November 2017
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C ON T E N T S November 2017 Living with art
ON THE COVER The main bedroom of Edward Bulmer’s house in Herefordshire (pages 150–159), photographed by Lucas Allen Cover stories are in colour
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Out and about Our new columnist Laura Houldsworth reveals the latest launches and her best buys
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In crowd Reader events and The List
62
Spirit of Christmas Highlights of the shopping event at Olympia London
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Contributors
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From the editor
Books In an extract from a new book about Parnham College, alumnus David Snowdon recalls his time there
Shopping Charlie Porter lays out a characterful selection of patterned rugs
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Notebook What’s new in fabrics, wallpaper and home accessories
Swatch Gabby Deeming cultivates texture with rough and fluffy fabrics
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Wise buys Rémy Mishon selects side tables for under £200
Rita notes Rita Konig vouches for the delight a pile of blankets can bring
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News and views A preview of the Holiday House charity design show; Ikea’s collaboration with Hay; and diary dates
Profile Emily Tobin talks to weavers Caron Penney and Katharine Swailes about recreating paintings on the loom
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From Milan to Mayfair Becky Sunshine meets three of PAD’s Italian exhibitors
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Portrait of the artists The creative collaboration of Mr and Mrs Philip Cath has pervaded all areas of their lives. By David Nicholls
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VOLUME 72 NUMBER 11
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Ho u s e & G a rd e n’s invaluable guide to the ar t world
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Outside interests Clare Foster finds fresh gardening inspiration; plus a focus on planting tulip bulbs
DE COR AT I NG
LIFESTYLE
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
Contents continued
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EDIT: INTERIORS, GARDENS, STORIES 136 Where the art is This Victorian house in London, designed by Shalini Misra, was almost doubled in size to make room for its owners’ dramatic collection of contemporary art. By Nonie Niesewand 144 Setting the tone A striking hall makes a big impression in this London mansion flat, in which interior designer Jane Churchill has created detailed rooms with a focus on modern living. By Elfreda Pownall 150 Balancing act Edward Bulmer has remodelled the layout of his Queen Anne house in Herefordshire, adding a new wing and painting the walls in interesting colours. By Caroline Clifton-Mogg 160 Reaching a high point Called upon to create a house that would fit the Suffolk landscape, Mole Architects came up with an intriguing sloping structure with a focus on dramatic river views. By Dominic Bradbury 168 The knowledge Inspired by the houses in this issue, Bethan Hyatt gives directions on how to achieve similar style 170
Repeat motif Gabby Deeming and Ruth Sleightholme create impactful room schemes using matching wallpapers and fabrics
176
New garden design talent: Matthew Reese Clare Foster meets the Great Dixter alumnus and gardener of a Hampshire estate
180 Elevated nature Influenced by the eighteenth-century Picturesque movement, Millichope Park’s immaculate lawns, walled gardens and follies are a study in historic landscaping. By Clare Foster
F O O D & T R AV E L 187
Comfort season Chef and restaurateur Sally Clarke creates warming recipes using the best of British autumnal ingredients
193 Taste notes Blanche Vaughan shares her news, reviews and tips for cooks and food lovers 194 Designer haunts Trevyn McGowan, co-founder of design platform The Guild Group, takes us on a tour of Cape Town 197
A perfect weekend in... Dubrovnik Fiona Smith explores the spectacular walled city and its bordering islands
198 A bright future From the ancient magnificence of Angkor Wat to the mid-century coastal charm of Kep, Pamela Goodman discovers a Cambodia recovering from its painful, war-torn past
E V E RY I S S U E 67
Subscriptions How to subscribe to House & Garden in the UK and US
200 Stockists 216 Self portrait Wallpaper designer Marthe Armitage paints a picture of her life, work and inspirations
Redef i n i ng H i stor y
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CON T R I BU TOR S
SHALINI MISRA Interior and architectural designer ‘A room should stir the senses. The most important thing is its ability to create mood and make you feel and think,’ says Shalini Misra, who designed the beautiful, artfilled Victorian house featured from page 136. Her ‘continuously evolving love’ for architecture and interiors began at a young age, when she became interested in combining maths with art. The house featured in this issue was a favourite because of its ‘perfect mix of luxury and creativity’, a result of Shalini’s careful eye and the owners’ art collection. Her own art collections are the result of 25 years of collecting and include works by contemporary British artists such as Ged Quinn and Julian Opie, and more conceptual pieces by Turkish artist Sarkis.
When he was at school, Michael Sinclair’s three career choices were photographer, airline pilot or session musician. After working as the producer of a pop group whose music charted at number 76, he decided that ‘photography was the way to go’. He credits skateboarding with opening his eyes to ‘visual creativity’ and draws inspiration from documentaries such as The Salt of the Earth by Wim Wenders and Juliano Ribeiro Salgado, which is about the photographer Sebastião Salgado. His work inspires the way he decorates: ‘I inevitably return from shoots with new design ideas.’ For this issue, he has captured the Chelsea house designed by Shalini Misra (from page 136).
Where do you go to see great photography? ‘The National Portrait Gallery and The Photographers’ Gallery. On Instagram I follow @ignant, @somewheremagazine and @nowness.’
Where is your favourite place to buy artworks? ‘I love to discover new artists, so I often buy from the Royal Academy of Arts Schools Show.’ MEREDITH BOWLES Architect Meredith Bowles identifies the houses that he is working on by the features of their surrounding landscapes – ‘a new courtyard house beside a beautiful ash tree’ and ‘one by the coast with amazing views’. As one might expect, the houses his company Mole Architects designs are carefully informed by their surroundings. Marsh Hill in Suffolk (from page 160) typifies this approach. With its dramatic river views and sleek, sloping structure, it is, he says, ‘surprising, but somehow feels right’. After a stint in New York, Meredith now lives in Cambridge, citing the college court structure as ‘a model for living that has had a great impact’.
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To view the House & Garden Collection of sofas and chairs, designed with Arlo & Jacob, visit arloandjacob.com Fabric background: ‘Bangalore Floral’ (red), by Jasper Michael S Smith, from Jamb
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
JAKE CURTIS; ERIC STAUDENMAIER
Autumn is a busy time for the interiors and art worlds. With just a few days to recover after the excitements of London Design Festival and all that it entails, Frieze, PAD London and a whole host of other art shows open their doors, ensuring we are still out and about soaking up what is new in the visual world. At House & Garden, fabrics and furniture may be our more obvious subject matter, but as I have said many times before, art – particularly of the sort that you might live with – is vitally important to us. So, to reflect all that is happening in the art world this month, November is our dedicated art issue. ‘Living with Art’, a special extra 28-page section (from page 91), not only highlights what is on this month, what to buy and how to hang it, but also looks in more depth at other aspects of the art world. We are all for encouraging people to buy pictures, hence our arts editor Emily Tobin’s selection of original art priced under £1,000 (a price we think is doable without our taking too much of a deep breath). But we are also keen to appreciate art for more than what meets the eye, or simply to satisfy a shopping urge. To illustrate a piece on the role of women, Emily gathered together 11 women holding prominent positions to be photographed at the Tate Modern. She also looks in detail at three paintings by different artists from varying viewpoints. And she travels to Somerset to see the embodiment of ‘living with art’: the Farmhouse at Hauser & Wirth gallery. It is beautifully restored and filled with specially commissioned pieces, and it is available to rent. Elsewhere in this issue, our Lifestyle feature ‘Portrait of the artists’ focuses on Mr and Mrs Philip Cath (from page 81), who not only work together but – more remarkably – work on the same piece at the same time. We reveal the beautiful and very personal Herefordshire house of interior designer and paint specialist Edward Bulmer (from page 150). It is filled with art of every kind – inherited Old Masters, pieces by him and his daughters and others by contemporary artists that have caught their eye. Quite different is a striking and highly considered London house (from page 136), for which the starting point for the designer Shalini Misra’s vision was the owners’ collection of contemporary art. Meanwhile, the interior design world has certainly not gone to sleep. In fact, more than 25 interior designers have been busily creating rooms in two north London houses for the Holiday House exhibition – see our News section (from page 37) for details. The designer showhouse is a popular concept in the US – Holiday House was founded in 2008 by Iris Dankner to raise money for breast cancer charities – but we have not had anything like this in London for decades. It promises to be well worth a visit
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Take to the floor CHARLIE PORTER selects patterned rugs to add colour and character to any room Clockwise from top left Cotton ‘Camilla Carpet’ (dark blue/multi), 274 x 182cm, $3,000, from Madeline Weinrib. Cotton and jute ‘Holden Chevron’ (hydrangea), 183 x 122cm, £1,000, from Ralph Lauren Home. Wool and cotton ‘Quadra’ (blue/pink), 170 x 240cm, £300, from Habitat ILLUSTRATIONS BETH HOECKEL
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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Clockwise from top left Wool ‘Lehariya’ (yellow), by Laura Spring, 230 x 160cm, £495, from Floor Story. Hand-knotted Tibetan wool ‘Terrazzo’, 183 x 122cm, £1,161, from The Rug Company. Hand-knotted wool and silk ‘Glimpse’, 235 x 170cm, £4,554, from Deirdre Dyson. Wool ‘AUBP 68347A’ (green/brown), £1,080 a square metre (274 x 180cm size pictured), from Stark Carpet. Hand-knotted Tibetan wool ‘Key Shadow’, by Suzanne Sharp, 183 x 122cm, £1,619, from The Rug Company. Hand-knotted wool ‘Cosmo Tibetan Carpet’ (blue/white), 274 x 182cm, $4,500, from Madeline Weinrib
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
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Clockwise from top left Wool ‘Kabru Radhi’ (cream/grey), 225 x 175cm, £820, from Stitch by Stitch. Handspun British wool ‘Casa Cliff Hanger’, by Kate Blee for The Rug Company, 305 x 244cm, £10,500, from Christopher Farr. Hand-woven wool ‘Mazandaran Kilim’ (ochre/ green), 270 x 206cm, £3,420.63, from Sinclair Till. Persian hand-knotted wool and silk ‘Malachite’, 305 x 243cm, £10,107, from Luke Irwin. Hand-knotted wool and silk ‘Serapi Queensbury Checker Raved’, by Jan Kath, 300 x 250cm, £21,000, from Front Rugs. Hand-woven wool ‘Amzour Striped Flatweave’ (brown/red/orange/green/neutral), 200 x 140cm, £200, from Habitat. For suppliers’ details, see Stockists page
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
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Notebook
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GABBY DEEMING shows us what has caught her eye this month 1 ‘Jardim’ beech, ash or oak and carbon steel or copper side tables, by Jader Almeida, from 50 x 25cm diameter, from €916 each, from Sollos. 2 ‘Gems’ (blue, red) and ‘Minerals & Rocks’ (yellow) découpage paper and glass trays, by Bridie Hall, 50 x 40cm, £295 each, from Pentreath & Hall. 3 ‘The Wave Longue’ beech daybed, 43 x 160 x 80cm, £4,000 excluding fabric, from Beata Heuman; covered in ‘Mirakel’ (black), linen, by Josef Frank, €160 a metre, from Svenskt Tenn
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AUSTUDIO/KEVIN LIZZIT/ELISE REVERCHON; DAVE GIBBONS; PIXELATE IMAGING
1 ‘Garrick’ iron chandelier (aged bronze), 68.5 x 65.2cm diameter, £375, from Neptune. 2 Rose Uniacke has opened a fabric showroom featuring velvets and linens in colours and neutrals, including this ‘Cotton Velvet’ (from left: hip, iolite, butternut, java, spruce), £75 a metre, from Rose Uniacke. 3 ‘Lyre Chair’ with beechwood legs, 88.5 x 69 x 94cm, £5,670 excluding fabric, covered in Irish beetled linen (green), from Max Rollitt. 4 Lacquered wood ‘Tray Tables’ (black, white), 55 x 37.7cm diameter; tray, £125; and stand, £120; from Nina Campbell. 5 ‘Frida’ earthenware dinner plate (pre), €112 for 4, from Caravane
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NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
1 The first collection from the new head of Fermoie’s studio, Rosie MacCurrach, includes ‘Cloud’ (06, 05, 04), linen, and ‘Sicily’ (03, 02), cotton, all £96 a metre, from Fermoie. 2 Nickel and glass ‘Signal Sconce’, 57.5 x 22.5cm, $875, from Workstead. 3 ‘Bermondsey’ leather and steel stool, 45 x 40cm diameter, £375, from Simon Hasan. 4 Oak and linoleum ‘Trestle Dining Table’ (red), by Studiomama, 75 x 220 x 100cm, £1,495, from Another Brand. 5 ‘Mirari’ glass lamp base, €1,050; with silk shade, 44cm diameter, €440; both by Nina Nørgaard and Helene Blanche, from Tapet-Cafe. 6 ‘Angelina’ hardwood and brass chair, in ‘Feather Fan’, cotton/linen, by Liberty for Anthropologie, 81 x 91 x 88cm, £1,398, from Anthropologie. For suppliers’ details, see Stockists page
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Side tables
Marble and iron ‘Luxe Round Side Table’, 46 x 56cm diameter, £195, from Oliver Bonas
Lacquered wood ‘Archway End Table’ (cream), 50 x 45.7 x 40cm, £198, from Anthropologie
Rubber wood, plywood and MDF ‘Leila Bedside Table’ (black), by Nina Campbell, 45 x 40cm square, £199, from Made
Oak veneer and powder-coated metal ‘Bonny’, 46 x 55cm diameter, £80, from Habitat
Ash wood solids and veneers ‘Grayson Storage Side Table’, 58 x 45cm square, £139, from John Lewis
Walnut ‘Watford Vintage Side Table’, 48 x 42cm diameter, £174, from La Redoute
‘Frida Rattan Side Table’, by Broste Copenhagen, 60 x 50cm diameter, £134, from Amara
Mango wood and brass ‘Gustavian Bedside Table’, 66 x 46cm square, £149, from Scumble Goosie
Birch plywood and steel ‘Tray Table’, 52.5 x 65cm diameter, £135, from Manufactum
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
For suppliers’ details, see Stockists page
CLIFF COLGATE/SPIKE IMAGING; GILES CHRISTOPHER/MEDIA WISDOM PHOTOGRAPHY
RÉMY MISHON presents a selection of stylish small tables for under £200
N e w M a t k i - O N E F r a m e d - E f f e c t We t R o o m Pa n e l Expert design. Beautifully engineered in the UK
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INSIDER | NEWS
By ELIZABETH METCALFE CLOCKWISE FROM FAR LEFT Natalia Miyar and Luxdeco’s design for a media room. A sketch of a bedroom by Turner Pocock. A main bedroom by Nicky Haslam and Studio QD
Strength in numbers
Twenty-five interior designers come together to create inspiring spaces in a charity exhibition
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here are few houses in which you would find neighbouring rooms designed by Nicky Haslam, Nina Campbell and Natalia Miyar. But head to 59 and 61 Hamilton Terrace in north-west London this month and this is what will greet you. These two recently developed houses will be the sites of interior-design show Holiday House, an offshoot of a New York City- and Hamptons-based initiative, making its London debut. Holiday House was set up in 2008 by American designer Iris Dankner to raise money for breast cancer research and awareness. Twenty years ago, Iris was diagnosed with breast cancer and, if it had not been detected as early as it was, she might have lost her life. ‘I realised that there was nothing in the design world that benefits women’s issues, such as breast cancer,’ says Iris. The premise of Holiday House is simple: a house is chosen, designers are each allocated a room and given carte blanche to decorate the space. The money raised through ticket sales is donated to The Breast Cancer Research Foundation, a US charity, which
will spend the money in the UK. ‘If people walk away with one or two design ideas from the house, that is great,’ says Iris. ‘But, it is also wonderful how the project encourages people to go for mammograms by providing information on the subject. There are so many men working on the project as contractors, painters and builders who talk about how their mothers or grandmothers have suffered from breast cancer.’ One of the houses this year will have a contemporary feel, while the other one will err towards the more traditional. ‘I want to show how the same space can be designed in different ways,’ explains Iris. ‘A challenge is making sure the interiors are as cohesive as possible. We give a few guidelines, as well as a colour palette to try and provide some continuity.’ This year, over 25 designers are involved, including Turner Pocock, Shalini Misra and Justin Van Breda, as well as Nicky Haslam, Nina Campbell and Natalia Miyar. Holiday House is open November 9–December 10. Tickets cost £20 and can be bought online at theholidayhouselondon.com To see more rooms, visit houseandgarden.co.uk/holidayhouse
