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BEAUTIFUL OLD HOMES

DECOR ATING & SHOPPING

GARDEN ANTIQUES INSPIRATION & VINTAGE

RENOVATION & MAINTENANCE

PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

Live the dream

SEPTEMBER 2022

Refresh & renew

Uplift every room with timeless coastal style

Enchanting period homes and interiors to recreate

Choose the perfect colour for your kitchen

PLUS Latest range cookers Characterful wood floors Antique statues

RESTORATION SUCCESS Bring time-worn doors back to life

GARDENS MADE EASY

Best ever hydrangeas ● Cottage patio ideas Add a rustic rockery ● Boost your compost

Design an inspiring craft room of your own

Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

home’s windows and doors are nearly always its most defining exterior features. Not only do they contribute immeasurably to its character, but in the case of period properties are useful visual aids in determining age and architectural style. Sadly, far too many original windows and doors have been previously replaced with unsympathetic designs - often modern uPVC. However, if you are lucky enough to still have these treasured features intact, then take every effort to restore and preserve them.

You may be amazed at the improvements that can be made to seemingly unsalvageable windows and doors through expert intervention. Rarely are they beyond saving. To help you get the best out of your own home’s windows and doors, this month Period Living’s resident renovation experts Douglas Kent and Roger Hunt look at some of the measures that can be taken, with a focus on using secondary glazing to improve the performance of old inefficient windows (page 115) and a guide to restoring interior and exterior doors (page 111).

If you are not fortunate enough to be in possession of your home’s original designs, then this is certainly an area worth investing in. New windows and doors can be made by craftspeople in authentic designs, and there is even the option to buy reclaimed in certain circumstances. It will cost a lot more than basic uPVC, but you won’t regret it. Not only will quality designs add value to your home, but they will last for many years and become part of its future history.

Another iconic feature shared by some period properties is a thatched roof. A charming thatched cottage is truly the dream for many people, and so I hope you love our cover house as much as I do. Owners Jane and Michael were quick to fall in love with the quirks of the 400-year-old property, and have taken a sensitive approach to redesigning its interior, creating rooms that are light and restful, yet celebrate the building’s original character (page 22). It’s just one of the inspiring properties featured this month. I do hope you like the issue, and if you want to make sure you don’t miss out, then why not subscribe (page 32)? This month when you sign up, you will receive a free Orla Kiely mug set, worth £35. Enjoy!

Melanie Griffiths Editor, Period Living

Period Living 3

91

Decorating & shopping

13

Journal

Homes

22

Home office shopping

42

Beautify your workspace with these back-to-school essentials

21

Beautiful rugs The best designs to warm up your floors and pull a room together

35

Coastal decorating

136

Changing places This once tiny home has been reimagined as a spacious house brimming with original charm

58

Living the dream Anne-Charlotte and her family have created a rural paradise in their 400-year-old house

143

Creative spaces These ideas will help to inspire a practical yet stylish craft room

71

Antiques journal Discover the latest trends and hear collectors’ stories

147

Collecting statues Alice Roberton delves into the world of garden statues

149

Cragside Explore Britain’s original smart home, full of fascinating inventions and wonder

Take inspiration from the seaside for restorative, relaxing interiors

53

Made in Britain We visit willow artist Katherine Miles as she creates life-sized woven animal sculptures

Jane and Michael Forbes turned their 16th-century thatched cottage into a dream home

We round up the latest interiors offerings and news

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Inspired by nature

Features

162

Craft project Create a decorative garden year planner to store seeds and labels

Decorating with grey This sultry shade can add depth and sophistication to any room

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21 78

Cover Photograph Nick Smith Photography

Period Living 7

93 71

53

Advice & inspiration

86

History of bedrooms

Gardens

78

House journal

117

Painted kitchen ideas

118

Choose the perfect colour to breathe life into your cabinetry

101

Range cooker shopping The most stylish options

102

Farmhouse sinks Invest in a timeless design that is hard-working and durable

105

Wood flooring Find the perfect fit for your home

111 115

Secondary glazing SPAB’s Douglas Kent on how to make old windows more efficient

22

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Your journal We share our readers’ letters and photographs

32

Subscription offer Subscribe to Period Living and get a free Orla Kiely mug set

117

Beautifully crafted We explore the gold-winning Morris & Co garden from this year’s Chelsea Flower Show

121

Build a rockery How to add this charming feature

123

Composting guide The best ideas to make your gardening more sustainable

125

101

Growing hydrangeas Find out how to get the best out of these much-loved plants

Restoring doors Roger Hunt explains how to revive interior and exterior doors

Garden journal Products, workshops and places to inspire your plot

Discover the latest products for improving your period home

93

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Tucked away within rows of terraced houses is a secret garden

Lee Bilson uncovers the story of our most private spaces

91

Hidden gem

Regulars & offers

130

Cottage patio ideas Extend your outdoor living space with these charming designs

58

Readers’ letters, projects and views on the magazine

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ARTIST’S INSPIRATION I wanted to share a loose watercolour painting of a lavender pot, as inspired by a picture I spotted in the recent garden supplement.

I loved the character of the aged rustic terracotta pot and billowing flowers.

Lou Tedder on Instagram @havencreative_

This month’s star letter writer receives an upcycling kit from Annie Sloan including 1 litre of Chalk Paint, worth £23.95, in a colour of their choice; Clear Chalk Paint Wax, worth £12.95; and a small Chalk Paint Brush, worth £15.95

TREASURED FIND I was thrilled to discover several copies of Period Living at a charity shop in Pietermaritzburg, South Africa. How kind that these magazines have been able to be re-homed in this way, continuing to give joy to another reader. Albert Weir’s charming home from May 2020 instantly caught my eye. I’m in love! I even managed to copy down the recipes from his chalkboard and will create the same board in my own kitchen. Diane Towers

Feature Holly Reaney Images (top right) Brent Darby; (bottom right) Leigh Clapp

CLIMBING HIGH I have always loved clematis; however, every time I try to grow one in my own garden, it never lasts more than a summer.

I read the ‘All Entwined’ article in the July issue with great interest and wonder if my issue is related to pruning. I will purchase a new plant – I loved the Florida ‘Sieboldii’ variety (right) – and will try again this year, taking note of its pruning group.

Hopefully, I’ll have beautiful blooms every year from now on. Emma Rowley Get in touch: periodliving@futurenet.com

@periodlivingmagazine

@PeriodLivingMag

@period_living Period Living 11

This September, update your interior with pretty pattern, a touch of texture or new artwork, and support British designer-makers

Feature Alice Humphrys

Peony tablecloth, from £195; woven bamboo dining chairs in Pink and Blue with Trellis seat cushions, £450; Bobbin candlestick, £35 for large, £30 for small; Shido vase red, £45 for large; Darya rug, from £1,500

GATHER ROUND Inspired by Japanese styles and techniques, Ando is Birdie Fortescue’s most ambitious collection yet. With a subtle, Eastern feel, Ando means peace, comfort and calm, which perfectly sums up the reflective quality of these timeless designs, which include tableware, textiles, furniture and

lighting. Soft, trailing florals, printed stripes and small-scale geometrics are offset by woven textures and lacquered finishes. The rich tones in berry red, mossy green and deep blues are accented by on-trend sandy tones and rust brown.

As ever, Birdie’s designs feel rich in heritage, span the seasons, and work well in both modern and traditional schemes.

Period Living 13

News Palampore in (clockwise from left) Artichoke, Autumn, Frost, Violet, Coral and Magenta, all £146 per m

THE POWER OF PRINT Heritage British fabric and wallpaper brand George Spencer Designs has launched two new prints – Palampore and Mosaic – based on patterns from its design archive, reimagined and recoloured for modern-day homes. Featuring a lively floral pattern, Palampore is inspired by 18th-century Indian cloth making – it’s a screen-printed linen available in six easy-to-live-with colourways. Mosaic is a modern take on a traditional design that captures the beauty of Mediterranean mosaic tiles. Choose from a palette of eight different shades. Prices start at £138 per m2.

UNDER THE COVERS An idea born out of lockdown, Hunant (Welsh for ‘they slumber’) makes beautiful organic cotton bedsheets with a difference – pull back your crisp white duvet to reveal a fitted sheet featuring eye-catching and colourful patterns based on traditional Welsh tapestry blankets. Cardiff-based owners Myfanwy and Tom Shorey have reimagined these heritage designs, digitally printing them onto high-quality, 200-threadcount percale cotton. The fitted sheets come in four sizes, from single through to super-king, and there are 10 different designs from which to choose. Prices start from £45.

Image (bottom) Bright Day at the Bay, by Janine Burrows

A FINE ART Janine Burrows is a designer, painter and illustrator from West Yorkshire. With a background in surface pattern and printed textiles, her heart now lies in painting. Running until 23 October at Yorkshire Sculpture Park, her latest exhibition, Table to Tide: A Yorkshire Conversation, celebrates her home county’s breathtaking landscape. Janine has captured her favourite places, creating poetic scenes with expressive brushstrokes, subtle colour and delicate detailing. Her work focuses on memories and special moments within a certain place, which she captures by photograph or sketch, before working on the finished piece in her studio.

Period Living 15

CAREFULLY CURATED Artorial is a new online destination for affordable, curated wall art. Set up by interior designer Jo Sampson and fashion designer Jenny Crosbie, it offers over 250 artworks created in house. Working across various artistic mediums – from collage to photography; mark making to typography – each design, though different, is tailor-made to work in harmony with the rest of the collection, enabling you to create your own curated gallery wall with ease. This summer, the brand launched its first collaboration with interior designer Laura Stephens – the result is a mix of handpainted stripes, vintage florals and digital collage. Prices start from £30.

Collaged Bouquet B, from £55

Bloomsbury Stripe B, from £30

Vase Study B, from £40

A HANDMADE TALE Alongside her bespoke curtains, blinds and upholstery service, Chloe Johnson Interiors has expanded her handmade homeware collection with new cushions and lampshades for SS22. Known for her joyful spaces full of colour, Chloe has a love for vintage textiles and needlework. She sources her textiles from around the globe and makes each piece by hand in her Lincolnshire studio. New products include beautiful vintage silk sari lampshades in a range of colours and sizes; multicoloured, double-sided cushions made from Kantha quilts; and Suzani cushions backed with corduroy – bespoke commissions are also welcome. Lampshades, from £195; cushions, from £95; footstools from £250.

16 Period Living

CRAFT ON DISPLAY Meet and buy from Britain’s best designer-makers at Beautiful and Useful, running 17-18 September.

This boutique fair is set up in the gardens of Sussex Prairies, an award-winning garden just north of Brighton with eight acres filled with herbaceous perennials, which are at their peak this time of year. The line-up this year includes some of the country’s finest, from jewellery makers to ceramicists; weavers to collage artists. A wonderful day out with tickets including entry to the gardens. Adults, £10; children, £5. RHS members, £8.

Shopping

Blooms of Joy weekly desk planner, £21, Papier

Designer box files, from £35, Harris & Jones

Laura Stephens Pressed flower collage B print, from £30, Artorial Blue candle holder, £7.95, The Hambledon Large Gustavian desk with top, £1,545, Susie Watson Designs

Back to school Beautify your workspace and up your productivity with these home office essentials Nassau waste paper bin, £50, Oka

Letterpress bookplates, £5.50 for a set of 8, Pentreath & Hall

Hernan rechargeable table lamp in antiqued brass and bronze, £135, Pooky

Floral pen set, £16.99, Liberty

Emma desk chair, from £984, The Dining Chair Company

White washed rattan tray, £20, The White Company

Feature Alice Humphrys

Large hardback notebook in Dandelion Turmeric, £39, Cambridge Imprint Chadwick Staffordshire book ends, £45, Oliver Bonas A4 Ginko Tulips clipboard in Green/Aqua, £17.50, Nina Campbell Period Living 19

Shopping Cecily woven scalloped yellow wool and cotton rug, £150, Oliver Bonas

Aztec handwoven cotton and jute rug, £125, Graham & Green

Khair cotton-mix rug, £250, Cox & Cox

Anyday recycled cotton Chindi rug, from £15 to £100, John Lewis & Partners

Tanzania Stripe handwoven wool rug, from £1,095, Jonathan Adler

Waver handwoven hemp dhurrie in Pillarbox Red, £775 per m2, Vanderhurd

Rajasthani cotton dhurrie, £275, Raj Tent Club

Always Greener rug in red/yellow, from £570, Kit Kemp and Annie Selke for Andrew Martin

Feature Alice Humphrys

Paradise indoor/outdoor round rug in Soft Navy, £34.95, Kukoon Rugs

Woven ground Warm up your floors and pull a room together with our pick of the best rugs Period Living 21

The chocolate-box cottage is a 16th-century former yeoman’s farmhouse in the New Forest.

Although it’s Grade II listed, Jane and Michael were able to update the cottage inside to create a beautiful family home

INSPIRED

BY NATURE Jane and Michael Forbes drew inspiration from their surroundings to create a tranquil look for their charming cottage in the New Forest Words Heather Dixon | Styling Laura Sabogal | Photographs Nick Smith Photography

ane and Michael were sold on their 16th-century cottage the moment they stepped into the entrance hall and saw the inglenook fireplace. Featuring four different types of brick patterns, the suggestion of a bread oven and the crooked character of its 400-year-old history, this single feature was enough to convince them that the cottage was what they were looking for.

As they walked through the rooms, taking in the original stone walls, picture-box windows and uneven beams, they could visualise a place of peace and tranquillity, which was a complete antithesis to their hectic working lives. ‘It just felt right,’ says Jane. ‘It has an innate sense of calmness, plenty of historic character, and was in the perfect location close to where we grew up.’

Yet the property came with its own unique set of challenges. Many of the rooms had low-beamed ceilings, which were painted in colours that made them seem oppressive; the narrow stairs and small steeply angled doors upstairs offered limited access for furniture, and natural light was restricted by the small inset windows and overhanging thatched roof.

Fortunately Jane knew who to turn to for help.

They had already worked on their previous home in London with interior designer Jess McDonald of Bergamot Interiors, and knew they could ask for her advice and input to achieve the look they wanted in their new home. It was a fortuitous collaboration as they bought the property in the middle of the pandemic and ended up relying heavily on Jess to pull it all together, oversee the décor, and source furniture and furnishings at a time when supplies were subject to long delays.

Jane and Michael spent hours working out what they wanted from the property. The previous owners had poured plenty of time, effort and love into the cottage, but Jane and Michael were keen to bring it up to date and introduce a greater sense of light and space. They wanted it to be comfortable and relaxing, and to have a connection with its location in the New Forest through colours, textiles and textures. They also wanted the rooms to flow through the house with common links providing a sense of continuity. Jess was able to translate their wish-list into a practical plan, starting with the 24 Period Living

sanding and lightening of wooden floors and installation of fresh lighting before decorating throughout in a tranquil colour palette.

One of the most effective ways of making the rooms look larger and lighter has been to paint the walls and ceilings in the same colour, which instantly ‘lifts’ the perceived height of the room while reflecting light throughout the space.

Furnishings were chosen with the same tonal values in mind, keeping the colours neutral to allow the historic features of the property to stand out.

‘Sometimes when you are doing up a whole house it’s difficult to know where to begin,’ says Jess. ‘It’s useful to find an anchor point for each room, like a favourite cushion or lampshade, from which you can build the colour scheme. In the kitchen we focused on a Fanny Shorter blind fabric, and in the sitting room we worked from a painting of the Isle of Wight, taking these as inspiration which then set the theme for the other rooms.’

The only piece of furniture that came with Jane and Michael from their old home was their bed. Everything else was sourced for the cottage so that the proportions, colour and styles work perfectly with its character. Using a combination of mainstream and bespoke outlets, along with antiques shops and local independent stores, they have gradually added the layers of comfort which have turned the historic Grade II-listed building into a sympathetically modern family home.

The refurbishment should have taken six months, but the impact of the pandemic meant that it took almost twice as long. However, when Jane and Michael finally moved in over Easter 2021, they both agreed it had been worth the wait.

‘Although the timescale kept stretching and the goalposts kept moving, we didn’t want to cut corners or make compromises we would regret,’ says Jane. ‘It would have been very easy to choose things that were more readily available, but I think attention to detail is important and you have to live with the choices you make. We decided it was better to hold out for what we really wanted and we are very glad we did. Thanks in no small part to Jess and her ability to pull our ideas together, it’s turned out to be everything we had hoped for and more.’

Clockwise from top left: The entrance hall is part of the original 1550 cottage and won the hearts of Jane and Michael with its inglenook fireplace and low beams.

They have turned it into a library space with armchairs from The Dormy House; Jane and Michael wanted the sitting room to be ‘very chilled’. The Royal Academy painting of the Isle of Wight inspired the muted tones of the space, with walls and ceiling in Farrow & Ball’s Schoolhouse White. Small sofas, from Sofa.com, were chosen to fit the room’s proportions, the ottoman is covered in Fermoie fabric and the Amy Kent rug is bespoke; in the kitchen, Fanny Shorter blind fabric was the starting point for the colour scheme.

The banquette was designed around a Neptune dining table and chairs

Thatched Cottage

THE STORY Owners Jane and Michael Forbes Property A Grade II-listed, 16th-century, threebedroom former yeoman’s farmhouse in the New Forest. It sits in a large, private garden surrounded by trees What they did The couple sanded wooden floors and painted beams, changed the layout of the kitchen, installed new lighting, and decorated and refurbished throughout with the help of interior designer Jess McDonald

Above: The angular lines of the ceiling beams and wooden door are offset by the crookedness of the quirky wall behind the sofa. The butler tray table from Kalinko fits perfectly in the window Above right: The curved brick fireplace was already fitted with a wood-burner when Jane and Michael bought the house – for a similar design, try Charnwood. A simple yet elegant round mirror from Forest & Co softens the angular lines of the mantle. The log basket is from Scumble Goosie Right: Stairs to the first floor are tucked into the corner of the entrance hall and proved a challenge when moving furniture up to the bedrooms 26 Period Living

Period Living 27

The kitchen looks more light and airy now the units – once apple green – have been painted in Paint & Paper Library’s Sand III, with walls and ceiling in Sand I. The island was extended with a bespoke breakfast bar, with a wooden surface to match the John Lewis bar stools

Thatched Cottage

Thatched Cottage

Above left: Little needed to be done to the family bathroom, which continues the light, open theme of the rest of the cottage Above: The Sofa.com bed was the only item of furniture the couple brought to the house and it fits perfectly under the steep slope of the attic ceiling.

