyl Colefax and John Fowler, as well as the birth of her daughter, that Amy decided to focus on her passion for painting. Inspiration comes from myriad sources but her textile collection is a particularly rich source. ‘I love antique textiles and folk art and have always collected pieces from a young age,’ says Amy. ‘I love going round antiques and charity shops, and have a big book collection which I use for inspiration, too.’ Yet perhaps her biggest influence is the Bloomsbury Group’s country meeting place Charleston farmhouse. ‘I used to live close to there and visited a lot as a child; I love the relaxed and naive approach.’ Rejecting the ruler and masking tape used by many upcyclers, Amy loves the charm of handpainting, embracing casual brushstrokes and trying never to overthink things. ‘Sometimes I make it up as I go along but usually I’ll do a rough mock up, although I don’t stick to it,’ she laughs. In a new challenge, Amy and her husband have just taken on a huge renovation project in the form of a 15th-century Wealden hall house in East Sussex, and is already buzzing with ideas for stamping her style on the space. Follow the progress of the renovation and see the house brought into colour on her Instagram feed @amyfitzgeorgebalfour. Contact Amy for a bespoke piece, or buy one of her handpainted mirrors from Wicklewood. (amybalfour.co.uk)
18 Period Living
Shopping
Dreaming of Summer’s Return, acrylic on canvas, £450, Edie Rose Ashley
Astier de Villatte Panachée Rose dish, £75, Summerill & Bishop
Rose Garden soap, £5.50, By Frankie
Camellia wallpaper in Dusky Pink, £504 per roll, Flora Roberts for Hamilton Weston
Floral F l lo o r a fan ncy
Bungalow DK Shimla Blush tablecloth, £98, Curated Living
Peony porcelain table lamp base with hand-finished floral motif, £96, Där Lighting
This St Valentine’s, let the love in the air inspire romantic decorating. Think elegant blooms married with pretty pastel shades
Allendale linen/ cotton fabric in Rose, £55 per m, Warner House Giclée print of F is for Flower collaged book artwork, £180, Alison Stockmarr
Feature Pippa Blenkinsop
Low-arm bench in Aubusson Floral heavy linen, from £655, Angel & Boho
Lohko Rose floral inlay bedside table, £395, Oliver Bonas
Pink Asiatic Pheasants large teapot, £81, Burleigh
Wildflowers teatowel, £9, Laura Stoddart Period Living 21
Monaco rug in Rosy, from £189, Sofa.com Heriz Oriental Border Granite rug, from £51.99, Carpetright
Shalba cotton/wool rug in Vermillion Red, £1,495, Oka
Christian Fischbacher Collection Estival Caliente 8446 jacquard rug, from £450, Floor Story
Quill Stripe Buffalo flatweave wool rug, £450, Roger Oates
Doodle wool rug in blue, from £199, Dwell
Magic
carpets Chilli oval organic jute rug, from £32, The Braided Rug Company
Maxime recycled plastic rug in blue, from £52, Weaver Green
Bluebellgray Zinnia rug in black multi, from £425, The Rug Seller
22 Period Living
Hikira flatweave wool rug in green, from £440, A Rum Fellow
Santi Moix Nanimarquina Flora Promenade rug, £2,793, Nest
Feature Pippa Blenkinsop
Handwoven wool kilim rug in Pushkar Rose, £895, Susie Watson Designs
Make a feature of your floor and keep cosy underfoot with this array of statement rugs, from botanical designs to folksy weaves
Sing the
blues From dramatic indigo to pale sky, let the myriad tones of the winter landscape inspire tranquil, timeless decorating. Whether dark or light, warm or cool and used plain, or within decorative prints, this hugely versatile shade offers a harmonious solution for every space
PERIOD DRAMA If your kitchen is a light, bright space, why not dare to be different by opting for cabinetry in deep navy-laced charcoal? Stylish and sophisticated, this Haddon cabinetry in Charcoal, from £15,000 by Burbidge & Son’s Kitchen Makers, would perfectly suit the high ceilings of a Georgian townhouse. Combine with burnished hardware and wooden flooring and accessories to bring rustic warmth.
Feature Pippa Blenkinsop
Decorating
FOLKSY PRINTS Lovers of blue and pattern will adore this new Folk Embroidery wallpaper from Mind the Gap’s Transylvanian Roots collection, £135 for three rolls. Set on an inky navy backdrop, the textileinspired floral design really sings – it would look great in a hallway or used to back a dresser for a twist on the traditional.
COASTAL COOL Soothing and timeless, sea blues are a brilliant choice for a home office. Set the tone with weatherboarded walls in indigo and floors in Carpetright’s weathered oak-look Quattro 8 Loft laminate, £26.99 per m2. Add to the relaxed feel with mix-and-match blue mid-century chairs and a vintage Indian folding table – for similar try Ian Snow.
DREAM BIG For a bedroom with wow factor, consider trading in paper and paint for a photographic mural of a sweeping icy vista that transports you to distant lands. Dramatic, yet with a soothing, undulating rhythm of steely, inky blues, this Kalle Gustafsson Winter Forest Fog mural costs from £40 per m2 from the Trunk Archive at Surface View.
TALKING TEXTURES If you’re decorating in deep, rich blues it’s important to factor in plenty of cosy textures to avoid dramatic shades feeling cold. For a living room, try a sofa in velvet, such as Sofa.com’s Izzy in Bahama Cotton matt velvet, from £1,730 and opt for a blue deep-pile rug, for a similar design try Carpetright. Period Living 25
SET THE TONE Neither too light nor dark, and a perfect companion to aged timber, stone and white-painted woodwork, mid blues make a harmonious choice for period homes. With its warm undertones, Sanderson’s Cadet Blue, £47 for 2.5ltrs of Active emulsion, would be brilliant in a living room, and, paired with curtains in Sanderson’s Stapleton Park floral, £65 per m, there’s no chance of the room feeling cold or uninviting.
Decorating
VERY VERSATILE A natural choice for a bathroom, fresh, uplifting blues will put you in a positive frame of mind for the day, but will also aid evening relaxation. Described as a ‘heritage blue’, Paper & Paint Library’s Blue Gum, £75 for 2.5ltrs of Architects’ Satinwood, sits beautifully here with its Hardy Palm wallpaper in Perse Grey, £108 per roll.
FROM THE ARCHIVE Our love affair with the nature-inspired patterns of the Arts and Crafts era sees no sign of abating. Originally created in 1896 by John Henry Dearle, who worked for Morris & Co, this Compton design from the V&A archive has been reworked and recoloured to create these Compton China Blue curtains, from £48.95 at Curtains2go.
RETRO REVIVAL If you’re looking for more of a mid-century feel then try walls in punchy blues with hints of turquoise; they’re bold enough to temper graphic mid-century prints and a great match for teak furniture. We love this pairing of Sanderson’s Dandelion Clocks fabric, £49 per m, with its Tropical Palm paint, £47 for 2.5ltrs of Active emulsion.
BOTANICAL BLUES 20th-century designer Florence Broadhurst created numerous beautiful prints for wallpapers and fabric inspired by her travels, many of which have been revived in a baby blue palette. Choose from Shadow Floral velvet with its palm fronds and butterflies to Japanese Floral velvet covered in oriental blooms, £115 per m. Period Living 27
ELEGANT TOUCH Used as the backdrop to a sinuous floral design, dusky grey-blues can lend a pretty vintage feel to an interior, as this wallpapered room proves. Inspired by an original wallpaper in Stockholm’s Bogesund Castle, Charlotta is a stylised floral print depicting a poppy dancing in the wind and encircled foliage, which has a distinct Arts and Crafts feel. Pictured in Petrol it’s around £110 per roll from Swedish brand Sandberg.
Decorating
BLISSFUL BLUES A freestanding roll-top is a must-have for a luxurious period bathroom and can be painted in a colour of your choice by several manufacturers. For a cool Mediterranean look, choose a dusky indigo and team with Carpetright’s practical Starfloor Tile Retro Indigo luxury vinyl flooring, £34.99 per m2.
COUNTRY CHARM If you’re looking to create a timeless farmhouse kitchen, you can’t go wrong with Shaker-style cabinets in a soft pastel blue. A design guaranteed to last for years to come, this Henley cabinetry in Powder Blue, from £8,000 at Neptune, partners beautifully with earthy stone flooring and blonde timber worktops.
POINTS OF DIFFERENCE A chevron twist on a classic stripe, Parker & Jules’ Ziggy wallpaper comes in four colourways, including this pretty Wedgwood Blue, which conjures the pottery’s famous Jasperware. It’s a subtle pattern, so don’t be afraid to pair it with chintzy prints for an eclectic, maximalist look. £140 per roll at The Fabric Collective.
CLASSIC COMBINATION A timeless pairing that never seems to be out of fashion, white and blue is a perfect palette for a restful bedroom. To keep things cosy, embracing rustic textures is key – try layering Loom & Last’s cotton bedding in Prussian Blue, from £28 for a pair of pillowcases, with its Marais linen throws in Steel and Denim, £140 each. Period Living 29
Chairman’s agenda Among a handful of artisan Windsor chair makers remaining in the country, Jason Mosseri crafts his seats using time-honoured techniques, and teaches others in a hope the traditional craft will live on Words Heather Dixon | Photographs Alun Callender 30 Period Living
Made in Britain
This image: Jason in his rustic workshop, built from reclaimed materials at the bottom of his leafy garden in Sussex. Behind him is the Continuous Shield armchair, in walnut and ash Opposite: The elegant design of the Kompact desk or dining chair, which is crafted in elm and ash
Left: To craft the chair and stool legs, Jason uses a shaving horse, which is a combination of vice and workbench. As he works, wood shavings pile up around his feet, the sweet smell filling the air
In the
stillness of a chill winter’s morning, Jason Mosseri is wandering through woodland near to where he lives in Lewes, Sussex, in search of the perfect, freshly felled wood. In particular, he is looking for ash trees; the straighter the better, fast grown and with minimal knots, ideally six to eight growth rings per inch. He is looking for texture and form, colour and contours – the most beautiful wood among the trees. When he finds the perfect piece, he will chain saw it into lengths, split, shave, draw and turn the wood, pull it all together and finally seal it with milk paint, completing a time-honoured process of transforming an unassuming chunk of Britishgrown ash into an iconic Windsor chair. ‘There is something intrinsically satisfying about creating a piece of furniture from natural resources,’ Jason says. ‘It’s human nature to make things; a fundamental part of our DNA. I love using hand tools and working with wood, making chairs. It was a natural path to follow.’ Yet Jason’s journey to becoming one of only a handful of artisan chair makers in the country has been less than orthodox and undoubtedly organic.
32 Period Living
Above: While remaining within the Windsor furniture tradition and techniques, Jason’s contemporary chair designs are bold, stylish and sculptural – heirlooms of the future
‘I’ve always enjoyed making stuff,’ he says. ‘When I was a boy, in the 1970s, I was obsessed with Lego and Meccano. I remember that rattle sound of sorting through it, picking out pieces and building things. I also made bows and arrows and boats. Anything I could design, develop and make. However, I only really felt as though I discovered my own sense of creativity after leaving college and travelling to the chaos of India.’ It was there that he started to paint ‘on a grand scale’, forming a successful artists’ co-op, which provided décor for clubs and parties throughout Europe in the early 1990s. Jason then settled back in Britain and started tattooing in Brighton, immersing himself in the ancient folk-art and eventually teaming up with renowned tattooist Alex Binnie to run one of the most highly rated custom tattoo shops in the south of England. It was, however, a brief experience with another type of creativity that was to take Jason’s life in a completely different direction. ‘In among all this I was fortunate to attend a chair-making course with Paul Hayden at Westonbirt Arboretum in Gloucestershire… and I
Made in Britain
Clockwise from top: Rooflights and windows draw plenty of natural light into Jason’s handbuilt garden workshop; these handcrafted leg turnings demonstrate his finely honed skills; timehonoured tools of the trade are neatly arranged on the wall with all the essentials found in one
practical space; the ergonomically designed seat of this Perch stool is roughed out very quickly using a travisher, a key tool for making Windsor chairs, taking large shavings – ‘It’s perfect if you want some texture to any sawn surface that doesn’t need to be planed flat,’ Jason explains
Period Living 33
Above: A waist-high bench allows Jason to work on the finer details of his beautiful chairs at eye level Top right: His favourite part of the making process is the formation of the chair seats
34 Period Living
became hooked,’ he says. ‘Once I started to develop it properly, I knew this was what I wanted to do.’ Windsor chairs have been made for more than 300 years, the name covering a broad design of chair based on a seat with parts ‘socketed’ into it. By the 1960s it was a waning industry as people turned their backs on this way of life and these types of skills. ‘There are very few making these chairs now,’ says Jason, ‘but there is still a demand for handcrafted chairs and I think there is increasing demand for handmade furniture again.’ He set up a workshop and started making pieces to commission, before finally packing away the tattoo machinery and taking a leap of faith into full-time chair-making. ‘My chairs are built wholly within a tradition, yet, I hope, embody both my creative history and my artistic vision,’ he says. ‘Each chair is a journey,
one that often starts with me spending a day in the woods, selecting freshly felled, quality logs of ash, oak, beech, or cherry.’ These are then taken to his workshop at the bottom of the garden at his home in East Sussex. Here, the selected green, or softer wood, is split to size using wedges and fashioned into the chair components. Legs, stretchers and posts are then turned on a pole lathe, while arms, spindles and crests are shaved to size. Bent parts are created by steaming and then clamping pieces to forms and leaving them to set. Jason is passionate about each part of the process, but for him the icing on the cake is carving the seats. The shape is cut from a single seasoned, kiln-dried board of elm, oak, ash or chestnut. ‘I like my seats to be strongly sculptural, generous, and deeply carved,’ he says. The chair is then carefully assembled, with an emphasis on comfort and strength. Jason finishes his chairs with a dark ‘milk paint’ – a lime and lactose-based sealant – that contrasts well with the wood’s natural grain. ‘This lends the chair a modern flavour and a strong silhouette,’ he says. ‘I enjoy the discipline of working within an established form, that is defined by its practicality and comfort. Making a chair is a very measured task, and often requires such a high level of concentration and calm that I have to work in complete silence. By its very nature, a chair is ‘creature’ like; it has arms and legs, a back and a seat… and creating a piece that has character is a creative and playful process.’ Jason is so keen to keep the tradition alive and kicking that he runs six-day chair making courses from a small workshop in the woods. Here he teaches small groups of creative enthusiasts the art of traditional green woodworking methods, using materials sourced locally to Lewes. ‘My aim for the future is to continue to create and teach in the hope that crafts such as this continue to grow and evolve again,’ he says. ‘It’s not just about the creativity – it’s about a complete way of life.’ For more details visit hopespringschairs.com or contact Jason on 07795 114982
Bespoke bookshelves were built either side of the Victorian fireplace by local company Jessieva, using Aoife’s sketched designs, and are painted in Little Greene’s Hicks’ Blue. Aoife has filled them with antiques collected from various fairs across the country and mementos of her travels in India. The wooden coffee table and wicker chair are also antique finds, and the blind is in William Morris’ Willow Bough fabric
LOVE AT FIRST SIGHT Aoife Kenny knew she’d found her dream home before even opening the front door. The challenge was to make the interiors match up Words Holly Reaney | Photographs Polly Eltes
Victorian Cottage
trolling down the leafy suburban street, you would not think you were in the middle of a busy London borough. It was this peaceful charm, an echo of her childhood in the New Forest, that led Aoife Kenny to this idyllic corner of Brixton. ‘The first thing I fell in love with was the road,’ says Aoife. ‘It’s a really leafy cul-de-sac with cats lolling everywhere. The sort of thing you would find in a country village, but it’s in the middle of London.’ Her viewing of the house – the 30th property she’d been to see – was not the first time she’d visited this particular area, however, as she had been to a party here several years earlier in what would become her neighbour’s home. ‘I only realised when I went next door to have a look at their staircase,’ Aoife laughs. With an open-plan layout and lots of renovation potential, the three-bedroom house instantly appealed. It also still had the original Victorian sash windows at the front – an important feature for Aoife and a rarity in the area as most were replaced with uPVC in the 1960s. It was love at first sight, so much so that she put in an offer there and then, only to lose out to another buyer. So the viewings continued, but everything else paled in comparison. ‘It was during lunch, in the middle of a day of viewings, that the estate agent called and asked if I was still interested as the previous offer had fallen through. I jumped at the chance,’ she explains. The former worker’s cottage had previously been rented, then stood empty for a while, so was dated and ready for a much-needed renovation. While living with a friend, Aoife engaged builders to gut the first two floors from top to bottom, except for the kitchen, which had been extended in the 1950s. ‘I would cycle to the house every day before and after work to keep an eye on the project,’ says Aoife. ‘I never knew what I was going to find. One evening I came back and my bedroom wall was missing, which was a bit of a shock. Another day someone had decided to paint all the skirting boards a deep navy colour, which we had to fix.’ Period homes are renowned for bringing up surprises along the way and, as with many other 38 Period Living
renovations, it wasn’t all plain sailing. Within a few months of moving in, it became apparent that the electrics weren’t up to scratch and required some emergency rewiring, which involved lifting the newly laid oak flooring. ‘If I were to give any advice, it would be to make sure the bare bones of the house are working well, before getting caught up in the design elements,’ says Aoife. The plan was to open up the kitchen and living room to create one big space downstairs. However, as this involved removing an RSJ over an original doorway, she had to call in a structural engineer. Thankfully, the engineer gave the go-ahead and the builders were able to make a start. ‘In London it’s difficult to get space; you have to make the most of what you have. Although it was only a small change, the open-plan layout means I can be in the kitchen and still chat to friends in the living room.’ The gallery wall is a popular talking point, filled with drawings, paintings and postcards; it is a living scrapbook with work from friends or pieces that have caught Aoife’s eye on her travels. ‘Every time I visit somewhere new, I make sure I buy something as a keepsake to add to the wall, and so it will keep evolving and eventually reach the top of the stairs,’ she says. ‘Framing is so expensive here, so quite a lot of the things were framed in India, when I visited for work. I often end up coming back with about 20 framed pictures in my suitcases.’ Aoife’s love of design started young. Drawn to pattern, her first interior design project saw her matching patterned wallpaper with identical curtains and bolsters in her childhood bedroom, a trend she continues to love and has replicated in the master bedroom of this house. Most of her furnishings are the product of one of her favourite pastimes: antiques shopping with her mother around Hampshire, which often results in Aoife driving van loads of treasures back to the city. ‘There’s not a lot of need to buy new when there are lots of amazing antiques shops and you can find so many beautiful things,’ she says. The kitchen is the only part of the house that remained almost unchanged throughout the renovation. Comprising several freestanding counters it is an extremely versatile space, with lots of potential to be updated with a lick of paint and some new handles in the future. ‘It’s a really functional galley kitchen and the bare bones were solid,’ says Aoife. She brightened up the space by replacing the white tiles with a patchwork of blue tiles from The Winchester Tile Company’s Chateaux range. ‘I think you can add a lot of personality into a kitchen by how you display things rather than the nuts and bolts of cabinetry and fixtures.’ In the future, Aoife plans to enlarge the kitchen further, extending it to the side return of the house, adding large windows to flood the space with even more light. Once her dream kitchen extension is complete, she will be sure to decorate it in style, balancing colour and pattern to create a unique look, before filling it with well-loved furniture and accessories – another excuse to trawl those Hampshire antiques shops.