D I A RY DAT E S
Our round-up of four not-to-miss events this month Wool Fusion
October 7–15 Pop into this exhibition – part of this year’s Wool Week – where you will see how wool can be applied to furniture, f looring and textiles. The show takes place at Carousel in Marylebone. Admission, free. campaignforwool.org
Cliveden Literary Festival
October 14–15 The line-up at this Palladian-style house in Berkshire includes a panel discussion on museums with Simon Jenkins, Nick Cullinan, Yana Peel and Hannah Rothschild. Admission, from £85; clivedenliteraryfestival.org
The Northern Antiques Fair
October 19–22 Antiques enthusiasts should make a beeline for The Northern Antiques Fair in Harrogate where 35 specialist dealers will be selling furniture, fine art and accessories. Admission, £7.50; northernfair.com
Measure Draw Build
October 25-November 26 Head to RIBA to see a selection of architectural drawings and design sketches by classical architect George Saumarez Smith, of Adam Architecture. Photos of his finished projects will also be on display. measuredrawbuild.co.uk
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
INSIDER | NEWS
SEEING THE LIGHT
NORTHERN CONNECTION
KEEPING IT IN THE FA M I LY
CLOCKWISE FROM RIGHT May Morris. ‘Honeysuckle’ wallpaper, by Morris & Co. An embroidery design for Melsetter House in Orkney NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
As a new exhibition at Walthamstow’s William Morris Gallery shows, the Arts and Crafts innovator’s youngest daughter May Morris made a significant contribution to the decorative arts in the late nineteenth and early twentieth centuries. Not only was she an accomplished embroiderer – she took charge of Morris & Co’s embroidery department at the age of 23 – but she also designed textiles, books, dresses and jewellery, and painted watercolours. She set up the Women’s Guild of Art in 1907 as a female equivalent to the Art Workers’ Guild. May Morris: Art & Life brings together her designs, sketches and letters, including her 1883 ‘Honeysuckle’ wallpaper, still in production by Morris & Co. October 7–January 28. Admission, free. wmgallery.org.uk
Ikea has teamed up with Danish brand Hay – the company known for its contemporary take on mid-century design – to create a range of furniture and accessories. It includes everything from vases and throws to sofabeds and plank tables. The ‘Ypperlig’ collection, which launches this month, includes plenty of the details you would expect from Hay – paredback beech furniture, a muted colour palette and elegant contemporary shapes. ikea.com | hay.dk FROM TOP ‘Ypperlig’ wall shelf, 100 x 54cm, £12; vase, 30cm high, £18; chair with armrests, 83 x 55 x 51cm, £40; all from Ikea
OWEN GALE; © WILLIAM MORRIS GALLERY, LONDON BOROUGH OF WALTHAM FOREST; © NATIONAL MUSEUMS SCOTLAND; BO BERGENSTRÅHLE
The beady-eyed may have seen Viola Lanari’s name on House & Garden’s decoration pages over the past couple of years, when she was our acting senior stylist. Having also done a stint at World of Interiors and worked with the textile designer Kirsten Hecktermann, Viola has now branched out into product design, creating plaster table lamps, candlesticks, picture frames and pendants. ‘It all started with a pair of ugly lamps in my bedroom,’ says Viola. ‘I decided to cover them in plaster of Paris.’ She covers lamp bases in plaster, building it up in layers, using wire and newspaper to create petals, abstract figures and other shapes. She moved to a studio in south London last year, and has gained multiple designworld fans, including Beata Heuman and Adam Bray. Her designs can be made to order or bought through ritakonig.com; from £190. violanari.com
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INSIDER | NEWS
From Milan to Mayfair Since its inception 11 years ago, the twentieth-century art and decorative arts fair PAD London has been dominated by British and French galleries. But with the arrival of some new Italian exhibitors, the landscape is changing. BECKY SUNSHINE meets three of them
‘I like to discover and grow, to give young designers possibilities’
DANILO SCARPATI
GALLERIA ROSSANA ORLANDI
Ever since Rossana Orlandi, a former knitwear designer, opened her shop-gallery in a former tie factory in Milan in 2002, she has been labelled one of the world’s great tastemakers, a visionary with an eye for the new and experimental. Her main focus is nurturing new talent, a subject for which she has boundless enthusiasm. ‘I like to discover and grow, to give young designers possibilities, for them to be known,’ she explains. ‘I always leave my talent free to create, but then might suggest something like “bigger” or “smaller” or “higher” – something to help them from a commercial point of view. But I leave it absolutely up to them.’ Rossana was an early champion of the Dutch scene. She made stars of designers such as Maarten Baas and Piet Hein Eek, and also Italian studio Formafantasma, all of whom were educated at the influential Design Academy Eindhoven. Her first time showing at PAD London feels like a homecoming of sorts. ‘I’ve had a house in Kensington for the past 12 years,’ she says. ‘And when I’ve visited the show in the past, I’ve found the atmosphere interesting: a great mix of galleries. I’m hoping to see lots of architects, private collectors and interior designers.’ Do not expect Rossana to be bringing any vintage pieces. ‘I prefer to work with people who are alive,’ she explains. ‘I love the dialogue.’ Instead, she plans to bring mostly new furniture and a little lighting. There will be a console and chair by Nacho Carbonell, a floor mirror by Damiano Spelta, and works from Guglielmo Poletti and Kiki Lopez. rossanaorlandi.com
Guglielmo Poletti’s Corten steel and stainless-steel ‘Equilibrium Console’
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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DIMORE GALLERY ‘We have a lot going on in London at the moment, so the timing of showing at PAD for the first time is great,’ says Britt Moran (pictured on right), one half of the in-demand design studio and gallery Studio Dimore. Based in Milan and cofounded in 2003 with his partner Emiliano Salci, this creative duo – along with their team of 35 – work from an eighteenth-century palazzo. They have become the go-to guys for richly coloured, decorative and delightfully off-kilter mise-enscène-style interiors. ‘I think we’re strong in terms of our selection and juxtaposition of colours,’ says Britt. ‘Our creative director has the most amazing encyclopaedic memory, so we’re able to choose things that perhaps people have forgotten about. Fabrics are another strong point.’ It is a modest explanation for a practice that has created interiors for Hermès and Bottega Veneta, worked with hoteliers Ian Schrager and Thierry Costes, and recently completed the redesign of the nightclub at Soho’s The Arts Club, among other projects. At its permanent gallery, it shows a combination of its own pieces alongside vintage finds, many by unknown designers. ‘The idea is that the gallery will
They have become the go-to guys for richly coloured mise-en-scène-style interiors
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
A pair of Fifties ‘Monsieur and Madame’ armchairs by Pierre Guariche for Airborne, from Dimore Gallery
DANILO SCARPATI
show you how we work in general – a collection of furniture we see working alongside pieces we’d develop ourselves or with other artists who share our DNA. In our gallery, we try to create an atmosphere that we then want to export.’ The plan is to bring mostly Italian design to PAD. ‘I think that’s important, as we are an Italian gallery, and we want to bring pieces the UK audience hasn’t seen before,’ explains Britt. ‘There will be a mix of classic and contemporary, with pieces by Giò Ponti and Gabriella Crespi, as well as Dimore’s own chandeliers, screens and tables.’ dimoregallery.com
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The gallery offers what Nina calls ‘360 degrees in terms of international design’
Sucupira wood ‘801 Sofa’ by Jorge Zalszupin
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
ALESSANDRO FURCHINO; DANIELE IODICE
NILUFAR
Over nearly three decades, Milan-based Nina Yashar has made a name for herself and her gallery Nilufar by creating an often thrilling and seamless fusion of contemporary commissioned works mixed with the very best vintage finds. If you explore her three-storey space on Via della Spiga in the heart of Milan’s luxury fashion district (and you really should), you will discover everything from mouth-blown lighting by the New York designer Lindsey Adelman to iconic Giò Ponti and Franco Albini furniture. There may also be a Twenties Chinese rug or a neoclassical nineteenth-century marble chimneypiece. It is all curated by Nina with a connoisseur’s eye. The essence of the gallery, Nina believes, is its range; she has 40 designers who make exclusive works for her. Add to this its vintage offering and Nilufar offers what Nina calls ‘360 degrees in terms of international design’: ‘I certainly specialise in Italian design, but I also embrace other worlds – American, British, French, Brazilian. For me, it’s the fusion, the mix and being able to give people the opportunity to see our many points of view.’ That is why Nilufar is returning to PAD London for the fourth time this year. Its focus will be combining Brazilian vintage, such as Sixties sofas by Jorge Zalszupin, with projects from her UK-based makers, such as a new lighting series by Michael Anastassiades, wall lights by Bethan Laura Wood and furniture by Martino Gamper. Although these names will be familiar to many, the presentation will have a distinctly Nilufar slant, with these designers’ pieces juxtaposed with new octagonal bronze tables by Osanna Visconti di Modrone and mid-century Swedish carpets. ‘I don’t like to present all contemporary or only vintage,’ says Nina. ‘I think there has to be a conversation between the two for a balance of an interior at home. I really love this kind of synergy between the two worlds.’ nilufar.com
A NEW PALETTE OF 180 COLOURS FREE COLOUR CARD | PAINT TO ORDER Nationwide Stockists | paintandpaperlibrary.com +44 (0) 161 230 0882 | info@paintandpaperlibrary.com London Showroom | 3, Elystan St, Chelsea, London SW3 3NT | +44 (0) 020 7823 7755
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2 1 To see more highlights of PAD London, visit houseandgarden.co.uk/pad
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BEST IN SHOW
1 Pink jade and brass ‘Jinshi’ coffee table, by Studio MVW, from Galerie BSL. galeriebsl.com 2 American white oak ‘Ves-el’ vases, by Zaha Hadid and Gareth Neal, from Sarah Myerscough Gallery. sarahmyerscough.com 3 Wooden desk (circa 1955), by Carlo de Carli, from Anne Autegarden. autegarden.com 4 Verde Guatemala marble and birch veneer ‘Fonteyn’ chair, by Brooksbank & Collins, from Gallery Fumi. galleryfumi.com 5 ‘Light Blue Glassweaver Vessel’, by Tobias Møhl, from Adrian Sassoon. adriansassoon.com 6 Gold and ceramic ‘Paille’ bread plates, by Philippe Apeloig, from Sèvres. sevresciteceramique.fr 7 ‘Kaleidoscope’ mirror, by Hervé Langlais, from Galerie Negropontes. negropontes-galerie.com 8 Brass and charred walnut cabinet, by Valentin Loellmann, from Galerie Gosserez. galeriegosserez.com 9 Wood, resin, glass and acrylic ‘Abyss’ coffee table, by Christopher Duffy, from Sarah Myerscough Gallery NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
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ALAIN CORNU; G JONCA
With hundreds of pieces on show at PAD London, DAVID NICHOLLS highlights a selection that have caught his eye
Outside Interests CLARE FOSTER finds fresh gardening inspiration
PLANT OF THE MONTH JAPANESE MAPLE
Join celebrated f lorist Shane Connolly for an autumn workshop at his London studio. Using seasonal flowers, fruits and vegetables, Shane will demonstrate how to create seasonal, painterly arrangements inspired by the Dutch masters. ‘When I choose flowers or plants, fruits or vegetables, I want them to look and feel like fruits of the earth, not like products off an assembly line,’ he says. The workshops take place on October 12, 19 and 26 and November 16 and 23, and cost £325 per person, including lunch. To book, email courses@shaneconnolly.co.uk or call 020-8964 4398. shaneconnolly.co.uk
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BUY IT NOW
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1 Aigle’s ‘Landfor Rubber Boots’ are perfect for gardeners. Made from natural rubber with an insulated lining, they come in black (pictured), brown, blue and red, and cost £55 a pair. aigle.com 2 Rather than sticking your secateurs in your pocket, hang this leather ‘Double Holster’ from Niwaki on your belt. Hand-sewn with copper rivets, it holds a standard-size pair of secateurs in the front pocket and a pruning saw or larger secateurs in the back. It costs £36. niwaki.com 3 These fleece-lined leather gardening gloves are handmade by Terrace & Garden for Kew’s online shop. They come in small or large and cost from £24. kew.org 4 Spry Workwear is a new range of hard-wearing clothes ideal for gardening. This button-through overshirt, £95, is made from sanded cotton in an A-line fit, with a breast pocket for tools. Also available are a boilersuit, trousers and crossover apron. spryworkwear.com NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
MARIANNE MAJERUS GARDEN IMAGES; JASON LOWE; PIXELATE IMAGING; DAVID BROOK
Enjoy the fruits of your labour
Japanese maples are wonderful in autumn. My vote goes to Acer palmatum ‘Sango-kaku’, the coral bark maple. Its leaves mature to a vibrant golden yellow at the end of summer, tinged with red around the edges. It is a compact tree, growing to about 3.5 metres in 10 years. The leaves contrast with the orange-red of the stems, which stay the same colour when the leaves drop in winter, and when the new, fresh green leaves appear in spring. Japanese acers prefer an acidic soil, so if you garden on chalk, choose one of the Chinese maples such as Acer griseum (paper bark maple), which has vibrant orange-red autumn foliage. Buy acers from BlueBell Nursery. bluebellnursery.com
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FROM LEFT Clare planting tulip bulbs in a container and in a border of her Oxfordshire garden
F O C U S O N. . . P L A N T I N G T U L I P B U L B S
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
LIVEPICTURE IS A NEW VERTICAL PLANTING SYSTEM FOR WALLS. CONTAINING A CENTRAL PLAQUE WITH PLANTING POCKETS, EACH MODULE IS SURROUNDED BY A FRAME, WHICH HOLDS ENOUGH WATER FOR SIX WEEKS. THE PRE-PLANTED FRAMES COME IN FIVE SIZES (FROM 72CM SQUARE, £429, TO 170 X 112CM, £1,799) WITH SIX DIFFERENT PLANTING OPTIONS, SUCH AS HERBS AND FERNS. URBANROOFGARDENS.COM
EVA NEMETH; NICK LUYPEN FOTOGRAFIE; INSTAGRAM/LARSVANDEGOOR
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ow is the time to plant your tulips, if you have not already done so. Generally, it is better to wait until the end of October or even into November before planting; if you do it too early, warm, wet conditions can increase the risk of fungal disease or rot, so wait until the temperatures start dropping. Some tulips come back more reliably than others year after year, but in general, modern hybrid tulips are not bred to be perennial, flowering beautifully in their first year and then returning with decreasing vigour in subsequent years. This is because the mother bulb splits into smaller bulblets in order to reproduce, and these compete with the larger bulb for nutrients, water and light. There are certain things you can do to increase the chances of your tulips returning. The first is to plant them deeply. If the bulb is deep and cool, it is less likely to reproduce, and if bulblets do form, they will be too deep to reach the surface of the soil, leaving the mother bulb more likely to flower successfully. Another tip is to choose varieties that are known to be more reliably perennial. Darwin types such as ‘Apeldoorn’ and ‘Apricot Impression’ are known to return year after year, as well as some of the Viridiflora tulips such as ‘Spring Green’ and ‘Artist’. I have also found ‘Ballerina’ pretty good, coming back with reasonable vigour for the third year this spring. I replant the tulips in my borders every few years to boost the display, giving me the chance to try different varieties. Tulips in containers: I love having a few large containers filled with nothing but tulips. To save time, I usually order ready-curated collections of bulbs, which are guaranteed to look good with minimal effort. However, it is even more important to lift and replant containers every year, as the warmth of the compost will almost certainly encourage the bulbs to split. Be generous, planting the bulbs densely with as little as 3cm between them – or even plant them in layers to maximise the space. The idea is to plant the latest flowering bulbs first, at about 30cm, covered with a 5cm layer of compost, and then the next layer, with the earliest flowering bulbs on top, giving them a little more space between each bulb than if you were planting in one layer. It is best to use a loam-based compost for large containers. Buy bulb collections from sarahraven.com or peternyssen.com
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£60 CHIC STAYS: CONDÉ NAST TRAVELLER’S FAVOURITE PEOPLE ON THEIR FAVOURITE PLACES
My Instagram
Lars van de Goor, nature photographer @larsvandegoor Lars van de Goor is a Dutch photographer whose subjects are the majestic trees in his native Gelderland. Born in 1964 on a houseboat surrounded by farmland, he has always had a connection with nature. His beautifully composed photographs depict the other-worldly beauty of trees, focusing on the ‘mysterious encounter of nature and light’, elevating the everyday to something quite extraordinary. Prints are available from larsvandegoor.com
KATE MOSS ON AMILLA FUSHI. FLORENCE WELCH ON CHATEAU MARMONT. SEBASTIAN FAULKS ON CEYLON TEA TRAILS. BETH DITTO ON ACE HOTEL PORTLAND. SIR PAUL SMITH ON CLARIDGE’S. KATE WINSLET ON EILEAN SHONA. CARA DELEVINGNE ON PARROT CAY, AND MORE.