The rest of the furniture was made by Scumble Goosie. Walls and ceiling are painted in Farrow & Ball’s Wevet and the Louis De Poortere rug complements the Oka lamp. The throw and cushions were specially made Left: The linen press is from Ann May’s antiques shop in Wandsworth Bridge Road and came in two parts, so it could be manoeuvred up the narrow stairs Period Living 31

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The mugs can be neatly stacked when not in use

32 Period Living

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Period Living 33

Decorating

Feaeture Pippa Blenkinsop Image David Brittain Styling Selina Lake Art direction Sara Bird

Use the timeless tones and textures of the coast to create characterful spaces to relax and revive

DRESS TO IMPRESS Bring a holiday feel to your outdoor living space with coastal-inspired furnishings and accessories.

Set the tone with woven garden furniture, such as Neptune’s Tresco sofa, £1,825, and armchair, £895, and a jute rug – for similar try John Lewis & Partners. Cast some much-needed shade over the space by hanging a makeshift fabric sail in a watery print, like this Pampero design, £149 per m from Osborne & Little, then finish with a mix of cushions in natural textiles and nautical motifs, from coastal skies to seashells. Featured here (from left) are: Andas cotton cushion, £42, Also Home; cushion in Clouds fabric in Sky Blue, £76 per m, Designers Guild; for a similar blue cushion try Chilled Indigo Lifestyle; cushion in Captain Thomas Browns Shells fabric in Oyster, £80 per m, John Derian for Designers Guild. Keep the space cosy after dark by layering up with throws and dotting about lanterns such as Nauticalia’s anchor electric lamp in brass and copper, from £129.

Image (right) Dan Duchars Styling Marie Nichols Art direction Sara Bird

TONE AND TEXTURE Whitewashed interiors are a hallmark of pared-back coastal style, keeping the space looking bright and breezy.

However, in order to prevent them from feeling soulless, it is essential to create balance with darker tones and plenty of texture. ‘Pure white can be hard to live with, so it is vital to introduce shade and tone. You can create monochromatic harmony by choosing three shades from the same family, or you could add a contrast to energise things,’ says Simon Temprell, interior design manager at Neptune. In this room, contrast is provided by Neptune’s Harrogate dining chairs in Navy, from £330, and its Chichester open dresser, £2,980, which is painted in uplifting Blakeney Blue.

‘Texture also plays a key role in a predominately white scheme,’ says Simon. ‘For example here, painting the panelled walls white helps to accentuate their textural quality, while underfoot, the stripped wooden floorboards bring warmth and another layer of texture.’ This is further emphasised by the wooden furniture – Suffolk bar stool, from £390, and Harrogate oak table, from £1,595 – which completes the look.

Decorating CALM WATERS Weathered wood is guaranteed to create a rustic beach-house feel. For a unique and characterful kitchen unit, consider mounting a sink onto a reclaimed timber bench and fitting brass upstand taps; for similar try Devol. Enhance the nautical feel with a watery splashback and finish the space with a selection of enamelware and ceramics in an array of sea blues like these Seaweed engraved enamel tumblers in Pigeon Grey, £17.50 each, and Siphon weed linen teatowel, £15, Molesworth & Bird. Holkham utility basket, £35, Garden Trading.

Image (left) Dan Duchars

IN THE DETAIL Decorating with blue and white, and fitting horizontal wood panelling, makes a great foundation for a coastal living room, but don’t forget about the details – light fixtures, accessories and wall décor can all contribute to the look. In this space a seascape artwork and wall lights reminiscent of naval ships both add to the nautical feel, while the gold frame and metalwork bring a touch of warmth. Lining vintage bottles along a single high shelf is a great nautical detail which helps to guide the eye upwards. For similar wall lights try Garden Trading and for a similar rug try Graham & Green.

Decorating DRIFT AWAY If you are after a soothing seaside escape then an all-white scheme with subtle tonal variations is the perfect choice. Not only do the white walls in this bedroom ensure a calming feel, they also help to focus attention on the rustic ceiling beams, which are an elegant and characterful feature. When it comes to furnishings, to add to the coastal feel, ‘look towards using natural materials such as light wood against a backdrop of crisp whites and blues,’ says Sam Hood, co-founder and chief creative officer of Amara. ‘If you don’t like the look of natural woods, whitewashed furniture is a good substitute.’ Complete with cushions in a mix of textural neutral fabrics and classic nautical stripes.

Cone lamp, £166; cushions, from £34; woven base wooden tray, £83; felt round pouf, £88; Essentials satin bedlinen, from £50; Paper Collective artwork, from £49, all Amara

MAKING WAVES The coastal look doesn’t always have to be bright and breezy – using deep indigo blues can make for a cocooning sanctuary, as demonstrated in this beautiful bathroom papered in Sea Fans wallpaper in Indigo, from £165 per roll, Jo de Pear for Dado.

‘The transient nature of a bathroom makes it an excellent room to have fun with your design and bring in a sense of personality,’ says Kate French, creative director at Dado. ‘Wallpaper is a fantastic way to bring the joy of colour and pattern into what is often a stark white space.’ Based on Jo de Pear’s cynotype artwork, this wallpaper brings a new take on the nautical look and is tempered beautifully with tongue-and-groove panelling. ‘If you’re lucky enough to have a freestanding bath, consider picking out a colour from your wallpaper design and painting it to match, or coordinate your wallpaper with woodwork and skirting.

CHANGING PLACES When Claire Orders finally found the period property she longed for, she was confident she could transform the tiny cottage into a beautiful family home Words Janet McMeekin | Photographs Rachael Smith

Extended Victorian House An antique Chesterfield sofa, upholstered in striking floral Persian Pomegranate fabric from GP&J Baker, brings a sense of the outside into the new orangery-style living room. The yellow throw is from Tom Lane and the blue sofa is from Loaf.

To add impact, Claire painted the back of the large dresser in Picture Gallery Red by Farrow & Ball

aving missed out on two family-sized period properties, Claire Orders was determined that her next house would be Victorian.

Claire had been growing increasingly disenchanted with living in London and began hankering to return to her Essex roots. ‘Although David and I were really pleased with the Victorian semi-detached house we’d renovated in Greenwich, when our son Oliver came along, our lives changed significantly,’ says Claire.

‘We needed a bigger garden and more space. I also felt a strong pull to be closer to my family in Essex.’

Unfortunately, trying to buy a house near Chelmsford wasn’t as straightforward as the family had envisaged, and they were pipped to the post twice. ‘It was disappointing, but other properties were going on the market and, after seeing this house online, I arranged a viewing,’ says Claire.

Driving through the countryside on a sunny day in June 2015, with Oliver snoozing in his car seat, Claire was intrigued when she reached her destination. ‘The cottage was charming and in a tranquil location, just off a leafy lane and surrounded by fields,’ she says.

‘Although the cottage was definitely too small for us, it was attractive and had good bones, as well as a generous plot offering tremendous scope,’ Claire explains. ‘I couldn’t bear to walk away from this bijou Victorian find even though, having renovated six properties, I realised that a major project lay ahead.’ Claire felt they could sympathetically extend and reimagine the dated two-up, two-down 19th-century cottage, to transform it into a beautiful family home.

A seasoned renovator, Claire could see there was vast potential to extend at the back and side of the property. Stepping inside, she was enchanted and couldn’t wait to share her thoughts with David.

‘I was bubbling over with ideas to renovate the existing cottage, knock down the 1970s extension at the back, move the staircase, reconfigure the layout, and build a new extension, part of which would include a two-storey section,’ Claire explains.

After a second viewing, the couple sold their London house and, after clinching the deal on the Essex cottage, rented a house nearby.

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Crossing paths with architectural designer and surveyor Jim Little, of A&P Designs, proved extremely fortuitous. ‘Jim was brilliant and shared my vision of seamlessly blending the old cottage with the new additions, ever mindful of respecting the integrity of the original building,’ says Claire.

Having finalised the details, plans were submitted and approved, and building work started in April 2016 – a month after Joshua was born. ‘Juggling the demands of being both project manager and a mum was interesting, but I love a challenge,’ says Claire.

Right from the outset, attention to detail was key and Claire went to great lengths to reuse materials to honour the cottage’s heritage, such as bricks from the original house, plus reclaimed slate and parquet flooring. Wooden sash windows were made for both the new part of the house and to replace the rotten ones in the cottage.

As the project took shape, Claire focused on creating a stylish, comfortable and welcoming home with a ‘modern country house feel’, influenced by stylish hotels such as The Pig and Babington House.

Taking inspiration from cherished antiques, favourite fabrics, wallpapers and her countryside surroundings, Claire was able to thoughtfully give each room its own identity. ‘I’m drawn to colour, pattern, texture and natural materials, and I was in my element, layering each space to give it depth, warmth and interest,’ she says.

By June 2017, Claire had put the finishing touches to her timeless, elegant schemes and the family moved into their lovingly designed home.

That Christmas, Claire was encouraged to start her own interior design business, following a visit from Jim and his wife Penny. ‘I’ll never forget seeing Jim’s expression when I took him on a little tour of our completed home,’ Claire reveals. ‘He was really impressed and, very kindly, told me that I had such flair for design that I ought to help other people.’

In May 2018, this idea came to fruition and Claire hasn’t looked back, launching Claire Orders Interiors. ‘As well as creating a home we all love, this project was the catalyst for a long-held dream,’ she says. ‘When people visit and say they can’t tell the difference between the old cottage and new additions, it makes our journey feel even more worthwhile and incredibly special.’

Extended Victorian House

THE STORY Owners Claire Orders, an interior designer who runs Claire Orders Interiors (claireorders.co.uk), and her husband David, a derivative strategist, live here with their children Oliver, eight, and Joshua, six Property A five-bedroom house, formerly a two-up, two-down cottage, built in 1895 What they did Extended and renovated the cottage to create three extra bedrooms and a new orangery-style living room and adjoining dining room

Top: Claire ensured that every part of the new extension blended with the original cottage. The exterior is painted in a mix of Farrow & Ball’s Stony Ground and Shaded White Above: The original fireplace is a focal point in the hallway and is flanked by Industville’s Brooklyn lights. The blind is in Honey Bees

by Barneby Gates and the reclaimed oak parquet flooring is from The Antique Oak Flooring Company Left: ‘I see this as the backbone of our house,’ says Claire of the hall.

The handrail and balusters are by Bespoke Handrails & Staircases Period Living 45

This image: Antique brass pendant lights, originally sourced from a gentlemen’s club in Berlin, were Claire’s first purchase for this home, bought from Tallboy Interiors.

The beautiful Suffolk kitchen units are in Charcoal and have been paired with Bianco Massa quartz worktops, all Neptune Opposite: Claire sourced terracotta tiles for the bootroom from a local reclamation yard. She added utilitarian antiques to create a rustic feel. Neptune’s Suffolk cabinets are painted in Alpine.

The shelves were made from off-cuts from the oak worktops

Extended Victorian House

Extended Victorian House Farrow & Ball’s Strong White on the walls creates a calming backdrop in the dining room. The large Diner 125 pendant light in weathered brass from Original BTC makes a bold statement. Neptune’s Suffolk sideboard in Charcoal provides a space to store cutlery and dinnerware.

The vintage Vilmorin album prints were an Ebay find

Above: The walls and ceiling in the master bedroom were painted in Farrow & Ball’s Hague Blue to create an enveloping, restful retreat. The wooden frame of the French-style bed and bedside table add warmth and texture. The curtains in Ashfield fabric in Harbour Blue from Linwood give the scheme a soft edge Left: Having watched The Holiday, starring Cameron Diaz, Claire had her heart set on a roll top bath that would fit neatly into this space.

She found Albion Bath Company’s Tubby Tub bath to be the perfect piece. The Roman blinds are made in linen Mullion Stripe in Charcoal from Rooms with a View Right: Enchanting Daisy wallpaper

by Morris & Co was the starting point for this pretty scheme in the guest bedroom. For a similar bed, try Wrought Iron & Brass Bed Co. The cushions are made from Kemble Putty cotton check by Romo and the bedside table is from Scumble Goosie

Extended Victorian House

Creative

Craft Rooms

SPACES

Feature Pippa Blenkinsop Image Molly Mahon

Whether you’re planning a crafting area as part of an existing room, or embarking on an entirely new design, these ideas will help to inspire a practical yet stylish retreat

Store in style Good storage is essential when it comes to keeping your craft space organised. To maximise every inch of space consider made-to-measure open shelves floor-to-ceiling, which can be fitted around the shape of the room. ‘I like open shelves as I want to have everything accessible and on view in my studio, so things are easy for me to locate. It also makes me

feel inspired to see my wooden blocks and mugs of paint brushes, or pots of lovely coloured paints,’ says block printer and fabric designer Molly Mahon. However, having some closed storage is handy for concealing clutter. For a fun way to brighten up closed storage, why not paint the doors with a jazzy design? ‘Perhaps paint the name of the items inside, too – this keeps things ordered and also adds charm.’

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C

raft rooms are becoming increasingly sought after as we seek to make more time for creative and mindful activities at home.

Whether you’re a painter, potter or budding designer, having a dedicated space away from the hustle and bustle of the home, kitted out with all your crafting tools, is the perfect way to keep things organised and to get into the creative zone.

When it comes to designing a craft room, practicality is a priority. Key to a well-organised room is to ensure that there is a dedicated space for everything you need to store and do, so before investing in furniture and creating a layout, make an inventory of the things you need and be clear about what tasks you will undertake in the space.

However, a craft room should also be somewhere that sparks your creativity. ‘While my work room is a place to get things made, it’s also a source of inspiration for me,’ says block printer and fabric designer Molly Mahon. ‘Make sure that your studio is a place you long to head to; a special sanctuary for you and your creativity only.’

Garden retreat Below: Set away from the house, a garden room is the perfect space to escape the chaos and get stuck into mindful crafting. Available fully insulated, double glazed, wired and plumbed, these selfcontained spaces are ideal for whiling away the hours all year round. When choosing furniture, consider freestanding pieces as these will give flexibility over your layout. Opting for lightweight, portable designs such as folding tables or storage trolleys on casters – try Ikea’s Råshult design – means the room can easily be reconfigured, which is handy if you are working on a big project, or if your craft room doubles as a multi-functional space.

Bright idea Above: Ample lighting is essential when doing detailed crafting work, so be sure to position your work space near a window and to factor in plenty of task lighting – such as a desk, floor or clip lamps – in addition to your ceiling or wall lights. ‘Look for streamlined designs with angleable shades to cast light where it’s most needed,’ says Charlie Bowles, director of Original BTC. ‘An overarching floor light can provide an immediate solution to illuminate targeted areas. They can transform your lighting scheme without any installation costs or need for an electrician.’ This is particularly useful if you live in a period home, where making changes to the fabric of a property can be tricky. For a similar oversized copper floor lamp, try Angela Reed, and try Hobbycraft for a similar adjustable drawing desk.

Craft Rooms

Pin up Below: No craft room is complete without a pinboard to display inspirations that spark creative ideas – whether tear-out pages from magazines, handprinted wrapping papers, greetings cards, photos or scraps of fabric. There are all sorts of designs available, from cork and pegboards to wire frames and fabric memo boards. Alternatively, try attaching postcards straight onto the wall using coloured washi tape as this will not chip the paint when peeled off. This studio, belonging to artist Samantha Rudd, features fabrics from Sam Wilson.

For a similar memo board, try Cox & Cox.

Images (top left) Dan Duchars; (bottom left) Anya Rice; (top right) David Brittain; (bottom right) Alun Callender

Sew happy Above: For the perfect sewing room, a desk or table set at the right height and an adjustable chair are both essential purchases. ‘I like one large desk for arty painting stuff, so that I can lay out big sheets of paper, and a separate table for my sewing machine,’ says fabric designer Sarah Hardaker.

Factor in plenty of storage for fabrics, such as open shelves or deep drawers, and make sure there is enough height to house large rolls. ‘Boxes covered in fabric, to hold remnants and scraps for crafting, are also handy,’ adds Vanessa Arbuthnott. Small haberdashery items like ribbons, pins and buttons can easily go amiss, so be sure to factor in small desktop storage for them: tabletop filing cabinets work well; alternatively clear jam jars will allow things to be seen at a glance.

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Sitting comfortably Below: When you’re planning to spend long hours sitting at a work table, investing in comfortable, ergonomic seating is a must. Swivel chairs that have an adjustable seat are handy as they allow you to easily manoeuvre around your workspace – plus, they can quickly be wheeled away to make room for large projects. For fabric designer Vanessa Arbuthnott, ‘a really comfortable swivel chair,’ is a must-have in her craft room, but it also needs to be stylish, too. ‘I love sourcing vintage office chairs from online auctions, which I then reupholster with a strong linen for durability,’ she says.

Craft nook Right: It can be challenging to know what to do with the space under the stairs as it is often small with awkward angles – why not make the most of this area by adding a desk and transforming it into a little crafting or writing nook? Opting for a desk with drawers will give extra storage and make sure the small craft space is well lit with an adjustable desk lamp, such as the classic Anglepoise 1227 desk lamp, £209. For a similar desk try Ikea, and for a similar chair try Hay. 56 Period Living

Craft Rooms Vintage charm

Set the mood

Left: Bearing the patina of age, vintage furniture and cabinets are a wonderful way to bring character to a creative space. ‘For furniture, I like to buy as much secondhand as possible as it’s usually cheaper and has more character,’ says fabric designer Sarah Hardaker. With multiple drawers and compartments, this old glazed haberdasher’s unit in the home studio of artist Claire Baker is great for keeping materials stored and organised while allowing you to easily see what you have and where. For a similar 1950s haberdashery shop cabinet, try Vinterior.

Below left: When curating a colour scheme, think about how you want the room to feel. While creative spaces should be inspiring, it’s also important that they allow you to focus. White is a perfect base for experimenting with colour, plus it will make small spaces feel brighter. For a touch of colour, a soft pastel will provide personality without dominating.

‘Soft pinks provide warmth while remaining light and airy. They are not too serious and make us feel uplifted and calm,’ explains Ruth Mottershead, creative director at Little Greene. For a similar chair try the Easdale Lloyd Loom chair from John Lewis & Partners, and try Loaf for a similar desk.

Finishing touches

Images (bottom left) Kasia Fiszer; (bottom middle) Future Content Centre; (top middle) Brent Darby

Below: While plenty of natural light is essential, sometimes the glare from the midday sun can make for an uncomfortable working environment, so it’s worth fitting blinds to help control the light levels.

‘When getting creative in your craft room, it’s likely your window treatments will suffer from a little wear and tear, so opting for roller blinds with an easy clean finish is the most practical choice,’ says Hannah Cooley, product manager at Hillarys.