Victorian Cottage
THE STORY Owner Aoife Kenny, who works in sustainable sourcing, lives here with her housemate Izzy and is often joined by whichever of her friends has just moved to London and needs a place to stay Property A three-bedroom Victorian semi, formerly a worker’s cottage, built in 1851 in a Conservation Area of Brixton, London What she did Aoife gutted the house, removed an RSJ, replaced the electrics and installed oak flooring throughout. She added an en suite, reshaped the upstairs, and redecorated throughout. The loft was converted to create the third bedroom
Above left: Aoife fell in love with this leafy Brixton street, which felt like a slice of the countryside nestled in the heart of London Above right: ‘I have a passion for antiques shopping, although I’ll probably have to stop soon as the house is starting to look a bit like an antiques shop itself,’ says Aoife. An Ikea sofa is brought to life with cushions and throws from India. The flowers are from Jamjar Flowers and the leaf prints are from Oka. The mirror is another lucky antique find Left: The gallery wall is a living scrapbook of Aoife’s friendships and her travels. It creates a beautiful backdrop for the dining table, from her family home, and is illuminated by pendant lights from Jim Lawrence
Period Living 39
Clockwise from top left: The kitchen is the only part of the house that remains unchanged, although Aoife plans to extend it in the future. She brought the space to life by adding new lights from Jim Lawrence and accessories like the trio of mounted butterflies from Liberty; the antique china tea set and whimsical camel tea pot exemplify Aoife’s classic yet quirky style; she gave the kitchen a pop of colour with The Winchester Tile Company’s blue Chateaux tiles; the antique console table is paired with an Oka lamp and an antique blue vase; Jamjar Flowers’ Kilner jar bouquet is the perfect dining table centrepiece; freestanding wooden cabinetry makes the kitchen a versatile space. Aoife plans to paint the cupboards, once she settles on a colour; vintage postcards create a graphic backdrop for the Oka cheetah and Liberty octopus candle holders; Aoife was delighted to discover the kitchen had a Belfast-style sink
40 Period Living
Victorian Cottage Celebrating the home’s new open-plan design, the dining area makes the most of the garden views through the French doors. The carved cupboard is from Toad Hall Antiques in Dorset
Victorian Cottage
Left: Laura Ashley’s Summer Palace wallpaper adds colour and pattern to the second bedroom. Wrought Iron & Brass Bed Company’s Beatrice bed is dressed with bedlinen from John Lewis & Partners Below left: A Pickle jar seasonal posy from Jamjar Flowers makes a pretty bedroom display on the antique chest of drawers Below right: Extending the bathroom into the landing meant Aoife was able to fit in a roll-top bath from Burlington, which she’d coveted for years. Jim Lawrence wall lights suit the period look. The chequerboard floor tiles are from Original Style and the wire shelving is from Nkuku Opposite: Inspired by her childhood bedroom, Aoife used Fabrics & Papers’ La Chasse print for the walls, curtains, cushions and the shades on the Jim Lawrence Carlisle light. The bed is from her childhood bedroom and the dressing table and blanket chest are antiques
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This page: The living room is full of exquisite decorative details, from the twin armchairs bought at auction and the huge ginger jar by the fireplace, to the china tea service and scented candles by Lavender & Lillie. It’s no surprise that botanical prints and patterns abound in this home Opposite: A chinoiserie-inspired De Gournay wallpaper makes a stunning backdrop for the living room. The sofas are from Duresta, the rug is an antique Persian carpet, and the coffee table came from an antiques shop in Hastings. A recent addition to the room, the chandelier was inherited from Lillie’s grandmother. The side table is French and was bought at auction, and the painting above it was bought at Bonhams
46 Period Living
Country Rectory
GARDENER’S WORLD
A passion for gardening and floral motifs guided Christopher and Lillie Edgar’s sensitive update of their elegant Victorian rectory Words Dominic Bradbury | Photographs Rachael Smith
Left: A Victorian Gothic influence is evident on the doorway and ceilings in the entrance hall; the antique mirror and side table were bought in Tunbridge Wells and the table lamps are from Harrods Below: Generous sofas from Tamarisk Designs make for a cosy atmosphere in the family lounge. The French chandelier came from Lillie’s family
THE STORY Owners Garden designer Christopher Edgar (christopheredgargardendesign.com) and his wife Lillie, managing director of a home fragrance company (lavenderandlillie.com), live here with their young children Hugo, Theo and Venetia, and golden retriever Potato Property A seven-bedroom former rectory set in eight acres of gardens and grounds. The oldest parts of the house date back to the 17th century, but it was substantially rebuilt in 1837 and then updated and extended by the Edgars What they did The Victorian parts of the house were modernised and carefully restored, respecting any original features. Christopher and Lillie extended the house to one side to create a new extension for a family kitchen and breakfast room on the ground floor with a new master suite above. A lean-to annexe was replaced with a new conservatory, which connects with the library alongside. Christopher redesigned the gardens and had them replanted
48 Period Living
Country Rectory
ittle by little, Christopher and Lillie Edgar have been working their way further south. It was the magical setting and the open views that first drew the couple to their beautiful country home. Their house, not far from Hastings and the south coast, sits on the crest of a hill, with its grounds and meadows dipping gently down towards the valley below. From here, one can see for miles across the open countryside and farmland of East Sussex. It truly is an idyllic spot for a family home. ‘We used to live in London and then Tunbridge Wells, so we have been gradually migrating further and further south,’ says Christopher. ‘When we found this house it was a bit of a wreck and the garden was really just a boggy field – the grass had been cut but nothing else had happened for years. So it was almost starting from scratch, especially with the garden, but we could see the potential and knew it could be wonderful.’ The grounds provided the perfect challenge for Christopher, who is a garden designer. He has spent many years planning and shaping the terraces. Around the house itself, the gardens are more formal but become more natural further down the hill, where the Edgars have also created a swimming pool and pool house. Beyond the boundary of the garden walls, there is an open meadow of grasses and native flowers stretching down towards woodland below. ‘Working on the house and garden helped me to realise that gardens are my passion,’ says Christopher, who used to work in the City before retraining at the Inchbald School of Design and in Christopher Lloyd’s gardens at Great Dixter, also in East Sussex. ‘I love being outside as well, so for me it’s the perfect profession.’ The oldest parts of the house date back to the 17th century but it was rebuilt at the start of the Victorian period, serving as a grand rectory for the nearby church. During World War II the house was used by the RAF and, more recently, served time as a vegetarian hotel. By the time Lillie and Christopher bought the property, in 2010, it was in need of some love and attention. ‘It hadn’t really been touched for 35 years so needed a lot of modernising,’ Christopher says. ‘A service wing to one side had been pulled down
at one point, so we decided to rebuild that wing with the kitchen on the ground floor and the master bedroom and bathroom above it. There was also an annexe with half a dozen little rooms and not much life left in it, so we replaced it with a new conservatory and opened it up to the library, which helped bring the house together.’ Christopher concentrated on the planning and structural work, while Lillie focused on the interiors in both the new and older parts of the house. The early Victorian living rooms are blessed with big windows, high ceilings, generous proportions and original cornices and mouldings, which were carefully preserved and restored. ‘We work well together, so when we did the house Christopher would take charge of the shape of the rooms and how things flow together while I would do the interiors, wallpapers and dressing,’ explains Lillie. ‘I love the ceiling heights and the sense of calm and space here. I inherited some beautiful chandeliers from my grandmother and great-grandmother, and it was lovely to be able to put them in spaces that really deserved them, like the living room.’ For many years the Edgars had admired De Gournay’s handcrafted wallpapers and, at last, found themselves with a house and setting that suited them perfectly. The garden shades and floral motifs of the living room wallpaper tie in beautifully with the rural views, while the dining room features another De Gournay design that seems to bring the garden inside. ‘I enjoy entertaining and having friends over for dinner, and the dining room is such a lovely space,’ says Lillie. ‘The wallpaper sparkles at night and brings the room to life. The living room, with those sage green colours, is a lovely room to relax in with stunning views out from the bay window. It does make you feel as though you are outside, even when we are very much at home.’ Working together from home also helped spur the idea for the Edgars’ new venture, Lavender & Lillie. With its fresh range of scented candles, diffusers and bathroom products, the new company – which is sold at Fortnum & Mason and online – combines Lillie’s love of design and interiors with Christopher’s gardening background. The collection features many botanical ingredients while their names also reference Lillie’s love of the Seychelles, where she was born, and India, where her grandparents lived. The house renovation took more than two years to complete and it’s now not only the family home, with the Edgars’ three young children, but also the base for both Lavender & Lillie and Christopher’s garden design business. The garden, meanwhile, is an ongoing labour of love. ‘I don’t think a garden is ever really finished,’ says Christopher, ‘and there’s certainly a lot more work to do. This year I’m planning to add a bridge across the duck pond and a bell tent for the meadow. It is certainly a beautiful home with amazing surroundings, and it’s a wonderful place for us to bring up the children.’ Period Living 49
50 Period Living
Country Rectory
Above: The house sits upon the crest of a hill, with a wide vista of the valley and open countryside beyond the gardens and grounds. The oldest parts of the house date from the 17th century, but it was rebuilt as a grand rectory at the start of the Victorian era. Christopher and Lillie rebuilt one of the wings, which had been pulled down at one point, and added a new conservatory. Relandscaping the grounds launched a new career in garden design for Christopher Left: Christopher added a huge structure to support vines and climbers that will eventually shade the outdoor dining and seating spaces Opposite top: Christopher’s formal parterrestyle planting centres around the magnificent pond and fountain Opposite bottom: The Gothic front porch came as part of the property’s transformation into the rectory
Period Living 51
Above: The kitchen sits in the new part of the house, with units and an island from Rencraft in Tunbridge Wells Right: A small wood-burning stove has been slotted into the old Victorian dining room fireplace, unusually positioned under a window. Thus, the mantelpiece doubles up as a window ledge and is a good place to display some cherished objects, including one of a pair of vintage Murano glass decanters by Nuova Venier Opposite: For more formal dinner parties in the dining room, a large Oka table and chairs comfortably seat 10 people. The room features period plaster ceiling mouldings and another elegant floral wallpaper from De Gournay
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Country Rectory
Period Living 53
Above: The master bedroom is in the new extension to the house and features Nina Campbell wallpaper and a bed and bedside tables from Grange. For a similar chaise longue, try Sweetpea & Willow Left: The four-poster bed and bedside tables in the guest bedroom are from Lombok, while the unusual table lamps were sourced in Thailand. The wallpaper is from Osborne & Little and the rug is another lucky auction find
Georgian Schoolhouse The old schoolhouse has a quiet canalside setting. In fact, it was built in 1810 to educate the children of workers who were building the Grand Canal in Co Kildare. It has seen many changes over the years, but is now home to Ciara and Harvey and their two children
TOP OF THE CLASS Buying and restoring a run-down old schoolhouse proved a steep learning curve for Ciara and Harvey Appelbe, but they succeeded in creating an inviting family home Words and styling Penny Crawford-Collins | Photographs Philip Lauterbach Period Living 57
THE STORY Owners Ciara Appelbe, a film producer, and Harvey, an engineer for film projects, live here with their daughters Pip, six, and Holly, three Property An old schoolhouse, built in 1810, overlooking the Grand Canal in Ardclough, Straffan, Co Kildare, Ireland. The house has four bedrooms and an upstairs living room, plus a dining room, kitchen and TV room What they did The whole house was rewired and replumbed, and the roof was replaced along with the floors and windows. The house was reconfigured giving it an upstairs master bedroom with en suite and a new kitchen-dining room downstairs
elighted to finally get onto the property ladder, Ciara and Harvey Appelbe were prepared to overlook the many problems and numerous tasks that faced them when they bought an old school building from a painter who had converted it into a home and studio. Harvey and Ciara were fascinated by the history of the old school, which had been built in 1810 by Lord Cloncurry to serve the children of the growing workforce involved in building the Grand Canal. There were two storeys, one classroom over another, with two external doors at the gable. Over the years it had been turned into a village hall and later used as a shed to store hay. By the time Ciara and Harvey laid eyes on it, there was a living-dining-kitchen upstairs, while downstairs were the artist’s studio and the bedrooms. It was full of colourful furniture and décor, and the entire bathroom – including the floor – was painted with a striking lily mural. However, the maintenance of the building proved too much for the artist living on her own, so it had fallen into disrepair. Most of the timber in the roof, windows and floors had wet rot, there was ivy growing through the building and the whole house needed rewiring and replumbing. In the midst of the Celtic Tiger property boom the couple were desperate to buy somewhere and because the house required such a huge amount of work, it was priced favourably, giving them the perfect opportunity to buy their first home together. ‘We were introduced to this house by a mutual friend, and were drawn to it because of its beautiful proportions, its location overlooking the canal on a quiet stretch of the tow path, and the mature garden,’ says Ciara. Excited about the prospect of creating something unique to them, despite the daunting task that lay ahead, they embraced the project wholeheartedly, planning to do the work over a period of time. Working to a tight budget, they decided to move into the house and do as much of the work as they could themselves. ‘We set up camp in the house with a temporary kitchen, bedroom and bathroom, and took stock of the work that needed to be done 58 Period Living
to make the house safe and functional,’ recalls Ciara. As the building is listed they had to check with the local conservation officer that any works they embarked on were exempt from planning. It took the couple five years to complete the project. ‘We spent evenings and weekends working on the house, and any money we had saved went to paying skilled tradespeople to do the jobs we couldn’t do ourselves,’ says Ciara. ‘Living in the house while restoring it really tested our love for the place, particularly when there was no heating and no roof. It was a long and slow process.’ Once the basic structure of the house was safe and watertight the couple decided to reconfigure the layout to make it more practical. ‘We decided to turn the upstairs living space into the master bedroom with an en suite and walk-in wardrobe. We also created a separate, more formal sitting room upstairs,’ says Ciara. Downstairs, the couple turned the artist’s studio into a kitchen, and restored the adjoining coach house, transforming it into a family living room. All the floors, apart from the hall floor, had to be replaced and the whole house was rewired and replastered. The couple used a muted palette of off-white and grey paints, from The Traditional Lime Company and Farrow & Ball. ‘We did keep a bit of the mural in the bathroom to remind us of the previous owner and the colourful home it once was,’ says Ciara. The house is now furnished with a comfortable mix of old and new. ‘We bought whatever pieces the previous owner couldn’t take to her new home and friends gave us furniture too,’ explains Ciara. It has taken a lot of time and hard work to bring this property back to life, and the couple learnt a lot along their journey. Two major lessons that stand out are: not to try and restore a house and live in it at the same time, and to do a realistic budget plan before starting a big project. ‘Living in the house while restoring it meant literally breathing and eating it every waking hour,’ says Ciara. ‘It has left an indelible stamp on our characters. We hope our home will show other first-time buyers that, even with a tight budget, if you have enough patience and determination you can definitely achieve your dream home.’