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OUT AND ABOUT
Latest launches…hot buys…new columnist LAURA HOULDSWORTH takes note Laura at Ralph Lauren in New Bond Street
Natural finish
Vaughan’s new three-light ‘Bamboo’ lantern is made of detailed brass designed to look like bamboo. It measures 37.6 x 18.4cm square and costs £756. 020-7349 4600; vaughandesigns.com
TOP DRAWER A more feminine take on the traditional brown-wood option, this eighteenth-century-style walnut ‘Georgian Style Secretary’ by Ralph Lauren Home measures 104 x 124 x 53cm and costs £8,000. 020-7535 4600; ralphlaurenhome.com
CORNER COMFORT
I love the idea of creating a bespoke modular corner sofa for my flat in London. The new ‘Soufflé’ design from Loaf is just the ticket. It is pictured above in the company’s vintage-look cotton velvet in the chalky blue, soothing grey and chalky pink colourways. The smallest unit with no arms measures 83 x 65 x 137cm and costs from £655. 0845-459 9937; loaf.com
NEWS IN BRIEF Swedish bedmaker Hästens has collaborated with design duo Bernadotte & Kylberg to reimagine the blue checked fabric that covers its beds. Available from January 2018 exclusively at Harrods will be two new beds: ‘Marwan’ (covered in a brown check) and ‘Appaloosa’ (in a blue and white graphic print). harrods.com 52 NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
PHOTOGRAPHS: OWEN GALE; ANDREW SMART. LAURA IS WEARING ‘BLACK WOOL OFFICER’S JACKET’, £1,825, FROM RALPH LAUREN COLLECTION (RALPHLAUREN.CO.UK). HAIR BY PERFECT 10 MOBILE BEAUTY
A monochrome palette adds drama to this painterly wallpaper. Part of the Tresco collection by artist Hugo Dalton for Paint & Paper Library, the design is called ‘Abbey Gardens’ and costs £175 for a 2 x 3.25-metre panel. 0845-880 5844; paintandpaper library.com
HERBARIA CUSHION COLLECTION blackedition.com
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WHAT’S in store
Early next year, OKA will open a new shop in Guildford. Set over two f loors in the Tunsgate Quarter, it will be the largest Oka store outside London. This ‘Timna’ porcelain lamp, from the new autumn/winter collection, is 43 x 29cm diameter and costs £355 excluding the shade. 0844-815 7380; oka.com
MERCURY RISING Placing a mirror glass at one end of a corridor or hallway will make it feel more spacious. Here Dominic Schuster has covered a bathroom door with his ‘Medium Mercury’ antique-finish mirror panels, which cost £430 a square metre. 020-8874 0762; dominic-schuster.com
Exotic f lora and oriental birds feature in this ‘Hydrangea Bird’ linen design from G P & J Baker. Inspired by an eighteenthcentury Chinese wallpaper, it has been reimagined in a new ochre colour; £98 a metre. 01202-266700; gpjbaker.com + 44 ( 0 ) 1 4 23 4 00 10 0
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LAPICIDA.COM
PIXELATE IMAGING
FLORA AND FAUNA
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A FESTIVE FAIR
ALL IN THE DETAIL ‘The Castello’ chimneypiece from Chesneys is inspired by the Moorish-style architecture of a Tuscan castle. It is hand-carved in Cabouca limestone. A new design by US interior designer Alexa Hampton, it measures 110cm x 127.4cm and costs £7,800. 020-7627 1410; chesneys.co.uk
The Spirit of Christmas Fair returns to Olympia from Monday, October 30 to Sunday, November 5. Subscribers can apply for a free ticket as well as 30 per cent off additional tickets by going to the website spiritofchristmasfair.co.uk, or by calling the box office on 0844-412 4629, quoting ‘NOVSUB’ with your subscriber reference number, obtained by calling 0844-848 2851. One free ticket per subscription. Calls cost 7p a minute plus network extras. A transaction fee of £2.20 applies to extra tickets. Offers end at midnight on October 29, 2017.
Thermostatic Shower Valve Design Centre | Chelsea Harbour landmark-collection.co.uk | Made in England
The new ‘Viceroy’ divan on legs from Somnus, seen here with a ‘Cannes’ headboard in grey linen, is a good choice for a modern bedroom. It measures 134 x 150 x 200cm and costs £2,518 for the king-size including the headboard shown. 0113-205 5200; somnus.co.uk
ANNIE SCHLECHTER
Sleep tight
THE ALCHEMY OF COLOUR
Discover Zoffany Paint S T Y L E L I B R A R Y. C O M / Z O F FA N Y
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In crowd NEWS ON THE LATEST READER EVENTS
OKA SHOPPING EVENT Join House & Garden at Oka’s shop in Knutsford, Cheshire, on Tuesday, November 21, 11am–3pm, for a day of Christmas shopping and decorating tips, including how to create an inviting table top and my edit of Oka’s gift range. Sue Jones, its co-founder, will give a short talk on the company’s history, followed by a series of informal workshops, including flower arranging using Oka’s range of faux flowers. Guests will also be entitled to an exclusive shopping offer of £20 off (on a minimum spend of over £200). Tickets cost £25 each and include coffee, lunch with wine and a gift bag. To book, visit oka.com/ events and search for ‘House & Garden Reader Event’.
Christmas cooking event
COLOURS OF LONDON® 130 years in the making
www.mylands.com
Join House & Garden and kitchen company Harvey Jones on Wednesday, November 29, 11am–1pm, at Divertimenti, SW3, for a Christmas cookery event in the Harvey Jones-designed demonstration kitchen. Guests will be served coffee and pastries on arrival and enjoy a cookery demonstration by award-winning chef and TV presenter Rachel Green, who will prepare dishes for seasonal entertaining including a Christmas baked alaska. There will also be the opportunity to shop at Divertimenti with a special discount of 10 per cent. Tickets cost £20 and include refreshments and a gift bag. To book, visit harveysjonesevent.eventbrite.co.uk
LOAF.COM
BATTERSEA
NOTTING HILL
SPITALFIELDS
PROMOTION
the only way is up LOOKING TO UPSIZE? GAIN MORE SPACE OR A LIFESTYLE CHANGE BY RELEASING WEALTH FROM YOUR HOME
The List, House & Garden’s online directory of design professionals, is publishing its first print edition with the December 2017 issue. It will be an indispensable, compact guide for anyone looking for a design professional in architecture, interiors or gardening, such as the four companies below.
Part 4
FROM TOP Beata Heuman, interior designer (beataheuman. com). Jones Lambell, architect (jlad.co.uk). Lloyd Brunt Outdoor Design, garden designer (lloydbrunt.com). Vanderhurd, bespoke textile design (vanderhurd.com)
To find out how you can unlock the wealth tied up in your property, request equity release specialist Responsible Life’s 2017 guide by calling 0800-652 8789.
SHUTTERSTOCK
REALISE YOUR AMBITIONS
Visit our online directory to find these design experts and many more all over the UK: houseandgarden.co.uk/ the-list. For more information, call 020-7152 3639 or email charlotte.richmond@condenast.co.uk 첸
SIMON BROWN; ANDREAS VON EINSIEDEL/ATELIER T-DELIGHT; MARIANNE MAJERUS; BILL BATTEN
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ot everyone in their 60s and 70s who is thinking about a house move is looking to downsize. Many will be looking for the right size and location, as children and grandchildren move further afield. With UK house prices being such a lottery, a house of a similar size in a new place could be a different price, necessitating the need for extra funds. This is where the lifetime mortgage comes into its own. One of the best-kept secrets of the mortgage industry, it enables homeowners with equity to purchase a new property without adding any monthly payment commitments, by releasing money from the property on the day of exchange. For those with no plans to move, a lifetime mortgage offers the chance to tap into funds for other plans, such as travel or a second home, or to simply get your existing house or garden exactly how you want it. This is a Lifetime Mortgage. To understand the features and risks, ask for a personalised illustration. Responsible Life is authorised and regulated by the Financial Conduct Authority
PROMOTION
SPIRIT OF CHRISTMAS FAIR Enjoy a one-of-a-kind Christmas shopping experience like no other. Open for seven days, the home of Christmas shopping offers a treasure trove of beautiful gifts for every member of the family. Shop the collections of a curated selection of independent boutiques, offering unique finds, decorative accessories, covetable fashion pieces and children’s clothing and toys, alongside gourmet food and drink just in time for the festive season. Enjoy at least 20 per cent off new boutiques at the Fair, and shop the latest autumn/winter ranges from returning favourites. See overleaf for more highlights, plus an exclusive reader offer.
*Calls cost 7 pence per minute plus network extras. Transaction fee of £2.20 applies. Box office closes 29 October 2017
THREE NEW BOUTIQUES AT THE FAIR
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brand new boutiques
AERLOOM LONDON
JOE & SEPH’S
WOOLOVERS
Specialising in artisanal designs and collectable objet d’art, Aerloom offers an exquisite range of decorative glass ornaments designed and produced under founder Ania Zankowska’s careful supervision. Made by a handful of expert Polish artisans who employ centuriesold glass blowing techniques, each ornament is produced to the highest standard.
Visit the stand of the popcorn chefs and connoisseurs to find gourmet gifts in many flavours. Handmade by pastry chefs in its London kitchen using the finest natural ingredients, the kernels are air-popped, which is a healthier cooking method that results in a better texture and taste. There are over 40 innovative flavours offering everything from sweet to savoury.
Having launched in 1989 in the UK, WoolOvers has now branched out with online boutiques selling to Canada, the US, Australia and New Zealand. Its range of knitwear is all natural, and the brand’s ethos is to create wardrobe staples that will take you from day to night and remain timeless over the years. Find knits in wool, cotton and cashmere – perfect as gifts for all ages
INSIDER | NEWS
Velvet ‘Ananas Indigo’ cushion, 45cm square, £50, from Elizabeth Scarlett. elizabethscarlett.com
‘Healing Touch Serum’, £55, from Lovegrove Essentials. lovegroveessentials.com
‘Paint the Town Red’ notebooks, £12 for three, from Caroline Gardner. carolinegardner.com
‘Fa La La La’ Christmas cards, £14.95 for eight; and ‘Father Christmas’ crackers, £25 for six; both from Nancy & Betty Studio. nancyandbetty.com
It’s time!