‘Roller blinds are also very versatile, coming in lots of shades and textures, so they can transform your craft room into a space of creative inspiration.’ This Daisy Spring blind costs from £73 for W61xL76cm.

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In the shade of the pergola, family and friends from the neighbourhood enjoy getting together around the long table, made with an old plank and logs. The crockery, jugs and chairs were bought at local secondhand markets, the table linen is from La Redoute and glasses are from Casa

French Village Home

LIVING THE DREAM Anne-Charlotte and her family savour their rural paradise in a 400-year-old house they restored themselves Words Amandine Berthon | Photographs Julien Fernandez

French Village Home

Overlooking the courtyard, the kitchen occupies the main room in the house, where the family spends most of their time. Pastry-loving Anne-Charlotte bakes a new cake every day for the girls’ tea. Antique dining furniture complements the original beams, and the pendant lights above are vintage

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nne-Charlotte had always dreamed of living in an old stone house, like her grandparents’ home in the South-West of France. ‘As my father was in the army, we moved around a lot when I was a child, and my grandparents’ house was my real pied-à-terre – a reassuring place that I loved,’ recalls Anne-Charlotte. In 2015, while house-hunting with her husband Frédéric, AnneCharlotte fell in love with this 400-year-old stone property, located in the historic centre of Anse, in an area of the Beaujolais region known as les Pierres Dorées (the Golden Stones).

‘It was the first house we viewed and it was the right one! The sun was shining and its stone tower made us feel like we were in Italy,’ she says. ‘I loved the charm of the place with its courtyard and barn, just waiting to be brought back to life.’

The couple decided to live in the house during its renovation. ‘I gave birth to our second daughter two weeks after we arrived here. We even lived with a foot of sand on the ground while the stones were being cleaned. We had great moments of doubt and we didn’t quite realise the extent of the renovation,’ she admits.

Six years later, there are still some finishing touches to be completed, as well as the barn and attic. However, the inside of the house, damaged by former renovation work, has regained its original soul. The couple aimed to update and renovate all of the elements that give the house so much charm and character – the parquet floors, beams, stones and terracotta tiles – and all the original features found hidden behind false ceilings, plastering and other coatings. ‘The work of successive generations meant that, in places, there were up to six layers of cladding on the walls,’ says Anne-Charlotte.

‘There were endless surprises, good and bad.’

The size of the old country home, spread over three levels, has not been changed, apart from 62 Period Living

the living area partitions that have been replaced by glass. The kitchen, living room and bathroom are on the ground floor. The first floor is the girls’ floor, with its two bedrooms, a playroom and an adjoining ‘classroom’ where the sisters love to play school. The traditional country-style master bedroom is tucked away under the roof.

‘Compared with today’s plain and modern interiors, I prefer warm family home atmospheres, finished with a mix and match of my various finds.

My style blends in with the spirit of the place,’ adds Anne-Charlotte, who loves bargain hunting and thinks nothing of getting up at 4am every Sunday to browse the region’s fleamarkets. ‘It’s too early for my husband! He prefers to stay at home and look after the girls. My neighbour, who is an antique toy dealer, often comes with me instead.’

For the garden, the couple made a long wooden table with old planks of wood resting on tree trunks. The former village well has rediscovered its original purpose. ‘We often invite our neighbours round to visit. We are fortunate to have a garden, as it’s quite rare around here.’

The couple had a plan to improve the courtyard, which had been stripped of its vegetation and covered with concrete. Foliage over the pergola, and the planting underneath, form an area of greenery much appreciated by the two chickens, the cats and the rabbits, Biscuit and Cookie. ‘The girls chose their names while having tea,’ laughs Anne-Charlotte, who shares her decoration tips and her lovely family life on Instagram. ‘Initially, it was just a bet with a friend looking to cheer me up when my youngest had some health concerns,’ admits Anne Charlotte. ‘I never thought I would have so many followers! I have come to appreciate this daily bubble of pleasure.’ And it seems her many followers all over the world appreciate it too.

Clockwise from top left: The 400-year-old stone house is set in the historic centre of a pretty village in the Beaujolais region known as ‘the Golden Stones’, because of the pale colour of its buildings; Anne-Charlotte and Frédéric in the kitchen with their three daughters, Margaux, Ninon and Alice; kitchen cabinets from Ikea are teamed with an antique island. The appliances are from Smeg

French Village Home

THE STORY Owners Anne-Charlotte and her husband Frédéric live here with their three daughters, Margaux, eight, Ninon, six, and Alice, two. They have two rabbits, Biscuit and Cookie, chickens Josephine and Colette, and cats Doowy and Zoa. Anne-Charlotte shares scenes from her life here on Instagram (@ac_fait_son_nid) Property A 400-year-old stone-built house in rural Burgundy, with a courtyard garden What they did Renovated the house from top to bottom, repairing and replacing original features and working hard to ensure the building was brought back to life in a sympathetic way. The property has the old village well on its land and the couple have created an attractive outdoor eating area under a shady pergola

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During the six-year renovation, the couple focused on restoring the house’s period features, such as its beams and stonework, which had been covered up by previous owners. The living room alcove is adorned with the beautiful Pimpernel wallpaper by William Morris, the sofa is from Ikea, the cushions are from Maisons du Monde, and the rest of the furniture is secondhand, bought from local fleamarkets. The pendant lights are by Mano Mano

French Village Home

To bring light into the living areas, glass partitions were installed.

These are the only structural modifications that were made inside the house. A pendant light from Around Five flowers is paired with more fleamarket treasures

Secondhand favourites come together in the couple’s bedroom under the eaves, creating an interior full of charm with soft, retro tones.

Rosenholm wallpaper from Sandberg adds a romantic air. The bed is from Ikea, with Ralph Lauren bedlinen

French Village Home

A stone archway adds character to the family bathroom, with a freestanding tub from Castorama.

The wash basin from Leroy Merlin is set into an old workbench.

Anne-Charlotte sourced the vintage letters – which translate to ‘splash’ – from Nathalie Be Brocante in Les Puces du Canal, Lyon

French Village Home

Opposite: Ninon and Margaux share a pretty bedroom with a fireplace adorned with Sandberg’s Magical Forest wallpaper. The light shade and sheep are from Maisons du Monde, the swing chair is from Casa, and the fawn rug is from Doing Goods Above left: Anne-Charlotte made a hanging mobile with a branch in Alice’s bedroom. The canopy is from Konges Sløjd, the shelving unit is from Maisons du Monde, and all the other furniture is secondhand Above: Ninon and Margaux enjoy playing school in their classroomplayroom, filled with vintage finds Left: Upstairs, Anne-Charlotte has created a pleasant study area. The vintage desk, chair and butterfly frames were sourced at local fleamarkets, the lamps are from Maisons du Monde, and the flower prints are from Juniqe Period Living 69

Decorating

Grey matter

Feature Charis White

This sultry shade goes with every colour and can be used to add depth and sophistication to any room

CALMING RETREAT For a cosy office space that focuses the mind, paint Georgianstyle panelled walls and doors in the moodiest grey. Crown’s Aftershow, from £25 for 2.5ltrs of Easyclean matt emulsion, has a calming effect to aid concentration. A sculptural wall light adds a touch of creativity – for similar, try Porta Romana.

xxxxx

G

rey is a colour that has its own weather system of light levels and hues.

From the gentle grey morning rain of a bright wide sky to the breathtaking drama of dark storm clouds, the scope for creating beautiful interiors is endless. It is a shade with myriad subtle colour notes that draws inspiration from beach pebbles and clay, as well as from slate and charcoal.

‘Greys are hugely versatile, from cool off-white shades, through warmer neutral mid tones to the very deep and mysterious,’ says Justyna Korczynska, senior designer at Crown Paints. ‘They have more colour and texture within them than straight black.

A monochrome scheme of black and white is much more unforgiving than one of shades of slate and clay, which will change subtly with the light throughout the day, giving them personality and character.’

Historically, grey has had many incarnations in the home, but was particularly significant in the 18th century. The lightreflecting qualities of pale grey, especially when paired with gold leaf and mirrors, became a fashionable colour choice for bringing elegance and light to the Royal Gustavian Palaces of Sweden (1772 to 1809).

‘In the UK, grey was popular in the Georgian period and particularly in middling homes, where there was a real focus on neatness and subdued design, inspired by classicism,’ says Danielle Patten, head of creative programmes and collections at the Museum of The Home. ‘The pigment used to create grey paint and wallpaper “stuck” a bit more reliably, making it cheaper to produce – especially, again, for decorating those middle-class homes.’

‘Grey is enormously versatile.

Depending on the underlying tones within it and on the depth of colour, it can be partnered with almost any other hue,’ says interior designer Victoria Wormsley of French-Brooks Interiors. ‘I like to use it as a foil for warmer shades, such as reds,

THE DARK SIDE Large rooms can take the drama of decorating with dark smoky grey. Here, walls painted in Charcoal, £48 for 2.5ltrs of emulsion, are beautifully offset with a light grey carpet and curtains to soften the look.

Amelia armchair in Archie Night Sky, £995; Brompton floor lamp in nickel, £455, all Neptune.

SLEEP WELL Left: Dial down pattern and decorative noise in a bedroom to create the mood for a restful night’s sleep. This stonewashed French flax bedlinen in Dove Grey, from £227 for a bedding bundle at Piglet in Bed, sets an understated tone, while textured walls add depth and interest to the scheme.

SEASONAL UPDATE Opposite: A neutral grey sofa is a great investment piece, as it is easy to refresh with new cushions and accessories as seasons and tastes change. This comfy Radcliffe corner sofa in Dyed Flax stonewashed linen is priced on application from the Tailored by Oka collection. It’s teamed with Razmataz hanging lanterns, £350 each, a Senada jute rug, £1,595, Merle coffee table, £895, and Fortuna floor lamp, £395.

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pinks and terracotta or burnt orange. It also looks smart set against off-white for panelling and mouldings such as dado rails. Grey often makes a calm elegant backdrop, which can be tranquil for bedrooms and give an air of sophistication for spaces such as halls and living rooms.’

Mood is one consideration, but it is also helpful to consider how grey might affect the size of a room. ‘The paler the tone, the more it will reflect the available light. The darker the tone, the more light it will absorb,’ says Justyna. ‘At the extremes, white will make a room look more spacious, and black brings the walls visually inwards. This rule applies to all colours. So a pale grey is ideal if you wanted to make a room look larger; a deep charcoal would make it appear smaller. Having said that, a dark colour used in a small room can be really effective.’

Treat grey as a neutral and layer it with darker and lighter tones, including plenty of texture and some accent pattern.

It makes a cosy and wonderfully dramatic statement at the darker end of the grey spectrum and at its lightest, it offers schemes a sanctuary of calm. Consider pairing it with contrasting colours, too. Designer Vanessa Arbuthnott believes ‘many yellows, softer pinks, and warm blues’ work well as complementary colours.

COOKING UP A STORM Above: When paired with warm wood tones, dark grey walls make for a wonderfully rich interior scheme. This beautifully crafted stained oak kitchen, from £30,000 at Devol, makes a striking contrast with storm-coloured walls painted in Down Pipe, £52 for 2.5ltrs of Estate emulsion at Farrow & Ball.

TONE AND TEXTURE Right: If you’re worried about grey appearing one-dimensional, then opt for materials that feature variation in tone and texture. These Shark Gray Herringbone encaustic cement tiles, £112 per m2 at Otto Tiles, are perfect for creating character in rooms that aren’t blessed with original features, and make a stunning kitchen splashback.

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Decorating WONDER WALL Add a pretty feature wall to a panelled bathroom with this charming Paisley patterned wallpaper in Charcoal, £123 per roll at Dado. It perfectly complements a glamorous marble double console basin, while rattan accessories add warmth and softness.

Image Andrew Steel

EASY LIVING For an all-year-round living room scheme, team a backdrop of charcoal walls with a palette of light to mid grey florals, stripes and plains. Add a pop of colour with burnt orange for a sophisticated edge. Cottage pleat curtain in Flora & Fauna in Charcoal, £59 per m, with leading edge in Plain linen in Cream, £58 per m; Traditional armchair with slip cover, from £2,034, in French Ticking in Clay/Charcoal, £59 per m; Ashcroft footstool, from £902, in Floral & Fauna in Clay/ Charcoal, £59 per m; velvet cushion in Marigold, £68 per m, all Vanessa Arbuthnott.

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Walled Garden

HIDDEN GEM Tucked away within rows of terraced houses in Liverpool is a secret garden that is gradually being revealed to the world Words Sue Bradley | Photographs Howard Walker

Stone recesses in the high wall surrounding The Secret Garden are thought to date back to the site’s time as an urban dairy. A stone gazebo is a useful later addition.

Spikes of white rosebay willowherb Chamaenerion angustifolium ‘Album’ look beautiful and are insect friendly, although they can also be invasive

hen Jane Hammett spotted an advert headed ‘Walled Garden in Wavertree’ while she was flicking through Merseymart magazine, it immediately caught her attention.

Jane wasted no time in taking a look at the secluded site tucked within rows of terraced housing.

Within moments of arriving, she knew that after years of searching she had found the garden space of her dreams, even if the dwelling that came with it would take many months to make habitable.

‘Previously I had been living in a house with a pocket handkerchief-sized garden and I had always dreamed of having more space,’ says Jane, a retired lecturer. ‘When I saw the advert I was immediately intrigued.

‘The walled garden, which I’m convinced was once an urban dairy, was no more than three quarters of a mile away from my previous home, but in all the time I’d lived there I had never come across it, and the way I found out about it was pure serendipity.

On her first visit to the garden, Jane was immediately captivated by the unique space, surrounded as it was by 18ft-high sandstone walls. ‘Despite being located within a densely populated part of Liverpool, it had a real spirit of peacefulness and serenity and a sense of place; for me it was almost like coming home.’

The house that came with the garden was newly built using reclaimed materials and was unfinished, with no windows, doors or utilities.

‘But I was happy to look past this. Right from the start I could see the potential.’

Even though it would be a while before she could move into her new home, Jane was already thinking about the garden. ‘The wife of the builder from whom I had bought the site, Pat Docherty, had used stone from two demolished cottages to restore the walls to their original height, create a gazebo and put in steps, raised beds and brick paths. She had created a stunning stage and my task was to fill it with beautiful planting,’ says Jane.

‘The walls are really interesting in themselves, with the lower parts containing curves that we think could have held metal cow mangers. The Prince Alfred Road area of Liverpool had no fewer than three urban dairies: many Yorkshire dairy farmers moved to Liverpool during the 19th century to provide milk for the growing urban population, often from cows kept in back yards.

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Indeed, it was called Cow Lane before a visit by the son of Queen Victoria led to a name change.’

The garden has gradually evolved since 2007, when Jane and her son moved in, most noticeably since her retirement from full-time work in 2012, with additions being made as funds allowed.

These include a long lean-to greenhouse on the south-facing wall, in which Jane grows tomatoes and grapes in summer and stores her more tender plants the rest of the year. She’s also found space for a rose arch, a substantial shed, a low drystone wall and additional raised beds.

Jane has also managed to incorporate a number of chance finds gathered during walks along the River Mersey into the garden. These include scaffolding planks put to use as staging in the greenhouse, sleepers made into an L-shaped seat and pieces of stone added to pathways and raised beds, not to mention decorative items such as part of a concrete head thought to have come from a building damaged by wartime bombing. This now takes pride of place on a plinth of sandstone, with ivy-leaved toadflax wreathing it in flowers.

‘I walk along the Mersey every day. Sometimes I find things that have washed up and have to call friends with boats to help get objects to a place from which I can bring them home,’ says Jane.

Over the years, Jane has spent every spare moment cultivating the area around her home, and since her retirement she’s especially enjoyed being able to work on it.

In terms of planting, Jane has collected a variety of colourful shrubs, perennials and grasses that come together to provide an ever-changing tapestry of colours. ‘I like gardens that are a bit chaotic. I enjoy cramming in as many plants as I can, and planting en masse for blocks of colour, but all the time the thugs are being controlled, and when various things have gone over, they are chopped back straight away,’ says Jane. ‘As well as having a garden that looks beautiful, my goal is to be friendly to wildlife.’

‘I think a major influence on my approach was going to see Great Dixter with my mother; its creator Christopher Lloyd was there and I was enchanted. He had a ‘no bare earth’ successional planting philosophy that I’ve adopted here.’

Jane maintains the health of her garden with liberal additions of homemade compost, wellrotted horse manure and leaf mould. She also collects around 1,500 litres of rainwater in the various water butts dotted around the garden.

‘I consider gardening to be a form of artistic expression,’ she says. ‘This walled garden is my creation and being able to share it with visitors brings me a lot of pleasure.’

WalledGardens Garden

KEY FACTS Character Urban walled garden that combines architectural features with colourful planting Size 312m2 Aspect Predominantly south facing Type of soil Loam, acid pH Owner Jane Hammett has lived in her former coach house for almost 15 years, creating her colourful, wildlife-friendly garden within a walled site thought to have been occupied by an urban dairy many years ago Open The Secret Garden opens to the public through the National Gardens Scheme (ngs.org.uk) in Lancashire as part of the Sefton Park July Gardens

Above: Jane Hammett in her garden Left: The north-facing border is ideal for the Ligularia przewalskii. The urn, filled with white blooms, stands on the base of a birdbath Below: Spikes of beautiful pinky-blue flowers are the hallmark of Veronicastrum virginicum ‘Fascination’ Below left: Passion flowers are climbing plants that combine a profusion of green leaves with beautiful flowers. This Passiflora caerulea ‘Constance Eliott’ is elegant and will quickly scale a sunny wall

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This image: A row of lollipop-like bay trees creates structure throughout the year. The top of a new sandstone wall provides room for more planting Below left: The eye-catching red flowers of Monarda ‘Cambridge Scarlet’ are a favourite for pollinators Below middle: This soapstone crane sculpted in Zimbabwe is nestled in yellow sedge Carex elata ‘Aurea’ Below right: Daylily Hemerocallis ‘Frans Hals’ is a striking combination of orange-red and yellow

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Walled Garden Left: The pink Geranium maderense and blooms of a standard fuchsia create a ‘wonderful clash’, says Jane. Green chairs are a great foil Below: This partial concrete head was washed up on the shores of the Mersey. It’s thought to have come from a building damaged during WWII. ‘The head, which looks a bit

like a Green Man, was the last thing to come to light, emerging from the mud,’ says Jane Bottom: The frame of a myrtle provides an interesting backdrop to a variety of leafy plants. Jane has raised the crown of this shrub, which was already in the garden when she arrived

Above: Two terracotta pots flank the stone stairs and are planted with Dahlia ‘Happy Single Wink’ and magenta petunias.