Georgian Schoolhouse
Above: The couple had to replace the roof, and many of the floors and windows were rotten Right: Ciara, with Holly and Pip in the sitting room. The fireplace is original, and the mirror above it was left by the previous owner. The couple had it restored by Straffan Antiques. Ciara bought the rug from the popular TV series The
Tudors. The blue chair was made bespoke, from Yours Personally Below: The elegant entrance hall has the only floorboards that could be salvaged from the original building. They were relaid and polished by ERM Flooring. Tim Dunleavy built the new staircase and all the replacement windows and doors
Period Living 59
Georgian Schoolhouse
Left: The artist’s studio has been transformed into a bright family kitchen. The cabinets under the window were made bespoke by Newtown Woodworks. On the central island, a Zanussi induction hob is positioned to make the most of the garden views. The previous owner left the dresser, and the blinds are made in a vintage fabric from Parna Below: The floor-to-ceiling cabinets were made by
Harvey from old shutters. They have been finished in French Grey by Farrow & Ball. The old Stanley stove was also left in the house and the couple had it restored by Country Style Cookers Opposite: The table and storage bench were both handmade by Harvey. The bench is painted in Farrow & Ball’s Hardwick White shade. Cabinetmaker Kieran Milner made the open shelves on the wall
Period Living 61
This page: An antique dining table and chairs are hand-me-downs from Harvey’s grandmother, and add character to this formal space Opposite: The family living room is in the old coach house that the couple renovated. They
fitted rooflights to bring in more natural light. The sofa and chairs are from Ikea, the curtains are made in a fabric from The Blue Door, and the decorative painted chest came with the house. Harvey made the coffee table
Georgian Schoolhouse
Above: The spacious master bedroom has views over the canal. Harvey made the upholstered headboard and the room is furnished with more hand-me-down pieces from family. The cushions and throw are from TK Maxx
64 Period Living
Left: The new en suite features sanitaryware from RT Large & Son. The shutters are from ShutterCo. For similar tiles, try Original Style Below: Harvey built shelves from pitch pine sourced at nearby Mac’s Salvage
Swedish Cottage
HISTORYAT WORK Sofia and Bruno’s home is a fascinating mix of family heirlooms, touches of humour, and the tools of their trades Words Sophie Baylis Photographs Anne Nyblaeus / A Design Features
A mix of vintage finds and iconic pieces create a relaxed look in Sofia and Bruno’s breakfast room. The church bench was an auction buy and the pretty floral curtains are made from fabric designed by Lars Sjöberg for the National Museum in Stockholm. Find similar string lights at Garden Trading
here is no shortage of historical interest in this pretty Swedish cottage. Built in the 1860s on a private estate 40 minutes’ drive from Stockholm, it was once home to servants working at a nearby manor house. Now its current owners, Sofia Ekeroth de Almeida and her husband Bruno, have created a new chapter in the property’s story, transforming it into a luxurious space full of period details and interesting antiques. The cottage was initially divided into five apartments, but when Sofia and Bruno moved in 10 years ago, it had been split in two with offices on one side and living space on the other. ‘Over the years, the offices have moved out and we have gradually taken over the whole house,’ says Sofia. ‘The layout is very much the same, it’s just that we’ve opened up the space by removing doors.’ Fortunately for Sofia and Bruno, most of the hard graft had been done before their time. ‘In the mid 1990s, the home’s previous owners – who are friends of ours – were faced with the decision either to tear down the cottage or restore it,’ Sofia explains. Thankfully they chose the latter, working with an architect on the project. This meant that when Sofia and Bruno moved in a few years later, the cottage was structurally sound, although a little worn around the edges. Fortunately, it was nothing a lick of paint couldn’t fix. The couple’s day jobs play their part in almost every aspect of the cottage. Sofia is a director at Sotheby’s Stockholm, so there are antiques to admire at every turn. Bruno is a painter and several of his pieces are displayed on the walls. Some were produced while Bruno was honing his craft at Charles Cecil Studios in Florence and others pay tribute to family ancestors. A favourite is an oil painting of a young boy that hangs in the study. ‘The original painting came up for sale around four years ago, and we wanted to buy it but it turned out to be very expensive, so Bruno made a copy based on the catalogue,’ explains Sofia. Family, past and present, is the lifeblood of the Ekeroth de Almeida home. Its influence can be seen everywhere you look, from the mahogany desk once owned by Bruno’s great-grandfather to the early-19th-century dining table that was an engagement present from Sofia’s parents. ‘The armchairs in the dining room are especially lovely because the seats were embroidered by 68 Period Living
Bruno’s godmother and his great-grandmother during World War II,’ says Sofia. ‘The story goes that they had a little help from Queen Louise of Sweden because she was a friend of Bruno’s great-grandmother. We don’t know if this is true, but it makes a nice story.’ The bones of the house have certainly given Sofia and Bruno a steer on its style and there’s an abundance of 18th-century furniture, but the couple aren’t purists. Take the self-portrait of George Romney that hangs in their bedroom: it’s actually a poster of the original, which was sold at Sotheby’s some years ago. ‘Posters like these hang in the auction house’s windows to show what we’ll be selling in the next couple of weeks; they’re very realistic,’ says Sofia. ‘I saw this one at our offices in Bond Street in London and fell in love with it.’ That’s not to say authenticity is irrelevant to Sofia and Bruno – they just don’t let it dictate every purchasing decision. As a result, their home is smart but not ostentatious. The pair appreciate the beauty in imperfections and in worn, wellloved objects. A battered wooden ladder they found in the attic now holds extra blankets in the living room. No attempt has been made to disguise the signs of age. Instead, any flaws add character and vitality to the space. Hints of humour also help to keep the glamour in check. One example is a portrait of another of Bruno’s ancestors that has been customised with a cut-out cardboard mask. ‘The painter was perhaps not particularly talented,’ laughs Sofia. ‘There were originally several of these portraits, but this is the only surviving one as the rest were burnt by previous generations. We thought it would be quite funny to put it up, and then Bruno cut this mask out of cardboard. I think it looks fantastic!’ It’s not just canvases that get the Bruno treatment. Clever furniture hacks can be found throughout the house, from a souped-up Ikea Billy bookcase (now featuring doors made from chicken wire and fabric), to a fabulous trompe l’œil effect that Bruno painted on the walls of the dining room. ‘It’s so handy having an artist around,’ says Sofia. ‘Touches like these make our home unique.’
Swedish Cottage
THE STORY Owners Sofia Ekeroth de Almeida, a director at Sotheby’s Stockholm, lives here with her husband Bruno, who is an artist (brunoekeroth.com) Property The cottage is on a private estate on the outskirts of Stockholm. Dating back to the 1860s, it was built to house servants working at the estate’s manor house What they did The couple were lucky that the house required no major renovations, however it had been split into office space and living quarters, so they gradually brought the two parts of the building back together and decorated throughout
Top left: The cottage was built in the 1860s and was originally the servants’ quarters for the manor house on a country estate on the outskirts of Stockholm Above: In the hall is an old farmer’s table. The trunk belonged to Bruno’s grandfather and the lamp, originally an oil lamp, was inherited from Bruno’s godmother Right: Layered soft whites and greys set a relaxing mood in the living room. The couple painted the walls with ecofriendly linseed oil emulsion, available from The Traditional Paint Company Period Living 69
Joseph Mathieu’s French Bistro chairs add an industrial edge to the homely breakfast room. For similar chairs, try Pamono, or get the look for less with a Tolix chair, available at The Conran Shop. For a similar sisal rug, try Alternative Flooring. Lichen by Farrow & Ball is a good match for the muted green that Sofia and Bruno chose for the walls. Divertimenti stocks Bordallo Pinheiro’s cabbage serveware range
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Swedish Cottage
Clockwise from top left: Collectibles, curiosities and plenty of greenery brighten the kitchen windowsill; Bruno’s studio is on the ground floor of the couple’s home; the tools of the artist’s trade; ‘I’m completely in love with Portuguese cabbage tableware,’ says Sofia. ‘I’ve loved it for years. Although it’s become more popular and you can buy it everywhere, we still buy ours from Portugal’; when they first moved in, Sofia and Bruno painted the kitchen units in an eau de Nil shade, but more recently they opted for a warmer brown-based red. Farrow & Ball’s Picture Gallery Red is similar
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Left: Bruno painted the trompe l’œil panels to frame the gilt bronze sconces. The mirror was inherited from his godmother. A pair of typically Swedish 18th-century armchairs flank an antique Gustavian chest; try 1stdibs for similar. Sofia inherited the dining chairs and replaced the seat pads with vintage linen. The table was a gift from Sofia’s parents. Bruno’s godmother made the chandelier from some 18th-century crystal droplets, leftovers from her restoration business. The walls are painted in Farrow & Ball’s Oval Room Blue Above: A playful touch – Bruno pinned a cardboard mask to a painting of an ancestor Below: Some of Sofia’s vintage posy vases Opposite: Bruno great-grandfather’s mahogany desk is topped with a table lamp from Ikea. Naturally, Bruno added his own creative spin by painting both the shade and base
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Swedish Cottage
Left: An Ikea bed frame has been covered in fabric and customised with curtains and a canopy top that lend an opulent look. ‘We have sisal rugs in almost every room, including the bedroom, because this is an old cottage and it gets cold underfoot,’ says Sofia Above: The Gustavian trough sofa came from Garbo Interiors in Stockholm. Sofia has reconciled her passion for famous works of art with a realistic budget by framing a poster of an original painting sold at Sotheby’s London Below: Framed book illustrations create an interesting gallery display in the spare bedroom. The elegant 18th-century sofa matches the two armchairs in the dining room, the seat covers were embroidered by Bruno’s godmother and great-grandmother during World War II
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Period Living 77
News from the antiques and vintage world, from fairs to collectors’ stories
Elizabethan marquetry inlaid oak livery cupboard, c.1580/1600, sold for £7,200
Feature Alice Roberton Images (Paula Sutton and Hill House) tamsynmorgans.com
sold for £15,000
m a r g An Instagram a st doyenne and interiors,
In
Are you in the market for antiques? Don’t miss the auctions held by Bentley’s Fine Art Auctioneers on the first Saturday of every month. Featuring around 800-1,000 lots, each sale offers an eclectic mix of antiques, fine art, collectibles, 20th-century design, modern art, contemporary interior pieces and quirky decorative objects. Consigned from private country houses around the south of England and collections from further afield, items sell from modest prices to the thousands. Bentley’s online catalogues contain multiple images and detailed descriptions, however if you are in the Cranbrook, Kent area you can visit its Grade II-listed former granary HQ by appointment for a Covid-secure viewing. Portrait by Vasily (bentleysfineart Vereshchagin (18421904), oil on canvas, auctioneers.co.uk)
antiques and vintage obsessive, Paula Sutton swapped a busy career in the fashion industry in London for family life in a Norfolk country house – Hill House. With a feeling of optimism and timeless wonder, her regular home-based lifestyle posts demonstrate a delightful cohesion between her own sense of fashion and classic home style. Packed full of whimsy in the form of twirling dresses, baskets of roses, rooms filled with antiques, tea parties on the lawn and dreamy log fires, her grid is a welcome dose of happy. (@hillhousevintage)
On
UNDER THE HAMMER
Sailing Boats, L.S. Lowry (1887-1976), pencil-signed limited-edition colour print, sold for £5,200
TALKING SHOP Rurally located just outside Shaftesbury on the Dorset/Wiltshire border, Dairy House offers 30 excellent dealers selling traditional Victorian and mid-century antiques, rustic painted furniture, vintage homeware, jewellery, textiles, kitchenware, garden furniture and all manner of decorative items. Wander its rabbit warren of rooms, stairways and a packed outside brocante area, and you’ll discover sparkling silver treasures displayed in cabinets, fabulous furniture laid out in room sets and unique gardenalia. Open Mon–Sat, 10am–5pm. (dairyhouseantiques.com) Period Living 79
The Queen’s Bedroom in Queen Mary’s dolls’ house
Curator’s pick Kathryn Jones, senior curator of decorative arts at Royal Collection Trust, shares her favourite objects from Queen Mary’s dolls’ house ‘Built for Queen Mary between 1921 and 1924 by Sir Edwin Lutyens, this famous dolls’ house contains so many handcrafted treasures. Among my favourites is the tester bed from the Princess Royal’s bedroom. This is partly because, like everything in the house, it is recreated with such extraordinary detail – the mattress and bedding are all carefully made in exact replica of a full-size bed. But what makes this object particularly special is that it was designed by Edwin Lutyens himself. It was inspired by
a painting by the Venetian artist Vittore Carpaccio, entitled The Dream of St Ursula (1490-5) and mirrors a bed that Lutyens created for his own daughter in full scale. According to Lutyens, a pea was grown specially to be placed under the doll princess’ mattress. Another object I favour is a miniature gilt-copper chest in the Queen’s Bedroom, engraved with a royal coat of arms and containing a tiny tea service – the cups and saucers are only two or three millimetres wide. This piece was obviously added to the dolls’ house by Queen Mary herself, as the coat of arms relates to her mother. The chest shows just how closely Queen Mary became involved in furnishing the house, adding to it pieces from her own family history.’ Queen Mary’s dolls’ house is usually on display at Windsor Castle, which has been closed during Covid-19 and will reopen as soon as it is safe. Meanwhile the dolls’ house can be explored at rct.uk/collection/ themes/Trails/queen-marys-dolls-house
IN FOCUS
PIANO SHAWLS Featuring decorative embroidery on heavy, thick silk with delicate fringing, piano shawls were used during England’s Victorian era as a protective covering for pianos, both upright and grand. Early imports from China, they came in an array of exciting colours and were beautifully hand-embroidered, often with exotic Far Eastern flowers, birds and butterflies. Their purpose was to offer protection to the surface of the instrument while adding decorative flair; the weight of the silk and the drop of fringing meant they draped perfectly and stayed in place. During the 1920s, when silk and fringing were leading the way in women’s fashion, the piano shawl became an accessory. Flapper dresses and shawls seemed to morph into one, and it’s possible that the shawls informed dress designs. In the 1960s and 1970s bohemian style struck out in fashion and interiors, and Jimi Hendrix was famously photographed in his London home with a makeshift piano shawl bed canopy. Slipping in and out of fashion for decades, they are now finding their way back into homes, bringing a touch of Victorian boho chic. With demand on the rise, well cared for, early piano shawls fetch into the mid to high hundreds, but newer shawls can still be found for around £100.
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Antiques journal
MEET THE COLLECTOR MANDY ROSS What I collect: Creative
and inspiring scrapbooks made between 1840 and 1940. I think of it as collecting true, everyday stories told with antique books and paper. Scrapbooking has a long history which has evolved over time; in the mid to late 1800s it was a popular activity in American households. Why I collect: Vintage scrapbooks combine
my love of books, history and time capsules. They are sentimental, important and full of life lessons. It means a lot to me when I find a discarded scrapbook and share it with thousands of people through my Instagram page (@paperofthepast). For me, the sharing aspect is an important part of my collection. How I collect: I search online at least once
a day looking for unique books with an interesting story or visual element. I find most books on Ebay, but they can show up on Etsy, in antiques shops, estate sales and paper fairs. I sometimes purchase scrapbooks from Instagram, at garage sales and antique markets, too. Occasionally people donate them to me. I have a collection of around 500 pieces, which includes scrapbooks, diaries, photo albums and letters.
Images (Queen Mary’s dolls house) Royal Collection Trust
My collection highlight: One of my favourite
1930s scrapbooks documents Mildred and William Eubanks’ love story from their introduction through to their first wedding anniversary. Mildred saved mementos from her engagement, five bridal showers, wedding and honeymoon. This is what she wrote about her and William’s first meeting on 24 August 1930: ‘Mother invited William to dinner at home and of course I was there much against my wishes. That was our first and fatal meeting place.’ They were happily engaged five months later and kept the engagement private for one month before telling their friends. She went on to have the small, but special, wedding she always dreamed of having. Their love story lives on 100 years later thanks to the scrapbook (pictured bottom left and middle). A selection of Mandy’s scrapbooks from America and England dating from the 1870s to 1930s
This 19th-century French walnut framed bed with beautiful detailed carving would make a striking focal point in a room, £1,950, SR Thomas Antiques
Sleeping beauties T
he bed; a rectangle of refuge; a place of rest; a scene where life begins and ends; a statement of power, wealth and style but also a setting of simplicity, understatement and, sometimes, sadness. The bed is truly a microcosm of the human condition and on which we spend a great deal of our lives, so it is no wonder that it comes in plenty of different guises. I am lucky enough to have lived in some very interesting properties, each dating from different
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historic eras or a mixture of several. As my tastes have either changed, or perhaps become more entrenched, over the decades, the acquisition of beds, or bedsteads – as they should technically be referred to – has become a central part of how I decorate and design my surroundings. Like many genres, beds are no exception to the reinvention of historic artefacts and we see the ancient creations of the Egyptians, Greeks and Romans resurfacing as the stylish epitome of fashionable furniture over several centuries.