THE SPIRIT OF CHRISTMAS FAIR returns to Olympia London from October 30 until November 5, in association with House & Garden. It is the home of Christmas shopping, with 800 boutiques offering presents, home accessories, clothing, food and wine. Laura Houldsworth selects some highlights. Visit spiritofchristmasfair.co.uk for the stand numbers of these exhibitors
Velvet ‘Kitty’ slipper, £295 a pair, from Alexander White. alexander-white.com
Hand-thrown stoneware ‘Seagull’ bowl, £165, from Tregear Pottery. tregearpottery.co.uk
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
INSIDER | NEWS
‘The Dapper Penguin’, hand-finished framed print, by Hello Geronimo, £59; and ‘Pinks and Oranges’, limited-edition screen print, by Ian Scaife, £216; both from Culture Label. culturelabel.com
Merino wool sweater, £125, from Birdie London. birdie.london
‘Night Owl Christmas Sack’, £17, from Sophie Allport. sophieallport.com
‘Raya’ reversible Nehru waistcoat, £115, from Jayjee. jayjee.co.uk
‘Palermo Drop Earrings’ with lemon quartz, £175, from Davina Combe. davinacombe.com
Wool scarf, £39, from Miss Pom Pom. misspompom.com
READER OFFER House & Garden readers are invited to purchase special discounted tickets for £17.50 (30 per cent off). Simply quote ‘HGNOV’ when booking online at spiritofchristmasfair.co.uk or by calling 0844-412 4629*. *Calls cost 7p per minute plus network extras. Transaction fee of £2.20 applies. The 30 per cent discount applies to on-the-door prices. Offer ends at midnight on October 29
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
INSIDER | BOOKS
MASTER MAKERS In celebration of the fortieth anniversary of Parnham College, its founder, the furniture designer John Makepeace, has put together Beyond Parnham, a collection of ref lections on the school from more than 100 alumni, tutors and staff. In this edited extract, DAVID SNOWDON, who studied there in the early Eighties before going on to establish the furniture company Linley, shares his memories of that time
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
PORTRAIT: MILLIE PILKINGTON
M
y first day at Parnham in September 1980 was a lesson in humility. We had been sent a list of tools to buy by our tutor Robert Ingham. I assumed that what I had bought would be up to the job, but how CLOCKWISE FROM ABOVE wrong I was. It was only after spendJohn Makepeace. The new ing the entire first week sanding down the bottom of my new book about his renowned smoothing plane, that the perfectionist levels of accuracy furniture school in Dorset. and precision Robert expected became apparent to us all. ‘Girih Treasure Chest’ We were not going to breeze into this cabinet-making world. by Linley was inspired by Educating us to a standard probably unknown since the great David’s travels to the days of Thomas Chippendale and his apprentices would be Middle East. ‘Arcade’ chest a long journey. Our group of students ranged from 18 years by John Makepeace (centre) old to second-careerists of a certain age, from diverse backfor myself. I was a prolific designer and grounds but all drawn together, determined to be master craftsmen. The came out with design after design for excellence of Robert’s teaching, and his wicked sense of humour, added to which I wanted his help in deciding the pleasure of taking on such physical and mentally exhausting challenges. which one to make. His response was, On Friday mornings, we would visit John Makepeace’s workshop, where ‘You gotta do what you gotta do, man!’ he would take us round to see the latest masterpiece. It was gratifying to see – which, if not the answer I was hoping for, that even he could have problems in making one-offs. I remember watching made me question myself and my design. him tip £1,000-worth of gold leaf into some green lacquer, which would give He sat at one end of the workshop, an added sparkle to the lacquer, only for it to disappear without trace. making his own furniture with antique woodworking tools, which were works We were fortunate enough to try all sorts of techniques and woodworking of art in themselves, and I suddenly looked at my motley collection of modern joints. Eventually, we attained higher degrees of accuracy, joining pieces of tools with disdain. I remember taking my mother on a trip to Islington to buy wood with thinner and thinner glue lines. The projects that Robert set got some antique tools in my quest to follow my teacher. Greg also challenged harder, culminating in a three-tiered tower about five inches high. It required us to use marquetry. I responded by using colour and my first inlaid piece microscopic dovetails made from rippled sycamore, which show every glue was a rainbow table. He made me think and question design as never before. line. Some students sold their pieces, but I decided that, as my father had He also gave me the confidence to set up a business as a cabinet-maker. been my inspiration, I should give the one I made to him. I can still recall his I shall always remember my time at Parnham with great affection, for pride in receiving something made with so much care and attention. I owe my subsequent career to the many people whom John Makepeace In year two, I walked into the workshop and was greeted by Greg brought together to revitalise the modern Arts and Crafts movement Powlesland, who was to be our tutor. What I was expecting was someone Beyond Parnham by John Makepeace (Parnham College, £35) who would continue to teach me; what I got was a man who taught me to think
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D E C O R AT I N G S WA T C H | R I T A N O T E S | P R O F I L E
Bit of rough GABBY DEEMING cultivates texture, with a selection of rough and fluffy fabrics PHOTOGRAPHS ANDERS GRAMER
FROM LEFT ‘Princess’ (ecru), cotton/wool, £171, from Tibor. ‘Old Flax Check’ (bayleaf), cotton/viscose, £118, from Soane. ‘Roussillon’ (skye), cotton, £155, from Guy Goodfellow Collection. ‘Mushi Rayé’, nettle, £48, from CMO Paris; with flowers in ‘Roussillon’, as before. ‘Vintage Striped Linen Mattress Cover’ (olive), linen, £132, from Howe at 36 Bourne Street. Background in ‘Linen Double Sided Bed Throw’ (salmon/bark), 220 x 160cm, £192, from Larusi. ‘Ossido’ lavastone tabletop (matt black), 90cm diameter, £1,875, from Made a Mano
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
DECORATING | SWATCH
FROM LEFT ‘Lualaba’ (charcoal grey), by Gastón y Daniela, wool mix, £139.80, from Abbott & Boyd. ‘Puckered Linen’ (natural), linen/jute, £132, from Howe at 36 Bourne Street. ‘Sag Harbor’ (vintage indigo), linen, £298, from Lauren Hwang New York. ‘Candy’ (black), by Boussac, linen, £117.60, from Pierre Frey. ‘Pegmatite’ (marble), by Kravet, cotton mix, £139, from G P & J Baker. Background in ‘Merino Wool Throw’ (charcoal), 200 x 130cm, £156, from Larusi. ‘Ossido’ lava stone tabletop (blue), 90cm diameter, £1,875, from Made a Mano. Prices are per metre, unless otherwise stated. For suppliers’ details, see Stockists page
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
FOR HOW TO USE THESE FABRICS, VISIT HOUSEANDGARDEN.CO.UK/SWATCH
DECORATING | ADVICE
RITA’S PICKS
Rita Notes
ROSE UNIACKE ‘Khumbu Blanket’ (yellow), £2,040
Whether cashmere, tartan or Welsh wool, RITA KONIG vouches for the delight a pile of blankets can bring PHOTOGRAPH CRAIG FORDHAM
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
There are few things lovelier than the coming together of a wool blanket and a linen sheet hospital in it when she was born and continued to use it for her while she was a baby. In our cottage in Wales, there are masses of variations. I have a pair of Welsh blankets that are destined to be used on a pair of twin beds and in the sitting room there is a deeply luxurious one from Anderson & Sheppard (anderson-sheppard.co.uk). Rose Uniacke (roseuniacke.com) designs possibly the most covetable blankets. They are super-thick cashmere and come in the most fabulous colours – the yellow being my favourite. She uses hers along the ends of beds, and you would be thrilled to find one anywhere near you. The Conran Shop (conranshop. co.uk) has some tie-dye blankets at the moment, which are very pretty and a slightly easier price. I also like to use vintage quilts in much the same way. They are terribly useful for chucking over a sofa that has seen better days and they bring a bit of pattern to a room that was not necessarily part of the ‘design’. These can – and should – then be pulled off and taken outside to sit on the grass or put on the f loor for a baby to play on. I cannot stress enough how good it is for things in a room to get used – and to have more than one function. It keeps the air moving and stops the dust settling
THE CONRAN SHOP ‘Broad Stripe Shibori Throw’, £595
OYUNA ‘Daya Cashmere Travel Throw’ (emerald), £449
THE NEW CRAFTSMEN ‘Vintage Darned Blanket’, by Tom of Holland, £350. thenew craftsmen.com
RITA WEARS A JUMPER FROM BAMFORD (BAMFORD.CO.UK)
A
few years ago, I was photographing a beautiful house when I spotted a stack of old tartan blankets folded up on the sitting room f loor next to a sofa. For some reason, that stack really struck a chord with me – it was just so cosy and chic. This humble little pile spoke very articulately about how this room was used and what sort of people lived there. Blankets are rather different to throws: blankets are heavy and throws are lightweight. Blankets are also too splendid to be merely folded over the arm of a sofa. A stack of blankets speaks of a cosy Sunday night watching a box set. Admittedly, they can sometimes feel a little rough – I have had Welsh wool blankets backed and bound in linen so that they are not scratchy. But there are few things lovelier than the coming together of a wool blanket and a linen sheet, as on properly made beds. I do not have a huge amount of time for most throws. I find them to be expensive and the sort of decorative faff that I am too haphazard for. In my London flat, I have a lovely Stuart tartan blanket across the back of the sofa, and I make an exception for the Oyuna (oyuna.com) cashmere throw on a chair in the bedroom, which is there partly to keep the chair from getting too grubby. It is a very soft, knitted cashmere throw designed to fit a person perfectly when lying on a plane; it has been all over the place with me and, now in retirement, it mostly commutes between our bedroom and the sitting room for snuggling up in front of the television. I brought my daughter Margot home from the
DECORATING | PROFILE
F
or centuries, tapestries have adorned the walls of churches, castles and European courts, displayed by religious and secular rulers in a demonstration of their wealth and might. They were the allegorical art form of grand ancestral houses, depicting classical myths, historical and religious scenes, and epic battles. They had the added function of warding off the damp and cold, which might partly explain why Henry VIII had 2,000 tapestries across his various palaces. There is a rich history of artists patronising tapestry studios, from Raphael and his designs for the Sistine Chapel to Edward Burne-Jones’s Holy Grail tapestries, which depict scenes from the legend of King Arthur. More recently, Tracey Emin, Peter Blake and Chris Ofili have experimented with the medium. Today, in a small studio in the heart of Sussex, the tradition continues to flourish. Caron Penney and Katharine Swailes are the weavers behind Weftfaced. Established in 2013, the workshop collaborates with artists, as well as taking on private commissions and creating its own work. Caron spent 20 years at West Dean College, four as director of the tapestry studio. During her tenure, she started work on a project with Historic Scotland to recreate The Hunt of the Unicorn tapestries for Stirling Castle. It was 2001 and Katharine, a former costumier who had just passed her graduate diploma in applied design at West Dean, was selected to join her. Featured in the October 2014 issue of House & Garden, the commission was the biggest weaving project undertaken in the UK for 100 years. It involved 18 international weavers, took 14 years to complete, used 300 shades of colour and required many trips to New York Metropolitan Museum of Art to analyse the originals. Not only did The Hunt of the Unicorn commission prove instrumental in consolidating Caron and Katharine’s understanding of the craft, but the time the pair spent in Manhattan impacted the work they now produce under Weftfaced; both women make structural comparisons between the warp and weft and the gridded road systems of New York City. Since opening their studio, Caron and Katharine have seen an increased interest in textiles: ‘It is a knee-jerk reaction to the digital world we live in,’ says Katharine. British abstract painter Gillian Ayres and artist Martin Creed have both asked Weftfaced to interpret their concepts in tapestry. ‘The key to making a good tapestry is knowing the original,’ explains Caron. In order to recreate a painting on the loom, it must be mentally deconstructed so the weaver can conceive how to put it back together. ‘We start with the canvas or the paper, then
Weftfaced EMILY TOBIN talks to Caron Penney and Katharine Swailes, the weavers translating the work of artists into paintings on the loom PHOTOGRAPHS DEAN HEARNE
SPECIALIST
consider every nuance to work out how the paint was applied.’ Like the Flemish weavers who turned Raphael’s paintings into tapestries, Caron and Katharine begin their process by making a cartoon of the original. This is then scaled up, the yarns are dyed and the loom is warped up before weaving can commence. In the summer of 2014, work began on rendering Gillian Ayres’ painting Tirra Lirra. The result is a vibrant concoction of interlocking flower forms in which the subtly blended threads give the effect of a heavily worked canvas. The shifts in colour saturation capture Ayres’ brushstrokes and denote the layers of paint. The tapestries they have created for Martin Creed consist of striking bands of wool in harlequin hues. ‘With wool, colour can become very powerful because it absorbs light,’ says Caron. ‘You have to have a lightness of touch and underplay everything.’ It is heartening to see the idiosyncratic relationship between OPPOSITE Scenes from the workshop, including part artists and weavers continue in of Katharine’s Glyphs and the twenty-first century. There Loops series (top right) and is an extraordinary level of skill Caron’s finished work woven involved in translating a brushwith wool and gilt gold thread (bottom right). THIS stroke or pool of pigment into PAGE Katharine (on left) and woven wool. Where an artist Caron outside their studio might use one colour, Caron and Katharine can use five or six to make it come alive. ‘It is our eyes that do the mixing.’ To see the pair work is to understand the sensitivity and patience that goes into creating these tapestries, which deserve to be considered as works of art in their own right Weftfaced: weftfaced.com | Contemporary Applied Arts: caa.org.uk HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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LIFESTYLE Portrait of the artists The creative collaboration of the husband and wife duo known as Mr and Mrs Philip Cath permeates both their working life as painters and their bohemian London flat TEXT DAVID NICHOLLS PHOTOGRAPHS ANDREW MONTGOMERY
Philip and Khloe in their studio, which doubles as a space for holding dinner parties
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
LIFESTYLE
S
pend any time even on the peripheries of the life of the artists known as Mr and Mrs Philip Cath and you may find it hard to resist the magnetic pull that they emit. There is a sense of romance, in a lovey-dovey way, yes, but also in their view of the world and their place as artists within it. At the centre of it all is their f lat in Blackheath in south-east London – a busy artists’ studio that they share with their two sons – and their lovingly tended garden. It was the summer of 1999 at a pub in Shoreditch in east London when they met. Philip says he was ‘living the life of a dissolute writer’ at the time; Khloe, who is American, was at the tail end of a month-long art project in Europe and would the next day return to San Francisco where she worked as a senior art director at an advertising agency. ‘The first words I said to Khloe were, “I’ll marry you,”’ Philip recalls. (And reader, he did.) By the following spring, Philip had followed Khloe to the US, arriving with little more than a guitar and a straw hat. Fast forward a few years and, still in San Francisco, a baby was on the way. Khloe had packed in the day job and Philip his dream of writing. ‘I’d become a bit disillusioned by it,’ he explains. He began painting, taking classes in between working as a driver for John Traina, the late philanthropist, Fabergé collector and ex-husband of the writer Danielle Steele. ‘I loved the immediacy of painting and the collaborative aspect of portraits.’ Originally, this meant the dynamic between artist and subject, but soon he and Khloe began to work together on paintings. By the time they returned to London in 2004, their creative pairing had formalised itself into a practice called Mr and Mrs Philip Cath. ‘It’s the only way we can NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
CLOCKWISE FROM TOP LEFT Khloe uses a mirror to check proportions. Philip paints the American academic historian Cassius Clay. Mixing colours. The antique secretaire was from Bonhams and the marble bust of the Duke of Wellington’s brother came from William Cook Antiques of Hungerford
LIFESTYLE make art,’ Philip says. ‘Without each other, we wouldn’t be artists.’ They were accepted onto the acclaimed MFA programme at Goldsmith’s College of Art, and upon graduating in 2013 they were shortlisted for the Catlin Art Prize, a prestigious national prize for outstanding art graduates and postgraduates. The idea of two artists working on a single painting can be challenging, but with Mr and Mrs Philip Cath, it helps to see it as being less about the hand that creates the brushstroke than the shared intent of that brushstroke. ‘Our work is research driven,’ explains Khloe. ‘Casual imagination doesn’t come into it. It is a considered process.’ When House & Garden visited them, Philip painted while Khloe mixed colours (Philip is partially colour blind), checked proportions and executed delicate colour work. Together, they assessed and discussed each aspect, such as the shape of shadows on the face and torso of their subject – a young and rakishly attired art historian, stylist and socialite named Cassius Clay. In many ways, Philip and Khloe seem caught between different art worlds, which suits them just fine. And part of their allure, surely, is how comfortably they inhabit that in-between space. ‘We’re in a unique place,’ says Philip. They may be considered quirky by clients of their formal portrait work, but the couple are also seen as a nonconformist oddity within the contemporary art scene. ‘We’re self-marginalised, but take delight in that,’ says Khloe. In the past year, they have shown work in two exhibitions that could not have been more different. They had their first solo show, Mr & Mrs Philip Cath and Lovers, at project space Almanac in Bermondsey. This included paintings as well as performances, one of which involved Philip singing an a capella version of Duran Duran’s
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
FROM TOP Elias on viola is accompanied by Aloysius on the piano. A portrait of Aloysius. This painting of Elias, resting against a chest of drawers, was the couple’s first life painting. Philip sits in front of a chest on chest from Bonhams. An unfinished experimental portrait of Khloe. OPPOSITE Khloe consulting art books in the bedroom; the wooden picture frame is handmade
‘OUR WORK IS RESEARCH DRIVEN. CASUAL IMAGINATION DOESN’T COME INTO IT’
LIFESTYLE
CLOCKWISE FROM ABOVE Meeting Astrid Korporaal, founder of project space Almanac and educational curator at the Institute of Contemporary Arts. Shopping for materials at L Cornelissen & Son in Bloomsbury. Philip and Khloe with Aloysius on the school run. Gardener Steve Whitefield, who inspired Philip and Khloe to get into gardening. Philip tends to the garden, which has a view of St Margaret’s Church
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
The Reflex in a falsetto voice. A few months later, Khloe directed The Georgian Group’s Splendour! exhibition, which celebrated traditional craft and art skills. For this, Philip contributed a hauntingly beautiful painting of two young girls. The subjects were the daughters of the decorative artist Matthew Collins, a neighbour and friend. Philip and Khloe live in a ground-f loor f lat within an Italianate Georgian house with their sons Elias, 15, and Aloysius, 10. Despite the f lat’s graceful proportions, there are only three rooms, plus a kitchen and bathroom. ‘To be a committed artist, one must take the oath of poverty,’ says Khloe. ‘Being so focused on art can make for distracted parenting, but the children take a strong interest.’ Though, she adds, Elias has already decided he wants to go to a military boarding school, as an act of rebellion. The way they make their home work feels more like artistic improvisation than making do. Khloe and Philip’s large bedroom, once a reception room, doubles as a music room, where Aloysius practises piano and, at his parents’ behest, Elias may join him on viola. Next to the boys’
LIFESTYLE shared bedroom is the biggest room – and the one that works hardest. It has no one fixed purpose, functioning mainly as the studio that can also be transformed into a space for entertaining. Sofas, tables, easels and backdrops are all moved around to suit the changing nature of the room. Sherry glasses and artists’ oils rub shoulders within handsome pieces of eighteenth-century furniture. The north-facing room is blessed with light, thanks to a Palladian-style window overlooking the long garden and, beyond that, the exquisite early-Victorian St Margaret’s Church. Like many artists, Khloe and Philip retreat to their garden to take a break from painting: tending, adding flecks of colour here and there to build up a scene. It is the way the couple do most things, and it seems to work mrandmrsphilipcath.com | almanacprojects.com
ANTICLOCKWISE FROM ABOVE Khloe picks flowers from the garden (also far right). Lunch with Matthew Collins and his wife Elizabeth, and milliner Adele Mildred. The Collins and the Cath children in the garden
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
Living with art Ho u s e & G a rd e n’s invaluable guide to the ar t world
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LIVING WITH ART
FROM THE EDITOR
ON THE COVER: A DETAIL VIEW OF THE VIRGIN IN PRAYER BY GIOVANNI BATTISTA SALVI DA SASSOFERRATO. © THE NATIONAL GALLERY, LONDON. THIS PAGE: PINK AND NINE OTHERS BY CHRISTOPHE GOWANS.