Behind is an arch planted with Rosa ‘Gertrude Jekyll’ Right: A mirror within an arched frame makes the garden seem larger.

Evergreen honeysuckle Lonicera henryi provides an attractive and natural surround

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Making a garden wildlife friendly ● Allow plants that some may consider weeds to

flourish: ragwort provides food for the caterpillars of the beautiful cinnabar moth, while rosebay willowherb is a magnet for a variety of pollinators. ● Opt for single rather than double blooms, such as dahlias, that allow insects to reach pollen easily. ● Try to grow different styles of flowers to attract a wide range of insects. ● Make small piles of deadwood to provide habitats for beetles and other invertebrates. ● Feed birds throughout the winter to encourage them to continue visiting over the summer, when they’re able to help control aphids and other pests.

In the area ARLEY HALL AND GARDENS, Cheshire CW9 6NA –

famed for its herbaceous border, arboretum and kitchen garden, with a well-stocked nursery.

Open until October. Entry adult £11, child £4.50.

Tel: 01565 777353; arleyhallandgardens.com BLUEBELL COTTAGE GARDENS AND NURSERY, Dutton, Cheshire WA4 4HP – includes a wildflower meadow and modern perennial planting. Open until end of Sep, Wed-Sat, 10am-5pm. Entry adult £5, child free. Tel: 01928 713718; bluebellcottage.co.uk NESS BOTANIC GARDENS, Little Neston, Ness CH64 4AY – created by plant lover Arthur Kilpin Bulley more than 100 years ago. Open daily to end of Oct, 10am-5pm. Entry adult £7.50, child £3.50. Tel: 0151 795 6300; liverpool.ac.uk/ness-gardens

Bedrooms

CHANGING SPACES

Continuing his series exploring the history of the rooms we live in, conservation expert Lee Bilson focuses on our most private sanctuaries

Design evolution One of the first spaces to be added to the small hall houses of the medieval period was generally known as the chamber. Its principal use was for sleeping, but it was also used for private meetings and hosting. With the advent of multiple floors, this space became two – the parlour to the ground floor and the bedchamber above.

Prior to the chamber, entire households would often bed down together in the singular space where they lived, socialised, cooked, and everything in between. The relative safety and warmth offered by this shared arrangement made up for any lack of privacy. Only the wealthiest could afford a bed, which meant this would often be a treasured focus of the interior – an approach that would remain

even when the bed gained its own room. So even with the advent of the bedchamber, the status of the furniture meant it remained a key socialising space, and thus still very much a public area.

The epitome of status As the Tudor, Elizabethan and Jacobean periods advanced, bedrooms remained effectively public places. As such, the wealthy elite would spend vast amounts of money on decorating the bedchamber.

This space provided the perfect opportunity to demonstrate one’s status, wealth and power.

To aid in warming these often draughty homes, wooden panelling was the go-to, though the expense of panelling in earlier periods meant that in smaller homes – such as those of aspiring merchants and yeoman farmers – only one or two rooms were panelled, usually the parlour and the bedchamber above. These were the best rooms of a house and were treated as such. At the time, beds were worth eye-watering sums so seen very much as status symbols. In the 17th and 18th centuries, the country houses of Britain sought increasingly lavish state beds that were rarely, if ever, used.

Left: The fully panelled Green Bedroom with its elaborate and ornately carved bed at Speke Hall, a Tudor house in Liverpool, open to visit via the National Trust Above right: This stunning bedroom in a Victorian country home is brimming with Arts and Crafts prints.

The headboard is upholstered in Morris & Co’s The Brook, teamed with Bellflowers wallpaper and curtains and bedlinen in Acanthus Right: The Larkspur Bedroom at Standen, West Sussex, features a classic brass bed frame and daybed upholstered in its original gold embossed velvet. The property is open to the public via the National Trust. For a similar Victorian-inspired bed, try the Period Living collection at Wrought Iron & Brass Bed Co Far right: A modern, pared-back take on the classic four-poster bed allows the original timber beams and panelling to shine in this bedroom in a historic 15th-century house

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Images (clockwise from left) ©National Trust Images/Andreas von Einsiedel; Colin Poole; Brent Darby; ©National Trust Images/Andreas von Einsiedel (nationaltrust.org.uk)

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oday we see bedrooms as the most personal spaces in a home. But the notion of bedrooms being for private sanctuary only occurred in more recent history.

The transition of this room from that of a public to a private space has left indelible markers of its past, influencing interior styling to this day.

Design History

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European influence It was really the changes in European design that led to the possibility of bedrooms becoming prized as private spaces. This shift occurred as houses began to revolve more around staircases that led to landings and multiple private rooms; no longer were the rooms interconnected to one another.

The 17th century saw a revolution in dedication of private spaces, and thus the bedchamber and bed began to retreat from public view.

But even as bedrooms began to be seen as private sanctuaries to treasure, the wealth and status of a homeowner would still play a huge part. In the smaller homes of the working or aspiring classes, separate bedrooms were still a luxury not able to be explored. A bed may be placed in a nook or corner of the room set behind a curtain, to enable the space to be used for whatever the household required, from cooking and bathing, to eating.

Back-to-backs and terraced homes would often see 88 Period Living

large families in one small home and several children sharing a bed – something my own grandfather recalls fondly of his childhood. Meanwhile the wealthy Georgians and Victorians were building bigger houses with more rooms than ever before, and incorporating into these very recognisable bedrooms with an emphasis on privacy.

As the 19th century marched on, changing tastes and technological advances by the Victorians saw the increasing possibility of bedrooms for even the lowliest of homes. And with this change came a greater range of styles of beds; no more was the four-poster bed the essence of status. Sleigh beds became popular in the early 19th century thanks to the French Imperial court, with the term ‘bed frame’ being first used around this time too. With new manufacturing techniques, the iron bed frame became hugely popular throughout the Victorian era and into the 20th century. Four-poster beds started to be seen as old-fashioned, archaic almost – something many architectural commentators past and present lamented, and saw as one of the many signs of decaying taste. A strong opinion, although I’m certainly one to believe a four-poster bed can add a sense of stylistic comfort.

Into the modern era As the bedroom became a more private space, those with money and status began to pay less attention to its decoration, instead focusing on the public areas, such as hallways and drawing rooms. But with ever better distribution of wealth and increased incomes, aesthetic attention began to return to the bedroom. By the 20th century, the bedroom was being decorated to enhance the room as an intimate space, rather than one for show. The improvements that had come with the Industrial Revolution meant materials for beds and bedding could be massproduced and more affordable; following advances in manufacturing to meet the demands of World War I, mass-production saw a boom in the decades that followed. This affordability fuelled the demand for homeware and furnishings among the middle classes, which continues to this day.

If Modernism, by the likes of Le Corbusier, offered anything, it was pure white spaces and chaste functional rooms. But it was also this modern world that provided the bedroom with a cornucopia of industrial gadgetry, from the early riser’s friend the Teasmade, to trouser presses, hair dryers, and the oddity of the waterbed in the 1960s. Throughout the 20th century, the rise of mass media evolved the fashions of bedroom décor still further.

Today, often master bedrooms in our period homes illustrate the most personal reflection of our individual tastes and stylistic interests than any other room. In my own Georgian home, my bedroom is by far the clearest expression of my love of bold interiors, painted in Farrow & Ball’s Inchyra Blue on walls, ceiling, doors and skirting – with no surface left untouched. However, this somewhat eccentric, almost garishness, of approach is softer in other areas of the house, out of politeness to my guests... and wife!

Images (clockwise from top left) ©National Trust Images/Andreas von Einsiedel; Brent Darby; Colin Poole

As would become usual with even the lowliest of Tudor beds, the most elaborate decorations were typically concentrated on the headboard.

The remaining furniture of a bedroom until the end of the 16th century consisted of a few chairs, often a range of stools that might be covered in matching materials to the bed curtains, and little by way of cupboards. Not forgetting the obligatory chamber pots. Instead of wardrobes, early bedrooms tended to use chests or coffers for storage of clothing, with many being designed to deter the dreaded clothes moth either using certain timbers, or through various methods of hanging dung or perfuming.

For the Jacobeans, the bed preserved its position as the most important piece of furniture in the home, with the bedchamber itself also being treated as a status symbol. The bedrooms of the 17th and early 18th century inspired a feeling beyond that of a mere sense of comfort. These were spaces to show off, to entertain the most important guests, and carry out business. It was these spaces that would span a homeowner’s lifetime: birth, marriage and death were all hosted in the bedchamber.

The four-poster continued to reign supreme as the bed of choice, with curtains introduced in the early 16th century to accommodate the public nature of the space. Homeowners needed a means of shutting out the world, including night servants that would often sleep on makeshift mattresses on the floor by the bed. The bed itself now became almost a room within a room, with the drapes around it offering privacy along with added warmth, keeping any draughts at bay. Its frame also helped in raising occupants from damp and draughty floors inhabited by insects, rats and other nocturnal biters. But these did not have the comfortable mattresses we are fortunate to have today. Various stuffing was used, from goose feathers to straw, all with their own shortcomings and no spring supports. The mattress was simply supported by ropes, which would sag upon each use and need tightening before a night’s sleep – hence the term ‘sleep tight’.

Design History

Left: The West Bedroom at Bateman’s, a fine Jacobean house in East Sussex, and former home of the writer Rudyard Kipling. It’s open to visit via the National Trust Above: The rich tones of this ornately carved antique headboard perfectly complement the restful colour scheme in this bedroom of a Georgian home Below: Wall panelling adds an air of grandeur to this light and airy bedroom in a turn-of-the-century home

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Callaghan pendant in antique brass and ribbed glass, £60

Beca large pendant in white ceramic and antique brass, £65

Rufus three-light bar pendant in antique brass, £150

LIGHT RELIEF

Van Gogh Farms near Auvers, £40 per m2

Feature Alice Humphrys

Laura Ashley’s pretty pendant light collection is delicate in design with a continental flair – featuring smoked glass, aged brass, polished chrome and ribbed glass details. Use the lights to define zones in an open-plan kitchen-diner, hang them in a row above a kitchen island or breakfast bar, or create atmosphere above a dining table. From £50, Där Lighting.

OLD SCHOOL STYLE Available in a variety of sizes and complete with integral legs, the new Spartan 4 radiator, from £271.92 at The Radiator Centre, exudes classic charm.

Made of cast iron, the design retains its heat well, so even after turning off the radiator, your room will still benefit for hours to come. You can also colour match the radiator to suit your interior: choose from standard RAL colours as well as Farrow & Ball, Craig & Rose or Little Greene paint shades.

MARVELLOUS MARBLE Stone and tile brand Artisans of Devises has launched a new natureinspired collection of wall and floor tiles, comprising raw stone and highly polished pieces. This sophisticated Calacatta Oceana Oro marble, in a muted honed finish, can be laid in a variety of patterns, from herringbone to hexagon. Use in a shower space or as a splashback for a lovely, classic finish.

From £125 per m2.

A TRUE MASTERPIECE Wallpaper brand Graham & Brown has teamed up with Tate to create an exclusive mural collection. The prestigious museum holds an extensive archive of some of the most iconic pieces of art in the world, and so the range of 32 fully customisable wall murals feature the work of such celebrated artists as Vincent Van Gogh, J.M.W. Turner and Claude Monet.

Order to size using the made-to-measure online tool.

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Kitchen Design Breathe life into your kitchen with painted cabinetry in a beautiful colour

Feature Holly Reaney Image Mark Watts Photography @mwattsphotography Property @ferncottagemull

A fresh palette

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hoosing the colour palette of your kitchen is a massive decision. It will define the look and feel of your space – dark shades will create a cosy yet sophisticated atmosphere while whites or pastels will brighten the room and offer a warm welcome into the heart of your home.

‘Introducing a bold colour to a kitchen makes for a striking design statement; the amount of colour or tone you choose is a personal decision and ultimately depends on how brave you are feeling,’ says Graeme Smith, head

of retail and commercial design at Life Kitchens. ‘You can take a subtler approach and highlight specific aspects by adding a vivid pop of colour on the larder, island, splashback, drawers or handles.’

No matter which shade you choose, the paint finish is a key consideration as your cabinets will need to be durable and cleanable.

Opt for an eggshell, satinwood, or a dedicated kitchen formula – these come in a range of finishes such as matt, satin, gloss and even chalky textures – make sure you choose one that will wipe clean.

Colour match ‘Painting your cabinetry the same colour as your walls allows the joinery to blend seamlessly into the room, creating a bespoke look and feel to a space,’ says Rebecca Nokes, head of design at John Lewis of Hungerford, who designed this kitchen. Matching your cabinetry with your wall colour can also help your space to feel larger and brighter, especially when paired with a cream or white ceiling.

John Lewis of Hungerford’s Shaker kitchen in Persian Green is priced from £28,000.

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Hidden beauty Left: Not everyone is ready to embrace a bold shade on their kitchen walls or cabinetry; however, this doesn’t mean that you can’t have fun with bright hues. Why not use the opportunity to paint the insides of your cupboards in a bold shade? This beautiful larder cupboard features a grey exterior disguising a vibrant hot pink interior. New Classic kitchens from Martin Moore start from £45,000.

Hot topic Above: Corals, pinks and oranges might seem like controversial choices for a kitchen, especially due to the reigning popularity of blues and greens, but their inherent warmth makes these colours worth considering. ‘Painted in Edward Bulmer’s Brick, these cabinets make for a welcoming space that feels particularly apt at this time of year,’ says Adrian Bergman, design manager at British Standard by Plain English, who designed this kitchen. British Standard cupboards come in a range of sizes, starting at £590 each.

Pure and simple Left: If you’re looking to create a timeless kitchen, then look no further than white. Effortlessly chic and sophisticated, as seen in this kitchen designed

by White Arrow, it works seamlessly with a wide range of styles, from sleek modern to vintage kitsch.

‘White is a classic choice, and when paired with unlacquered brass and wood, it feels inviting and picks up on traditional kitchens styles from the turn of the century,’ adds Keren Richter, cofounder and principal designer at White Arrow.

Kitchen Design

Sunny shades When opting for a colour for your kitchen cabinetry, think about how it will look through the year as well as at the time of painting. ‘Calling to mind sensations of warmth, sunflower yellow offers a welcoming, wholesome feel for communal spaces in the home.

Try using it on kitchen cupboards and doors to introduce a bright, cosy feel to the room all year round,’ says Emma Coles, stylist at Morris & Co. The brand’s Sunflower shade is priced £36 for 1ltr of acrylic eggshell.

Island living Above: A kitchen island provides the perfect canvas to play with contrasting colours. Painting your central island in a statement shade and pairing with more muted coloured wall cabinets will instantly draw people into the heart of your kitchen, 96 Period Living

encouraging them to take a moment to sit and chat while you are cooking. ‘It also creates a less uniform look and is a great way to build character in your space,’ explains Kim Whinnett, director at Barnes of Ashburton. The brand’s bespoke kitchens start from £10,000 for a similar project.

Kitchen Design Follow the trend Left: Updating your cabinets can totally change the look of your kitchen, and as such is a great way to ensure it’s always in style. Opt for neutral walls and worktops (white quartz is a great choice) so that it can work with any palette. ‘Bold, dark colours, like navys and forest greens, are very much on trend right now,’ says Graeme Smith. ‘People want a richness and depth that you can’t find in monochrome schemes.’ Seen here is Life Kitchen’s Stanton Shaker design, priced from £20,000.

Low maintenance

Images (left) Paul Ryan Goff with styling by Holly Keeling; (far right) Paul Craig

Below: If you’ve got a busy family kitchen or are a messy cook, then dark painted cabinetry is a good choice as its less likely to stain or discolour. In any kitchen, cleanability is key, so regardless of your chosen shade, opt for a durable, easy-to-clean formula, or finish with a hardwearing wax or lacquer.

Pick up a brush Left: Painting your cabinetry is a surprisingly easy job. ‘With an extra pair of hands and no interruptions, you can makeover your cabinets in a weekend,’ says Annie Sloan, colour and paint expert. ‘If using Chalk Paint, let it dry overnight before waxing or lacquering.’ Alternatively, you can get your cabinetry professionally sprayed or painted. This kitchen features units in Annie Sloan’s Amsterdam Green Chalk Paint, £23.95 for 1ltr, with panelling in Carnaby Yellow Satin Paint, £24.95 for 1ltr.

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Colour clash Combining a mix of different-coloured cabinetry is a fun alternative to the traditional single-coloured design.

To achieve this look, turn to the colour wheel: select two complementary colours (next or close to each other) and then one contrasting (opposite).

Keep the look clean by opting for neutral walls, floors and appliances.

This kitchen was designed by Kitchen Makers; prices start from £15,000.

Below: For a vintage-inspired kitchen, try a weathered, distressed look to add depth to the scheme. ‘This finish provides a sense that the kitchen has history and adds a subtle painterly quality to the space,’ says Kathy Marshall, principal at Kathy Marshall Design, who designed this kitchen. ‘Layered, weathered finishes are highly versatile and work well in kitchens in historic homes, as well as new builds or extensions where charm, texture and interest is needed.’

Top to tail Above: There are no rules to say that your wall and base cabinets must be the same colour. Keeping them distinct can bring valuable texture and accentuate the room’s height. In this kitchen, designed by Studio Duggan, pale pink cabinetry – try Farrow & Ball’s Pink Ground – lightens the look of the wooden wall cabinets, drawing the eye upwards. The reeded glass echoes the fluted apron of the sink, while gold hardware and taps tie the look together.

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Image (bottom left) Mariell Lind Hansen; (bottom right) Michael J Lee Photography @michaeljleephotography

Fine vintage

Advertorial

Update your fireplace Discover the five best designs from Stovax and Gazco to reinvent your home’s heating ooking to breathe new life into your fireplace? These elegant stoves and fires combine traditional styling with the latest in heating technology and innovation – across wood-burning, gas and electric fuel types – to provide the perfect centrepiece to your period home.

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REFLEX 75T GAS FIRE A beautiful alternative to an open fire, the Reflex 75T gas fire from Gazco offers the same cosy aesthetic but with all of the benefits of a gas appliance. Designed to fit into a standard 36-inch chimney breast, this fire delivers a remarkable imitation of the rise and fall of a real wood-burning flame, and can be controlled either via a remote handset, or an innovative app – allowing you to truly fine-tune your fireside experience.