Image (top right) Brent Darby
Antiques Roadshow expert Marc Allum explores styles of antique beds and provides invaluable advice on what to consider when buying one
Antiques There are many French revival style beds to be found on the antiques market, such as this example with turned barley twist posts and ornately carved panels, circa 1900, £1,995, Seventh Heaven
Beds were often not intended to be seen in isolation, so including a corona or pediment can complete the bedroom scene you are hoping to create with your antique purchase. Here, a painted corona complements the decorative bedstead
Upholstered headboards are desirable, but can be an extra expense to restore. Victorian maple wood bed, £2,450, Seventh Heaven
The Victorian era saw an explosion of massproduced furniture. This painted brass and iron bed includes porcelain decorative cylinders, and original brass spindles, £3,750, Bedsteads
Many continental beds, such as this carved and upholstered satin birch bed, c.1910, £2,450, Windsor House Antiques, were part of a larger bedroom suite
Victorian brass single beds, with their ubiquitous bulbous finials, can be quite sought after. This is one of a pair, £1,850 for both, Georgian Antiques Period Living 83
Bed buying: what to look for
Dreams of grandeur The bulk of the antique beds that you are likely to encounter when looking to buy one will date from the 18th to the 20th century. We also saw an explosion in the need for domestic furniture in the 19th century, and European furniture, fuelled by the burgeoning demand of the middle classes, gives us a plethora of styles to choose from. The UK’s proximity to France means that the British market is never short of elegant ‘revival’ styles, such as Louis XV and XVI and Napoleon III. Fashion often dictates demand and French style is particularly popular in general decorating and bedroom furnishings. The variety is endless, with fancy walnut veneers and carved pediments, painted and gilded frames, upholstered head and footboards – which can be an extra expense to restore – and rattan panels among the many designs. Such beds were often parts of larger and impressive bedroom suites, which were more suited to the grander rooms of French houses. The architectural nature of some beds largely comes from the idea of state beds and the importance of the bed chamber for royalty and nobility. Beds were often not intended to be seen in isolation, so the addition of decorative hangings, coronas and pediments is also central to dressing and decorating a bedroom. Thomas Chippendale’s four-poster bed at Dumfries House is a decorator and furniture maker’s tour de force. The point of a four poster was both practical as well as impressive. A highly carved and decorative full canopied Tudor bed, again makes a statement, but with the hangings drawn, it is draught free. Of course, that role disappeared over the centuries and the hangings became decorative, 84 Period Living
Above: This intricately carved, unique mahogany four-poster bed was designed in the 18th century by Thomas Chippendale as a centrepiece for the family bedroom at Dumfries House in Ayrshire. Commissioned by the 5th Earl of Dumfries, and covered in the finest damask silk from Genoa, it represented a statement of the Earl’s wealth and social standing. Enjoy it in the surroundings of this beautiful stately home (dumfries-house .org.uk)
components you need to ensure the structural integrity of an antique bedstead. Matching up missing parts can be harder than you might imagine: many spares are available online but the correct French bed bolts can be difficult to source, especially when you are not able to check the thread size. Many beds use drop-in side-irons to hold the footboard and headboard together. Make sure that you have the correct ones. A CHEAP VICTORIAN BRASS BED can look very alluring at auction but beware: they often have small parts missing, such as the brass fixing balls, the odd finial or decorative element. They can be very difficult to repair, which is why specialist bedstead dealers are able to build up resources of spare elements. IT’S A CLICHÉ, BUT THE SHABBY CHIC look of ornate French beds can be one of their most alluring features. Take care, however, as a bed that seems like good value may have woodworm or require bergère – wicker – repairs, which is often not financially viable. Some bedsteads are upholstered and this, too, can be quite expensive to restore. Add the cost of a mattress and bed boards or springs, and your costs will soar. The results, though, can be rewarding. LOOK AT BEDS AS PART OF a complete decorative scheme. Use coronas, which come in all manner of designs in various materials such as brass, wrought iron and gilded wood, to incorporate lush hangings to give rooms a strong identity. Bedspreads, too, can change the entire look of a room. BECOME FAMILIAR WITH BED SIZES and variations. A standard double bed is 4’6’’, yet trying to work out the size of an undressed bedstead – by eye – can lead to tears. I have found that many French lit-en-bateaus are three-quarter size and the nature of their construction can make squeezing a four-foot mattress into the gap very difficult when it comes to changing the bed clothes. SOME ANTIQUE BEDS COME WITH rather monstrouslooking adjustable mesh bases on huge wooden frames. Proportionally and with the addition of a mattress, these make the beds very high, so the gap between the side rails and the base of the decorative headboard can be large. Most people dispose of this part and use a more portable, slimmer mattress support which can affect the proportions of the bed. It is a personal preference. Conversely, colonial beds would often have had very thin mattresses, and modern thicker mattresses tend to obscure the decorative headboards. These are practical notions that you should consider when deciding how your chosen bed will look in situ.
Image Prince’s Foundation/Iain Brown
WHEN BUYING AT AUCTION make sure you have the
Antiques rather than draught excluders. The Victorians were particularly keen on reinventing history and if you come across a big, impressive carved oak four-poster bed, beware many are later confections fashioned from other old pieces of furniture.
A place to rest With the expansion of suburbia in bigger cities, and the exponential growth rate along ever expanding railways and underground routes, the mass production of furniture became essential to filling the burgeoning middle-class homes of Victorian Britain. Victorian furnishings catalogues illustrate the general demand in terms of the plainest ‘household bedsteads’ used for furnishing servants’ quarters and lesser rooms, to the fancier creations retailed by the more upmarket furnishers of the day, such as Shoolbred & Company, Maple & Co and Waring & Gillows. All had much earlier roots, but as larger high-street organisations, they reacted to the demand for better quality furniture in the Victorian and Edwardian periods. Good names bolster the value of bedsteads and although brass beds are perhaps a little unfashionable, a good Shoolbred & Company brass ‘tester’ bed, perhaps with mother of pearl inlay at the foot end, could cost you £2,000-3,000.
Such beds are not as common as the myriad of japanned cast-iron and brass beds that are easily purchasable for £200-400 at auction. Ornate painted cast-iron beds with scenic and florally painted end panels are more sought after; most herald from the continent, as do many of the plainer cast and wrought-iron single beds and nursery beds with their characteristic scrollwork folding frames. Don’t forget that some antique beds are not quite as suited to use for children as modern standards might decree, so health and safety can be an issue with youngsters. Then there are the specialist items: campaign beds made for the protagonists of our imperialist past and the reverse trade of our influence on countries such as India, where the colonial AngloIndian style produced a confection of wonderful teak and rosewood four-poster beds perfectly suited to hanging swathes of muslin to keep the mosquitoes at bay. Values vary enormously and I have purchased them at auction for just a few hundred pounds, but they are popular and typically cost several thousand with the trade. So rest assured, the bed is a central part of our lives and, as such, should be given all of the extra thought associated with other important purchases in one’s life. Sleep well.
Left: French Colonial four-poster bed from Haiti made in West Indies walnut, C.1830, £7,500, 1stdibs Right: A superlative example, this George III chinoiserie four-poster is attributed to Gillows of Lancaster and London, and with the good name comes the higher price tag of £36,500, Wick Antiques Below: The frame of this decorative, carved late-19th-century French bed has been finished with white paint and gilt, £1,550, SR Thomas Antiques
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Discover the latest products to improve your period home and pick up top tips from industry experts BRIGHT IDEA Inspired by the elegant winged design first produced by Holloways of Ludlow in 1964, the stunning Butterfly wall light has been recently relaunched with a new look. Featuring a perforated metal shade, in contrast to its previously solid form, the new design delicately diffuses light across the room. Whether you opt for dark green, white or brass, this versatile piece works well in myriad spaces, bridging the gap between contemporary and classical style. Prices start at £201 for the brass design.
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traditio n n o Featuring a t
Tw i
stained timber body, quartz top and handles, fluted glass panelled doors and slippered feet, Martin Moore’s limited edition Butler’s sideboard celebrates the handmade kitchen design brand’s 45th anniversary. Taking inspiration from its New Deco collection, the sideboard perfectly encapsulates the iconic style of Martin Moore’s workmanship, promoting British craftsmanship and design. The sideboard is available as a complimentary gift to anyone commissioning a new kitchen, or can be purchased individually, priced on application.
TIMELESS WARMTH
Marking the latest addition to Arada’s collection of stoves, the new freestanding Hamlet Solution Series 5 Compact design, £499, is one of its most sustainable models to date. Ecodesign ready, ClearSkies approved and DEFRA smoke exempt registered, the stove boasts 82.5 per cent efficiency. Fuelled by either wood or coal, it has a secondary burn that reignites particles, generating more warmth with less fuel. Available in seven shades from classic Midnight to vibrant red Spice.
Floorstanding vanity unit in blue with classic basin, £1,058
INTO THE BLUE We all know that blue kitchens are on trend at the moment, but what about blue in the bathroom? Burlington’s new collection brings this elegant shade into the smallest room of the house. Available across its complete furniture range, the new colourway caters to every space, from small vanity units for compact cloakrooms to generous double basins for family bathrooms. Each piece can be paired with its Minerva white, Black Granite or Carrara basins and worktops to complete the look.
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SWITCHED ON
Light switches tend to be one of the last things people consider when decorating. Howard Solomons, head of design at Wandsworth Electrical, however, believes they should be one of the first. ‘Light switches are the most interactive part of your interior and should be an integral part of the design. Anything handled so frequently must reflect quality not only in its look but also in its touch.’ With over 100 years’ experience and having worked on the likes of the Cliven House hotel and the National Trust’s Polesden Lacey, Wandsworth handcrafts heritage light switches that are well suited to period homes. Plus, the 13 new finishes, including the Smoked Silver, featured here on the classic toggle switch, £43.67, can be combined with most of its heritage designs so you can find the perfect fit for your style and your home.
W a
While Rangemaster is best known for its iconic range cookers, its new collection of granite composite Schock sinks stand out on their own merits. Made in Germany, the 14 new designs, including this sleek inset Nemo sink in Croma, £460, have an antibacterial finish, making them easy to keep clean, while also being heat and impact resistant. Each design is available in 14 colours, from bold Rouge to neutral Alpaca, meaning there is an option to suit every scheme. Plus, its UV colour treatment ensures it won’t fade over time.
Douglas Kent, technical and research director at the Society for the Protection of Ancient Buildings (SPAB), answers your queries
rewiring, how can we Q When minimise the visual impact of exposed surface runs and fittings on the interior? It is often not feasible to conceal electrical components within the building fabric without harming it. Therefore, surface-mounting cables and fittings will usually be preferable. The aesthetic impact of this can be minimised by: O Using small architrave switches instead of the normal plate type. O Painting fittings to match their background, hiding sockets under hinged flaps in skirting boards, or running cables in shaded areas. O Using technology like ‘mains signalling’ to reduce cabling. O Fixing exposed cables into mortar joints rather than to the bricks or stones themselves. should we have our Q When chimney swept? Chimney sweeping helps prevent chimney fires and reduce the risk of dangerous emissions from blocked flues. It should be done at least twice a year when burning wood or bituminous house coal, and at least once a year when burning smokeless fuels. The best time to sweep is just before the start of the heating season and, if sweeping biannually, then again after the peak heating period. live in a 17th-century Q We timber-frame thatched
ARTIST’S TOOLS If you are looking to breathe new life into your old furniture, make sure you have the right tools for the job. Harris’ latest range of brushes have been specifically designed with upcycling projects in mind. Its Seriously Good Artist rounded brushes offer 11 different sizes to give you versatility in your project size and coverage, while the Seriously Good Fitch flat-ended brushes are perfect for adding detail or painting more intricate areas of furniture. This three-brush Fitch set, £3.99, includes three sizes (12mm, 18mm and 25mm).
cottage. There are no gutters; should we add some? Thatched properties usually lack gutters as the roof overhang helps dispose of rainwater. The nature of thatching materials makes installing guttering difficult, and they often get blocked by debris coming off the roof. When it is essential, like over doorways, V-shaped timber gutters can be fixed with metal brackets. If you have a renovation question for Douglas, email periodliving@futurenet.com*
Feature Holly Reaney *We do our best to answer all queries, but cannot guarantee a response
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ASK THE EXPERT
Splashing out
Make a statement The bath is the focal point of your bathroom, so let it take centre stage. Create an elevated platform to draw the eye, giving it a glamorous touch with a marble-effect surface, such as Topps Tiles’ Serac honed tiles, £49.93 per m2. Then pick a bath with a stylish silhouette in an eye-catching shade – we love the Art Deco-inspired Casini bath in Satin Rose, £3,500 from BC Designs. Alternatively, opt for a traditional roll-top with a coloured exterior – many companies offer bespoke painting services. 92 Period Living
Feature Holly Reaney
Create a luxurious bathroom to wash away the stresses of the day with these elegant designs
Bathrooms
A world away Combining a deep emerald shade reminiscent of traditional metro tiles with an on-trend scalloped design, these Fish Scale green tiles, £2.68 each from Otto Tiles, reflect the light from the copper bath, creating a dreamy backdrop for luxuriating. The tiles are complemented by Otto’s handmade Birds design, £7.20 each. Inspired by the Amazon rainforest, the hardwearing ceramic tiles are the perfect, waterproof way to add a statement print to your bathroom. Period Living 93
Go with the flow
Neat and tidy
Incorporating the warm tones of golden brassware into your scheme is an easy way to give your bathroom a luxe update. Evoke the serenity of a hammam spa by pairing a generous shower rose, such as Crosswater’s Belgravia design, £215, with a Turkish-inspired feature wall – try Ca’Pietra for similar designs. The shower’s unlacquered brass finish will oxidise over time, resulting in a completely unique piece.
Elegant storage solutions are essential for a peaceful sanctuary. For towels and larger items, create a dresser by pairing Neptune’s Chawton base cabinet, £915, with two open top double cabinets, £565 each, for a laid-back look, that makes the storage part of the décor. Pick a vanity with multiple drawers, such as the Chichester, £2,190, to store your favourite products out of sight, but always on hand.
Bathed in beauty
Period drama
Considered a luxury in the late 19th century, the claw-foot bath was the epitome of bathing opulence. This Burlington Windsor acrylic roll-top bath with chrome claw feet, £678 from UK Bathrooms, features adjustable legs, meaning it’s easy to level your bath on an uneven floor – ideal for period homes. Its double-ended design also makes it more flexible, allowing it to be sited in the middle of the room.
It is widely believed that painting a small room in a dark colour is ill-advised as it makes the space feel even smaller. But when used in a bathroom, darker paint can create a cosy, cocooning environment. Be sure to pick a colour with warm undertones, such as Farrow & Ball’s Brinjal, £49.95 for 2.5ltrs of Modern emulsion, as greys and blues can feel cold, then pair with soft lighting to add to the relaxing atmosphere.
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Bathrooms
Rich ores Who decided that baths should be rectangular? Go against convention and treat yourself to more space to relax with a round tub reminiscent of a luxury resort. William Holland’s Rotundus bath, £8,055, is crafted from copper, which is quick to heat up and retains warmth beautifully. The polished exterior gradually ages over time, going from a light pinkish shade to rich red-brown, and with the bath’s long lifespan, you’ll be able to unwind in its generous 530-litre capacity for decades to come. Period Living 95
Suite sophistication
Double take
With slightly golden white tones described as ‘bringing the warmth of sunlight to bathroom décor’, Ivoire De Medici was a luxury colourway produced by the Standard Sanitary Corporation of America in the 1930s. The shade is brought up to date in Burlington’s Medici collection, comprising Victorian and Edwardian-inspired sanitaryware. Its Grande bath costs £2,058 and Edwardian basin wash stand £1,208.
Combine symmetry and practicality with a twin basin. Providing more than enough space for both you and your partner to get ready in the morning, Drummonds’ double Taw vanity makes an opulent statement. The exposed design of the washstand, here in antique brass finish with matching taps, lets the richly coloured Verde Guatemala marble top do the talking, while a shelf provides useful storage, £8,454.
Twist on tradition
Turn up the heat
Wood flooring is not recommended for bathrooms as the humidity causes warping and splitting, but Karndean’s luxury vinyl offers the ideal solution. With the look of real wood, this Van Gogh design in Classic Oak, from £37.99 per m2, features the near indistinguishable grain and warmth of real timber. Karndean flooring can also be fitted with underfloor heating for sumptuous warmth underfoot.
Nothing feels more luxurious than wrapping yourself in a warm, fluffy towel after a hot shower. Vogue’s Grandeur towel warmer, £1,788, makes this hotel-like indulgence a day-to-day reality, while also heating your bathroom. Manufactured in high-quality brass and finished with an antique copper effect, its Victorian-inspired design blends seamlessly into a period scheme.
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Bathrooms
Let in the light Privacy is essential in the bathroom, but it can be a struggle to find the best window dressing for the job. Curtains and fabric blinds don’t work well with damp conditions, and untreated wood can warp. With a flexible slatted design, Blinds2Go’s Metropolitan Snow and Parchment wooden blind, £23.30 per m, is made from kiln-dried and treated solid basswood, making it waterproof and warp-resistant, so you can shut off from the world and relax. Period Living 97
Enchanted print
Precious stone
Plucked straight from a fairytale, this stunning Zellandine wallpaper, £125 per roll from The Curious Department, is inspired by the medieval story that led to Sleeping Beauty. Perfect for a cloakroom, it features floral motifs and emerald-bodied dragonflies captured in golden geometric rings. The design is printed on Mica paper, which gives it a subtle pearlescent sheen to complete the opulent look.
Embrace the magnificent appearance of marble throughout your bathroom using look-a-like ceramic tiles. At a much lower cost than real marble, ceramic allows you to create a contrast of colour and texture by pairing dark floor tiles, like this black Hexagon design, £1.20 per tile, with lighter Palazzo walls tiles and a textured Arabo feature wall, both £79.95 per m2, all Original Style.