Welcome to the fourth edition of ‘Living with Art’, where we dedicate 28 pages to celebrating the best of the art world. We’ve sought expert advice on how to display art in all its forms; we’ve unearthed collectable prints, paintings and pottery for under £1,000 and profiled some of the finest art advisers in the business. We visited Hauser & Wirth in Somerset and have compiled a useful exhibition guide for this busy month in the art calendar. On a rainy day in July, we gathered 11 key players in the industry and photographed them at Tate Modern. It was a star-studded cast including gallerists, artists and curators; the director of Frieze was there, as was the director of Tate Modern and the chairman of Phillips auction house. They had one thing in common: they were all women. We hope ‘Living with Art’ demonstrates how art should be available, understandable and exciting to everyone. EMILY TOBIN Editor, Living with Art
Contents
95 UNDER A GRAND Emily Tobin picks out an eclectic mix of affordable art for new and established collectors alike 98 WHAT’S ON Rose Dahlsen highlights not-to-miss shows ahead of the jam-packed season 103 DISPLAYING ART Elizabeth Metcalfe considers how lighting, framing and hanging can enhance the display of art 112 BRIDGING THE GAP Hettie Judah looks at the women who are paving the way for change in gender equality 118 WORKING IN HARMONY Hauser & Wirth has been bringing the boldest names in the arts to Durslade Farm 127 BENEATH THE SURFACE Emily Tobin considers the stories behind three paintings and their subjects 133 ASK AN EXPERT Lily Le Brun speaks with some of the best art advisors in the industry HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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W W W. S O M N U S . C O . U K P R O U D T O B E PA R T O F T H E H A R R I S O N S P I N K S F A M I LY
under a grand EMILY TOBIN picks out an eclectic mix of affordable art for new and established collectors alike
UNTITLED
Jean Philippe Malaval, lambda print photograph, 60 x 88cm, edition of 150, £400. uk.lumas.com
IN THE BOTTOM OF MY
UMBRELLAS ON
STRAND
G A R D E N ( I V. 1 0 5 )
T H E B E AC H
Christopher Le Brun, woodblock, 76 x 56cm, edition of 20, £960. royalacademy.org.uk
Andy Warhol, lithograph and watercolour, 21.6 x 27.9cm, £800. simsreed.com
Phoebe Dickinson, oil on panel, 18 x 20cm, £800. phoebedickinson.com HOUSEANDGARDEN.CO.UK NOVEMBER 2017
LIVING WITH ART
NU AUX ORANGES POOL , DYPTIQUE
Frank Visser, collage, 38.5 x 40cm, €520. dreamboat.nu
Henri Matisse, lithograph, 35.6 x 26.3cm, £750 framed. eamesfineart.com
SGRAFFITO BOWL SUN
Clifford Coffin, lambda print photograph, 40cm square, edition of 250, £130. uk.lumas.com
The Grantchester Pottery, partially glazed stoneware, 17.5 x 19cm diameter, series of 15, £750. whitechapelgallery.org
DANDY
Camilla Perkins, giclée print, 42 x 29.7cm, £75. camillaperkins.com
BIRLING GAP FROM V I O L E T TA I I
PINK AND NINE OTHERS
WA R R E N H I L L
Tom Hammick, etching, 50 x 40cm, £900. hammickeditions.com
Christophe Gowans, watercolour on paper, 55 x 38cm, £225. ceeg.co.uk
David Stubbs, oil on linen, 23 x 37cm, £875 framed. rowleygallery.com
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
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LIVING WITH ART
what’s on REFLECTIONS: VA N E Y C K AND THE PRERAPHAELITES
WILLIAM
and Rosalind Nashashibi, and the winner will be announced during a live ceremony on December 5, shown on the BBC. hcandl. co.uk/ferens Pictured Hurvin Anderson, Flat Top
TURNBULL Until
B A S Q U I AT: B O O M
October 27
FOR REAL
A survey of Scottish artist William Turnbull’s work from the Fities and Sixties is on show at Offer Waterman gallery. Encompassing painting, drawing and sculpture, the exhibition is spread across three floors of the Mayfair town house. waterman.co.uk Pictured Untitled
Until January 28
TURNER PRIZE 2017 Until January 7
As part of the Hull UK City of Culture celebrations, an exhibition of works by the four artists shortlisted for this year’s Turner Prize can be seen at Ferens Art Gallery. They are Hurvin Anderson, Andrea Büttner, Lubaina Himid
Until April 2 1:54
In 1897, Edward BurneJones heralded Flemish painter Jan van Eyck’s infamous Arnolfini Portrait (1434), pictured, as ‘the finest picture in the world’. Acquired by the National Gallery in 1842, it will be teamed with works by Holman Hunt, Dante Gabriel Rossetti and Sir John Everett Millais to demonstrate the potent effect and lasting influence this revered painting had on the PreRaphaelite Brotherhood. nationalgallery.org.uk
CONTEMPORARY AFRICAN ART FA I R Oc t o b e r 5 – 8
century. These will be shown at Alan Cristea Gallery alongside a colourful roster of tape drawings and everyday objects in florescent hues. alancristea.com Pictured Bulb
This international fair dedicated to contemporary African art comprises 41 galleries from Africa, the Middle East, North America and Europe. Taking over Somerset House, the fair will be accompanied by a talks and events programme, Forum. 1-54.com Pictured Lakin Ogunbanwo, Let it Be
STYLED BY DESIGN October 3–7
This is the first large-scale show in the UK dedicated to the work of the maverick American artist JeanMichel Basquiat, who rose to fame in the Seventies in New York’s underground post-punk art scene. The show draws on his cultural connections – from bebop jazz to silent film – in order to explore the ongoing impact that music, writing, performance and film had on his practise. Set in The Barbican, his paintings, drawings and notebooks are arranged alongside rare films, photographs and archival material. barbican.org.uk Pictured Self Portrait
98 NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
A collection of rare framed twentieth century textiles by Picasso, Zandra Rhodes and Henry Moore are on sale at Gallery 8 in Mayfair. Forties silkscreen designs by Barbara Hepworth will be shown alongside William Scott’s jacquard woven cotton pieces. 8dukestreet.co.uk Pictured Pablo Picasso, Congres Des Peuples Pour La Paix, Vienna
MICHAEL CRAIG-MARTIN: QUOTIDIAN
October 4 – November 17
Prolific sculptor, printmaker and painter Michael Craig-Martin has created a new body of prints and drawings inspired by the iconic modernist architecture of the twentieth
© DALIM; COURTESY OF LAKIN OGUNBANWO AND WHATIFTHEWORLD. PHOTO: JIDE ALAKIJA; THE NATIONAL GALLERY, LONDON; (TURNBULL) COURTESY OF OFFER WATERMAN; (ANDERSON) COURTESY OF THE ARTIST; (HIMID) COURTESY OF THE ARTIST, HOLLYBUSH GARDENS AND NATIONAL MUSEUMS, LIVERPOOL. PHOTO: STUART WHIPPS; THE ESTATE OF JEAN-MICHEL BASQUIAT, LICENSED BY ARTESTAR, NEW YORK
ROSE DAHLSEN highlights not-to-miss shows ahead of the jam-packed season
LONDON Photo credit © Paul Craig Photography
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FRIEZE LONDON AND FRIEZE
Anna Pank to envision a tribute to Peter Blake, bringing together work by the artist, his collections and studio material to recreate Blake’s private creative environment. frieze.com Pictured JeanMichel Othoniel, Amber Lotus. Peter Blake, Party 2 A Party with La Giaconda
MASTERS
DIVINE
October 5–8
PRINCIPLES
Now in its 15th year, Frieze London returns to Regent’s Park with 160 international galleries. Ralph Rugoff, director of Hayward Gallery, will curate the talks programme, and a new gallery section curated by Alison Gingeras focuses on the legacy of radical feminists. See artworks that span 6,000 years of history at Frieze Masters, while the Royal Academy’s artistic director Tim Marlow will curate the popular talks programme. Expect to see galleries including Gagosian, David Zwirner and Hauser & Wirth. A show of Anthony Caro by Annely Juda Fine Art will feature alongside a show by Galerie Thomas of Alexander Calder and Joan Miró. Waddington Custot will collaborate with designer Robin Brown and producer
October 11 – November 11
R E M B R A N D T: LIGHTING THE DARKNESS October
21 - January 7
stage a celebratory show by Chilean artist Alfredo Jaar. The politically engaged artist, who initially trained as a magician before becoming an architect, has created an impressive steel work, The Garden of Good and Evil (2017), set within a grove of trees. The installation will be displayed alongside mixed media works in the Underground Gallery. ysp.co.uk Pictured The Sound of Silence TAT E S T I V E S
Royal College of Art graduate Zachary EastwoodBloom presents his first solo show at the sculpture gallery Pangolin London. The exhibition forms part of the gallery’s artists in residence programme, which helped fund Zachary’s studio for a year. Based on the planets in the solar system, he has created a series comprising sculptures made from marble, bronze and silver. pangolin london.com Pictured Digital render of Saturn ALFREDO JAAR, YORKSHIRE S C U L P T U R E PA R K
October 14 – April 8
This year marks the 40th anniversary of Yorkshire Sculpture Park, which will
REOPENING
This show explores Rembrandt’s canny treatment of light and shade. It features 93 etchings by the Dutch painter, which were bequeathed to Norwich Castle by London art dealer Percy Moore Turner, who was advisor to Samuel Courtauld. For the first time, these delicate works will be exhibited as a whole. museums.norfolk.gov.uk Pictured Three Heads
por traiture, bring ing together over 50 works from collections across the world. Sitters include his Uncle Dominique, who he painted in the 1860s, and later portraits of his gardener Vallier before his death in 1906. ‘Up until now,’ says Nicholas Cullinan, director of the gallery, ‘Cézanne’s portraiture has received surprisingly little attention, so we are thrilled to be able to bring together so many of his portraits for the first time to reveal arguably the most personal, and therefore most human, aspect of his art.’ npg.org.uk Pictured Madame Cézanne in a Yellow Chair
October 14 MONOCHROME PA I N T I N G I N B L AC K A N D WHITE November 1 –
The transformation of Tate St Ives will be unveiled this month. The new space, which doubles the gallery’s capacity for displaying art, sits sunken in a cliff alongside the original building. Clad in handmade ceramic tiles with a blue-green glaze intended to reflect the changing colours of the sky and sea, it features a public garden on the roof. British sculptor Rebecca Warren’s first major UK exhibition will kick off the season. tate.org.uk
February 18
CEZANNE PORTRAITS
October 26February 11
Cézanne painted a staggering 200 portraits throughout his career, which included 26 of himself and another 29 of his wife. This show at the National Portrait Gallery will chart the development of his
The relatively untapped history of black and white painting is probed in a show at the National Gallery. Featuring grisaille painting from the Middle Ages through to the Renaissance and into the twentyfirst century, the show encompasses early religious works, as well as works on ceramic, silk and wood by artists such as Rembrandt and Richter. national gallery.org.uk Pictured Monochrome X9258
E XC LU S I V E R E A D E R O F F E R
T H R E E M O N T H NAT I O NA L A R T PA S S F O R O N LY £ 1 0 House Garden readers are entitled to a three-month National Art Pass for just £10. This allows free entry to over 240 charging museums, galleries and historic houses across the UK as well as 50 per cent off entry to major exhibitions. Visit artfund.org/houseandgarden to buy your National Art Pass. Offer ends November 2.
100 NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
© GALERIE PERRSTIN/JEAN-MICHEL OTHONIEL. PHOTO: CLAIRE DORN; (JAAR) COURTESY OF THE ARTIST. PHOTO: CHARLES DUPRAT; COURTESY OF JAMIE FOBERT ARCHITECTS; (CEZANNE) WILSON L MEAD FUND, 1948-54, THE INSTITUTE OF CHICAGO; THE METROPOLITAN MUSEUM OF ART, NEW YORK
LIVING WITH ART
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DE SIGN IDEAS
Displaying art If you are hanging a single picture, it is important to choose a piece that is right for the scale of your wall. In his London flat, art dealer Robin Katz has made the most of the high ceilings by hanging a vast photograph by Walead Beshty in his sitting room. ‘I try to give space around any dominating work of art,’ says Robin. ‘But you can always balance it out with smaller threedimensional pieces.’ Robin has achieved this here with Studio Drift’s ‘Fragile Future’ sculptures from Carpenters Workshop Gallery.
PAUL MASSEY
As interior designer Andrzej Zarzycki says, ‘never see a work of art on its own but as a composition within its surroundings.’ With this in mind, ELIZABETH METCALFE considers how lighting, framing and hanging can enhance the display of art
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
D I S P L AY I N G ART: HANGING
Interior designer Martin Brudnizki has hung framed botanical prints in vertical rows on the cupboard doors of his kitchen. The prints were taken from a nineteenth-century book on botany. ‘If they were individual masterpieces, I would have hung them at eye level, but in this instance, they work to give the viewer an overall impression,’ says Martin. mbds.com
‘ D O N ’ T L E T PA N E L L I N G D I S C O U R AG E YO U F R O M H A N G I N G P I C T U R E S , ’ S AY S D E S I G N E R PA O L O M O S C H I N O , W H O H U N G E I G H T G A R Y H U M E P R I N T S W I T H I N T H E PA N E L L I N G O F T H I S D R AW I N G R O O M . ‘ I T R E AT T H E P A N E L S A S A W H I T E C A N VA S . ’ I T I S C R U C I A L T O C O N S I D E R T H E S I Z E O F T H E F R A M E D A R T W O R K I N R E L AT I O N T O T H E PA N E L L I N G I N O R D E R T O P R E V E N T AW K WA R D O V E R L A P S . N I C H O L A S H A S L A M . C O M
H OW T O C H O O S E PA I N T C O L O U R S CLARE SIMPSON Head of exhibitions at Dulwich Picture Gallery 1 ‘Use the palette of the artworks as a starting point, and look for surprising accents. You don’t want the paint to compete with the art, so find a balance of being bold without being dominating. 2 Don’t be afraid of dark paint shades, as their intensity can create real drama. For our recent Sargent: The Watercolours exhibition, we used Mylands ‘Plum Tree’, a rich dark berry, which draws out the artist’s use of purple tones. 3 Use a matt paint finish because it recedes and prevents sheen and reflections caused by lighting.’
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
PAUL MASSEY; JAMES MCDONALD; ANDREAS VON EINSIEDEL
Designer Guy Goodfellow had each of these map segments framed in ebonised wood and then hung them edge-to-edge to create a tile effect. ‘It’s vital that you take very accurate measurements,’ says Mathew Robb of Guy Goodfellow. Speed things up with a split batten. Attach a length of wood to the back of the picture, which can slot over a wooden batten that you screw level into the wall. Then put a long batten on the wall to use for all the pictures. guygoodfellow.com
LIVING WITH ART
EXPERT HANGERS PHOENIX FINE ART
‘I love working with Paul and Matt at Phoenix Fine Art, because they are total professionals and their work is neat as a pin,’ says designer and House Garden columnist Rita Konig. ‘Quite frankly, what’s good enough for The Queen and Prince Charles is good enough for me.’ 020-8319 3527 ADI
‘They can do simple picture hangs, but also large installations up to exhibition production for museums and galleries,’ says designer Rabih Hage. ADi also counts Guy Goodfellow and Sibyl Colefax & John Fowler amongst its clients. groupadi.com
As long as it is not too cumbersome, there is no reason why you cannot display three-dimensional artworks on walls. Art collector Kevin Conru has displayed a collection of Oceanic shields. ‘I wanted to create a harmonious composition with the different shapes and colours,’ says Kevin. He fastened them to the wall with heavy nails.