COUNTY WOOD-BURNING STOVES The Stovax County range of wood-burning and multi-fuel stoves combines timeless styling with advanced combustion systems.

The County’s charming rustic exterior has been designed to suit modern and traditional interiors alike, so makes the perfect complement to a period-style interior. Classic details such as the arched window and door bevelling are balanced with clean lines and a utilitarian form, while a large glass window delivers a superb view of the flames.

MARLBOROUGH2 ELECTRIC STOVES Combining Art Deco styling with country influences, Gazco’s Marlborough2 range of electric stoves have an eye-catching look to fit a variety of settings. Only requiring connection to the mains, these stoves offer instant ambience – with or without the heat.

They make the perfect addition to boot rooms, conservatories, or anywhere requiring instant localised heat.

CHESTERFIELD 5 GAS STOVE An elegant gas stove with intricate detailing, Gazco’s Chesterfield 5 is a stylish take on an iconic design. Inside the firebox, a reflective black glass lining gives the impression of increased depth – further enhancing the stove’s timeless appeal. Behind the scenes, the Chesterfield uses advanced gas fire technology to ensure it offers a high-efficiency output, all controlled via a thermostatic remote control for ease and convenience.

SHERATON 5 WOOD-BURNING STOVES Perfectly proportioned, Stovax’s Sheraton 5 wood-burning stove suits both a fireplace or inglenook setting, as well as an entirely freestanding installation. These elegant stoves deliver an exceptional Ecodesign heating performance, and thanks to their innovative combustion systems can also be used in urban smoke control zones. In addition to the wood-burning models, Sheraton 5 stoves are also available as multi-fuel, gas and electric versions.

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Range Cookers

Richmond Deluxe S1000DF dual-fuel cooker in Chilli Red, £2,459, Stoves

Farmhouse 60DF dual-fuel cooker in Hot Jalapeno, £819, Belling

ER3 series 170 electric induction range cooker in Blush, £17,325, Aga

Heart of the home 120i electric range in Tangerine, £10,800, Everhot

Discover the most beautiful range cooker designs in an array of colours to suit any kitchen

Beaune gas cooker in Provencal Yellow, from £4,980, Lacanche

Deluxe 900 dual-fuel cooker in China Blue, from £3,899, Falcon

1000 X electric range cooker in Sage, from £9,845, Esse

Classic 90 dual-fuel cooker in Mineral Green with brass trim, from £2,599, Rangemaster

1000 induction cooker in Oyster, £5,375, Mercury

Heritage Series 100cm dual-fuel cooker in Avorio, £5,499, Bertazzoni

Victoria 110 dual-fuel cooker in Slate Grey, £3,039, Smeg Period Living 101

Country classic Take inspiration from farmhouse kitchens and invest in a sink that is timeless and practical

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ven though the humble sink is no longer the workhorse that it once was, it is still a kitchen essential. The dishwasher takes on the brunt of the work in most homes, but the sink still needs to be able to handle the largest of pans and the most delicate of china, while still retaining a flawless finish. As a result, the apron-front farmhouse sink has become a firm favourite; loved for its durability and appearance, it can seamlessly integrate into any style of kitchen design.

At your service Above: Butlers’ sinks have a timeless style that makes them a veritable kitchen icon. Originally designed for use by the staff in grand households, the sinks are renowned for their durability, elegance and generous size.

Characterised by a deep bowl and crafted from hardwearing fireclay, the design has remained largely unchanged since its introduction in 1897. This kitchen is by Naked Kitchens and for a similar sink, try Villeroy & Boch.

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Above: See your sink as a way to add character to your space.

‘Statement sinks are a trend that continues to gain momentum,’ says Adrian Bergman, design manager at British Standard.

‘Clients are increasingly focused on finding “the one”, with vintage and vintage-style pieces, such as this fluted farmhouse design, among the most covetable.’ This kitchen is by British Standard; for a similar sink, try Sinks.co.uk.

Natural sophistication Left: The epitome of luxury, a marble sink will instantly imbue your kitchen with a high-end look – and an apron-front farmhouse design will showcase the beautiful veining to the best effect. Not just stunning to look at, sealed marble is also a very durable choice. This Tuscan Arabescato marble fluted sink costs from £3,550 at Devol.

Feature Holly Reaney Images (butler’s sink) Malcolm Menzies/Naked Kitchens; (marble sink) OurFoodStories; (reclaimed sink) Ton Bouwer/CocoFeatures.com Styling Monique van der Pauw

Vintage charm

Kitchen Sinks Ore inspiring A versatile choice, a copper sink can sit just as comfortably in a quaint vintage kitchen as it can in a more modern or industrial scheme.

As well as its timeless appearance, copper is also naturally antimicrobial, which helps to keep the sink hygienic. Add texture and country charm to your space by opting for a hammered design – try The French Store for similar – which will shine against darker cabinetry, like this painted in Mylands’ Messel.

New life Left: In a vintage farmhouse kitchen, consider opting for a reclaimed sink – try Real Original for a wide range of materials and styles. Stone sinks will last a lifetime, and though they may display the characterful evidence of their age, reclaimed designs will be more than up to the practicalities of the job.

Artist’s touch Right: A white ceramic butler’s sink provides an underutilised canvas in the kitchen. While scalloping is a popular way to add flair, for something a little more unique, consider illustrative detailing. Shaws of Darwen’s Gallery collection features a range of decorative illustrations and abstract patterns, which are baked into the sink during glazing for added durability.

This Butler 800 sink in Wild Grass Blue costs from £788.

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Wood Flooring

Into the woods

The intrinsic beauty and durability of timber makes it a classic flooring choice for period homes. Discover the best natural and lookalike options Feature Zara Stacey

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ood flooring has formed a beautiful foundation in homes across the world for centuries. The timeless elegance and charm of natural materials makes them a popular choice for interior design projects, with timber offering a durable and long-lasting design.

Today, modern technologies enable a plethora of patterns, textures and designs that weren’t readily available in the past. From stunning solid wood or engineered floorboards that can be used with underfloor heating to affordable luxury vinyl tiles, there are options for

every room and homes of every style, combining the past and the present to elegant effect.

Heritage laying styles such as herringbone, basket weave and parquet have also seen a huge revival in popularity, adding inviting, rustic texture and appealing intricate patterns to hallways and living rooms alike.

You can achieve many different looks with wood flooring, with an array of contrasting colours, tones and finishes available. From the palest pine or Douglas fir to honeyed oak and darker walnut, there are plenty of ways to work wood flooring ideas into your decorating scheme.

LUXE LOOKALIKE If a real wood floor is out of your budget or not possible in your room, there are some great alternatives.

One of those is luxury vinyl, which is designed to replicate timber and can be laid in planks or tiles, with clicklock or glue-down techniques. This Reclaimed Heart Pine, from £52.99 per m2 at Karndean, carries the authentic, rustic appearance of unfinished pine but at a lower price tag and with high levels of durability.

It comes as a loose-lay longboard which helps to reduce noise levels, making it perfect for upper floors, loft conversions or living spaces in flats. It’s also possible to replace individual planks if the need arises.

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RAISE THE TONE Right: This aged oak ebony parquet flooring, from £85 per m at The Natural Wood Floor Company, has tumbled edges, giving it the look and characteristics of an antique floor but with the stability of engineered wood. ‘Extremely forgiving even in high-traffic areas, an engineered wood parquet floor sets the tone for the whole space, perfectly blending old with new for a timeless finish,’ says the brand’s director, Peter Keane.

FIRM FOOTING Above: Solid wood creates an organic and authentic floor, and is strong and durable. It is an investment that can establish a timeless permanence to your flooring and enrich the space with character, texture and warmth. Solid wood flooring is not just reserved for older period properties, there is now an extensive range of designs that can effortlessly integrate into homes of all ages and styles. This bleached oak flooring costs £93 per m2 at Broadleaf.

INSTANT CHARACTER Above: Oak has been used in homes for centuries and is a firm favourite due to its durability and elegant aging process. However, it takes a new floor many years to develop a time-worn patina, so consider a board that has been made more characterful in the manufacturing process. ‘While prime grading was the favourite for some time, we are seeing more customers opting for the natural look of character grading, which features more knots and details such as visual cracks and sapwood,’ says Yolande Meyer from Havwoods. The brand’s hand grade Neston engineered European oak costs £271.14 per m2.

CLASSIC CHEVRON Right: There’s no need to shy away from wood flooring in the bedroom. This salvaged oak, from £198 per m2 at The Reclaimed Flooring Company, has been sourced from historic buildings across France and Central and Eastern Europe. Laying it in this classic chevron style gives subtle movement and a sense of grandeur to the simple room scheme. It’s also easy to see the beautiful flecks and characterful knots running through this light-coloured timber, which is suitable for underfloor heating.

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Wood Flooring GRAND ILLUSION Real wood patterned floors can be expensive, so consider getting the look with good quality luxury vinyl tiles. Extremely durable and waterproof, this can be a good option for kitchen or bathroom flooring, where splashes and spills are more likely to happen. However, it can also work for living spaces as it’s less prone to scuffing or scratching than timber. ‘Flooring patterns can completely change the look of a room,’ says Lorna Williams, head of product design at Amtico. ‘Timeless patterns such as parquet, basket weave and French weave create a classic and sumptuous look.’ Amtico’s Gotland Oak design costs from £50 per m2.

TREADING THE BOARDS Engineered wood flooring combines the beauty of solid wood with modern technology. The planks are constructed from a solid wood top layer with layers of plywood below, providing both stability and strength.

Engineered wood can be laid in almost any room and can withstand changes in temperature and humidity – making it suitable for pairing with underfloor heating.

Here, a mix of dark and mid tones creates a warm finish; achieve a similar look with engineered walnut.

Wood Flooring

Image (left) Paul Raeside; (below) Davide Lovatti

EASY UPDATE Right: If you want to reinvigorate an existing wood floor, then painting your floorboards is an inexpensive way to dramatically change the look of a space. In this cosy, country cottage bedroom, painted in colours

by Morris & Co, the wooden flooring has been painted white to match wooden panelling on the ceiling. The cohesive, calming design creates a bright and relaxing bedroom retreat that combines traditional features with modern colours.

INTRICATE PATTERN Below: Laying wood flooring in a bespoke parquet design is a great way to make a statement underfoot.

For the best effect, opt for solid wood flooring as the intricate pattern also works to elevate the character in the boards, highlighting the grain. In this bedroom, the boards have been laid in a stunning Bordeaux parquet. This French-inspired design, defined by intertwining geometric patterns and contrasting shapes, adds grandeur to a room – perfect for establishing a Parisian feel. For similar, try Direct Wood Flooring’s Bordeax Antique brushed and oiled engineered oak flooring, £199.99 per m2.

OLD MEETS NEW Opting for reclaimed wood flooring is a great way to add instant history and character to a room, as the boards already come with a time-worn patina.

This stunning barn conversion features reclaimed weathered mill board, from £114.50 per m2 at The Main Company, which contrasts beautifully with cleanlined white walls. The minimalist, relaxed design lets the bedroom flooring take centre stage, with other wooden features, such as the uniquely crafted wooden headboard, enhancing the feeling of natural texture in the space.

Renovation

Destiny knocks External and internal doors are vital features of any period home – discover how to restore and repair, or sensitively replace Feature Roger Hunt, author of Old House Handbook

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oors are an integral part of the historic fabric of an old house and their style and decoration immediately indicate the period and status of both the property and the various rooms within it. Often the wood used to make doors is of high quality; repairs should be undertaken by a skilled joiner who understands how to retain as much of the original material and character as possible.

How to repair

Images (top) Dan Duchars; (bottom) Richard Gadsby

Building movement, warping, cracking, woodworm and dry rot can all cause problems with doors, says Stick Daring of Historic Doors.

‘Tell-tale signs include the door not closing properly, draughts, light visible around the frame and

soft spots when you press your finger into the timber.’

Specialist joiner Tom Marston suggests looking for gaps at the joint lines in the main frame or loose wedges at the sides of the tenons at the edges of the door. ‘Either event will mean that the mortise and tenon joints have failed or are likely to in future.’

With external doors, building settlement or subsidence can have the effect of letting water ingress occur. Internal doors are usually less critical but can still cause problems. ‘Movement of the frame in old buildings often distorts doors, so they don’t close neatly into the door jamb,’ says Stick. ‘Central heating can wreak havoc with old doors, especially if they’ve been dipped and not dried out slowly, creating warping.

This image: Painted interior doors can be dipped to uncover their raw beauty Below: Restore doors rather than replace, as the patina of age is not easily mimicked

Rarely is straightening successful; it’s better to adjust the door jamb to fit a warped door than attempt to straighten an old door, as they usually spring back over time.’

Rot is a common problem with external doors. ‘Replacement components can be scarf jointed or patched in situ, or by dismantling the door and then reassembling it with replacement components,’ says Tom. If the door is to remain unpainted, then old matching timber should be used to make the patches more attractive. ‘When repairing the holes left by old locks, the mechanism void is packed using timber

pieces glued inside the stile.

The key and handle holes are plugged using matching plug cutters to minimise any join,’ explains Stick.

With doors that bind, it’s important to find the cause. ‘Doors stick if their environment is too humid, if they’ve sagged, or if they were fitted in summer without allowance for natural swelling in winter,’ explains Tom, who says this can be cured by planing the tight edges. When the joints in a door become loose, Tom suggests glueing the joints and the wedges at the sides of tenons and then cramping the door tight with sash cramps.

‘Sometimes, joints can be reinforced by tapping Period Living 111

glued dowels through the joints front to back.’

When it comes to removing paint, Stick advises only dipping internal doors that are coated with lead paint. ‘Modern acrylic paints won’t strip in a tank,’ he explains. ‘After stripping, make sure the strippers double-dip your doors in a neutraliser – usually acetic or oxalic acid – and rinse off in fresh water. Specialist strippers will charge extra for this neutralising process.

Never dip a front door; dry strip these with a hot air gun and scraper.’

Tom also suggests heat guns for burning off paint but warns that the work is a fire risk and should be done by a skilled decorator with proper insurance. ‘Bear in mind that many historic and modern paints are toxic.’

Internal doors may be made of mahogany, which was French polished, or veneered, so need to be treated with care. Working with veneers is quite an art, 112 Period Living

warns Stick. ‘Don’t attempt to repair unless you have experience, especially if you have a valuable period door; always look for a specialist.’

How to replace ‘A salvaged door is an instant way of adding a period feature, but there is more work involved,’ says Nadine Davies of The Architectural Forum.

‘Buy slightly larger than you need because the door and the frame might not be square. Ideally, you would buy the doors before the frames are built, as doors weren’t necessarily standard sizes.’

Stick’s advice is to think carefully before buying a reclaimed door. ‘If you want a perfect finish with very clean lines, choose a period replica. If you have a loft extension or alterations, we can usually expect building control to require fire doors.’

Thoroughly inspect doors before buying and, if you plan to have them stripped,

buy them already stripped, warns Nadine. ‘Sometimes, you’ll find plywood panels or other issues that you wouldn’t know about until the paint is removed. Also, you can see the overall condition, warping, what the stripping has done to the door and whether joints have come apart.

Tom suggests checking doors with a spirit level before buying as twisted doors are very difficult to fit. ‘Also, check whether any trimming to size would damage the integrity of the joinery.’

Salvaged doors can be adapted. For example, if a glazed door is required.

‘You can buy a standard fourpanel door and take two panels out and replace them with glass,’ explains Nadine.

If buying a new door, material choice will influence cost, says Stick.

‘Oak and Accoya will be at the premium end, redwood joinery grade will be at the bottom, but, if painted

Below: As well as repairing and repainting woodwork, a specialist restorer can make sure any original glazing is maintained

and maintained, it will still last for a long time.’

Useful contacts ARC RECLAMATION - door

specialist. Tel: 01730 231995; arcreclamation.com DEACON & SANDYS - bespoke oak doors. Tel: 01580 243331; deaconandsandys.co.uk HISTORIC DOORS - new and reclaimed doors. Tel: 0800 747 1747; historicdoors.co.uk LONDON DOOR COMPANY - door specialist. Tel: 0845 646 0690; londondoor.co.uk OLD ENGLISH DOORS - bespoke doors. Tel: 0115 958 8755; oldenglishdoors.co.uk SALVO - architectural salvage directory. salvoweb.com SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS (SPAB) -

free briefing download on doors and windows. Tel: 020 7377 1644; spab.org.uk THE ARCHITECTURAL FORUM

- reclaimed doors.

Tel: 020 7704 0982; thearchitecturalforum.com TOM MARSTON - specialist joiners. Tel: 01263 712182; tommarston.com

Images (left) Brent Darby; (right) Derek Robinson

Left: Where a door is damaged, it is often possible to sensitively repair, ideally using older timber to reduce the aesthetic impact

Renovation

Glazed over Douglas Kent explains why adding secondary glazing to old windows is nearly always better than replacing them

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econdary glazing comprises an extra glazed panel, or panels, fitted to the inside of an existing window. It is an alternative to fitting standard double glazing, which involves the removal and replacement of existing windows. Installing new double glazing with a short lifespan of up to 30 years is illogical when decent original timber windows that need little more than a few repairs can be upgraded effectively. Well-designed modern secondary glazing systems are unobtrusive and have come a long way from the clunky versions of the past.

What types are there?

There are a range of options for secondary glazing, from DIY products to systems installed by suppliers. The former can be shrink-film kits that simply use double-sided tape or acrylic sheets with wooden frames that are screwed into place. More sophisticated systems include made-to-measure aluminium-framed toughened glass panels held by magnetic strips.

Such systems cater well for different shapes and curves, as well as the idiosyncrasies of old windows.

Secondary glazing may be openable or non-openable, removable or fixed.

The openable units can be either side-hung casements or horizontal or vertical sliding sashes. These allow the opening of both the secondary glazing and external windows to provide easy access for cleaning and all-important room ventilation. Removable forms of secondary glazing may be readily demounted when not required; for example, in warmer months when heat retention is not an issue.

Image Architectural Bronze Casements

Why install it?

As well as avoiding losing old windows and a home’s character, secondary glazing brings various benefits: INCREASED THERMAL EFFICIENCY of existing windows by eliminating draughts and improving heat insulation.

EFFECTIVE SOUND INSULATION to reduce outside noise. The gap created between the original windows and secondary panel forms a natural barrier that absorbs sound waves.

MINIMISATION OF CONDENSATION formation

on windows by helping to regulate the temperature clash where warm internal air meets cold outer glazing.