Grand illusion
Smooth finish
The smallest space can still be grand. Accentuate the height of the room by pairing marble-effect tiles with a statement monochromatic wallpaper, like Zoffany’s Richmond Park design, £114 a roll, which evokes the beauty of nature. Add to the luxe look with metallic accents such as C.P. Hart’s bespoke heated towel rail, £1,500, and Samuel Heath Style Moderne Flow taps in Urban Brass, £276, which pop against the white.
Carved from a single piece of marble, this curvaceous Mia basin, £175 from Tikamoon, adds a touch of finesse to a bathroom or cloakroom. Since marble is a natural stone, each basin features a unique patina and colourations for a truly bespoke piece. Pair with a streamlined wooden washstand to bring out the stone’s warmth, and a single freestanding tap to keep the basin the star of the show.
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Exterior Doors
Newopenings Give your home’s exterior a refresh with a stylish front or patio door Feature Holly Reaney
C
hoosing a new door is one of the most important decisions you can make for your home; it must offer protection while also being aesthetically appealing. Your front door is the most seen part of your house and makes an important first impression, setting expectations for the interior beyond. Selecting the right design is therefore vital. Consider both the style and era of your house and take inspiration from your neighbours’ doors, especially if the originals are still intact.
Patio doors have an equally important role. The right design can completely transform your living space, flooding it with light, even in the middle of winter, and connecting your home and garden. Since the doors will make up a large part of the room, you must select a versatile design that works harmoniously with your interior décor, while also complementing your garden. It is often possible to enlarge an existing door or window opening, or the doors may form part of a new extension, such as a kitchen-diner.
FRONT DOORS
Ornate detail The Edwardian era was short, but had a big impact on house design. Front doors became increasingly elaborate, developing on the Victorian style. Large glass panels with leaded, stained and textured glass were favoured, with windows cut into intricate shapes. This Accoya door was developed from a template of an original Edwardian design and costs £2,500 from Cotswood. Period Living 101
Gothic grandeur
Classic proportions
Doors of the Tudor period were simplistic in design, made of unpainted timber planks and finished with hand-forged ironmongery. This door by Jack Badger was handcrafted from oak and features a medievalstyle window grille. It costs £4,800.
Above: Creating a dramatic entrance, this gothic-inspired door features intricate handcarved details, typical of the style. With a dark wood stain and set in a heavy frame, these solid oak double doors cost from £12,000 and are made bespoke by Deacon & Sandys.
Below: Typically six-panelled, Georgian doors are in elite company with the nation’s most photographed door, 10 Downing Street. They were usually painted in a dark colour, although brighter shades were seen later. This Accoya door costs £3,000 from London Door Company.
Decorative appeal Victorian doors can be recognised by their fourpanelled design. Using glass for the upper panels became increasingly popular, and more decorative, as the era progressed, with fan and side-lights transforming doorways into art. This composite Carnoustie design costs £3,600 from Door Co. 102 Period Living
Image (Jack Badger) Adrian Lambert
Historic craftsmanship
Exterior Doors Country charm Left: Featuring a simple ledged design complete with vision light, this iroko door with sapele frame, factory painted in Farrow & Ball’s French Gray, is perfect for a cottage. A versatile hardwood, iroko is favoured due to its durability and is often chosen as a more affordable alternative to teak. From £1,944 from Jonathan Elwell.
Bold and beautiful Right: Doors in the 1930s often featured a one-over-three design, painted a bright colour, usually with a single patterned glass panel to bring light into the hallway and add decorative appeal. Prices are on application from The Harborne Sash Window Company.
Bespoke character
Ready aged
Where possible, it is best to restore an original door, but if it can’t be saved, then consider recreating it with a bespoke design. This Victorianstyle door features four solid panels and was colour matched to the original, creating an almost identical replica that meets 21st-century security standards. Prices start at £4,200, The Sash Window Workshop.
Inspired by the simplicity of traditional craftsmanship and medieval designs, plain plank doors were desirable styles for Arts and Crafts homes. Made of solid European oak and paired with handcrafted bronze door furniture, this Arts and Crafts-inspired door, £5,994 from Old English Doors, has been finished with an antique oil to create an aged appearance. The door also features a leaded glass window, which was fashionable in the period. Period Living 103
PATIO DOORS Top tips for buying doors Which material is best? HARDWOODS such as oak are chosen for their long
lifespan and natural beauty. However, it is the most expensive option and, like all untreated woods, will be prone to some moisture movement. SOFTWOODS are less expensive than hardwoods but have a shorter lifespan. Finishing with a microporous paint extends a door’s life as it releases moisture while protecting the timber. ENGINEERED WOOD is created by gluing together sections of weaker wood to create a strong single piece. It is popular for both patio and front doors. MODIFIED TIMBER has been treated with chemicals or exposed to a high heat to improve its durability. Accoya is a favourite for doors due to its strength and resistance to rot, plus it won’t warp or stick. ALUMINIUM is a common choice for modern-style patio doors. Hardwearing yet lightweight, it is an ideal material for bi-fold or sliding doors, where the lack of weight and slim sightlines are beneficial. UPVC is a common alternative to wood but is inauthentic. High-quality options can look very convincing and are maintenance free, but cheaper options will detract from your home’s character. If you decide to go down this route, choose carefully. How do I ensure my doors are secure?
Contemporary contrast
Your front door offers the first line of defence in protecting your home, so it is important to discuss the security of your design with the manufacturer. Invest in a five-lever mortice deadlock that meets BS3621 standards for enhanced security; this can also reduce the price of your home insurance. A rim latch, door chain and viewing portal are all good additions. Wireless, smart doorbells at the front door, and cameras by the patio doors, are very popular, notifying you if there’s movement outside via an app, even if you are not at home. It is also worth applying a shatter-proof film to patio door glazing to prevent it from being smashed, and installing a deadbolt lock that is only accessible from the inside so the lock cannot be picked.
With a modern Crittall-style design, these steel patio doors are incorporated into a full-height glazed screen that adds architectural interest to the industrial-style kitchen. This wall of glazing ensures the space is flooded with light, and allows for a seamless flow from the kitchen to the patio outside. £16,800 from Clement.
All timber doors will require maintenance at some point in their lives. Discolouration or peeling paint is a sign that it needs refinishing, while swollen wood may need trimming in order to close flush. If draughts are an issue then an expert will be able to upgrade your draughtproofing. Modified timber, such as Accoya, needs minimal maintenance but spraying with white vinegar twice a year then cleaning with a soft bristle brush is recommended. Aluminium is an excellent maintenance-free choice.
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Authentic link The most sensitive choice for many period homes, timber French doors, like this solid European oak design, from £6,000 at Bath Bespoke, blend seamlessly with both the house and garden. When choosing timber doors it is important to check the provenance of the wood, ensuring it is from FSC-certified forests and harvested in ways that do not contribute to deforestation.
Image (Clement) designed by ADE Architecture
What maintenance is necessary?
Exterior Doors
Twist on tradition Above: Featuring a classically inspired window design, these engineered timber bi-fold doors, from Timber Windows, combine period charm with a modern door style. Painted in a subtle sage shade, they beautifully complement the honey-coloured stone of this Cotswold cottage. Prices available on request.
Wide open
Above: Opening concertina style, bi-fold doors stack at a right angle to the wall, meaning they require more floor space than sliding or French doors. However, unlike sliding doors, they open with a completely unobstructed aperture, so are ideal for creating a free flow between inside and out. When closed, the glazing is separated into several panels which let in plenty of light. These Red Grandis hardwood bi-fold doors start from £4,200 at George Barnsdale.
Timeless elegance Left: French doors are the ideal option for smaller spaces or interiors where large areas of glazing would look out of place. Their traditional style is in keeping with many types of period home and can be designed to mimic the style of your existing windows. These French doors with arched top light cost from £4,800 at Timbawood.
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Will my patio doors need planning permission?
Installing patio doors is usually allowed under permitted development rights, but in some cases, such as for listed buildings or homes in Conservation Areas, additional consent may be required. All additions and alterations, however, will need to comply with building regulations to ensure safety and energy efficiency. Visit planningportal.co.uk for more in-depth guidance. Is a modern or traditional design best for patio doors?
Either option can work well in a period home. A traditional design that takes inspiration from the property’s existing windows often feels more authentic to the property. However, there is a growing trend for ‘barely there’ modern doors with slimline frames, which have minimal sightlines to make the most of garden views without detracting from the house’s character.
Industrial edge
Below: Lightweight, with narrow sightlines, and virtually maintenance free, aluminium is a popular material for sliding and bi-fold doors. These KustomFold sliding doors in Anthracite Grey, £6,480 from Kloeber, have been finished with a powder coating to protect against the elements.
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Secure design Painted in an elegant soft blue eggshell, these French doors, installed with complementary sidelights, are constructed from FSC-certified engineered European redwood, paired with a hardwood sapele cill. The doors open outwards, so they cannot be pushed in by intruders, while internal glazing and a mortice deadlock provide enhanced security. Around £3,600 from Lomax & Wood.
Clear opening Above: Large sliding doors create a contemporary aesthetic, and offer uninterrupted garden views. Using the same floor tiles both inside and out also adds to the versatility, letting you effortlessly expand your living space out to the patio. These sliding doors from Origin are constructed from premium-grade aluminium, with prices available on request.
Roomtogrow
Feature Mel Lloyd Image Chris Snook
Opened up Victorian semis and terraces make up a large proportion of the UK’s housing stock, and though blessed with character are often cursed with cramped galley kitchens at the rear. A desirable solution is to extend to create a family-friendly kitchen-diner with doors onto the garden. Where outside room is limited, filling in the side-return – the narrow strip of land that runs alongside the ground floor – can make a huge difference to the usability of the space, while those with more generous gardens could also consider extending back by three or four metres. In this project, a modest extension has created an open-plan kitchen-diner. Timeless parquet flooring unites the space, which is flooded with natural light, and crucially, the original fireplace and mouldings have been preserved.
Extensions While we love their charming original features, period properties do not always offer enough space for our modern lifestyles. Discover how to enlarge your home by extending, without damaging its character
On the home front If your property lacks a strong entrance, then consider adding a small extension at the front, which can serve as an enclosed porch or even a mini snug while creating an important focal point. This pretty 18th-century home (below) previously had an incongruous porch that had been added in the 1970s, and so the owners replaced it with a new, larger design that blends in with the original brickwork. Inside it houses storage space and a cosy reading nook, while exterior details such as the decorative bargeboard, finial and double doors make the house look so much more inviting.
There is a widespread assumption that extensions to period houses should seamlessly blend in, but that is often not the preferred solution. Older buildings possess a patina of age that modern materials cannot easily recreate, and they do not conform to modern standards and sizes. While ‘traditional’ pastiches were once common, these days local authorities are often more inclined to look favourably upon a modern contrast that shows how the property has evolved over time. The striking extension to this 400-year-old thatched cottage (above) shows a clear distinction between old and new, and could be removed in the future without impacting the historic property. While its shape mirrors the cottage’s front gable, the black steel and glass exterior is subservient to the original. A glazed link connects old and new, ensuring the listed house is preserved for future generations. 110 Period Living
Images (left) Jody Stewart, (top) Fiona Walker-Arnott
Old meets new
Extensions
Mighty oak Oak has been used as a building material for centuries – that so many medieval oak properties survive is testament to the wood’s longevity. It also exudes natural character and warmth, and unlike most materials, grows in strength and charm as it ages. This makes it a most desirable and authentic option for extending a period home, and it will also add more value than a standard design. Oak specialist Oakwrights created a sun-filled garden room (left) for this 1930s home, which beautifully complements the natural landscape and seamlessly links to the main living room. Expect to pay around £60,000 for a similar project. Period Living 111
The master plan
Images (left) Brent Darby, (right) Jody Stewart
Adding a spacious master suite or guest bedroom is a popular reason for extending a period home. A two-storey addition is the obvious solution, but if you are creating your forever home then consider whether a downstairs bedroom would better serve your long-term needs. If you have enough space, a ground-floor room with en suite can provide garden access and means you won’t have to negotiate stairs in your older years. It’s also less likely to need planning permission than a two-storey design. This vaulted addition to a listed medieval home is adjoined by a glazed corridor, which allows a sense of separation from the main living spaces. The enhanced privacy also makes it ideal for guest accommodation.
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Extensions
Bring in the light Many period homes have modest-sized windows and do not make the most of garden views. Therefore, one of the best things about extending is the ability to maximise glazing and create a garden link. This orangery-style extension was added to a Georgian property, with a stunning roof lantern, sash windows and doors by Westbury. With glazing above as well as on three sides of the new addition, the space is flooded with light that filters through to the rest of the house.
Do I need planning permission? In many cases it is possible to build generous side and rear extensions without planning permission under permitted development (PD) rights. For single storeys, you can extend by up to 4m at the rear if the house is detached, or 3m if it is terraced or semidetached; this can be doubled if you give the planning authority basic plans and details, and if the neighbours don’t object. Twostorey additions must not extend beyond the rear wall of the house by more than 3m. If your home is in a Conservation Area or other designated area, you may only add a single-storey rear extension under PD – the limit is 4m for a detached house, or 3m for attached. There are additional rules relating to height and position, and only half the area
of land around the ‘original house’ can be covered by extensions or other buildings – see planningportal.co.uk for more details. Extensions to listed homes are subject to tighter controls and cannot be carried out under permitted development. You will need listed building consent to proceed. In general, extensions are usually required to look subservient to the existing house. Where a planning application is necessary, it’s worth sharing your ideas with a planning officer, and asking for guidance on what will be acceptable. For more ambitious proposals, it’s best to hire an architect with experience of similar projects; if the application is refused they can advise you on whether it’s worth appealing. Once consent has been granted it normally remains valid for three years. Period Living 113
Seeing double
Tips for extending BE REALISTIC ABOUT COST. Extending a period
home can cost anything between £1,000– £3,000 per m2, depending on the location and project specification, so it’s important to get quotes from at least three different builders for comparison. Make sure the quotes are as detailed as possible and check that they include everything you want. MAXIMISE LIGHT. Adding an extension can cause existing ‘middle’ rooms to lose daylight. Rooflights can help to overcome this issue. 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 114 Period Living
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. 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 be able to breathe, otherwise damp and other problems may develop. If the house has suspended timber floors, ensure the underfloor ventilation is not blocked. 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.
Image Jeremy Phillips Illustrations Getty Images
In general, you are more likely to get planning permission for a one-storey extension than two – and may not even need to apply (see previous page). However, if you are able to get two storeys approved you will be adding twice as many square metres of extra space for considerably less than double the cost of a single-storey addition. This farmhouse received a two-storey extension to create a generous kitchen-diner on the ground floor with new bedroom above. It connects to a converted outbuilding via a glazed link.
j Be inspired by these stunning home renovations and works in progress
BEFORE
A sense of history Hannah Lloyd explains how she and husband Dan transformed their uninhabitable shell into the perfect home for their family, in just six months Tell us about the history of your home? Built in 1826,
Bryncoch had only been home to four families before we bought it in January 2018. The house is right in the heart of the community. In the late 18th and early 19th centuries, it was owned by a man called Reverend Edward Roberts, who donated much of the land surrounding the house. There is a primary school next door and a row of miners’ cottages opposite, all built on land that was originally part of Bryncoch. It is really nice to know that we’ve bought a part of history and have been given the chance to bring the house back to life again.
AFTER Above: Clearing the overgrown exterior revealed the house’s beautiful Georgian façade Below: New windows, painted walls and removing the gas fire gave the living room a new life Top right: Removing old plaster revealed internal stone walls that Hannah kept as a feature Bottom right: From a building site to a dream kitchen
How did you find the house? We found it by chance
when a friend saw it on Rightmove. It is only a mile up the road from where we used to live but because the garden was so overgrown, you couldn’t see it from the road. I’d walked past it countless times but never really noticed it. When we looked around, however, I was blown away. Even in its unliveable state, the house had so much character, and it was full of potential. The previous owners had lived here for about 60 years and the house had been completely split in two: a lady lived in one side and her brother lived in the other. We had two of everything, even two kitchens, which meant the whole layout needing reconfiguring, but it gave us a clean slate to make the house work for us. Did you feel daunted by the project? This is our first
project and only our second house as a couple. Our previous home only needed cosmetic work so while we were more than able to decorate, we started the project without any renovation experience. However, we have lots of friends who have done renovation projects, as well as knowing people in the trade, and they really helped us. We’d seen the journey they had gone through and the finished projects, so we didn’t feel too daunted by it. We were able to learn from them and understand the processes of how to go about renovating a house. 116 Period Living
BEFORE AFTER
Renovation What was the biggest change to the house? We knocked
through the walls in between the kitchen and living room to create an open-plan living space. The house is 200 years old and it was a really big decision. Some people advised us against it and others said to go for it. I think it was the best decision that we made. It has become the hub of family life; where we eat and where we relax. We’ve got a playroom for the children just off the kitchen, too, and have installed bi-fold doors at the back of the property, which open up the space and let in so much light. Were you nervous about knocking down the walls of such an old house? I was so nervous but I’m really glad
BEFORE
AFTER
that we followed through with the decision and created a liveable area for the family. Preserving the history of a house is really important, and we were incredibly lucky that we were able to keep so many of the original features, but it is also important to create a house that works for you. Bringing the old and new together works really well. Tell us more about some of the original features you saved?