‘If you are working with any paintings with yellowing varnish, choose a paint colour that will counteract the yellow,’ says Caroline Corbeau-Parsons, a curator at Tate Britain. ‘Shades with degrees of purple work well – aubergine and deep reds are especially good.’ Try ‘Radicchio’ from Farrow & Ball, £43.50 for 2.5 litres of emulsion. farrow-ball.com
H OW T O HANG AN ENTIRE WA L L DAVID ISAAC Print specialist ‘Hang as tight as possible to create more impact. A wall of black and white prints works wonderfully to create a more cohesive scheme. They also work really well against strong paint colours. The jury is out on whether it is best to have uniform borders or a jagged edge to a print wall. I prefer the outside edges to be in line with some variety in frame size within this rectangle. The vertical and horizontal axes help guide the viewer.’ isaacandede.com
Sandra Nunnerley has hung Thomas Demand’s chromogenic ‘Flare’ prints in a grid formation that emulates the L-shape sofa below. ‘The walls are lined with a pale Irish linen, which is a great backdrop for art, because it adds a textural quality and prevents the space from looking too museum-like,’ explains Sandra. ‘It is also practical if you like to move art regularly, because you can remove a nail without leaving a mark. You simply rub your finger over the weave to bring up the warp.’ nunnerley.com HOUSEANDGARDEN.CO.UK NOVEMBER 2017
LIVING WITH ART
D I S P L AY I N G ART: FRAMING
This display of Forties and Fifties portraiture clustering the staircase proves that unframed work can work well in the right setting. The canvases have been deliberately left unframed allowing the brightly coloured paintings to speak for themselves.
EXPERT FRAMERS
‘The frame is as important as the artwork; it can lift a piece of art from appearing ordinary. With smaller works you can experiment more, for instance using a thick moulding or larger mount to really draw the eye to the art and create space around it. For larger pieces, it is often easier to use a simpler frame. It needs to connect and speak to both your interior and the picture.’ Martin Brudnizki NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
SARAH HOGAN; RACHEL WHITING
G I LT F R A M E S , T H E T Y P E T R A D I T I O N A L LY U S E D F O R H I S T O R I C A L A R T, C A N B E J A R R I N G I N C O N T E M P O R A R Y I N T E R I O R S , S O I T I S W O R T H C O N S I D E R I N G A LT E R N AT I V E F R A M E S . I N T H I S H A L LWAY B Y D E S I G N E R B E ATA H E U M A N , A N O I L PA I N T I N G H A S B E E N F R A M E D I N A W H I T E T R AY F R A M E . T H E G E N E R O U S LY S I Z E D , C O N T R A S T I N G F R A M E D R AW S AT T E N T I O N T O T H E A R T, W H I L E A L S O P R E V E N T I N G T H E PA I N T I N G F R O M L O O K I N G TO O DA R K . B E ATA H E U M A N .C O M
LACY GALLERY A Notting Hill institution, which stocks a range of antique and period frames. lacygallery.co.uk PENDRAGON FRAMERS Keith Andrews and his team produce high-quality bespoke frames for a roster of well-known galleries and artists. pendragonframes.com S’GRAFFITI The Stoke Newington-based framers are known for their skilled workmanship and excellent value for money. sgraffiti.co.uk
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D I S P L AY I N G A R T : LIGHTING ADDED INSIGHT ‘Not every picture always deserves a picture light, so I would pick out the key pieces in your collection to make them stand out. The picture light should never be wider than the artwork.’ Martin Brudnizki ‘Good lighting should enhance the appearance of the artwork, without diverting attention away from it by being inelegant or too large. To avoid the serious museum look, I would recommend creating layers of light by combining wall sconces, table lamps and overhead lighting.’ Sandra Nunnerley ‘I am using Erco to light all of the art in my new house. They supply leading galleries and museums, and I really do think they are the best.’ Valeria Napoleone, art collector
TM Lighting has become the go-to for designers and collectors alike. Its LED picture lights create almost perfect colour rendition and consistency, and do not emit rays that damage the art. Here, a Turner oil painting has been lit by the ‘TM Picture Light’ (from £259.20), which ties in nicely with the gilt frame, and gives even distribution across the canvas. tmlighting.com
SALLY STOREY Creative Director at John Cullen Lighting DOWNLIGHTS VERSUS UPLIGHTS ‘Recessed directional downlights create a gentle pool of light. They are also flexible: good downlights offer different beam widths – narrow, medium and wide. Make sure the light is fitted with a baffle of at least 30mm to reduce the glare. Uplights are better suited to lighting sculpture, and you can create silhouettes by backlighting. INVISIBLE LIGHTING A recessed framing projector is good if you are looking for precise, almost invisible lighting for pictures and sculptures, because it lights nothing except the art itself. ILLUMINATING SCULPTURE Three dimensional pieces are best crosslit by two sources, as this helps highlight the true modelling. For something more dramatic, light from just one direction to create more shadows. LEDS This is the best way to light art. Always check that the Colour Rendition Index is above 90 so that the colours of the art are brought out. LEDs can also last for over 55,000 hours.’ johncullenlighting.com NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
Some say that you should keep lighting for art as discrete as possible, but this kitchen by Paolo Moschino proves how bold lighting can work. Paolo chose catwalk-style track lighting to illuminate the photographs by Montserrat Soto, and also uses it to light the rest of the space. ‘Track lighting is great for art because it provides maximum flexibility,’ he says. nicholashaslam.com
PAUL MASSEY
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D I S P L AY I N G A R T : SCULPTURE A N D I N S TA L L AT I O N
Sculpture works well at the end of a corridor or landing, because it becomes a focal point. This sculpture sits on a base at the end of the hallway in Wendy Nicholls’s flat. ‘I love the natural light glancing across it, but it can be compensated for with spotlights,’ says the managing director of Sibyl Colefax & John Fowler. sibylcolefax.com
Commissioning an installation can be a significant investment and tends to be difficult to move. This hallway by designer Amanda Baring is lined with Edmund de Waal’s ‘Porcelain Wall’. Edmund specified the number of shelves and the space between them, and Amanda worked with a joiner on the cantilevered design. ‘The key was to make the shelves disappear, so that the pots became the wall,’ explains Amanda. amandabaring.com
‘Putting a sculpture on a fireplace gives it a raised level of importance,’ says Andrzej Zarzycki, who root on his mantlepiece. Andrzej wanted to give it a contrasting This glass coffee table is a clever pedestal for this sculpture by artist Julien Brunet, because it does not compete with the piece. This is also a good way to display sculpture if you want to be able to view it from all angles. ‘We chose not to use directional light on the sculpture, because we wanted to avoid glare on the glass table,’ explains interior designer Alireza Razavi. studiorazavi.com NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
background, which would highlight the root shapes and prevent the piece blending into the walls, so he designed a framed white silk panel that is backlit using a perimeter strip light, creating a dramatic silhouette at night. collett-zarzycki.com
ALEXANDER JAMES; EMMA LEWIS; STEPHAN JULLIARD; CHRIS TUBBS
displayed this Chinese meditation
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Bridging the gap The recent appointments of women in senior positions at arts organisations in the UK mark a golden moment for gender equality, but there is still a long way to go in the representation of women artists at galleries, museums and auctions. HETTIE JUDAH considers the women who are paving the way for change PHOTOGRAPHS JAKE CURTIS
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
LIVING WITH ART
From left: Kate Gordon, founder and CEO of London Art Studies, and co-founder of the Association of Women in the Arts. Kate MacGarry, gallerist. Rana Begum, artist. Emma Dexter, director of visual arts at the British Council. Frances Morris, director of Tate Modern. Sarah Munro, director of Baltic. Victoria Siddall, director of Frieze Art Fairs. Hannah Barry, gallerist. Cheyenne Westphal, chairman of Phillips. Zoe Whitley, curator of international art at Tate. Rose Wyne, artist. Photographed at Tate Modern
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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‘IT IS UP TO US TO C R E AT E T H E R I G H T ENVIRONMENT FOR ALL TO THRIVE’
I
t was a balmy July evening in Regent’s Park. The director of Tate, director of Frieze Art Fairs and Yorkshire Sculpture Park’s director of programme spoke eloquently about the the arts’, as though they occupied as special position? importance of nurturing new audiences for ‘In the contemporary art world there are so many art before a thronging crowd, fizzing with women in senior positions that you can be lulled Champagne. It was the launch of the first into thinking that there’s no imbalance, and that it’s summer-long, free and accessible edition of not an issue anymore,’ says Victoria, who has been Frieze Sculpture, a new public-private initiative that director of the Frieze fairs in London and New York had brought together these three powerful figures in since 2014. ‘You could think job done, but the reality British art: Maria Balshaw, Victoria Siddall and Clare is that there’s some way to go, partiLilley. No mention was made of this cularly with the market and with coincidence of gender, yet for many it museum collections.’ felt triumphant seeing these three EMMA DEXTER The market does indeed present a brilliant women share a platform. Director of visual arts at rather less warm and fuzzy picture of Maria’s appointment at the head of the British Council the perceived value of women’s work. the Tate organisation – where she ‘Thankfully there are more Of the 23 works on display at Frieze leads a team that includes Frances and more visionary and Sculpture in Regent’s Park, only four Morris as director of Tate Modern – passionate collectors that are by female artists. Indeed, more of marks something of a golden moment specifically support women the galleries that participated in the profor gender equality at the head of arts artists, or focus particularly on ethnicity, identity ject have women’s names attached to them organisations in the UK. London’s and genre, who are doing than the artworks. Proportionally fewer Whitechapel Gallery has been under really important work.’ female artists are represented by top the direction of Iwona Blazwick since dealers: a recent study of New York’s 2001; Emma Dexter has been director KATE GORDON leading commercial galleries revealed of visual arts at the British Council Founder of London Art that only 32 per cent of the artists on since 2014; and earlier this year Studies, and co-founder their rosters were female (and over 80 Cheyenne Westphal was appointed of the Association of Women in the Arts per cent of artists represented were global chairman of Phillips auction ‘There are more men than white). Initiatives such as the Gallery house. Women have likewise flourwomen in the digital and Tally project highlight the discrepancies ished in the commercial sector, their tech sector, but the media between male and female representanames now associated with some of and arts education sectors tion in commercial galleries. London’s leading galleries, among are, curiously, a balanced them Sadie Coles, Maureen Paley, mix between the two. I feel Kate MacGarry and Victoria Miro. strongly that it’s just a case With figureheads such as these, do of who can do the best we still need to talk about ‘women in job at that point in time.’
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
LIVING WITH ART
SARAH MUNRO While the work of influential figures such as Yayoi Director of Baltic Kusama and Cindy Sherman can net significant ‘Almost fifty years on from figures at auction, the sums achieved are still well the Equal Pay Act and we below those of male artists of equal status. ‘In the past, still see significant disparity women did not have the same opportunities as men, in women’s earnings and this and there has been an over-dominance of male work as is something we continually a result. There were female artists throughout the art need to be both vigilant and questioning of. Increasingly, historical canon, but history hasn’t focused on them,’ it is women who are thriving says Cheyenne, who has worked in the auction world for in the arts. The greatest over 20 years. ‘In recent decades, female artists have challenge is the balancing of begun to see an overdue acknowledgment of their raising a family in a world importance in the field, including Louise Bourgeois, that isn’t nine-to-five. The Frida Kahlo, Agnes Martin and Joan Mitchell, arts operate through social among others. Georgia O’Keeffe currently holds the structures, with night events top auction price for a female artist at almost £35 and travelling being million. This is less than half that of a male artist, so constants. It is up to us as a lot to re-connect our we still have progress to make but we’re definitely leaders to create the right environment for all to thrive.’ audiences with signifheading in the right direction.’ icant – but overlooked A similar gender imbalance has historically been or forgotten – work by reflected in both the temporary exhibitions and perwomen and by artists whose race, ethnicity or geomanent displays of major museums. A tally in April graphical location meant they had been denied 2015 showed only seven per cent of the works on national and international recognition,’ she explains. display in the permanent collection of the Museum of Kate Gordon, the founder and CEO of London Art Modern Art in New York were by women. The San Studies and co-founder of the Association of Women Francisco Museum of Modern Art has equally attracted in the Arts, sees trailblazing figures such as these as criticism for its overabundance of ‘dude art’. having had a very direct impact on the number of By contrast, a number of British museums (notably women going into major arts organisations, and the those with strongly female-led teams) have pushed to career expectations they bring with them. ‘Frances and redress the gender balance in their displays. ‘Last year, Iwona are bringing qualified women up through the 77 per cent of Baltic’s solo exhibitions were by female ranks to follow in their footsteps,’ says artists and 94 per cent of all visitors Kate. ‘Optimistically, I get the feeling responded positively,’ says Sarah that society forced gender imbalances Munro, director of the Newcastle art CHEYENNE WESTPHAL are changing for the positive.’ gallery. Between 2010 and 2015, Chairman of Phillips Curator Hannah Barry founded headed up by Iwona (who started her ‘Female artists are her eponymous gallery in Peckham career at Tate) some 40 per cent of increasingly stealing the in 2007, where she also directs the Whitechapel Gallery’s solo exhibispotlight, through exhibitions not-for-profit, multi-storey carparktions were of female artists. Under the at major institutions based cultural enterprise Bold direction of Frances, Tate Modern to the internationally Tendencies. While citing an extensive rehung its displays in 2016 when the attended biennials.’ list of women that inspire her work, new Blavatnik Building opened, with FRANCES MORRIS from Sappho to Frances, Hannah is half the solo displays dedicated to Director of Tate Modern under no illusions that the current works by women. ‘My female colleagues at visibility of women in the arts has Frances recalls that she and Iwona Tate and beyond have been been the result of a concerted push ‘became sharply aware’ of Tate’s hismy greatest supporters behind the scenes. ‘So many different torical gender bias as they reviewed and mentors.’ people are working very hard on these the collection ahead of the opening VICTORIA SIDDALL agendas: writers and publishers, indiof Tate Modern in the late Nineties. Director of Frieze Art Fairs viduals in the world of galleries and ‘Since 2000, and with increasing ‘It is important for me to museums, and organisations such as momentum over time, we have done talk openly about having the Association of Women in the Arts a child. I can do my and Joanna Payne’s Marguerite, a job and have a family and members’ club which organises events not have to hide that. I feel catered to women,’ she says. ‘It is an there is a responsibility exciting and progressive moment’ to set an example.’