ADDED SECURITY due to the additional barrier of glazing.

Standard double-glazed units, by contrast, entail loss of historic fabric, are obtrusive and suffer misting as seals eventually fail. Old, discarded windows also add to landfill waste.

Do I need to apply for listed building consent?

The installation of secondary glazing retains existing windows unaltered, is not intrusive if carefully designed and is easily reversible. For these reasons, conservation officers for local planning authorities generally support its installation on listed buildings, but may require the submission of an application for listed building consent depending on the impact of the work on the special interest of the building.

It is sensible, therefore, to check with your planning department before proceeding with installation.

Reducing visual impact There are a number of ways in which the visual impact of secondary glazing can be reduced, particularly if thought about early in a project. To minimise the impact when viewed externally, place divisions in the glazing behind the window glazing bars or meeting rails. The flat reflections from modern glass within secondary glazing may be reduced by using non-reflective glass.

Internally, minimise visual impact by carefully matching the size, shape and colour of the existing window frames. Consider using a slightly darker shade for the secondary glazing, given that it tends to be seen in the shade and existing window paint will have often darkened over time. Alternatively, use white satin for both the window and secondary glazing. Furthermore, the use of a magnetic system will reduce the need for visible fixings.

Key things to consider Unless repairs are required to areas of decay, existing windows will

usually need little preparation prior to fitting secondary glazing, other than cleaning and the sanding down of any bumps to give a smooth fixing surface. Draughtproofing is best left off existing windows so that there is some ventilation of the air space between them and the secondary glazing to prevent condensation.

Try to ensure your secondary glazing works with your shutters, ironmongery (including window locks) and blinds. This may not always be possible – such as when installing secondary glazing into the staff beads of existing sash windows, where projecting ironmongery will often need changing. Similarly, shorter roller blinds may have to be fitted in secondary glazed bay windows.

Film can be applied to secondary glazing to protect fabric and furnishings from ultraviolet light, though blinds are a more effective long-term solution.

Douglas Kent is technical and research director at the Society for the Protection of Ancient Buildings (SPAB). For further guidance on the care and repair of old homes visit spab.org.uk or call the free SPAB helpline on 020 7456 0916 (9.30am– 12.30pm weekdays with support from Historic England).

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ALFRESCO DINING Handcrafted in Nottingham from Lancashire-woven cotton, British textile designer Tori Murphy has launched these fabulous new picnic blankets to help you stay comfy and dry when dining alfresco.

Available in a choice of five signature graphic weaves, from pared-back florals and stripes to animal-inspired spots and checks. They’re practical, too, with a waterproof backing, and they can be rolled up and secured with the smart leather straps and handle for easy carrying. W140xL140cm, priced £95 each.

BOTANICAL BEAUTY

Feature Alice Humphrys Image (Upton House) ©National Trust Images/Annapurna Mellor

Two iconic British brands, Colefax & Fowler and Daylesford Organic, have joined forces to create a stunning collection of tableware. The new Quince Garden range includes tablecloths, napkins, plates and serving dishes with delicate botanical illustrations. The pretty motifs are based on a decorative archive fabric, Ditchley, produced by the Colefax studio. Inspired by the botanical designs of Chelsea porcelain from the late 18th century, the designs feature an enticing mix of English plants and flowers painted in a lively hand. The table linen and ceramics are suited to both indoor and outdoor dining, and there is also a candle in the range, inspired by the orchard of quince trees in Daylesford founder Carole Bamford’s home. From £20 for a napkin.

SEASONAL DISPLAY In late September, the gardens at Upton House in Warwickshire are a sight not to be missed. As part of the National Aster Collection, the gardens are home to many varieties, which they have grown since 1985.

The collection includes three particularly important species – A. amellus, S. ericoides and S. cordifolius – with nearly 100 cultivars. Spotted in the kitchen garden, they are planted in three rows so they can be easily viewed. Asters are known for their final flash of colour at the end of the summer months, providing valuable late-season nectar for bees and butterflies.

BOOKWORM There is always room for a little greenery, and a container garden is just the answer if you lack outdoor space or want something small to focus on. In The Container Garden (£10, Kyle Books), horticulturalist and botanist Frances Tophill offers an expert guide to curating a mini garden; from designing a jungle on your windowsill to caring for potted herbs.

There are over 40 ideas on how to pair pots and plants, including upcycling suggestions for creating your own containers.

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Beautifully crafted Winning gold at this year’s Chelsea Flower Show, the Morris & Co garden paid tribute to Arts and Crafts designer William Morris. We discover the inspiration behind the project

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Above and right: The medievalinspired planting palette was based around red and apricot tones accented with white, blue and green, and featured Morris’ favourite varieties 118 Period Living

Left: Morris’ Willow Boughs pattern was created in 1887 Far left: Trellis was designed in 1864 and inspired by the courtyard garden at Morris’ home Red House

environment. Showing keen attention to detail, designs often featured a stronger architectural style closer to the house, which gave way to a more informal, natural style as you moved further away. Local materials and craftsmanship were favoured, and romantic planting palettes designed to complement the building materials.

Fundamentally, the house and garden worked together, with the garden seen as a space for relaxing.

In creating the Morris & Co garden for Chelsea, award-winning landscape and garden designer Ruth Willmott sought to demonstrate traditional Arts and Crafts design alongside modern-day techniques, collaborating with a host of craftspeople. Morris

loved the natural world, taking every opportunity to incorporate flora and fauna into his designs – and so the garden reimagined two of Morris’ most iconic wallpaper designs back into a garden setting.

Rather than simply copy Morris’ work, Ruth used vivacious colour and pattern to echo his Willow Boughs and Trellis designs. ‘I spent many happy hours at the Morris & Co archive pouring over William Morris’ iconic pattern books and examining the original wallpaper hand-blocks when conceiving the design,’ she says. ‘I wanted to celebrate his beautiful designs in the natural outdoor setting which inspired them and to bring to life the joy of being surrounded by his patterns in the form of flowers and trees.’

At the heart of the garden, a metal pavilion laser-cut with the Willow Boughs pattern, by metal worker James Booth at Outdoor Design, created a striking architectural element. It also referenced the metal inlays on the wooden printing blocks used to make Morris’ wallpaper design.

In addition, the pattern was inlaid into a sequence of water channels by Martin Kelley, flowing throughout the garden, while clay tiles handcrafted in Kent by Adam Spicer, and recycled riven Yorkstone paving demonstrated more traditional Arts and Crafts methods. To surround the garden, Peter Dibble, a traditional willow basket weaver, created a number of handwoven panels.

Set out in a quadrant design, the layout reflects Morris’ first wallpaper design, Trellis, influenced by the rose

Feature Melanie Griffiths Images Getty Images; Sanderson Design Group; Andrew Sydenham/Country Life

ollowing a two-year absence from its traditional spring slot, Chelsea Flower Show made a joyous return in May, showcasing the very best the gardening world has to offer. Among its highlights, the gold-winning Morris & Co garden took centre stage, taking inspiration from the work of visionary Arts and Crafts designer William Morris.

Famous for his iconic wallpaper and textile designs, Morris rejected the growing industrialisation and mass production of the Victorian era, instead championing traditional crafting techniques and better conditions for workers. He drew inspiration from the medieval period, a time he believed craftsmanship to be at its height.

While the Arts and Crafts movement is well known for its lasting impact on interiors and architecture, its effect on gardening is less widely understood.

Yet, the design movement has had a surprising influence over the way we garden today. The idea of treating the garden as an extension of our living space – often with outdoor ‘rooms’ – and gardening with an awareness of nature, came from this era.

It was vital that the garden was harmonious to the local natural

Gardens

trellis in the garden of his home Red House. The same pattern inspired the rich, wildlife-friendly planting scheme for the garden.

In line with traditional Arts and Crafts design, the garden’s romantic feel was created with an abundance of soft, naturalistic planting. Some of the chosen plants directly reference Willow Boughs and Trellis – including weeping, twisted and pollarded varieties of willow flanking the pavilion – while many were chosen with wildlife in mind. A glorious medieval palette was based around earthy reds and apricot tones accented with whites, blues and restful greens.

In particular, the garden included some of Morris’ favourite plants – hawthorn, cotoneaster, berberis and malus – all of which pay tribute to him as an early advocate of using native species among long-cultivated non-natives to attract birds and bees.

Roses, another of Morris’ favourites, were seen in many forms in the garden, as well as other plants that feature in

Above: The garden was set out in a quadrant design, mimicking Morris’ Trellis pattern, and featured the work of numerous craftspeople Left: The pavilion is laser-cut with the Willow Boughs design

wallpaper designs, including acanthus, meadowsweet, wild strawberries, jasmine and wild honeysuckle.

‘I have long admired the work of William Morris, so it was a tremendous thrill to create this garden for Morris & Co, and we are all absolutely delighted

to receive a Gold medal,’ says Ruth. ‘Bringing the garden to life has involved dozens of skilled and dedicated experts, each adding a creative layer to the finished garden, and it’s been particularly thrilling to collaborate with so many talented craftspeople.’

Following the show, elements of the garden were relocated to three community gardens within the Packington Estate in Islington, in collaboration with the Arc Centre Gardening Collective. This newly redeveloped estate was chosen as it is located close to the site where Morris’ prints were first produced by Jeffrey & Co over 160 years ago. It’s a fitting tribute that will allow Morris’ principles and intricate designs to live on.

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On the rocks Discover how to build a rockery to add an intriguing landscape feature to your garden

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uilding a rockery – or rock garden – is a useful design device if you want to give a flat garden structure, make more of a sloping site, or create a home for dry or Mediterranean-style planting.

Rockeries were historically reserved for alpine plants, native to mountain districts, but there really are no rules – your rockery can feature everything from traditional planting schemes to drought-tolerant succulents.

You can build a rockery yourself, and it’s especially easy if you already have a sloped garden. However, the slope or mound can be replicated with the delivery of extra soil and rocks.

Choose a good position Broadly speaking, a rockery can go anywhere in a garden, but you do need to consider whether the conditions – shade, a south-facing spot, good or poor drainage, for instance – suit the planting that you have chosen for it.

For example, traditional alpine plants need lots of light, while Mediterranean plants also need good drainage.

Consider the surroundings of the site of your rockery, too – it needs to look as natural as possible to be convincing, though it will look more established over time.

Image Getty Images

Plan the design With the location of the rockery decided, you can begin to work on its shape and size. If you want it to look natural, you should work to an organic, irregular shape. However, if preferred, rockeries can be more formal, mimicking some of the design elements of Japanese gardens.

The key is to ensure your rockery looks like a natural part of the garden, and sometimes the best way to do this is to run a low wall around it in a local stone where it borders a lawn, for example. Similarly, gravel, stones

and rocks that suit your garden’s local surroundings will make your rockery look as integrated as possible.

The design will be organic, but as you go, you will need to have in mind where plants will be sited so that you can leave space for planting pockets.

Prepare the site The first step to building a rockery is to clear all weeds from the site. That done, you can begin to build your rockery structure with the first layer of rubble – unused building rubble, such as old or damaged bricks, will do.

You do need to leave some gaps between the rocks to ensure the rockery has good drainage, otherwise it will become a hardened mound.

That said, these gaps need to be no more than a finger’s width or the structure won’t be sound.

Once you are happy with the basic shape and size of the rockery’s foundation, cover it entirely with landscape fabric – to prevent weeds from growing – weighing the fabric with small stones at the edge of the rockery until you pile on the first layer of rocks.

Add the rocks Use rocks of different sizes, from pea gravel to small, medium and large rocks. You will need more than you think to create an effective display.

Lay the largest rocks first so that they create a sloped, natural look.

Ensure the directions they face are random and that there is no pattern your eye can establish as ‘regular’.

Next, add slightly smaller rocks, using them to wedge the larger rocks into a stable position. Continue to add rocks of various sizes until you are ready to add gravel, leaving space for planting pockets.

Ensure the edges of the landscaping fabric are disguised by rocks, gravel or a retaining wall.

Once the large, medium and smaller rocks are in position, add a 10-12cm (4-5in) layer of topsoil to the rockery to create planting pockets. The soil may need to be deeper in places to help bed in and stabilise some of the rocks, too.

Plan out the planting With the majority of the rocks and planting pockets in place on the rockery, you can start to position your plants. Arrange them in their pots, stepping back regularly to check that you are happy with the arrangement, plant heights and juxtapositions.

Once you are happy, loosen the planting pockets a little, half-filling them with suitable compost. If you are putting in plants that like freedraining conditions, you may like to add horticultural grit to the mix, too.

Firm the plants down into the compost, fill around them, water and allow them to establish. Hide the soil beneath the plants’ foliage or with a handful of gravel or small rocks.

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Composting

Digging up the dirt Make your gardening practices more sustainable by creating your own compost

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ccording to the United Nations’ Food Waste Index Report 2021, ‘if food loss and waste were a country, it would be the third biggest source of greenhouse gas emissions.’ The report continues to explain that nearly 570 million tonnes of this waste occurs at household level. On seeing these figures, it is obvious that we need to reduce the amount of food waste we send to landfill. One way of doing this is through composting.

Generating your own compost is one of the easiest ways to make your home and garden more eco-friendly. Not only does it aid you in reducing your kitchen waste, but it will also result in quality compost that will help your plants to thrive as well as eradicating your dependence on garden centre compost, which is often filled with peat and wrapped in single-use plastic.

Feature Holly Reaney Additional words Sarah Wilson Image Getty Images

Style and substance Finding the right type of composter for your household mostly depends on the amount of space available, the quantity of green and food waste that you produce and the speed at which you want your compost to be generated.

The most popular option is the classic black or green compost bin.

It’s easy to install – you simply need to put it in a sunny spot and begin to fill. The waste needs to be turned once a week, but it is otherwise a lowmaintenance and affordable choice.

The humble compost heap has fallen out of favour in recent years, but it is by far the cheapest and easiest method.

Follow this advice from The Greenhouse People: ‘Start with a layer of twigs and straw laid on a patch of ground where you want your heap to be. Follow with a layer of food scraps and then a layer of dry leaves or straw. Once you have started your pile, add manure, which provides essential nitrogen to help kick-start the process. Cover it with plastic sheeting to keep it moist. Water occasionally and turn it every couple of weeks to help aerate the patch.

For keen gardeners, a compost bay, or a series of bays, is a firm favourite.

‘Create a compost bay, using recycled

timbers in a shady, level, well-drained position, where water can drain away and worms can get in and do their work,’ suggests gardening expert Leigh Clapp. You should turn your compost every ten days if stored in a heap or bay.

If you’re looking for speed then a rotating composter is best. Working in a similar way to a tombola spinner with a barrel suspended on a frame, these composters can produce compost in as little as three weeks if turned every few days. However, this process is much easier and cleaner than that of heaps or bins, which require a pitchfork.

Getting dirty

Turning up the heat

In a standard compost bin, heap or bay it will take, on average, six months to a year for food waste to break down into compost. However, with a warm climate and the right balance of carbon and nitrogen, food waste in a rotating or hot composter can take as little as three to four weeks to be transformed into usable compost.

Your compost will be ready to harvest when there are no signs of food waste, it smells earthy rather than rotten and crumbles to the touch.

Once your compost is ready, let it rest for a couple of weeks before you start using it on your garden.

Most methods, including those above, are examples of cold composting. This involves slowly adding organic matter and leaving it to break down in its own time. However, this is not the only way.

‘Hotbin composters are heavily insulated aerobic composting bins that reach 60°C, breaking down waste into compost in 30 to 90 days. They compost all garden and kitchen waste (such as cooked and raw food) and there’s no turning or accelerators required,’ explains garden designer Tom Massey.

Hot compost bins need regular waste and turning to maintain their heat.

Regardless of the style of your composter, the process is the same.

There are two types of waste: brown – wood, dry leaves twigs and cardboard – which provide carbon; and green – uncooked vegetables, peelings, fruits and garden waste – which provide nitrogen. Layering these will ensure a balanced compost. Do not add meat or cooked food to cold compost bins.

Feed with a nitrogen-rich feed, like blood and bone meal, to speed up the process. If it looks dry, lightly water.

Clock watching

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Gardens As autumn approaches, the colours of both blooms and foliage begin to mellow into rich tones

Vintage glamour Hydrangeas are enjoying a renaissance due to their sheer variety, reliability and beautiful blooms. Find out how to grow and care for these timeless plants

Words and photographs Leigh Clapp Period Living 125

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hese hardy, deciduous shrubs that flower from mid-summer to autumn have seen a resurgence in popularity over the past decade. No longer seen as old-fashioned and languishing in shrubberies, replaced by the trend for perennials and grasses, flowering shrubs are again championed and valued for their use in our gardens, with hydrangeas a clear favourite.

Grown in sun or semi-shade, on their own or planted en masse in a border, used as an informal hedge or grown in containers, their voluptuous, long-lasting blooms provide colour in shades of pink, blue and purple, as well as creamy white and astringent greens.

‘Hydrangeas are long flowering, from June to October, and there aren’t many shrubs that do that. Even in November, when brown and covered in frost, they look lovely,’ explains Roger Butler, owner of Signature Hydrangeas.

All white flowers can be planted for a classical scheme or to brighten a shaded area. ‘Massed in one variety, they offer a stunning result.’

‘Hydrangea ‘Annabelle’ brought a resurgence in popularity – designers love white flowers, and Annabelle looks superb en masse,’ adds Matthew Pottage, curator at RHS Wisley.

Types of hydrangea There are five main types of hydrangea: big leafed, which includes mopheads and lacecaps; panicle; smooth; oakleaf; and climbing, with a wide range of lovely varieties from which to choose. Flower heads, formed of clusters of miniature flowers, can be large balls to conical shapes, with some bi-coloured and others that vary their colour as they age. With over 70 species, you can choose 126 Period Living

from compact varieties, ones with scented flowers or autumn foliage, and even varieties that bloom twice on old and new wood.

Requiring little attention and easy to grow, hydrangeas are ideal to grace your garden and also make striking cut flowers.

When and where to plant The best time to plant hydrangeas is in spring or autumn as the soil is warm and moist. However, you can also plant them in summer, so long as you ensure that you keep them well watered.

Hydrangeas thrive in moist, well-drained soil with plenty of organic matter, in a protected spot with dappled shade. South-facing positions are best avoided. Most soil types are suitable, keeping in mind, however, that the pH will change the colour of mophead and lacecap hydrangeas – less than 5.5 for blue, over 6.5 for pink and between 5.5 and 6.5 for purple. In light soil, add in some organic matter at planting to help with moisture. Before planting, water the hydrangea and don’t plant it deeper than it was in the pot. Water in and mulch.