We’ve got a large sandstone fireplace in the kitchen area, which was all bricked up and had an ugly gas fire in front of it. We had to go through building regulations because we needed to knock through the bricks to create an open space to install the wood-burner. To make sure it was safe, we had to install steelwork underneath the fireplace because it is so huge. Now the fireplace is a real feature, right in the heart of the home. Did you make any discoveries while renovating? The
DURING
exterior of the house is built from beautiful Welsh stone and when we stripped back the interior to the bare bones, we discovered two internal stone walls in our master bedroom and in the hallway. We’ve repointed them with lime mortar and kept them as feature walls. Also, when we took down the ceiling in the bedroom we found the original beams. We kept the ceilings at a pitched height so that the beams are completely revealed. What’s been the best part of renovation? About a year
after we moved into the house, I got a letter from a lady, who grew up here almost 80 years ago with her grandparents and mother. She said she would love to visit and see how the house has changed. So we invited her and she came with her cousin and son, and we took her for a tour of the house. There were so many things she remembered, like sliding down the banister of the stairs, but also things she never knew were there – like the stone feature wall in the bedroom. Hearing how it used to be a family home, makes it really lovely that we’ve been able to bring life back into the house with our own family. What’s next? We want to have the house sandblasted
and the porch, with its beautiful Georgian pillars, restored. It will transform the exterior. AFTER
Be inspired by the next steps of the renovation on Instagram @bryncoch_renovation Period Living 117
Piece by piece With lots of vision and DIY, Lily and Raj Begum have put their stamp on their 1930s home. Lily tells the story of their sophisticated living room makeover Was finding your house love at first sight? We had
BEFORE
Left: Painted in Ammonite, the living room still didn’t quite feel right Below: Mapping out the panels with the laser spirit level before laying the elegant herringbone pattern Bottom: The finished living room
been searching for our dream home for about two years. I never thought I would have invested in a project, but when this house came up – detached and with a 150ft garden – we couldn’t say no, although it hadn’t been touched in 60 years. How did the living room look when you moved in? It was
covered in 1960s vinyl wallpaper paired with Art Deco chandeliers. We were very fortunate that the previous owner had covered the floor with carpets, because underneath was original parquet flooring. There was also a 1970s gas fire that I knew had to go. Where did you start with renovating the room? We
stripped the wallpaper and the builders plastered the walls. We got quotes for sanding and varnishing the parquet floor but the figures were astronomical. In the end we decided to hire the sanding machines and do it ourselves. It required a lot of patience, but the results made it worthwhile. How did you decide on the colour of the living room? We
DURING
DURING
repainted it twice before settling on Farrow & Ball’s De Nimes. We initially tried Ammonite, then Sulking Room Pink, but the vibes were off. I’m a big fan of blues and greens, while Raj likes lighter colours. De Nimes is the best of both – not too dark or pale and in different lights, changes from blue to green. Did you do the project yourselves? Yes we did. I won’t
take the full credit, as Raj is really amazing. He has the patience that I lack. I am learning as I go, while Raj has been sticking up wallpaper and doing DIY since his early teens. We feel such a sense of pride that we have completed our own project. Tell us about the fireplace It was a bargain find on
Ebay. Cast-iron fireplaces are usually expensive, but we found this beauty from someone who was moving and needed to get rid of it quickly. A local stonemason made the hearth using an off-cut from our kitchen island. I sanded the fireplace, primed it and then painted it with Farrow & Ball’s Railings. How did you create the panelling? After renovating,
the room still felt incomplete and so we thought a panelling effect, created with strips of wood, would be a wonderful feature. Raj is a perfectionist and is great with numbers so he worked out all the maths. Then we cut the first piece and ensured it fitted before cutting the rest. Using a laser spirit level, we made sure the diagonal strips were level and repeated the processes row by row, sticking them in place. It turned out even better than we imagined and we have started panelling other rooms, too. AFTER 118 Period Living
Follow the rest of the couple’s renovation journey on Instagram @lily_atno3
D E S I G N
D E T A I L S
FIREPLACES
Continuing his series looking at how key elements have evolved over time, conservation expert Lee Bilson traces the history of this design centrepiece, and highlights its importance
W
hile the notion of fireplaces started as a necessity for survival, they have evolved to become a major feature within a home, often epitomising the period in which it was built, or showing the change in fashions. There is a relaxing ambiance to a room with an open fireplace; it provides a focal point and a source of comfort. However, it’s not just the feel-good factor that makes them an asset, as they are widely regarded as adding value to a house. Even where a fireplace has been previously removed, reinstating it can prove a sound investment.
Design evolution
From their most humble beginnings, fires have been a key element – in medieval halls they lay in the centre of the open, singular space, providing heat and, especially in the houses of lower society, a place for cooking. There was no chimney, instead the smoke would rise to the roof space and escape through forms of vents known as louvres. Even 120 Period Living
where chimneys and floors have been added to these properties, you might still be able to find the evidence of louvres in attic spaces, or blackened timbers in the roof from the smoke. As house layouts became more complex over time, the open fire was no longer suitable. Before the advent of fireplaces, various solutions were devised including the smoke hood. As fireplaces developed, they tended to be in private spaces, typically served by adding on large external chimneys at the ends of the house. It was only in the 16th century that they began to be used en masse, and lobby-entrance homes were built with a chimney located in the centre of the property. Many of these remain and are commonly referred to as inglenooks, though technically speaking an inglenook is the recess that adjoins a fireplace – often with small windows.
Fireplaces as fashion
The improvements in heating rooms from the late 16th century meant fireplaces became standard practice. They also offered the perfect vehicle for
Design Details
Below: This cast-iron range set within a carved stone surround in a Victorian farmhouse shows the dual importance fires served of heating and cooking Opposite: Classical-inspired marble fireplace with rosette details and cast-iron insert, retrofitted with a stove in a listed Georgian townhouse
Images opposite and top right) Brent Darby, (above left) Malcolm Menzies, (bottom right) Jeremy Phillips
Left: This original open fireplace in a Elizabethan townhouse was hidden away behind a 1930s design until it was uncovered and reinstated, with a new cast-iron fire basket added Above: Brick and stone fireplace incorporating a smoke hood in an early Tudor manor house
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wealthier homeowners to add considerable levels of ornamentation, whether in wood, marble or stone. Craftsmen of the Elizabethan period acquired information on the antique manner – classicism – from prints and engravings published in books, which resulted in a somewhat errant interpretation. These engravings would be regularly translated directly onto fireplaces, in stone, wood and plasterwork. The combination of classical references and the ideas already used in Tudor architecture resulted in a range of grotesques, strapwork cartouches and various motifs, coupled with columns. Externally the chimneys serving the fires changed too, being built taller to draw better, but generally thinner, arranged in groups and formed in cylindrical or rectangular types that included masonry or brick jettying for added flair.
Balanced beauty
Advancing on attempts of the Elizabethans and Jacobeans to incorporate classical references, Queen Anne homes truly embraced symmetrical order. External chimneys were sometimes even disguised as battlements or decorative details such as urns in an attempt to avoid them ‘tainting’ a balanced design. It was now common practice for fireplaces to have coherent chimneypieces, with a preference towards the use of bolection moulding. In the most elaborate of houses, chimneypieces had stepped tops to allow displays of china collections. However, smaller houses were simply set below a section of panelling. The fire was once again, as it had been in the open halls, the focal point – it helped to bring balance to the room. While the fire surrounds of the Georgians still used the bolection moulding popular in Queen Anne houses, this was quickly replaced by classical-inspired designs such as the famed Adam style. Industrial developments also had an impact on the appearance of the fireplace, as with the growing availability of coal, fire grates tended to be smaller as opposed to those needed for burning logs. This allowed more delicate designs, in the form of elegant fire baskets or, in lower-status homes and working areas of grand houses, hob grates, which became popular as the flat upper surfaces could be used for cooking or heating water.
Rise in eclecticism
The Regency period’s use of classical ornament introduced a much wider range of styles, inspired by the likes of Wedgwood’s famous ceramics, with motifs from Greek and Roman antiquity, or similarly the emerging Gothic and Egyptian influences. But it was under the Victorians that the fireplaces of our period homes would become truly eclectic. Up until around the 1860s designs were still heavily influenced by the classical features so prominent in earlier designs, but in late-Victorian homes a vast range of styles can be found – from Gothic to Egyptian Revival; French Empire to Neo-Queen Jacobean. It was the swathes of improvements in iron-working techniques and 122 Period Living
ever-increasing industrialisation and urbanised living that fuelled these varied trends. A need for standardised fireplaces that could be easily and cheaply manufactured was developed, to cater to the needs of any household. It was a niche that cast iron was easily able to fill. The same was achieved in the tile industry, meaning that a homeowner could not only choose their style of fireplace and chimneypiece, but they could also accessorise their design with tile sets by the likes of Minton & Co.
Atmospheric settings
Out of a backlash to the advancing industrialisation, grew the Arts and Crafts movement, drawing much inspiration from fireplaces of the late medieval and Tudor periods. Regularly constructed of brick or locally sourced stone, these were, wherever possible, large and well rounded with an inglenook appearance. Bricks were often laid vertically, conventionally, or in a herringbone pattern, with later designs including fabulous use of tiles, like those associated with the work of Charles Rennie Mackintosh. Tiles often showed a pastoral scene or complex floral motifs. Rockwood Pottery, who produced the early Arts and Crafts tile designs, shared a close association with William Morris, the founder of Morris & Co. The movement also emphasised hospitality and intimacy, so designers incorporated large inglenook fireplaces, with window seats, extending the revival styles of the Victorians. But keep an eye out for more delicate designs, typical in smaller homes – these may have a tinge of the Art Nouveau about them, with nature a key theme.
The 20th century
Fire surrounds of the Edwardians 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, but these all tended to be much plainer in form and construction than those of the Victorians. Soon these would develop into something smaller in nature, and more commonly stepped fire surrounds, composed of tiles or glazed bricks, with dropped shoulders. These became less of a focal point to a room in line with the more simplistic, lighter styling of the 1920s onwards. No more would you find ornamentfilled mantles like those of the eclectic Victorians.
Maintenance issues
Fireplaces should be regularly swept to ensure that the chimneys are clear – not only will this help the efficiency and function of your fires drawing the air up through the chimney, but it will also help prevent chimney fires from the likes of bird nests catching light in your chimney. Chimneys require regular checking and care – because of their height the tops are often neglected when it comes to home repairs and renovations – this can lead to failing brickwork or even collapsing chimney pots. If things look ‘wonky’ then call in a specialist to check things out.
Design Details
Left: Intricate carved stone surround in a Jacobean manor Above: Original Victorian fireplace with painted fauxmarble surround, cast-iron insert and decorative tiles Below: The fireplace in the White
Drawing Room at Blackwell, an Arts and Crafts property in Windermere, features generous inglenooks to each side of a simple stone surround, and stunning glazed tiles designed to draw the eye
Images (clockwise from top left) Kasia Fiszer, Colin Poole, ©Lakeland Arts/Nick Wood
Reinstating a fireplace
Fundamental questions you should consider if your period home has lost its all important fireplaces: O What style fits best with your home? Consider what changes might have occurred as fashions evolved and choose something appropriate. O What limitations affect your choice? For example, you might have the chimney but it may have been blocked up. Opening this up can be expensive and reveal hidden issues such as failing chimney pots, but if well planned it is certainly worth it. O Is your home listed? If so, speak to your local conservation officer to find what they consider appropriate and if you require permission.
Useful contacts
CHESNEYS – reproduction fireplace designs.
Tel: 020 7627 1410; chesneys.co.uk STOVAX – Victorian and Art Nouveau-inspired tiled fireplaces. stovax.com WESTLAND LONDON – antique fireplaces from every era. Tel: 020 7739 8094; westlandlondon.com Period Living 123
Renovation
HOME MAINTENANCE
Plumbing From leaks to contaminated water, faulty pipework in older homes can cause lots of damage, so ensure any issues are dealt with promptly Feature Roger Hunt, author of Old House Handbook
P
lumbing problems in older properties can range from water damage caused by leaks, to substandard water quality due to the corrosion of pipework or the use of dangerous materials, such as lead. Older systems are also likely to be water and energy inefficient, adding to the cost of water and heating bills. Such issues can be expensive and problematic, so need to be tackled at the outset of any renovation.
Illustrations Sarah Overs
Maintenance checklist O Make sure the main stop valve works O Deal with dripping taps O Check tanks are covered and that
these and all pipework are insulated O Inspect WCs for leaks from the soil pipe and cistern
O Test for weeping joints in pipework
by running a dry finger around them O Inspect water tanks and cisterns and ensure ball valves, which control the level of water, are operating correctly O Check sink, bath and shower waste pipes for leaks and blockages
Questions and answers Jerry Whiteley, technical manager for the Chartered Institute of Plumbing and Heating Engineering (CIPHE), answers some common questions about plumbing and the best methods of repair and renovation
Q
Is water quality likely to be an issue in an older house?
When moving into a property, it is wise to run taps to clear any stagnant
water from pipes. It is also prudent to check any cold water tanks – if the lid is not close-fitting there could be debris in the system. Where a property has not been used for a while, it is especially important to proceed with caution as there could be a risk of corrosion, lead, Legionella or other bacteria in the system. If tap water is a funny colour or has a strange taste, it is vital to call in a professional.
Q
Are there any tips about isolating the water supply if there is a problem?
Know where the stop valve is located: this is normally under the kitchen sink, in the garage or in alignment to the incoming water supply within the home. The CIPHE advises householders to periodically test stop valves to Period Living 125
Q
Are there any issues with connecting old pipework due to imperial and metric sizes?
A building built before the 1970s will have imperial size pipes. However, there is no reason why adaptors from imperial to metric can’t be used if the pipework is sound.
Q
Is it safe to use a blow torch when carrying out repairs to pipework?
Above: Old copper pipework can develop a green patina on the outside, which is often a sign of corrosion and leaks, and should be dealt with quickly to prevent damage
ensure they are working effectively. Often when turning off the water in older houses, the stop valve doesn’t completely close or can leak. As a consequence, the water may have to be turned off from the boundary, but the outside valve can sometimes be difficult to reach. Old, hard-to-turn or leaking stop valves should be replaced as a priority. It is also prudent to install isolation valves on each tap or fitting. If there are problems with the boundary stop valve, contact the water provider.
Q
What are the signs that plumbing needs repair or maintenance?
Dated bathrooms, old boilers and radiators, or dripping taps, all indicate that the plumbing system needs some TLC. Never ignore unexplained damp patches, pipes that freeze in winter or boilers losing water pressure.
If you are attempting DIY plumbing, today’s jointing methods mean there are fewer reasons to use any form of heat equipment. We would always recommend employing the services of a professional plumber for any hot works. Home insurance policies will likely not pay out if DIY has been undertaken that the householder is not competent to do.
Q
Are there issues to think about if buying from a salvage yard?
Q
Would you advise reusing the original plumbing fittings?
It depends on the condition and type of fitting. Some may be easier to repair or incorporate into the system than others. Older fittings may be inefficient and will not conform to modern standards; issues such as Water Regulations must be complied with,
Q
Even if pipes are made of a safe material and haven’t corroded, it is likely they will have become clogged with limescale and other debris over the years. This can restrict water flow, which will have a detrimental impact on the system’s performance. Long term, it is probably better to replace pipework rather than adapt.
Q
Some of the pipes are lead; should these be removed?
126 Period Living
Q
What should be considered when lifting floorboards?
It is important to minimise damage to old floorboards and any pipes or cables below. A professional carpenter or experienced plumber, used to working in older properties, should know how to lift floorboards. Be wary of electrics under floors as these are not always safe and electrocution is possible if cables touch pipes. Preferably, when fixing back, use screws; don’t nail or screw boards in the middle as this is where the pipes will be. Mark on top of the floorboards where things below are positioned.
Know what you are looking for, understand whether fixtures and fittings will be suitable for use in your system, and recognise their condition.
Should a house be totally replumbed?
Lead pipes are commonly found in homes built before the 1950s, especially on the incoming water supply. Lead is poisonous, so it is vital that all lead pipework is replaced within the property and its boundary. Not only will lead affect the quality of drinking water, but these pipes are notorious for leaking under driveways.
so a specialist may be required. It could be worth comparing original finds with modern alternatives designed to look like period pieces to get the best item for the system – there is the benefit of a warranty, too.
Above: Check original water tanks are adequately insulated and that the ball valve is working correctly to avoid any overfilling
Useful contacts ANTIQUE BATHROOMS OF IVYBRIDGE
– bath refurbishment and restored roll-top baths. Tel: 01752 698250; antiquebaths.com CIPHE – register of plumbers and heating engineers. Tel: 01708 472791; ciphe.org.uk CP HART – luxury bathroom supplier. Tel: 0345 873 1100; cphart.co.uk DRUMMONDS – bespoke bathroom ranges. Tel: 01483 237202; drummonds-uk.com STIFFKEY BATHROOMS - reproduction and antique bathroomware. Tel: 01603 627850; stiffkeybathrooms.com THE BATH BUSINESS - tap and bath refurbishment. Tel: 01342 324577; thebathbusiness.co.uk THE CAST IRON BATH COMPANY - baths, sanitaryware and taps. Tel: 01723 585896; castironbath.co.uk THOMAS CRAPPER & CO - manufacturer of classic bathroom products. Tel: 01789 450522; thomas-crapper.com VICTORIAN PLUMBING - bathroom products. Tel: 01704 339982; victorianplumbing.co.uk
TITBITS Feeding birds is especially vital in the winter months, when natural food sources can be scarce. But it is not just the feathered visitors that will benefit: the joy of seeing the likes of blue tits in our gardens has undeniable benefits for our own wellbeing, too. Acorn bird feeder with 200g nuts, £14, National Trust Shop.