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
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The Durslade Farm estate, with galleries to the left and sculptures by Subodh Gupta and Paul McCarthy
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
LIVING WITH ART
Working in harmony Since 2014, Hauser & Wirth’s rural outpost in Somerset has been bringing the boldest names in the art world to Durslade Farm, a group of Grade II-listed buildings transformed into an artistic hub that embodies the very notion of living with art TEXT EMILY TOBIN | PHOTOGRAPHS JAKE CURTIS
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
ABOVE The kitchen in the farmhouse, which is used by visiting artists and is available to rent. Each of the plates hung on the walls here was chosen specially for its historical reference to Bruton. BELOW FROM LEFT A collection of bottles displayed in the main bedroom. The entrance to the farmhouse. The study, where original Victorian stickers feature on the panes of an internal window. OPPOSITE Pipilotti Rist’s video installation in the sitting room incorporates glass pieces, which were collected as part of an archeological dig performed by the artist
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
LIVING WITH ART
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
LIVING WITH ART
OPPOSITE A view from the hall into the dining room of the farmhouse. ABOVE The main bedroom has exposed plaster walls. BELOW FROM LEFT The original Gothic window panes have been carefully restored in the main bedroom. The dining room walls have been painted by Guillermo Kuitca. Much of the furniture in the farmhouse was found in local shops and salvage yards, including those in the bathroom
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
I
n the eighteenth century, the fashion for the picturesque was blooming across Europe. There were parts of the aristocracy who deemed the mechanisation of agriculture wholly unpalatable and so took to building model farms that romanticised rural life. Marie Antoinette was, of course, the most infamous culprit with her Sèvres milking buckets and lambs trussed up in silk ribbons. In 1768, the Berkeley family built Durslade Farm on the edge of Bruton in Somerset: a collection of handsome buildings with neo-Gothic windows that could be admired from the family’s mansion on the hill. It was as much a stage set as it was a working farm. In comparison to the wattle and daub cottages that were once its neighbours, Durslade must have stood out as a prince amongst paupers. Over two centuries on, Durslade Farm is still concerned with aesthetics, but this time it has a star-studded list of artists gracing its doors. Since 2014, the 1,000-acre estate has been a rural outpost for contemporary art gallery Hauser & Wirth, and has played host to exhibitions of work by the likes of Elisabeth Frink, Louise Bourgeois, Martin Creed, and Phyllida Barlow. With its consistently impressive exhibition programme, presided over by director Alice Workman, the gallery takes up inordinate column inches each year but its quieter siblings are the farmhouse – an offbeat building that embodies the very notion of living with art, and the rest of the working estate. Combined, these three strands draw in 2,500 visitors each week. The Swiss gallerists, Iwan and Manuela Wirth – who have owned a house in the area since 2005 – are no strangers to converting unexpected spaces into artistic hubs. First came the Löwenbräu Brewery in Zurich, then there was the Lutyens-designed Midland Bank in London, followed by the former Roxy roller disco rink in New York. Unsurprisingly, Hauser & Wirth Somerset is not a stark white box plucked from the capital’s artiest enclave and plonked in a field: it is an intelligent and considered project where each area artfully connects with the next. The job of converting the Grade II-listed buildings fell to the Argentinian architect Luis Laplace, who created the gallery spaces around a cloistered courtyard. But the art displayed here is far from monastic. It is challenging, expressive and often irreverent. This autumn, work by Hungarian artist, Rita Ackermann will be on show alongside a retrospective of the Swiss sculptor Josephsohn, while Bharti Kher will take up residence in the town. It was Luis who renovated the six-bedroom farmhouse that is now used by visiting artists and is available to rent. Before the project began, the farmhouse had been unchanged for 50 years and abandoned for 10, but Luis has conjured a fabulously off kilter interior by taking inspiration from what was there before. The house is a bewildering rabbit warren of scarlet corridors and counter intuitive NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
stairs that creak at every step. There are exposed copper pipes and doors in a dangerous array of head-bashing heights. As renovations began, internal windows and chimneypieces were discovered, and shoddy dividing walls were knocked down. Furniture was found in local antique shops and the colour scheme was determined using traces of original wallpaper or paint, hence the bathrooms in kitsch shades of calamine pink and mint green. Naturally, the house is packed with artworks from Hauser & Wirth’s feted stable of artists. In the dining room, Guillermo Kuitca has painted directly on the walls to create a Futurist-style mural. It took him four weeks working 10-hour days to complete the space and the effect is mesmeric; it is rather like being swallowed by an abstract canvas. ‘The summer at that particular moment in Somerset was very warm and dry,’ he says, ‘and though I didn’t expect to change my usual sombre palette, the sombre tones grew vibrant and bold.’ In the sitting room, a film by Pipilotti Rist, who spent 12 months living in Bruton as a pilot artist in residence, dances across one wall and a cascade of glass unearthed from a Victorian dump behind the farm is suspended from the ceiling. At the back of the gallery is a perennial meadow NO LONGER IS DURSLADE designed by the Dutch FA R M A P I C T U R E S Q U E P L AY plantsman Piet Oudolf. He has created a living THING FOR THE painting in the shades A R I S TO C R ACY; I T I S A of an artist’s palette, which incidentally, can be C O N S TA N T LY C H A N G I N G admired from a pair of A R T I S T I C H U B T H AT Louise Bourgeois granite benches. In 2015, the E D U C AT E S A N D E N T E R TA I N S pebble-like Radić Pavilion IN EQUAL MEASURE took up residence at the far end of the garden having finished its stint as the Serpentine Pavilion in Kensington. It’s a fitting retirement home for the artwork. The responsibility of maintaining the gardens falls to head gardener, Mark Dumbleton, who plants some tens of thousands of bulbs a year and nurtures Piet’s scheme as it shifts through the seasons. The Durslade estate produces beef, pork and lamb; there are wild deer, pheasants and angora goats; next year the first bottles of local wine will be available to order at the on-site restaurant, The Roth Bar and Grill. This is the domain of farm manager, Paul Dovey who often takes tours of the estate on his tractor and extols the virtues of beekeeping. There is a kitchen garden and in 2013 the Wirths donated a plot of land to the local council as part of a community garden project. In other circumstances, the combination of art and agriculture might seem unfathomable. Yet, three years on Hauser & Wirth Somerset continues to upend expectations. No longer is Durslade Farm a picturesque play thing for the aristocracy: it is a constantly changing artistic hub that educates and entertains in equal measure hauserwirthsomerset.com
LIVING WITH ART
ABOVE Piet Oudolf designed the garden around the Radic Pavilion, installed at Durslade in 2015. BELOW FROM LEFT Farm manager Paul Dovey. Senior director Alice Workman. Head gardener Mark Dumbleton
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
Don’t miss the December issue On sale November 3 HAVE A HAPPY CHRISTMAS!
MICHAEL SINCLAIR
Decoration ideas from the experts; and presents for art lovers, food fans and avid gardeners
LIVING WITH ART
Beneath the surface EMILY TOBIN considers the stories behind three paintings, and examines the meanings interlaced with the images and their subjects
THE NATIONAL GALLERY, LONDON
THE VIRGIN IN PRAYER 1640-50, Giovanni Battista Salvi da Sassoferrato This painting is a glorious celebration of the colour blue; the eye is immediately drawn to the Virgin’s richly draped mantel, which is rendered in vivid ultramarine in contrast to her pearly skin. ‘Ultramarine blue is a colour illustrious, beautiful and most perfect, beyond all other colours,’ wrote Cennino Cennini in Il Libro dell’Arte in 1390. While there were other blue pigments available to medieval and Renaissance artists, none surpassed ultramarine in its brilliance and density. It was also tremendously scarce, for the lapis lazuli from which ultramarine is made was found in a mine in the Badakhshan mountains in what is now Afghanistan. It was expensive to buy and laborious to process into pigment. Even the name speaks of the distance travelled to source it – translating from Latin as ‘beyond the sea’. ‘Not only did the long journey from the mines increase the pigment’s price, it also affected how and if ultramarine was used,’ explains colour expert Kassia St Clair. ‘Italian artists, particularly Venetians who were first in the European supply chain and could procure the pigment at its cheapest, were relatively profligate with this precious pigment.’ Nonetheless, it was expensive when compared to earth pigments and, as such, was reserved for works of particular wealth or devotion. ‘The colour’s rise in the West coincided with the Renaissance’s increasing preoccupation with the Virgin
‘A R T I S T S I N C R E A S I N G LY D E P I C T E D T H E M A D O N N A W E A R I N G U LT R A M A R I N E C LOA K S O R G O W N S , A M AT E R I A L S I G N OF THEIR ESTEEM AND HER DIVINITY’
Mary,’ says Kassia. ‘Before this point, blue was seen as rather an inferior colour. In the ancient world it was associated with barbarism but from around 1400, artists increasingly depicted the Madonna wearing ultramarine blue cloaks or gowns – a material sign of their esteem and her divinity.’ However, in Northern Europe, where ultramarine was scarcer, and where scarlet dye was the pre-eminent sign of wealth and distinction, Mary tended to be clothed in red. ‘Although Sassoferrato’s painting is of the Virgin Mary, it is really a hymn to ultramarine,’ says Kassia. ‘Her eyes are cast down, her foreshortened face is in shadow and her expression is self-effacing. The blue expresses her power and importance in a way that she can’t.’ nationalgallery.org.uk HOUSEANDGARDEN.CO.UK NOVEMBER 2017
LIVING WITH ART THESE ARE THE UNBIDDEN THOUGHTS OF JOHNS’ SUBCONSCIOUS RENDERED I N A L A BY R I N T H I N E PA I N T I N G
For a period of time in the early Eighties, Jasper Johns would lie in bed desperate to sleep only for a relentless barrage of thoughts to whip through his mind, disturbing any hope of restful slumber. ‘Fragments of thought would run through my head at 90 miles an hour. One thought wouldn’t connect to the next thought; it was almost like images flashing,’ explains Johns in a 1996 interview with Bomb magazine. ‘I was describing this to someone – a child psychiatrist I’d met in a hotel near my house – and he said, “Oh, we have a name for that. It’s called racing thoughts.” Having a name for it threw it into a different perspective for me.’ In 1983, he created Racing Thoughts; a bipartite composition depicting objects and art that occupied the artist’s studio and home. In this instance, Johns is not in bed but lying in the bath as indicated by the taps in the bottom right corner. The amorphous light brown shape is a pair of his trousers hanging on the bathroom door. There are allusions to Leonardo da Vinci NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
and Marcel Duchamp via the Mona Lisa, and exhibiting an equally inscrutable expression is a jigsaw puzzle denoting Johns’ long-time art dealer, Leo Castelli. There’s a Barnett Newman lithograph and an avalanche warning with its ominous skull and cross-bones. There are two ceramic pieces: one by George E Ohr, the second a celebration of Elizabeth II’s silver jubilee – she and her consort’s profiles are rendered in the negative space surrounding the vase. A stream of capitalised type spells the words ‘Racing Thoughts’: it spills off the right side of the canvas only to re-emerge on the left with the words ‘J Johns 1983’. The effect is one of incessant motion tinged with panic. These are the unbidden thoughts of Johns’ subconscious rendered in a labyrinthine painting. ‘He could just be looking at a bathroom wall, but really he’s looking inside his mind,’ says curator Roberta Bernstein. Jasper Johns ‘Something Resembling Truth’ is at the Royal Academy until December 10; royalacademy.org.uk
© JASPER JOHNS/VAGA, NEW YORK/DACS, LONDON, 2017; WHITNEY MUSEUM OF AMERICAN ART, NEW YORK
RACING THOUGHTS 1983, Jasper Johns
VOGUE Café Moscow / Novikov Group
FOOD FOR THE FASHIONABLE VOGUE Lounge Bangkok / Shinsuke Matsukawa
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VOGUE Café Kiev / Stas Kartashov
LIVING WITH ART
THE VENETIAN MASQUE, A PORTRAIT OF THE ARTIST’S WIFE, RHODA 1922, Sir Oswald Birley This month, an exhibition of Sir Oswald Birley’s work will be on show at Philip Mould & Company in London. Oswald cut a striking figure – he was ex-Intelligence Corps, over six feet tall and handsome to boot. After the First World War, he carved out a successful career as a painter of the ruling classes, and was a favourite of the Royal Family, captains of industry, maharajas and heads of state.
In 1921, Oswald married Rhoda Pike, which came as a surprise to some of his friends, ‘who’d had him down as one of the world’s permanent bachelors,’ says Dr Jonathan Black, curator of the exhibition. Nonetheless, their marriage lasted 30 years until Oswald’s death in 1952. Rhoda was 20 years her husband’s junior and this portrait was painted in celebration of their honeymoon in Venice – hence, her theatrical costume and mask. ‘Rhoda was beautiful, cold and stylish,’ says her grandson, the businessman and entrepreneur Robin Birley. The redoubtable Rhoda was also an eccentric who allegedly fed lobster thermidor laced with cognac to her roses; she drove through the countryside with her face swathed in muslin netting to counter hay fever and believed in spirits and fairies. ‘Oswald sandpapered the rougher edges of her eccentricities,’ says Jonathan. ‘She was tall and slim, with wild, flowing dark hair in stark contrast to her white skin, and she had terrifyingly expressive eyes, which you felt could bore right down into your soul,’ wrote her then daughter-inlaw Annabel Goldsmith in her memoirs. The painting now hangs in the entrance to Robin’s Mayfair club, 5 Hertford Street, where she greets visitors with a typical imperiousness. ‘Rhoda was not just the cat who got the cream but she was waiting for it to be delivered to her in a silver bowl,’ says Jonathan. Birley: Power and Beauty is on until October 10; philipmould.com ‘ S H E WA S TA L L A N D SLIM, WITH WILD, FLOWING DARK HAIR I N S TA R K C O N T R A S T TO HER WHITE SKIN, A N D T E R R I F Y I N G LY EXPRESSIVE EYES’
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
The List DIRE C TORY 2018
COMING SOON WITH THE DECEMBER 2017 ISSUE AN INDISPENSABLE GUIDE FOR ANYBODY WANTING WORK DONE TO THEIR HOME
LIVING WITH ART
Ask an expert ILLUSTRATION ROSE BLAKE
Professional art advisers barely existed a decade ago, and if they did, they were a luxury only the wealthiest collectors could afford. These days, many more art lovers are choosing to consult with an impartial expert before dipping their toes in the murky waters of the art world, and each year many millions of pounds are spent and earned on their counsel. LILY LE BRUN speaks with some of the best in the industry and discovers how there is still no one way to be an art adviser B E AU M O N T N AT H A N
O L I V E R S H U T T L E WO R T H F I N E A R T
beaumontnathan.com Beaumont Nathan arose from the realisation that there was a need for a professionalised art advisory at the top of the market. ‘A lot of people claim to be art advisers and they are really just adding fees,’ says co-founder Wentworth Beaumont. ‘A good adviser has got to add value for the client.’ In 2014, Wentworth and his colleague Hugo Nathan left the international dealership Dickinson to try and provide that service. Tom Mayou, a former management consultant, joined the firm soon afterwards, adding another measure of commercial insight to the duo’s art market expertise. The team advise on all aspects of buying and selling art across all periods – from Old Masters to contemporary art – using analysis of auction prices alongside less readily available information, such as the secretive multi-million pound deals between private collectors. ‘I think people are starting to figure out that all that opacity hinders business,’ says Wentworth. He firmly believes that good advice involves transparency: ‘If we’re not going to tell the truth, what are we here for?’
olivershuttleworth.com ‘Hopefully, I make building a collection fun, and take away a lot of the worry,’ says Oliver Shuttleworth, who launched his advisory company in November 2014. A former co-head of the Impressionist & Modern Day Sale at Sotheby’s, his specialism is late-nineteenth- and twentieth-century European art. The majority of his clients are experienced collectors who do not have the time to trawl through auction catalogues and galleries. They trust Oliver to understand what their tastes are, and to seek out the best pieces at the correct prices. ‘You have to be in the right place at the right time,’ he says. ‘The only way to do that is to keep in contact with the people who tend to get the great pictures.’ He helps manage collections, too, ensuring the right framing and lighting are installed, resolving any condition issues and eliminating concerns with authenticity or restitution. ‘You would never buy a house for £2 million and not get a survey done, or not use a lawyer, would you?’ he points out. ‘When you buy a painting, use an expert, use someone who is on your side.’