‘Hydrangeas like reliable moisture in the summer so don’t plant them in a dry position.

Their new shoots are frost tender so avoid frost pockets and protect any new growth. If your garden suffers drought in summer, plant them in semishade. People seem to forget that hydrangeas are happiest in shaded conditions and plant them in full sun where they look washed out and droughtstressed in summer,’ says Matthew Pottage.

If hydrangeas are grown in containers, you can manipulate the potting compost for the colour you prefer – you can even position the container in the garden bed to fill gaps through summer.

Gardens

Clockwise from far left: An effervescent combination with hydrangea sp, Veronica longifolia, astrantia and Thalictrum ‘Hewitt’s Double’; hydrangeas are blue in acidic soil, but don’t use a blueing agent as it can damage your garden; there are such pretty varieties available that look handpainted; co-ordinate blue hydrangeas by echoing the hues on painted trellis and fringing plants; near-neutral soil or various levels discovered by the roots, can give you the magic trick of a range of colours on the one shrub Period Living 127

Once planted, keep hydrangeas watered well in their first season so they don’t wilt. To keep them blue, only use rainwater. Mulching each spring with manure, compost or leaf-mould will help them thrive; they don’t need feeding, as this will create leaf growth as opposed to flowers.

Pruning can improve vigour; prune those that bloom on old growth – lacecap, mophead and oakleaf – after flowering, and prune those that bloom on new growth – paniculata and arborescens – in spring or autumn. Lightly prune quercifolia and aspera in spring, and climbing hydrangeas in summer. Wear gloves when pruning as the foliage can cause skin allergies; all parts can cause stomach upset if ingested. Propagate softwood cuttings in late spring to mid-summer, semi-ripe in mid-summer, or hardwood cuttings in winter. They will take two to three years before they begin flowering.

Certain varieties are ideal for beginners.

‘Paniculata are easy to grow and more tolerant; you can’t go wrong with them,’ suggests Roger.

In the vase, hydrangeas last about 10 days, and if you dry them they will last even longer. To do this, place in a vase with a few inches of water and leave them to dry as the water evaporates.

Good companions Hydrangeas work well with similar or contrasting shapes and colours, such as feathery ferns, rounded hostas and ornamental grasses. Select plants with similar needs of soil, water and light levels, and that will flower before, during and after the

blooming season. To emulate the woodland setting, plant hydrangeas under a canopy of deciduous trees and shrubs. Mix with other dappled shade-loving flowers, such as foxgloves, heucheras and violas.

Troubleshooting Frost damage – If new growth has frost damage, cut back to just above the first undamaged buds.

Hydrangea scale – this shows as white waxy blobs in summer, and is best prevented by careful early inspection from spring, tending plants to keep them as healthy as possible, and encouraging predators such as ladybirds. If spraying is needed, use organic options in July.

Lack of flowers – this is most likely to be because pruning was done at the wrong time, so carefully check the label of the plant you buy.

Holes in leaves – Pieces bitten out of the leaves in containers is a sign of vine weevils, with the grubs also eating the roots. Check the plants at night when the pests are most active, catch and squash them, and you could also apply a biological control.

Useful sources SIGNATURE HYDRANGEAS – Golden Hill Plants,

Kent TN12 9LT. Mail order supplier and open to the public (signaturehydrangeas.co.uk) BODNANT GARDEN – Wales LL28 5RE. Enjoy displays of brilliant blue hydrangeas in the ravine, on acid soil (nationaltrust.org.uk) RHS WISLEY – Surrey GU23 6QB. A treasure trove of hydrangeas, showcasing many paniculata cultivars (rhs.org.uk)

Left: Massed hydrangeas in a range of varieties makes a charming informal hedge with a long season of interest Above: Fill gaps or delineate a pathway with statement hydrangea containers.

Keep the water levels up to ensure your hydrangeas thrive in their pots

Images (Paniculata ‘Limelight’; arborescens ‘Annabelle’; macrophylla ‘Zorro’) RHS AGM

Tender loving care

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MACROPHYLLA ‘AYESHA’

The sepals start white and then change to pink, followed by raspberry red, making for a dramatic display. Flowers appear in profusion on stems that can reach 35cm in length.

This cultivar has large dense clusters of flowers that start lime green, fade to cream, then turn pink in autumn. Best for full sun to part shade, as a specimen plant or to light up a dark space.

It is fast growing to become a large shrub, and is very adaptable to different soil types.

Domed clusters of small cupped pink or lilac flowers. Does well in sun or shade if well fed and kept moist.

Medium shrub with leaves that last until late autumn. Prune to thin out old stems and remove dead flowers

MACROPHYLLA ‘AMSTERDAM’

QUERCIFOLIA

ARBORESCENS ‘ANNABELLE’

From the Royalty Collection, it is very sun resistant and a prolific bloomer with large flowers. Ideal for beds, borders, containers and cut flowers. Deep green foliage.

Oakleaf hydrangeas have white summer flowers that age to pinks and characteristic textured foliage turning vibrant red and purple in autumn. It’s naturally a woodland plant so needs shade. Working well in a naturalistic design, it is a great source of pollen and nectar.

‘Annabelle’ is synonymous with the genus, due to its ongoing popularity.

A wild or smooth hydrangea with domed white or pink flower heads up to 30cm across. Grow in a sheltered corner or against a warm wall.

MACROPHYLLA ‘BLACK STEEL ZAZA’

MACROPHYLLA ‘ZORRO’

MACROPHYLLA ‘LADY IN RED’

Near-black stems with serrated mid-green foliage, with pale lime-green buds, which open to pink, lilac or purple-blue flowers depending on the soil. Compact and upright-shaped shrub.

Bushy lacecap with masses of deep blue flowers on purple-black stems. Best for a cool, shady spot, in a herbaceous border mixed with other hydrangeas or grouped together to form an informal hedge. Little pruning required, remove dead flowers and thin out old stems in spring.

Pretty lacecap with the early-summer pink flowers maturing to rose pink in alkaline soils. Plant in a mixed border or with other hydrangeas. Stems and leaves turn red then purple in autumn.

Good cut flower and dries easily.

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Cottage delight Extend your living space by creating the perfect patio for relaxing and entertaining, taking inspiration from cottage gardens for maximum period charm Words and photos Leigh Clapp

Gardens

O

utdoor spaces should be seen as an extension of our homes, so whether you are augmenting an existing patio or adding one from scratch, it is important to create a design that complements your property.

Consider how you would like to utilise the space, as well as how your ideas will work with the design of your home and garden. The perennially loved cottage garden style is a look that translates to almost any house era, so use this as a source of inspiration to add charm to your patio area.

Green living Left: Selecting patio paving can be a challenge, especially when you want to find a material that complements your house and garden, suits your budget and is also kind to the planet. ‘To keep a patio soft in terms of its impact on the earth, think about which stones you use. Reclaimed and local will have the least impact and carbon footprint, while also adding rustic charm. Stone takes thousands of years to be created, and will last a long time, too,’ says landscape architect Marian Boswall.

Mixed materials add interest and can be used to break up a large area; however, it is also important to think through the design carefully so it doesn’t look too haphazard. Flat areas for seating could use flagstones, whereas pathways and surrounding borders could use various-sized stones, for example.

‘When it comes to creating a sustainable patio, aim for materials that have been sourced or manufactured within Britain; Yorkstone, such as Scoutmoor, is strong and durable,’ says Chris Griffiths, head of product sustainability at Marshalls. ‘There are also UK-made concrete paving ranges that replicate the look and feel of imported natural stone.’ Pavers can be made from recycled materials or can be reclaimed, both of which are highly sustainable with an aesthetic that is particularly well suited to a cottage style.

‘Pay attention to drainage, too, especially if you live in an area at risk of flooding,’ adds Chris.

‘A permeable surface will sustainably deal with rainwater, and Driveline Drain is a drainage option that blends subtly into the paving, without compromising the overall look.’ Permeable paving options include brick, stone, pavers and gravel.

Potted perfection Above: Containers offer the possibility of a moveable display that can highlight the seasons or even put you in a holiday mood. Whether an eclectic mix of pots or a carefully orchestrated scene, container planting allows you to express yourself in a way that you can adapt, allowing you to change the look in an instant.

Seasonal annuals can be added to permanent evergreens, and you can echo the colours of the house for co-ordinated combinations, be harmonious with your palette, or go for bright, eclectic energy with your plant choices.

Between the lines Left: Planting among the hard surfaces is both aesthetically pleasing – perfect for a naturalistic cottage style – and environmentally friendly. Great plant choices include erigeron, thyme, aubretia, dianthus, chamomile, saxifraga, Alchemilla mollis, succulents and mondo grass. Dig out any weeds and add in some compost if needed before planting.

‘I like to plant between the paving slabs. Either take out old jointing or a slab or two, or lay new paving stones with gaps between joints. Planting small mosses and herbs adds biodiversity and beauty and helps water seep slowly back to the earth when it rains,’ says Marian Boswall.

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Growing up Right: Create an intimate, shady nook where you can sit and enjoy the views over your garden.

Arbours are perfect for adding cottage charm. They can be rustic with reclaimed timbers or a metal arch disappearing under a topping of entwining vines and blooms. Think about whether you want shade year-round with evergreen climbers, such as star jasmine, climbing euonymus, potato vine and passionflower, or just for the heat of summer with deciduous options, from clematis to climbing roses.

For privacy, back the area with large-leafed variegated ivy or other evergreens and fringe with frothy perennials and colourful annuals.

Take shelter Below: In more exposed locations, a sunken patio lined by low walls still allows you to gaze over views, while protecting you from the wind.

This intimate space at Follers Manor in the Sussex Downs is formed by sinking the patio and lining it with low, flint walls. The design by Ian Kitson follows the contours of the surrounding borrowed landscape, with the serpentine walls echoed by sinuous planting. Simple clipped buxus hedging and repeated ribbons of crimson penstemon, drought-tolerant purple salvias, and accents from spires of phlomis accentuate the design.

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Gardens

Go with the flow Above: For a real talking point, accompanied by the visual delight of a water feature, incorporate a geometric formal pond in your cottage patio design. This could be a series of small ponds in place of some of the pavers, a larger single pond or an engineered rill designed by a specialist.

Formal ponds are symmetrical, typically rectangular, square, round or hexagonal, with defined edges, and with the water level sitting just below the paving surface. To fully enjoy the mirror-like qualities of the ever-changing reflections, don’t over-plant the surrounding area.

Colour confidence Above right: Brighten your patio with painted structures. Try colour psychology, such as orange and yellow to stimulate appetite, bright tones to boost the mood, or tranquil harmonious cool and calming tones for a space to relax in.

‘Preparation is key when painting to ensure the longevity of outdoor structures and furniture. These things are likely to face all conditions throughout the year. For wooden items it is vital to fill cracks, holes and other imperfections using wood filler,’ says Michael Rolland, MD of The Paint Shed.

Sand and prepare the surface and choose the right type of paint. ‘Not checking the weather before painting is a common mistake. You may think that painting in full sun will speed up the process, but the faster the sun dries the paint, the more mistakes there will be, such as drag marks and dried drips.

Overcast and warm is ideal,’ adds Michael.

Salvaged style Above: Have fun finding interesting reclaimed pieces to use, from seating to decorative detailing.

Scour local salvage yards or community websites.

Dressing your outdoor area in a unique way with handcrafted or homemade upcycling will add individual personality to the space, while also saving items from going to landfill.

Timber offcuts or pallets could be reused for seating or to form a vertical garden, old crates can hold containers, and there are always lots of galvanized items, such as old coppers and troughs for use as characterful planters.

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Hide away Above: Position a cottage patio in a secluded spot hidden away from the wider garden – a secret place for a meal, or to sit and enjoy your favourite novel with a cup of tea. Immerse yourself in a touch of wildness with self-sown flowers popping up, vines entwining supports, eclectic pots, and encircling shrubs, for a secret patio feel.

Plants such as Alchemilla mollis, erigeron and Sisyrinchium striatum will find their way into nooks and crannies. Wafting ornamental grasses and perennials are lovely enclosing the space to create your garden escape. A curved bed partway round the patio could form a living framework that divides the area.

Fresh taste Left: Edibles don’t just belong on the veg plot.

Incorporate them in your cottage patio design and enjoy their beauty as well as the ease of harvesting, for a seating or dining area with a difference.

Look for compact varieties of crops for containers, climbers for cane supports, and try low-growing edging with wild strawberries or ribbons of thyme to utilise the space creatively.

‘Help yourself’ takes on a whole new meaning with homegrown organic garnishes to hand.

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Wild at heart Willow artist Katherine Miles creates life-size woven animal sculptures from her Devon workshop, inspired by local wildlife Words and photographs Suzy Bennett

136 Period Living

Made in Britain

Working in a local woodland, Katherine uses secateurs to add the finishing touches to the nose of a Highland cow, destined for a private garden in the Cotswolds, while a recently completed stag looks on.

Highland cattle and deer both roam freely on Dartmoor. Katherine’s partner, blacksmith Greg Abel, makes the simple steel frames onto which she weaves her animals

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atherine Miles can pinpoint the moment she knows her willow animal sculptures are going to be a success. ‘There’s a stage in the weaving process when they suddenly become creatures, and I start talking to them and acting differently around them,’ she says. Her other test of authenticity is how her sculptures’ real-life counterparts react to them outdoors. ‘I know my animals look convincing when dogs and horses act as if they were real. It’s usually only once they’ve smelled them that they cotton on.’

The Devon-based willow weaver pauses from our chat to check that her latest creation – a life-sized lion with a magnificent mane made from contorted willow and tufts of dried twigs – is symmetrical. It’s one of dozens of beasts that make up the still-life zoo that is Katherine’s studio, a Unitarian chapel on the outskirts of the artisan town of Moretonhampstead, Dartmoor National Park. Surrounding us are willow sculptures inspired by the wildlife Katherine sees during walks on the moor with her dachshund puppy, Olive, including hares and horses, sheep and stags, cows and chickens.

Over the coming weeks, these animals will be decorating her clients’ gardens, homes and businesses. The stag is for a lake side, two running horses will go in a field on a private estate, while the huge head of a Highland cow will be mounted to a wall in a restaurant. ‘It’s a more sustainable and tasteful take on a trophy head,’ says Katherine.

My customers regularly send me photos of the animals and tell me what they’ve named them.

It’s as if they become their pets.’

Ever since she was old enough to play with plasticine, Katherine has been making animal models, and has ‘always been obsessed with the animal kingdom.’ In 1994, she set up an environmental photographic library, then worked as a freelance picture editor for the World Wildlife Fund and Greenpeace. After taking short courses in basketry and hazel-weaving, in 2009 she was inspired to start weaving willow animals for family and friends, who encouraged her to start 138 Period Living

selling her products at a local market. By 2011, Katherine felt confident enough to turn willow weaving into a full-time job.

Her biggest commissions have included a 28-foot-long T-Rex for a local nature reserve and a 35-foot-long dragon for Hampton Court Palace, while her quirkiest was a badger, commissioned by a pensioner who wanted an animal to accompany him into the afterlife. ‘It was the most touching job I’ve ever had,’ she says.

By Katherine’s own admission, she is a messy worker, and many of her foraged finds, collected as inspiration for her sculptures, are scattered over her workshop floor. It’s the perfect playground for little Olive. As the late afternoon sun pierces through the chapel’s stained-glass windows, the puppy dives headfirst into piles of rustling grasses, nibbles a ram’s horn and gleefully tosses around giant fir cones.

Before beginning a piece, Katherine studies photographs, anatomy books and natural history programmes to work out exactly how the animal moves. Then she designs a basic iron frame comprising a backbone, legs and a rod for the head and tail, which her partner, blacksmith Greg Abel, makes in his Victorian forge, just across the road.

Before she can start weaving, Katherine soaks her willow in water for five days until it’s malleable enough to shape. ‘My customers say they love the smell of willow, but I think they over-romanticise it. To me, it smells of stagnant water!’

I watch as Katherine clips willow pieces with her secateurs, then prods them into the lion’s haunches to build up muscle. ‘Creating a sculpture is like life-drawing, only instead of using a pencil, I’m drawing with willow. I find it very meditative.

I occasionally suffer from anxiety, but as soon as I put my hands on willow, I feel calm again.’

Thanks to today’s safe, low-energy light bulbs, Katherine has recently been able to add something new to her repertoire: birds’ nest-shaped lampshades, made out of foraged sticks and dried flowers. ‘I’d never have been able to do this with hot tungsten bulbs because of the fire risk,’ she says. Rook nests are her favourite ‘because I see them in the pine trees every morning on my dog walk,’ but she’s also experimenting with magpie nests. ‘The shades cast lovely dappled shadows on walls and ceilings through the twigs.’

I leave Katherine as she starts work on a new Dartmoor pony. ‘The last time I made one of these it was for the Miniature Pony Centre in North Bovey,’ she says. ‘All their ponies came running up to it as if it was a new member of their herd.

Let’s hope this one is just as convincing.’

For more details on Katherine’s work, visit artisan-willow.com or call 07762 387347

Made in Britain

Clockwise from above: Accompanied by dachshund puppy, Olive, Katherine stands at the studio door holding a bolt of willow; a stag and his partner; herons are often commissioned to stand by ponds or lakes – or to forage in a vegetable patch; casting a romantic glow, Katherine’s rook lampshades are inspired by the birds’ nests she sees on dog walks on Dartmoor; hares are her most in-demand creation

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At her studio, a former Unitarian chapel in the Dartmoor town of Moretonhampstead, Katherine weaves the last pieces of willow into a pheasant. She is surrounded by her creations, including a stag, horse, sheep and hare. ‘I’m not satisfied with an animal until I feel I can talk to it. It’s only then that it comes to life,’ she says

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FUN OF THE FAIR On Sunday 3 September, Wanstead United Reformed Church in East London will be opening its doors to visitors in search of vintage and antique treasures. Hosted

by Wanstead Vintage, the event will be held over two large halls filled with a roster of stallholders, selling items from the 1800s through to the 1990s – from furniture and objets d’art to jewellery and fashion. A café will be serving a delicious selection of homemade light lunches, cakes and drinks. (wansteadvintage.com)

TALKING SHOP The owners of Ivy Joan online boutique escape to France three times a month to source antique and vintage pieces, which are perfect for adding finishing touches to both period and modern homes. Paintings, stoneware pots, tureens, tableware and an occasional offering of rustic furniture can be found alongside the brand’s own handmade candles and pottery pieces based on old French finds. With an eye for the romantic French farmhouse aesthetic, the owners list items by collection, with fresh stock added regularly. (ivyjoan.co.uk)

Feature Alice Roberton Image (Talking Shop) Beckie Egan Photography

CHANGING SEASONS From neoclassical stately homes to the finest developments in London, Camilla Clarke of Albion Nord creates interiors that embrace antiques. Here she shares her tips on taking a space from summer to autumn How do seasonal changes alter the mood of a room? The seasons are so prescriptive when it comes to our desires – the summer requires a space that feels cool, airy and fresh, while the autumn makes us crave the comfort of soft throws, warm woods and wool rugs underfoot. Embracing the shifting seasons and making small but impactful changes in the home is a mindful, intentional way to approach interior design which can create and change moods.