Help to feed wildlife visiting your garden and gather seeds together in preparation for spring sowings
READY FOR DRILL Keep seeds that are destined for sowing over the next few months, safe and dry in this lovely heritage tin, which features a reproduced vintage plant catalogue cover. £6.99 from Suttons.
GARDEN TREASURES TRENTHAM GARDENS CROP COMPANIONS
Feature Rachel Crow Illustration Sarah Overs
WHAT: Leeks and lavender WHY: Lavandula
angustifolia attracts a happy range of pollinators with its heady scent, from bees and butterflies to hoverflies. The blissful aroma can also serve to confuse and put those pesky aphids off the scent of companion crops, by masking the odours emitted by veg such as leeks, leading the pests away from their intended target. PLANTING: Hardy lavender looks beautiful year-round. Plant in April or May, when the ground warms up, in free-draining soil in a sunny spot, spacing plants about 90cm apart. Trim plants annually in late summer, after flowering, to prevent them becoming woody.
With 300 acres of landscaped parkland, gardens and woodland, there is ample opportunity for crisp winter walks at Trentham Gardens near Stoke on Trent in Staffordshire. The Italian Garden, restored to its original 19th-century design, is a tranquil environment with its splashing fountains; enjoy the fragrance of witch hazels and carpet of hellebores in the new Woodland Meadows; or spot herons on a stroll beside Capability Brown’s mile-long lake. Open daily. Adult £12; child £9. (Tel: 01782 646646; trentham.co.uk) ON THE BOOKSHELF One of the great gardeners and gardening writers of the 20th century, Christopher Lloyd developed the garden at his lifelong home of Great Dixter into a mecca for plantsmen, carefully photographing and recording its every detail from the 1930s until his death in 2006. Great Dixter Then & Now by Fergus Garrett (£12.99, Pimpernell Press) presents a wonderful photographic record of the evolution of the garden, as seen through Lloyd’s lens, alongside images of how it looks today – a source of inspiration and a wonderful piece of horticultural history. Period Living 129
Scentsof the seasons
One of the pleasures of a garden is the delightful variety of fragrances to enjoy throughout the year from a host of lovely options, so choose the best flowers and plants for a joy of aromas Words and photographs Leigh Clapp
F
ragrance is a very personal and subtle tool that can bring another dimension to the garden. Each of us has a unique sense of smell, and scent can make the most beautiful bloom even more enticing. We are often aware of an aroma before coming upon a plant, while with others we need to bury our faces into the blooms, or crush the leaves to release the unseen spirit. It is not only flowers and leaves that carry scent – fruit, seedpods, bark, roots and buds can also be aromatic. Fragrance is especially valuable in the dormant months of winter, when there can be less to appeal
to the eye. Anticipated scents of a spring garden are intoxicating; summer’s abundance offers a sweet shop of romantic options, while autumn’s aromas can offer a surprise among the burnished hues. Descriptions of fragrance are more difficult to define than colours, and are perceived differently by each of us; what may be considered tantalising to one could be overpowering to another. While roses, violets and jasmine, for example, have distinctive fragrances, others are more elusive to define. What is important is not to overdo it as, with any element of garden design, the plant combinations are important. Place subtle scents Left: It is a summery delight to sit among sweetly scented phlox, herby monarda foliage, fragrant roses, earthy hops and the honey aroma of buddleja attracting an array of bees and butterflies Right: A cascade of richly fragrant white wisteria with tactile ceanothus, also known as wild lilac, that has leaves described as having a spicy aroma and brilliantly blue honeyscented flowers. Place perfumed plants close to the house and entertaining areas where you can enjoy their scent to the full
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Gardens
a little distance from stronger ones so each can be appreciated for its own appeal.
Follow your nose A fragrant garden is a personal mix of plants chosen with scent in mind. The style of your garden will guide your selection – whether a cottage medley, colour-themed border or naturalistic scheme, for example – along with the practicalities of climate, soil, aspect and ease of care. Have a sense of the overall effect you wish to achieve and draw up a list of plants you would love to include, to then research. Positioning plants in warm, sheltered spots throughout the garden to produce fragrance at different times allows a continuation year round. White and pastel flowers are among the most fragrant, followed by pale pink, mauves and yellows to the less-scented purples and blues; orange and scarlet blooms tend to have more colour than fragrance. Check the aromas are pleasing to you and work in the chosen combinations so as not to overwhelm the senses; some plants may be too heady in an enclosed area, for instance. A few well-placed options can go a long way. Think about how you use the different areas of your garden in each season and plant your sweet-smelling choices where you will get the most benefit from them. This may be a spot where you like to sit and relax, a dining area, or near a path where you will pass by frequently.
Ideas for a fragrant garden Courtyards are ideal for growing a succession of scented plants, with climbers clothing the walls, seasonal pots and, if room allows, shrubs or trees in the ground, such as viburnums, osmanthus, abelia or choisya, Mexican orange blossom. Some fragrant container ideas to try include a mix of spring bulbs, such as hyacinths with narcissi, repeated heliotrope, chocolate cosmos scrambling up tepee supports, or a group of potted citrus. Selecting flowers in a cutting garden for colour and scent is another way to grow all of your favourite aromas. A stone path weaving through the blooms also gives the opportunity to plant chamomile or thyme between the stones, for an added sensory experience. In a cottage-style garden, go for a mix of delicately scented roses, flowers and herbs billowing out of beds, designed for a successional and steady release of fragrances. O Line paths with lavender, nepeta or low-growing and extremely fragrant dainty dianthus, which are reminiscent of spicy cloves and vanilla. O Fragrant climbers, such as honeysuckle, can enclose an area, adorn an arbour, or clamber up walls, sheds and trees – classic combinations on arbours or tunnels include wisteria and laburnum entwined with clematis. O Place specimen shrubs or trees near a window to perfume the air in a gentle breeze. O Create an intricate herb garden abundant with choices such as rosemary, chamomile, basil, chives, 132 Period Living
parsley, marjoram and thyme, or place pots by the kitchen door, convenient for picking. Do, however, keep in mind the growth habits of some, such as unruly mint, which is best kept contained. Easy and quick to grow, herbs generally require full sun and good drainage, and will reward you with an aromatic garden in no time. O For something a little different, try a small patch of chamomile lawn, which smells of ripe apples when crushed, or use it in a living seat. O Seek out the older varieties of free-flowering and scented sweet peas to scramble up rustic supports. O Informal rose hedges and borders can be augmented with clouds of nepeta, their soft aromatic grey foliage a beautiful foil and the combination of pink roses and mauve flower spikes always pleasing. O Creating hedging and windbreaks with shrubs such as viburnum offers the opportunity for pockets of still air, so fragrance can linger, as do low hedges of roses, rosemary or lavender. O Add some interest near the front of existing beds and borders by including some perfumed plants, such as lilies, verbena, stocks, peonies, iris or bergamot. Use taller scented shrubs as a backdrop, including lilac or philadelphus.
Evening delights Some plants hold onto their scent in the day and are more fragrant in the evening; their purpose being to attract their nocturnal pollinators. This can work to our advantage, enticing us out into the garden on balmy summer evenings. Place these plants where you can enjoy the fragrance as it hangs in the evening air, such as in a sheltered spot by a window or around the patio. Nicotiana sylvestris and N. alata, along with evening primrose, for example, yield wonderful perfumes, as do Matthiola longipetala, or evening stock, jasmines and brugmansia. Nature has designed that many of these flowers are pale, often cream or white, to be visible in the moonlight to pollinating insects. Some close in the day and then open at night, such as the white tubular flowers of night-blooming jasmine, which can be grown in mild areas or in a conservatory. Many flowers that bloom at night turn towards the moon.
Clockwise from top: There can never be too much lavender in a cottage garden mix, such as here, with early-flowering Lavandula stoechas or French lavender varieties combined with candelabra primulas and hostas in a raised bed; popping up here among the aniseed aroma of fennel clouds, flamboyant lilies are easy to grow and have a range of scents from subtle to intense, spicy to jasmine; Dianthus barbatus or sweet william are old favourites for their sweetly scented blooms in crimson, purple and white with daintily fringed edges – a must-have in every cottage garden
Gardens
Perfumed plant palette SPRING
Fragrant plant nurseries THE FRAGRANT ROSE COMPANY, Holbeach PE12 8AG
– fragrant bush and standard roses. Tel: 01406 424089; thefragrantrosecompany.co.uk SCENTED LEAF GERANIUMS – mail order online; scentedgeraniums.co.uk SHIRE PLANTS, Gawcott MK18 1TN – source for old-fashioned pinks, dianthus, available through mail order and open by appointment. Tel: 01280 817800; shireplants.co.uk EAGLE SWEET PEAS – mail order online. Tel: 01889 270215; eaglesweetpeas.co.uk JEKKA’S HERB FARM, Alveston, Bristol BS35 3SY – offer over 140 different herb seeds, which are available online or see the website for open days. Tel: 01454 418878; jekkas.com
HYACINTHS are hardy bulbous perennials that can be grown in a sheltered spot in the garden, in containers, or indoors to enjoy their intensely scented flower clusters. Plant in clumps, blocks, to line pathways and edge spring bulb beds, or in containers on their own or mixed with other spring bulbs. SYRINGA, LILACS are laden with fragrance that wafts through the air from the mauve, pink, purple or white blooms. They need a sunny spot with fertile, humus-rich, well-drained soil and can also be grown in containers. Deadhead spent blooms and prune to shape. CHOISYA TERNATA ‘SUNDANCE’, Mexican orange blossom, has evergreen foliage, which when crushed has an aroma of basil, and clusters of sweetly fragrant white flowers in late spring. This compact shrub is ideal for small gardens, in a mixed shrub border.
SUMMER PHILADELPHUS ‘BELLE ÉTOILE’, mock orange, is a deservedly popular
medium-sized deciduous shrub with highly perfumed cascades of pure white flowers for many weeks through May to July. Grows in sun or part shade in any fertile, well-drained soil. ROSES offer an array to choose from. Fragrance was once the most sought-after quality and is again important to breeders and gardeners. In David Austin English roses, for example, fragrance is a key selling point. The classic old rose fragrance is linked to gallica roses and their hybrids, such as damask roses, while find clove scents in musk roses. LAVENDER growing in poor soil is more fragrant than in good soil and the most fragrant types for flowers and foliage include the angustifolia and intermedia varieties. Use lavender to line walkways, fill tubs, clip into hedges or to enclose a herb garden. Cut back plants after flowering to prevent them from becoming too woody.
AUTUMN SALVIA X JAMENSIS ‘HOT LIPS’ has aromatic leaves, reminiscent of
blackcurrants, when you brush past or crush them, and distinctive crimson and white flowers through summer into autumn. There are many varieties of aromatic salvias or sages that are also attractive to bees and butterflies. NICOTIANA SYLVESTRIS has intensely scented pure white trumpetshaped tubular flowers from late summer to the beginning of autumn. The fragrance is released at dusk, so plant them where the aroma can be appreciated, near an entrance or seating area. ACTAEA SIMPLEX ‘PINK SPIKE’ flowers during autumn with spires of fragrant, pale-pink flowers above mahogany foliage. It does best in part shade and this hardy herbaceous perennial works well with other foliage plants, such as ferns, grasses and heucheras.
WINTER CHIMONANTHUS PRAECOX, WINTERSWEET, is a must-have for its
Above: Golden laburnum rains down on a fringe of irises and Allium hollandicum ‘Purple Sensation’ for a classic summer display combining scent and complementary colour 134 Period Living
translucent blooms of the most delicate but powerful fragrance. Needs a sheltered sunny spot, such as against a warm wall. One sprig in a vase inside will fill a room with its delicious scent. HAMAMELIS, WITCH HAZELS, are invaluable deciduous small trees and shrubs in the winter garden, for both colour and a bewitching scent from their spider-like textural yellow, orange, red or pink flowers. They like sun to part shade in any moist, well-drained soil. Great as a specimen focal point, lining a path, in a mixed winter border, and underplanted with early spring bulbs. SARCOCOCCA CONFUSA is an easy-care, rounded evergreen shrub with dainty creamy white, vanilla-scented flowers, from December to March, among leathery green leaves. Suitable for a sheltered spot in fertile, well-drained soil, in part to full shade, so great for shady borders, low-maintenance areas, hedging and containers.
Gardens
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‘ It’s a short month so make every day count with places to go and new things to do
Feature Karen Darlow Images (snowdrops) Fred Cholmeley; (Rebecca Louise Law) Still Life 2016 at Broadway Studio & Gallery; (The Box Plymouth) Wayne Perry. N.B. dates and times correct at time of going to press, please check before setting out
SAIL THE CENTURIES There’s plenty to explore at The Box in Plymouth, the recently opened museum and exhibition space dedicated to the town’s maritime history. At the heart of the building is a breathtaking display of restored 19th-century naval figureheads, suspended as if on ghost ships. The current major exhibition is Mayflower 400, which presents a Native American view of English colonisation and aims to challenge perceptions. Visit theboxplymouth.com for tickets. Entry to Mayflower 400 (until September 2021) is £5 for adults; under18s and Plymouth residents go free. MAN OF LETTERS Van Gogh is famous for his postimpressionist paintings, but what about his post? The Illustrated Provence Letters of Van Gogh (£16.99, Pavilion Books) offers a selection of the artist’s letters alongside his paintings, drawings and sketches. His words paint a picture of genius and anguish, as he struggles to survive and work. Author Martin Bailey is a Van Gogh expert and provides biographical notes on the recipients of the letters, and a background to the artist’s Provençal life and paintings.
Handmade with love Craft your own Valentine tokens of affection at a heartweaving workshop run by Wyldwood Willow in beautiful Monmouthshire. You’ll weave several willow hearts during the half-day workshop on 7 February 2021 – morning or afternoon (10am-1pm or 2-5pm). It costs £40 including materials. To book a place, visit wyldwoodwillow.co.uk.
N
beaut l a r u y at
Experience the joys of the great outdoors… indoors, with Rebecca Louise Law’s immersive Seasons exhibition at Compton Verney Art Gallery & Park in Warwickshire. The artist promises a ‘journey through nature’, with 250,000 preserved flowers and plants suspended on copper wires. The final installation includes natural materials foraged from the gallery’s extensive grounds. Seasons opens on 13 February; £7 for adults, £4 for children aged 5-18. For more details and to book tickets, visit comptonverney.org.uk. SNOWDROP SHOWTIME Easton Walled Gardens in Lincolnshire are always worth a visit, but in February they shimmer with drifts of delicately scented snowdrops. Open from 12 February 2021, £8 for adults and £4 for children. A £30 membership allows unlimited visits during the open season. For details, see visiteaston.co.uk.