What seasonal changes would you suggest?

Switching up bigger pieces of furniture can

be difficult, especially if you plan to do this seasonally, so using antique accessories and objets can be a great way to adapt the home to the changing seasons. Autumn is all about high texture and rich colours, so the pieces you place in your home should add drama and depth. Ornate brass candlesticks with lit candles on a coffee table or sideboard will encourage a cosy, considered and restful space. Wicker baskets are perfect for storing throws or firewood, or for holding plants, and antique stoneware cider jars or glazed vases do a wonderful job of displaying foraged branches.

MONEY FOR OLD ROPE If you’re in need of a declutter and have unwanted antique or vintage items taking up space in your loft or cupboards – such as jewellery, watches and clocks, coins, medals and boxed cutlery, or other small items – then you might like to engage Vintage Cash Cow’s services. Working to give every last piece – whether broken, incomplete or in working order – a new lease of life, its easyto-use online and postal-based service will turn your old unwanted items into cash and ensure they don’t end up in landfill. (vintagecashcow.co.uk)

Autumnal interior created at Benham Park using antiques, including a simple stoneware pot containing dried flowers

What’s your top tip? Don’t be afraid to mix and match antiques from different periods or countries. The coalescence of the variety of textures, silhouettes and stories make for a layered, personal and unique home, whatever the season. (albion-nord.com) Period Living 143

19th-century samples from famous SaintÉtienne makers

Silk ribbons from a European Grand Tour in 1858, originally collected by an American lady

Stored ribbons, including Moire silk ribbons for war medals (far right)

MEET THE COLLECTOR NATALIA WILLMOTT, RIBBONS What I collect: I have been collecting antique and vintage ribbons for the last 15 years. I find the range of designs and colours, and the sense of history hugely appealing.

Most of my pieces date from 1870 to the 1920s, with many coming from the archives of SaintÉtienne makers that have now closed down. SaintÉtienne near Lyon was a centre for silk production and ribbon makers from the last third of the 18th century. I have ribbons from famous French makers such as Staron, Belinac & Durieux and Julien Faure.

antique and vintage ribbons.

The cushions are a great way to show beautiful designs in a unique way.

Why I collect: I love finding new pieces and am always amazed at how a design, say from 100 years ago, can still be so modern and current today. I find great inspiration in those designs. In fact, I started a whole business around ribbons called My Billet Doux (mybilletdoux.com), where I make love note cushions adorned with

My collection highlight: I have a small collection of ribbons collected by an American lady who went on a ‘Grand Tour’ of Europe in 1858 and collected a ribbon from each city she visited.

I also have an original design of a ribbon I had in my archive dating from the 1890s – it’s so lovely to see how a design has been interpreted over time.

How I collect: I source ribbons everywhere I go and have found them in fleamarkets, at auctions and through specialist dealers. My collection isn’t based on a particular theme; however, I like great designs and colours and only buy pieces in good condition. I love pieces that are unusual in technique – for example, the velours au sabre, a complex weave structure that was a specialty of the Lyon silk industry. I have around 3,500 ribbons in total.

WHAT’S HOT CRYSTAL DROP CHANDELIERS Thomas Feeney, company director of Agapanthus Interiors, sheds some light on these elegant antiques ‘The charm of chandeliers is their history, the lineage of the form and function, and the beauty of design and craftsmanship. Each country, region and era boasts its own unique style, and all remain popular. Crystal chandeliers with drops date from as early as the 16th century; the drops were originally cut from quartz rock-crystal, but by the 18th century advancements in glass making meant that cut-glass and lead crystal drops were used throughout Europe.

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France is home to many great glass chandelier-producing houses, such as Baccarat and Vannes-le-Châtel, which were founded in 1764 and 1765 respectively and are still producing amazing crystal lighting today. The Czech Republic produced beautifully clear Bohemian glass chandeliers with swan necks, chromed fittings and hand-cut crystal drops. Great waterfall chandeliers with their cascade of glass icicles are always popular, and English makers like W.A.S. Benson remain highly collectible.’ (agapanthusinteriors.com)

Early 1900s English crystal balloon chandelier, £895

Antiques Focus

Garden adornment Alice Roberton takes a step back in time to learn the history of garden statues and why they are still an asset today

Feature Alice Roberton

T

hroughout time, garden statues have adorned public spaces, important buildings and private gardens. This can be clearly seen in sculpture and statues from classical antiquity – the period of cultural history between the 8th century BC and the 6th century AD centred around the Mediterranean Sea – and earlier. Statues brought to life the idea of mythology, idealising beautiful goddesses, gods of beyond human strength, mischievous putti or cherubs and many more. They also celebrated great warriors, cultural leaders and were a record of important events.

Many of the statues we regard as familiar faces in our gardens and interiors today can be followed back to Greek and Roman originals. Great examples are the Riace bronzes, or Riace Warriors – two full-size Greek bronzes of naked bearded warriors, cast around 460–450 BC. The Italian Renaissance of the 15th and 16th centuries saw notable interest in sculpture revived from classical antiquity combined with a new knowledge of the science of anatomy. There were many surviving Roman statues in Rome, and at the time many others were being excavated and housed by private collectors. This inspired forward-thinking artists and sculptors such as Donatello, Michelangelo, Brunelleschi and Jacopo Sansovino.

Florence dominated Renaissance sculpture and the church provided the majority of funding for public monuments.

The city’s guilds were also key patrons, while the wealthiest families, the Medicis and Strozzis, commissioned exceptional artists to produce private sculpture for their interiors and to adorn their gardens.

This was a symbol of their status and power, and showed their understanding of culture. Cosimo de’ Medici’s Villa di Castello, outside Florence, was one of the most important – the gardens of the Villa had a profound influence upon the design of the Italian Renaissance garden, and later the French formal garden.

The 17th to 19th centuries were defined by the Grand Tour, undertaken by young European upper-class men. Italy was a key destination, so many statues made their way back to Britain in stone, bronze, lead, composite, and sometimes wood.

British architect, landscape architect and garden designer Harold Peto lived at Iford Manor in Wiltshire from 1899–1933 and designed what would become his best-known gardens, now Grade I listed.

Owner and managing partner of Iford Manor Estate, William CartwrightHignett, reflects upon the property and gardens his mother Elizabeth CartwrightHignett acquired in 1965 and offers his thoughts on the virtue of garden statues.

‘Gardens, it seems to me, should be sanctuaries – so “balance” is key in their design. The use of statues, particularly historic statues who bring with them their own stories, offer a balance to the soft planting, and the more modern aspects of gardens today. Finding a balance between the man-made and the natural, the hard and the soft, the old and the new – statuary and structures, indeed modern sculptures too, can help with all these axes of balance to achieve a design which is in equilibrium with itself.’

Specialist garden statue dealer and owner of Chris Holmes Antiques, Chris Holmes discovered a love of the subject as a young man visiting Italy. ‘I particularly visited the area around Naples and fell in love with classical art and history, and the romance of the beautiful Italian gardens,’ he says. ‘I later travelled to France buying antiques and was inspired

by French formal gardens. Closer to home, it’s impossible not to be enthralled with our great country houses and their amazing garden collections.’

Chris is an advocate of using garden statues indoors as well as outdoors. ‘Statues have never been unpopular and striking poses in both gardens and interiors they will be forever fashionable, whether picked up at a fair or salvage yard for under £100 or costing thousands,’ he adds.

Sunshine Antiques sells predominantly architectural antiques, garden salvage and statutory online and at Arthur Swallow Fairs’ events. Its owner Angela Whittle believes that garden statutory is always popular. ‘It can be enjoyed in many ways, from creating a focal point to drawing the eye to a hidden corner,’ she says. ‘Quality antique pieces are an investment that one can enjoy and pass on – so if you fall in love with a piece, don’t hold back!’

Above: A statue of Bacchus, the ancient Greco-Roman god of wine and festivity, at the Harold Peto designed gardens at Iford Manor, helps to create a sense of balance Below: Raice warrior statue, c.1920 Bottom: Medici lion statue, mid-20th century, both Chris Holmes Antiques

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Exploring Heritage

Cragside

Feature Katie Jarvis Images ©National Trust Images/Andrew Butler

Discover the story of the original smart home, full of inventions and wonder

Illuminated by hydroelectricity and powered by hydraulics, the interior workings of this sandstone Arts and Crafts mansion are as impressive as the silhouette it strikes

Period Living 149

Below: The library is home to four of Joseph Swan’s original incandescent lights. The stained-glass windows were designed by William Morris

Renewable energy Warships are hungry for fuel, and Armstrong wasn’t alone in worrying about the amount of coal that behemoths such as these gobbled up. His dream

was to tap free energy from natural, renewable resources. And he figured that the answer to powering his own home lay in the waters of this hidden valley. ‘This dream of his wasn’t based on concerns about the environment,’ explains Cragside’s property curator, Clara Woolford.

‘Free energy made good financial sense. Other major scientists shared his obsession. Armstrong built his first power-house here in 1878, generating electricity using a Siemens dynamo. A few years later, in 1881, the world’s first commercial hydropower station was built at Niagara Falls.’

Inspiring inventions For Armstrong and his wife, Margaret, Cragside wasn’t just a place to privately indulge his inventiveness; it was also a major showpiece for business. If he could sell warships and armaments on an international scale, success would be assured. He wasn’t wrong. Illustrious guests – who went on to become clients - flocked to see the palace of ‘the Magician of the North’. The King of Siam, the Shah of Persia, and two future Japanese Prime Ministers were among those to stay at Cragside, marvelling at its futuristic gadgets. Even the Prince of Wales (King Edward VII-to-be) and family took advantage of this state-of-the-art hospitality. The Crown Prince of Afghanistan was a more conservative visitor; he caused a frisson in 1885 when his retinue of 50-odd staff eschewed the delights of the modern kitchen. The Newcastle Daily Journal was agog to report that his cooks insisted on killing animals themselves, before preparing meals over simple charcoal fires.

Images (library) ©National Trust Images/Andreas von Einsiedel; (kitchen) ©National Trust Images/James Dobson; (garden) ©National Trust Images/Andrew Butler; (hydroelectric screw) ©National Trust Images/Chris Lacey

Y

ou could be forgiven for thinking – for the most fleeting of seconds – that Cragside House grew organically out of Northumbrian moorland, as self-seeded as the yellow gorse and purple heather on the slopes that surround it. With its walls built from fell sandstone, blasted out of the Debdon Valley it overlooks, and encircled by a rugged rock garden, Cragside certainly creates the illusion of being part of the natural world. William Armstrong, who bought the land in 1863, wasn’t looking to create the kind of managed parkland so favoured by his peers. He chose this inaccessible spot – where he had spent happy childhood holidays – for love of its craggy outcrops and steep valley sides.

However, he also chose the site for another reason: the powerful watercourses – the Blackburn and the Debdonburn – that wrap around this dramatic estate, and for which Armstrong had big plans.

In Cragside, Armstrong created Britain’s original smart home: the first house in the world to be lit by hydroelectricity. Armstrong was an inventor, whose brilliance was deployed on weaponry that helped Britain to victory during the Crimean War. As he reached his sixties, thoughts of retirement were far from his mind. Instead, he stepped away from government work to concentrate on private enterprise, building the warships at his Elswick shipyard that would make him his fortune.

Exploring Heritage

Above: Even the servants’ quarters didn’t escape Armstrong’s ingenuity.

The kitchen features a waterpowered rotating turnspit, an early dishwasher and a hand-operated ‘dumb-waiter’ for hoisting items up from the scullery and pantries Left: The 1,000 acres of land

surrounding Cragside embody nearly every style of garden including formal planting, a pinetum, a rockery and a tropical fernery Below: The Archimedes screw hydroelectric turbine uses water from Tumbleton Lake to generate power for the house

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Cragside’s permanent staff, on the other hand, had to get to grips with a kitchen equipped with hot and cold running water, a ‘dishwasher’ and electric plate-warmer; there was even an internal phone system. ‘The hydraulic lift Armstrong installed – adapting technology he used at docksides and warehouses to lift cargo off the ships – would have been of very tangible benefit,’ Clara says. ‘It saved staff a lot of work in terms of moving heavy luggage and coal-buckets from floor to floor.’

Dangerous and experimental

Above: This panelled room is the Office of the Caretaker of the Electric Light. This is where the caretaker ran the Power House and ensured that electricity was supplied when needed Right: Several internal phones connected key rooms Below: The drawing room (added in 1864) had to be built into the cliffside in order for the structure to be able to support the tentonne Italian marble fireplace

Servants might, however, have felt more ambiguously about the spanking new incandescent light bulbs, invented by Armstrong’s friend, Newcastle chemist Joseph Swan. Unfortunately, the light-switch had yet to be invented. Instead, bulbs were inserted into converted cloisonné vases, sitting in a charged bowl of mercury. ‘To turn them off, servants – wearing gloves to avoid electrocution - had to take the vase out of the mercury. It was incredibly dangerous and really experimental.’

Armstrong was also a man obsessed with time.

At the bottom of the main stairs is a mini weatherstation with a Dent regulator clock so accurate it used the same type of mechanism as Greenwich.

A pair of electric gongs summoned guests to meals.

Woe betide anyone who missed breakfast on the dot of eight, luncheon at half past one, tea at five, and dinner at half past seven. Yet the Armstrongs were generous entertainers. ‘We have a lovely example

Images (office) ©National Trust Images/Andrew Butler; (phone) ©National Trust Images/James Dobson; (stairs) ©National Trust Images/Andreas von Einsiedel; (bedroom and dining room) ©National Trust Images/Nadia Mackenzie

Exploring Heritage

of this in the Cragside ‘Glee’ book: a collation of popular songs for singing round the piano. There was one party where Lady Armstrong – a warm and talented hostess - dressed up as Cleopatra; she was in her seventies at the time,’ says Clara.

Most important Victorian house Cragside was more than just a technological wonder. As the Armstrongs became wealthier, their ever-expanding house – designed by architect Richard Norman Shaw in two phases – became an exemplar of good taste. Many early purchases – such as William Morris wallpapers in ‘Trellis’ and ‘Pomegranate’ – were straight out of middle-class catalogues. As money rolled in, however, a bespoke sense of design took over.

The library’s stained-glass windows were custommade by Morris & Co. A stone frieze of birds and hunting dogs was carved for the room by James Forsyth, Norman Shaw’s favourite craftsman.

More eclectically, the Moroccan leather furniture commissioned from Gillows lends a Moorish feel.

Cragside’s drawing room is a masterpiece, defined by a magnificent elliptical glass ceiling.

Astonishingly, its marble fireplace – an extravaganza designed by future Arts and Crafts architect William Lethaby – stands six metres tall and weighs an estimated 10 tonnes. The carving was carried out by Farmer & Brindley, which also created the intricate moulds on the exterior of the National History Museum.

‘Visitors go up two flights of stairs to reach the fireplace but, because of the topography, it’s actually supported by the crag, not the floor,’ Clara says. ‘It is possible to climb through the skylight and access behind the fireplace, where you can see numbering on the marble blocks showing how they fitted into place: a prefab fireplace!’

Architectural writer Mark Girouard rated Cragside the most important Victorian house in England.

As a result, the National Trust acquired it in 1977.

Making a legacy William Armstrong achieved wonders in his 90-year span: eminence in science; lauded inventions and riches beyond the dreams of his modest beginnings.

During the Golden Jubilee of 1887, Queen Victoria honoured him as the first engineer to sit in the House of Lords.

As far as he was concerned, however, Cragside was his life’s work. ‘What made Armstrong his money were the warships and the armaments; these provided the funds to create something on the scale of Cragside,’ Clara says. ‘His passion was for landscape, for experimentation with natural forces, and for the shaping of a place – Cragside brings all those things together.’

Above left: The walls of the stairs to the Gallery are lined with majolica-style tiles designed by Frederick Garrard and the stainedglass windows were designed by William Morris.

The Bronzes on display depict scenes from Roman history Above right: The Yellow Bedroom with William Morris’ wallpaper, reprinted in 1978 from original blocks of 1864. The commercial furniture is in the Quaint Style of around 1890

Cragside House is open daily until 30 October, followed by weekends throughout the winter; the grounds remain open all year. Please check the website for updates: nationaltrust.org.uk/cragside Period Living 153

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Craft

YOU WILL NEED: ● Patterned fabric ● Contrasting hessian fabric ● Matching thread ● Length of dowel (ours measures 85cm) ● String

K

eep track of your planting plans with a handy gardener’s year planner. It’s pretty yet practical in design; month-by-month pockets make staying organised a breeze, providing plenty of space to store seeds, string, plant markers and more.

1. Measure and cut out H170xW80cm of your main fabric.

Wrong-side facing, fold the fabric in half width ways and pin up the long edges, taking a 2.5cm hem. Sew the sides, then turn right-side out. Remove the pins and press.

2. Make a channel for the dowel by folding over a 2.5cm section at the top remaining raw-edged end of the fabric onto the reverse side of the hanging. Fold and pin. With 162 Period Living

● Card ● Alphabet

stamps ● Stamping ink ● Scissors ● Pins ● Craft glue

a sewing machine, secure this into place, then press. This channel is now the top of the hanging.

3. Measure and cut out the two contrasting hessian pockets (H25xW80cm). Fold, pin and press a 2.5cm hem all around.

Lay both on top of the main fabric at equal intervals. Pin then sew along the side and bottom edges. Measure and create six pockets along the hessian then machine stitch or tack down each separating line to form the pocket.

4. Cut out labels from card and stamp out the monthly name cards with the alphabet stamps. Secure the card in place with a strong all-purpose craft glue. Push the dowel rod through the top channel, tie string around the ends and hang up.

Feature Sara Bird Styling Marie Nichols Image Mark Scott

Sew and sow

Discover how to craft this decorative gardening year planner to store seeds and labels, with easy step-by-step instructions

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