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RIVER COTTAGE
Out & About
Love is in the air Treat your Valentine to a getaway this year and discover some of the country’s most romantic spots
Image National Trust/ Andrew Butler
Feature Holly Reaney
Sissinghurst Castle Garden, Kent A motif of love as old as time, the sweet-smelling rose cannot fail to delight. Sissinghurst’s roses are internationally renowned, and immortalise the unconventional marriage of writer Vita Sackville-West and Harold Nicolson, who, in designing the castle gardens, would define the English style. The project united Harold’s eye for structure and Vita’s passion for flora, filling the gardens with beautiful blooms, including her beloved old roses, a true summer spectacle. (nationaltrust.org.uk/sissinghurst) Period Living 139
Lyme Park, Cheshire
Fairy Pools, Isle of Skye With its rugged landscape and dramatic coastline, every inch of the Isle of Skye is steeped in natural beauty. Resting at the foot of the Cuillin Mountains, the Fairy Pools epitomise the island’s beauty. A popular location for walkers and wildlife lovers, the crystal clear rock pools, fed by a series of waterfalls, are uniquely atmospheric. The serene waters are also famed for wild swimming, although wild swimming is probably best avoided during Scotland’s chilly winters. (visitscotland.com) 140 Period Living
Images (Lyme Park) National Trust/Chris Lacey (Fairy Pools and Tintern Abbey) Getty Images
The sandstone façade of this Georgian mansion, with rows of sash windows overlooking the expansive lake, will flutter the heart of any period drama lover. Immortalised as Mr Darcy’s Pemberley in the BBC’s 1995 Pride & Prejudice series, Lyme is filled with drama and interest, both inside and out. Follow in the footsteps of literature’s most beloved couple with a stroll by the lakeside, taking the path to the scenic Dutch garden, renowned for its intricate design. (nationaltrust.org.uk/lyme)
Out & About Tintern Abbey, Wales There is something romantic about a ruin, standing as a relic of time gone by, filled with the stories of lives lived, loves lost and a great past returned to nature. The ruin of Tintern Abbey has captured the imagination of poets and painters, including Keats and Turner, for centuries. Be captivated by its beauty and perhaps be inspired to create your own masterpiece as you explore the ruins of the ivy-clad structure, built nearly 900 years ago. (cadw.gov.wales/visit/places-to-visit/tintern-abbey)
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Out & About
Staithes, North Yorkshire
Images Getty Images
Nestled into the hillside, gazing out over the expanse of the sea, Staithes offers a much-needed escape from busy day-to-day life. Its winding cobbled streets dotted with whitewashed fishermen’s cottages create a village full of character, providing the perfect backdrop for a weekend of exploration and relaxation. Walk across the hilltops and fall in love with the views across the port, or perhaps head to the sandy beach for a sunset stroll along the peaceful shore. (yorkshire.com)
Star gazing at Northumberland National Park Love stories have been played out under the stars for millennia. However, light pollution means that the beauty of the night sky is often lost to us. Thankfully, up and down the country there are protected skies, such as in Northumberland National Park, which lets the stars be observed in their full splendour. The Kielder observatory lets you see the cosmos up close, but the stars are equally stunning from a picnic blanket while enjoying a flask of hot chocolate. (northumberlandnationalpark.org.uk) Period Living 143
Keswick, Lake District
Bibury, Cotswolds With pockets of honey-coloured cottages interspersed with the rippling tributaries of the River Coln, it is easy to see why William Morris crowned Bibury ‘the most beautiful village in England’. One of the most photographed Cotswold scenes, Arlington Row was built in 1380 and converted from a monastic wool store to weavers’ cottages in the late 17th century. Stay a while and enjoy a Cotswold holiday in Number 9. (nationaltrust.org.uk/holidays/9-arlington-row-the-cotswolds) 144 Period Living
Images (Keswick) National Trust/Roy Henderson; (Bibury) Getty Images
On the bank of Friar’s Crag there is a perfectly placed bench. This picturesque spot illustrates all the magnificence of the lakeland landscape in one eyeful, from the serene expanse of Derwentwater sparkling in the sunlight, to the rising grandeur of the iconic Cat Bells in the distance. Heralded as one of the best views in Keswick, it is an ideal spot to stop and rest on a longer hike, or just a short wander to sit and soak up the atmosphere. (nationaltrust.org.uk/borrowdale-and-derwent-water)
HOLY SPIRIT The new English Berry 58 Gin, £34, from the London-based artisan spirits distillery, has been created using foraged sloe berries plucked from Kent bushes, with any botanical surplus gifted to the distillery’s local church garden. Free from any artificial sugars and sweeteners, the twice-distilled spirit lends itself well to a warming winter concoction.
The latest culinary and cooking releases, and ingredient inspiration for keen home cooks
IT’S A WRAP Pledge this to be the year that you make more of an effort to use environmentally friendly packaging in the kitchen. A good start is to swap the throwaway clingfilm in favour of reusable beeswax or vegan wax food wrap, now available in rolls, £13.99, Tala.
COOKING THE BOOKS: NEW RELEASE CRACKING FIND Porcelain egg coddlers became a staple of the late-Victorian breakfast table, a delightfully unfussy way to serve up perfectly poached eggs. This Raining Eggs design, featuring a whimsical pattern by Brighton-based illustrator Clare Mackie, will add a joyful start to your day, £10.95 from Not Just Jugs.
CHEF’S CUT Chicory
Feature Rachel Crow
February’s seasonal ingredient suggestion is from Lorna McNee, head chef at Cail Bruich in Glasgow I love using chicory because it can bring a whole new dimension to your dish; the leaves have a mild bitterness, which balances out sweet flavours very well. You could add crunch to a salad with the chicory leaves and some chervil with a sweet dressing, while it is also delicious roasted with some honey and orange juice and served alongside a delicious game dish, such as venison. Chicory goes very well with
cheese, so another idea is to turn it into a condiment. Remove the root and slice the leaves very thinly, then cook it in a pan with a little oil, add some brown sugar, sherry vinegar and port wine until soft and sticky. To store chicory, wrap it in some damp kitchen roll and keep it in your fridge. The three AA Rosette-awarded Cail Bruich uses seasonal produce in its Scottish cuisine
The Bull & Last pub by London’s Hampstead Heath has been a stopping off point for about 300 years, and its rich and colourful past, as well as the stories and anecdotes of its current customers and canine regulars, are shared in this cookbook with a difference (£30, thebullandlast.co.uk). Featuring 70 of the pub’s mouthwatering dishes, from pumpkin tempura and venison pie, to slow-cooked beef cheek and creative takes on Sunday roasts, it is a showcase of great British classics with a twist. SIP AND SAVOUR If you’ve been struck with a touch of the February blues, take yourself off to a snug corner with a warm throw, your favourite book and a mug of Willie’s Cacao 100 per cent pure, rich and dark indulgent hot chocolate, £3.99, and treat yourself to an hour or two of much deserved and restorative self pampering. Period Living 147
Recipes
Help to lift everyone’s spirits with these feel-good, winter warmer recipes that are both nutritious and delicious
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ONE-POT GOAT’S CHEESE, SPINACH AND WALNUT PASTA There is nothing more satisfying than a big bowl of pasta; it tends to be a go-to in many households, when something easy and effortless is required. And effortless is the key word in this recipe, as all the ingredients go into one pot and cook in 15 minutes. Note that this recipe serves two people. You can increase quantities to serve four, but you will need a big saucepan to allow the pasta to cook properly and not become stodgy. SERVES 2 O 2
tbsp extra virgin olive oil, plus extra for drizzling O 1 small onion, sliced O 200g pasta shapes (such as penne or fusilli) O 2 cloves garlic, crushed O 150g soft mild goat’s cheese, broken into pieces O 50g walnut halves, roughly chopped O 700ml hot vegetable stock O Grated fresh nutmeg, for sprinkling O 100g baby spinach leaves O Flaked sea salt and freshly ground black pepper O Grated zest of ½ lemon, to serve
1. Heat the oil in a mediumlarge saucepan. Add the onion and sauté gently for about 5–6 minutes until softened and light golden. 2. Add the pasta, garlic, goat’s cheese, walnuts and vegetable stock. Stir briefly and season with a generous grating of nutmeg and some salt and pepper. 3. Increase the heat to high and bring to the boil. Reduce to a simmer and cook, without a lid, over a medium heat, for 12–15 minutes, stirring the mix occasionally, until the pasta is just cooked with a little bite (al dente). By now the stock will have absorbed into the pasta and created a lightly creamy sauce. 4. Stir the spinach through the pasta to wilt, and taste for seasoning, adding more if needed. Serve in bowls, garnished with lemon zest, a grating of nutmeg, twist of pepper and a drizzle of extra virgin olive oil.
CREAMY PEA, SPINACH AND CASHEW SOUP Raising a hearty pea soup to the next level, the addition of spinach and cashew nuts in this recipe give it its wonderful vibrant colour and creaminess, not to mention the punch of nutritional goodness. SERVES 4–6 O 125g
cashew nuts O 2 tbsp olive oil O 1 large onion, chopped O 1 stick celery, finely chopped O 700ml hot vegetable stock O 500g frozen peas O 100g fresh spinach O Flaked sea salt and freshly ground black pepper O Crusty bread, to serve
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1. Put the cashew nuts in a bowl and pour over enough boiling water to thoroughly cover. Set aside to soften. 2. Heat the oil in a large saucepan over a medium heat. Add the onion and celery, and gently sauté for 10–12 minutes until they are softened but not coloured. Increase the heat and pour in the stock. Bring the stock to the boil and then stir in the peas and spinach. Once the stock returns to the boil, cook for 1 minute, then remove from the heat. 3. Drain the cashews and transfer them to a blender or food processor with
200ml cold water. Blitz thoroughly until you have a really smooth and creamy consistency. Reserve about one quarter of the cashew cream for spooning on top when serving and keep the rest in the blender. 4. Ladle the soup into the blender with the cashew cream and blitz until smooth – work in batches if necessary. Return the soup to the pan, season with salt and pepper to taste and reheat if needed. 5. Spoon into bowls and dollop on or swirl in the reserved cashew cream. Serve with crusty bread.
Recipes
SUPER VEGGIE COTTAGE PIE This is a delicious twist on a classic oven-baked comfort dish. It is packed full of nutritional goodness from numerous tasty veggies, beans, quinoa and lentils, and contains no meat at all. It may appear to be a lengthy list of ingredients, but they are all wonderfully good for you, and the method is nice and simple, so don’t be put off. SERVES 6 O 2
tbsp sunflower or rapeseed oil O 1 large leek, finely chopped O 2 carrots, grated O 2 sticks celery, finely chopped O 2 sprigs fresh rosemary O 1 bay leaf O 100g chestnut mushrooms, chopped and diced O 3 tbsp tomato purée O 2 tsp Worcestershire sauce (vegetarian if necessary) O 1 x 400g chopped tomatoes O 500ml vegetable stock O 200ml red wine (or extra stock if preferred) O 150g dried green lentils O 150g quinoa O 1 x 400g tin haricot or cannellini beans, drained O Flaked sea salt and freshly ground black pepper FOR THE TOPPING mixed root vegetables (potatoes, parsnip and sweet potatoes – the quantity of each is up to you) O 40g butter, plus extra for baking O 3 tbsp milk O 1.4kg
Preheat the oven to 180°C/ 160°C fan/350°F/gas 4 1. Heat the oil in a large saucepan and gently cook the leeks, carrot, celery, rosemary and bay leaf for 5 minutes. Add the mushrooms and continue to cook for a further 5 minutes, or until all the vegetables are tender. 2. Stir in the tomato purée, Worcestershire sauce, chopped tomatoes, stock and wine. Bring to a simmer and stir in the lentils, quinoa and beans. Stir well and return to a simmer. Cover with a lid and cook
for 30 minutes, stirring the mixture occasionally. 3. Meanwhile, cut the root vegetables into chunks, removing the tough core from the parsnip and cutting the potatoes slightly smaller than the other vegetables (they usually take a little longer to cook than the others). Place in a pan of boiling water
and cook for about 10–15 minutes until tender. Drain and mash with the butter and milk, then season with salt and pepper. 4. Place the pie filling in an ovenproof dish or individual dishes, top with the mash and dot some extra butter on top. Bake for 25–30 minutes until the tops are lightly golden and bubbling at the edges. If you are cooking from chilled, add
a further 10 minutes to the cooking time. FLAVOUR SWAP: ring the changes and add a warmth of Moroccan spice to the super veggie cottage pie. Omit the Worcestershire sauce and rosemary and replace with 1 teaspoon smoked paprika, 1 teaspoon ground cumin, ½ teaspoon ground cinnamon and 75g raisins to the filling.
JAMAICAN BANANA AND CARAMEL PUDDING This indulgent and comforting pudding magically creates its own rich molten caramel and rum sauce when baking, sitting beneath a banana and coconut sponge. It is a real crowd pleaser, making it ideal to serve when entertaining, yet it is also quick enough to prepare that you can enjoy it as a mid-week treat. Next time you have an overripe banana, don’t throw it out, give this pudding a go – the riper it is, the sweeter and more intense the flavour. SERVES 6–8 O 175g
self-raising flour caster sugar O 1 tbsp baking powder O Pinch of flaked sea salt O 1 ripe banana, mashed O 300ml fresh coconut milk O 85g butter, melted plus extra for greasing O 1 egg O 1 tsp vanilla bean paste O Flaked sea salt O Cream, ice cream or coconut yoghurt, to serve O 100g
BAKED TUSCAN BEAN AND SAUSAGE STEW This recipe is one you can turn to when all you want is something quick and easy that you can throw into one pot. For the best results, use good-quality pork sausages, ideally with some Italian flavourings, such as fennel seeds – or you could add a scattering of fennel seeds or a sliced fennel bulb with the onions. SERVES 4 O 2
tbsp olive oil chunky pork sausages, each one cut into 2–3 pieces O 2 onions, sliced O 1 red (bell) pepper, deseeded and sliced O 2 sticks celery, thickly sliced O ¼ tsp dried chilli flakes O 4 sprigs fresh rosemary O 2 x 400g tins beans, such as borlotti, cannellini, pinto or haricot, drained O 2 x 400g tins chopped tomatoes O 2 tbsp dark brown sugar O 1 tbsp red wine vinegar or cider vinegar O Flaked sea salt and freshly ground black pepper O 8
TO SERVE (OPTIONAL) bread or mash O buttered greens O Crusty
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Preheat the oven to 200°C/ 180°C fan/400°F/gas 6 1. Heat the oil in a fairly shallow ovenproof pan or heavy roasting tray and quickly brown the sausages all over to just give them colour on the outside but not cook them all the way through. Add the onions and cook for a couple of minutes to also give them some colour, then add all the remaining ingredients. 2. Season with salt and pepper and stir around to mix. Cover with a lid or if you don’t have one, then a baking tray on top will be just fine. Bake for 30 minutes, then remove the lid, stir everything around and return to the oven, without a lid, for a further 15–20 minutes until the sauce has thickened. 3. Serve with crusty bread or mash, and some greens, such as buttered steamed cabbage or green beans.
FOR THE CARAMEL SAUCE soft dark brown sugar O 4 tbsp golden syrup O 2 tbsp rum or coconut liqueur O 250ml boiling water O 150g
Preheat the oven to 180°C /160°C fan/350°F/gas 4 1. Grease a 24cm diameter, 8–10cm deep baking dish. Put the flour, sugar, baking powder and salt in a mixing bowl. In a separate bowl or jug, mash the banana until smooth. Add the coconut milk, butter, egg and vanilla. Beat until smooth, then pour into the dry ingredients and mix to create a thick batter. Pour the batter into the greased dish and set aside. 2. To make the sauce, put the sugar, golden syrup, rum or coconut liqueur and boiling water in a small saucepan and gently bring to a simmer, stirring to dissolve the sugar. Remove from the heat and pour over the top of the pudding. It will immediately sink below the batter, which is fine. 3. Put the dish on a baking tray and bake in the oven for 40 minutes until you have a lightly risen golden sponge, which will be sitting on top of a delicious caramel sauce. Spoon the pudding into bowls and serve with cream, ice cream or coconut yoghurt.
Recipes
Preheat the oven to 180°C /160°C fan/350°F/gas 4 1. Grease a baking dish with butter. 2. For the crumble rub together the flour and butter – and baking powder for the classic version – until it resembles fine crumbs. Stir through the sugar, and – for the oat and nut version – the cinnamon, almonds and oats. 3. Toss the prepared fruit with the sugar, lemon/ orange juice, cornflour and any spices in a large bowl. Use more sugar and less juice when cooking with tart fruits, such as rhubarb and blackberries, and less sugar but more juice for sweet fruits, such as peaches and plums. Use more cornflour with very juicy fruits like plums or frozen berries and less with firm fruits like apples. 4. Tip into the baking dish and scatter the crumble topping evenly over the top of the fruit. Bake for 25–40 minutes until the fruit juices are bubbling around the edges of the pan and the topping is golden.
FLEXIBLE FRUIT CRUMBLE This recipe is flexible from the top to the bottom. The quantities all serve six to eight people, although you can increase to serve more when required. You don’t need to bother measuring the fruit – have a baking dish in mind that will be suitable for the number of people to feed, and add the fruit directly to the dish, filling it about threequarters full. Let the seasons or what you have in your fridge or freezer determine
what fruit you use. Here are two crumble topping suggestions, and a basic method to follow and adapt accordingly. SERVES 6–8 OAT AND NUT O 150g wholemeal or spelt flour O 150g butter, chilled and diced O 1 tsp ground cinnamon O 75g flaked almonds, crushed lightly in your hands O 50g rolled oats O 100g soft brown sugar
CLASSIC (NUT FREE) O 350g plain flour O 1 tsp baking powder O 175g butter, chilled and diced O 100g caster, brown or demerara sugar FRUIT FILLING O 675g–850g prepared fruit, diced into bite-sized pieces, removing any stems, seeds or inedible parts where required. O 100–200g sugar (any is fine), depending on the sweetness of the fruit O Juice of 1 lemon or orange (not all may be required) O 1–3 tbsp cornflour, depending on the juiciness of the fruit O 1 tsp ground spice, such as cinnamon, ginger or nutmeg
This is an edited extract from The Flexible Family Cookbook by Jo Pratt, (£20, Frances Lincoln) with photography by Malou Burger Period Living 153
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In the Picture
A joy for ever
T
he epitaph on John Keats’ gravestone reads: ‘Here lies one whose name was writ in water’, words chosen by the poet as he lay dying of consumption in Rome, aged just 25. Slammed by the critics, he believed his poetry wouldn’t live on after his death and in February 1820, he wrote to his fiancée Fanny Brawne: ‘“If I should die,’ said I to myself, ‘I have left no immortal work behind me – nothing to make my friends proud of my memory – but I have loved the principle of beauty in all things, and if I had had time I would have made myself remembered.’” Almost exactly one year later he died in the arms of his great friend, the painter Joseph Severn. Thankfully, Keats was mistaken. His poetry endures and Ode to a Nightingale and To Autumn are among some of the English language’s most popular poems. To paraphrase his epic Endymion, they are things of beauty and joys for ever, despite his critics’ – and Keats’ own – assessments of their worth.
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Words Karen Darlow Portrait of John Keats. Oil on canvas by Joseph Severn (17931879), 1821-1823 National Portrait Gallery (Photo by DeAgostini/Getty Images)
Celebrating the legacy of Romantic poet John Keats, who died 200 years ago this month