M AY CA L I L C O N S U LTA N T S C O L B E R T & C O M PA N Y colbertandcompany.com Catherine Wilding and Camilla Trefgarne met 15 years ago, but the opportunity to collaborate arose when Camilla, a former specialist in twentieth-century British art at Christie’s, was approached by a collector to find some specific pieces. She needed a business partner and Catherine, who ran her own luxury communications business and is passionate about art, was the ideal candidate. ‘It just grew from there,’ says Camilla. They set up Colbert & Company with the idea of helping people ‘find beautiful things’. Their work is generally project based, whether that’s sourcing a large Abstract painting to fill a dark hallway in a Belgravia town house, or curating a collection of Modern British paintings for a recently purchased pied-à-terre. They spend a lot of time with the client in order to understand their taste before beginning the search for the perfect work. ‘It’s a very considered process,’ says Camilla. We’re employed to take the hassle out.’
maycalilconsultants.co.uk ‘I’m a firm believer that the art world is an ecosystem and in order for it to function at its best, all aspects of this ecosystem have to be thriving,’ says May Calil. After graduating from Cambridge and SOAS, University of London with degrees in history of art, she worked in arts development for several years before setting up May Calil Consultants. Chair of the Young Patrons of the Royal Academy and the Chisenhale Gallery Development Committee, she keeps her clients informed about non-profit organisations that might be of interest to them alongside offering guidance on buying and selling art. She encourages her collectors to look at artists represented by younger and mid-level galleries, who often struggle with the costs of running permanent spaces and participating in art fairs. ‘If possible, I will take my clients on a studio visit to meet the artist whose work they are interested in. Buying art takes on another dimension when you meet the artists’ HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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Inspirational INTERIORS, beautiful GARDENS, fascinating people, compelling stories
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Specimen trees with autumnal leaves reflected in the lake at Millichope Park in Shropshire
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
WHERE THE ART IS TEXT NONIE NIESEWAND PHOTOGRAPHS MICHAEL SINCLAIR LOCATIONS EDITOR DAVID NICHOLLS
This Victorian house in London was almost doubled in size to make room for its owners’ dramatic collection of contemporary art, with architect and designer Shalini Misra creating detailed yet large-scale spaces that allow the art to shine NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
HALL (opposite) Antony Gormley’s Build sculpture is positioned near the staircase on the raised ground floor. SITTING AREA (this page) On the same floor, the open-plan space is furnished with a pair of B&B Italia sofas and ‘Rita’ chairs by Martino Gamper
LIVING AREA (this page) A pendant light bought in Istanbul hangs above Daniel Arsham’s Thinking Glass Figure; (opposite bottom left) the formal dining area on this floor has a table by Massimiliano Locatelli from Nilufar Gallery
A
Victorian house built in the Italianate style in a smart conservation area of London is an unlikely setting for provocative contemporary art. Yet architect and interior designer Shalini Misra has created a dramatic space every bit as bold as the owners’ collection of art. Just inside the front door, visitors are greeted by a sculpture called Almech (2011), by the Polish artist Pawel Althamer. Its bone-white face is revealed as bandages mummifying the female form are peeled away. This could be seen as a metaphor for the house itself – its Victorian past stripped to face the future. Step further inside and it becomes obvious that this is not a house for a timid designer. That is surely why Shalini was commissioned. Her projects, which include the interiors of Regent’s Park penthouses and an apartment in New York, are bold, exciting spaces that bear the hallmarks of a designer with expertise in finish and detail. In 2016, for a pop-up exhibition with the Milan-based Nilufar Gallery and Mehves Ariburnu, Shalini designed a chic Mayfair apartment. Dramatic glossy black timber and marble flooring, an exaggerated sense of scale, contrasting textures and an eye for mid-twentieth-century design classics were themes she explored in the impressive project, which was then sold for over £10 million. When she was asked to design the Champagne bar at Decorex in September this year, she took inspiration from the Great Exhibition of 1851 at Crystal Palace, recreating its glass dome in voile and replicating some of the filigree ironwork patterns and Victorian colours. In this house, though, everything was on a bigger scale. Having been familiar with Shalini’s work, the owners knew not to
LIVING AREA (above) A photographic collage by Robin Rohde hangs on one wall. BASEMENT (this picture) Extra space was created in the basement for a pool
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
We have achieved COMMUNAL AREAS where the family loves to spend time, along with GREAT SPACES FOR ENTERTAINING
DINING AREA (opposite) On the lower ground floor, a more informal dining area has a table by Eero Saarinen, with a photograph from Marina Abramović’s Kitchen series on the wall. KITCHEN (this page) Hexagonal cement tiles delineate the kitchen area, which has a steel and brass island from Officine Gullo
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
expect plain white cubed spaces. An essential part of their brief was to make the house, which they share with their three children, bigger, in order to display their art collection. Working in finance and also owners of a gallery in Istanbul, the couple have a collection that includes pieces by some of the best-known artists of the twenty-first century: Gerhard Richter, Anselm Kiefer, David Hockney, Antony Gormley and Tracey Emin, to name a few. The basement was dug deep to create an extra 418 square metres for a swimming pool, gym and spare rooms, making the house nearly 900 square metres across five floors. Weighing up the artworks, Shalini determined where to place them and, in some instances, had to create new spaces. In the basement hall, a Pedro Reyes Los Mutantes mixed-media series of photographs and paintings is hung vertically, column by column, creating a narrative. To recreate the installation as the artist intended, Shalini designed a curving wall, painted a deep mushroom colour. The relocated staircase now moves clockwise between all floors, a choice inspired by vastu shastra principles – a traditional Hindu system of architecture meant to bring harmony into the home. Shalini, who read architecture at New Delhi’s School of Planning and Architecture, followed by an MSc in virtual reality at University College London, adheres to the system’s basic principles, and it appears to work. There is also a concealed lift hidden behind bronze doors with hand-embroidered panels. It is just one example of the decorative detailing that Shalini likes. An open-plan kitchen-dining area on the lower ground floor is arresting in its use of exaggerated scale, with an outsize chandelier hanging above an island unit almost as long as the room. A huge photograph by Marina Abramović, entitled The Kitchen I: Levitation of Saint Theresa (2009), shows the saint in flight above stacked pots and pans; it too hangs on a wall that Shalini created specifically for its size and dimensions. In the open-plan living space one floor higher, the floors and walls were specially reinforced for more large-scale paintings and life-size figurative sculptures. Antony Gormley’s robotic figure, Build (2010), stands guard on black and white marble f loors, facing a painting by Anselm Kiefer. Doorways widened for glimpses of artworks beyond open into a reception area where the family entertains. Overscaled cornices wrap around the french windows to double as pelmets for velvet curtains. A black chevron timber floor leads to an ornate inlaid marble floor, which defines a more formal dining space around a curvaceous table by Massimiliano Locatelli from Nilufar Gallery. Bespoke furniture is mixed with modern design classics, in contrasting textures of leather and linen, velvet and wool, and a smoky palette of deep blue, grey and charcoal. There are golden accents in the curtains and bronze-topped tables. Ascending to the first floor, to the main bedroom and bathroom, the palette – and materials – soften. The f looring combines tan leather tiles laid in a herringbone pattern with timber boards. Clad with wooden slats, the ceiling holds the warm tones of the faux suede and leather wardrobe doors. David Hockney’s painting, Study for the Emperor’s Palace (1981), from his opera set for Igor Stravinsky’s The Nightingale, is displayed above the leather headboard. ‘Headboards should never face north,’ is another vastu shastra principle. On the top floor are two further bedrooms. ‘The scale of this home could be intimidating,’ says Shalini. ‘But we have achieved an interior that is warmly welcoming, with communal areas where the family loves to spend time, along with great spaces for entertaining. The artwork is a connecting feature that tells a story throughout the house’ Shalini Misra: 020-7604 2340; shalinimisra.com NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
DRESSING ROOM (opposite top) Poliform’s ‘Edward’ sofa provides a spot to sit in this space. MAIN BATHROOM (opposite bottom) Two mirrors by William Emmerson from Ralph Pucci hang above the double sinks. MAIN BEDROOM (this page) Tactile surfaces in the main bedroom include a leather f loor, tiled wall and a wooden-slatted ceiling
Setting the tone A striking hall makes a big impression in this London mansion flat, in which interior designer Jane Churchill has created detailed rooms with a focus on modern living TEXT ELFREDA POWNALL | PHOTOGRAPHS ALEXANDER JAMES | LOCATIONS EDITOR LAVINIA BOLTON
DINING ROOM (this page) Seen from the drawing room, a large display wall in the dining room features antique plates and chargers from Tarquin Bilgen, with bound volumes and vellum-covered books from the seventeenth to the eighteenth centuries, bought from Guinevere Antiques. ENTRANCE HALL (opposite) The carpet in the entrance corridor was designed by Jane, while the hanging lanterns are from Carlton Davidson. Opaque glass panels have been positioned in front of the original windows
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DINING ROOM (above) The dining chairs are covered in ‘Haze’ velvet by George Spencer Designs and ‘Rochambeau’ by Claremont. KITCHEN (below) A table and chairs by Marc de Berny sit under a circular light by Le Deun; the Roman blinds are in ‘Lotus’ by Galbraith & Paul, from Tissus d’Hélène. DRAWING ROOM (right) Watercolours of large urns from Ramsay hang on either side of the entrance to the dining room. The Howard sofa is covered in ‘Romeo & Giulietta’ silk velvet, from Dedar
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J
ane Churchill opens the door of the f lat she has designed for Russian owners, then stands back to watch, smiling at the reaction that greets the entrance corridor. ‘Rather good, isn’t it?’ she says with typical understatement. It is punctuated by three large opaque-glass panels, with a pattern in stainless-steel tracery, which sit in front of the mansion flat’s original windows. Daylight shows through the panels from the windows behind them; at night they are backlit to shine brightly, or dimmed to a gentle glow. Stroll along – and with a passage of this length, it is quite a stroll – and you see the scale of everything here is in proportion, with a sizeable blue-andwhite charger and vase, tall lamps and two large marble consoles. Down three steps at the end you reach an anteroom that creates a pause between the hall, the main reception rooms and the kitchen. This utilitarian space has been given great character, with a blue-and-white feathery George Spencer Designs wallpaper, hung with plaster plaques of the busts of Roman emperors. ‘Paintings would have looked ghastly,’ says Jane decisively. ‘And I’m not a chandelier fan, but this one I love,’ she says of the slim and elegant Forties Murano glass one hanging here. ‘All the “candles” you see on chandeliers were far too short and stumpy – very ugly, so we had these ones specially elongated.’ Attention to detail has been Jane’s watchword over a 42-year career in interior design. She has been called the grande dame of British decorating, but she moves with the times, and her everevolving tastes and originality make that too stuffy a description. The owners, who use the flat as a pied-à-terre while visiting their son at school in the UK, say they are thrilled with the results. The drawing room is dominated by a large painting of a sunflower by Sarah Graham, with its colours subtly echoed in the cushions on the two sofas, one in blue and another in beige silk velvet. The wide horizontal stripes of the curtains, with their simple headings, match the wall colour, while burnt oranges and golds of the handsome 1890s Mahal rug are repeated in the dining room next door, this time in a modern striped rug and curvy velvet-covered dining chairs. Here a display wall with antique plates, mostly in blue and white, interspersed with cream vellum books, provides a quirky focus for this elegant, formal room. The kitchen posed a dilemma. ‘I wanted the sink and dishwasher on the left of the room, but the water was on the opposite wall,’ says Jane. ‘Luckily, our brilliant architects, Form Studio, solved it by suggesting we put in two steps and raise the floor, so the water pipes could run underneath.’ The panelled cabinets, designed by Jane, are modern, but without the sharp corners and plasticky feel that she decries in some space-age kitchens. A round table in the bay window is perfect for informal family meals. Life, even for the denizens of these handsome mansion flats, has become more informal since they were built in the 1890s, and kitchen dining is the new norm. We like more bathrooms these days, too. ‘I don’t mind if the bathroom is a shoebox, as long as I have my own,’ says Jane. She likes to design gently comfortable bedrooms leading to bandboxsmart modern bathrooms, like the one here, though it is far from being a shoebox. A zigzag theme appears on the marble floor, the glass doors to the shower and loo and the stainlesssteel pattern of the opaque window. Here, as in the hall, Jane has overlaid utilitarian windows that give onto the building’s light wells with a glamorous opaque glass and steel finish. Practicality with a dash of glamour is Jane Churchill’s style
ANTEROOM (opposite) Blue and white ‘Fernholme’ wallpaper by George Spencer Designs, a mirror from Soane and two painted wood sconces from Christopher Butterworth decorate the walls here. The Forties Murano chandelier is from Odyssey Fine Art. MAIN BEDROOM (above) The dressing table is from Tarquin Bilgen and the Soane swivel chair is covered in a Sister Parish fabric from Tissus d’Hélène. MAIN BATHROOM (below) The mirror-fronted vanity unit was designed by Jane
Jane Churchill: janechurchillinteriors.co.uk Form Studio: formstudio.co.uk HOUSEANDGARDEN.CO.UK NOVEMBER 2017
Balancing act To restore a feeling of equilibrium to his Queen Anne house in Herefordshire, interior decorator Edward Bulmer remodelled the layout, added a new wing, and painted the walls in interesting colours to create a contemporary family home TEXT CAROLINE CLIFTON-MOGG | PHOTOGRAPHS LUCAS ALLEN | LOCATIONS EDITOR LIZ ELLIOT
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
MUSIC ROOM This long room, which was created from two rooms, has curtains in bedcovers from Anokhi in India and sofas designed by Edward arranged around a leather-covered ottoman
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E
dward Bulmer was brought up in a pleasant Georgian rectory in Herefordshire, painstakingly restored by his father, where he intuitively acquired a taste for period buildings. After studying history of art at the University of East Anglia, and developing a passion for architecture, he worked in quick succession for interior designer David Mlinaric, then Gervase Jackson-Stops, who was architectural advisor to the National Trust, and later with Alec Cobbe, known for his rehanging of art collections in historic houses. With such an apprenticeship, it is hardly surprising that Edward is now an architectural historian and interior decorator of note, who is called upon when such mansions as Kenwood, Althorp or Goodwood are in need of help. So it might seem axiomatic that his own charming Queen Anne house, also in Herefordshire, where he lives with his wife Emma and their three daughters, would be a yardstick for academic restoration, a perfect recreation of an eighteenthcentury interior. But there you would be wrong. The house itself, enviably pretty in warm red brick, was built around 1700. ‘Obviously a gentleman’s house of the time furnished with all the then necessary appurtenances – dovecote, mixed farm and gardens (walled and water) – everything in fact that would allow the house to be self-sufficient and work economically, but all on a small scale,’ Edward says. There remain a clutch of outbuildings and a cow byre, which, serendipitously, is now the busy hub of Edward Bulmer Natural Paint, of which more later. ‘I love the fact that the house is a country estate in miniature, with the look of a much more grown-up establishment.’ Over the centuries, the house had been altered, windows blocked up here, a wing of domestic offices added there, and by the time the Bulmers arrived in 1994, it had subsided into a state of benign neglect. The first task, therefore, was to make it liveable by remodelling parts of the house, which has also restored its proportions. They did this primarily by demolishing the nineteenth-century side wing of domestic offices and replacing it with a new wing facing the walled garden to the west. ‘I wanted to build this side to turn the house around and embrace the walled garden, and to create balance; we extended the footprint of the house by adding a garden hall, enlarging the kitchen on one side and creating the dining room on the other,’ Edward says. ‘And to balance the façade, we put back once-blocked windows overlooking the walled garden.’ The new, generously proportioned garden hall, with its soft turquoise-painted walls and nineteenth-century f lagged floor, as well as a cloakroom, with walls cheerfully hung with a Pierre Frey fabric, provide a practical but creative link to the two former wings of the house. From the garden hall, the dining room now extends out beyond what was once an exterior wall and is quite formal.
The DINING ROOM extends out beyond what was an exterior wall, and is quite formal, FURNISHED WITH ANTIQUES Edward collected in his early days as a decorator NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
DINING ROOM The curtain material was made specially for Edward by Watts of Westminster, which printed the design from one of its wallpaper borders onto cotton. The family’s collection of Old Master pictures has been concentrated in this room
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
MUSIC ROOM (opposite top) The chimneypiece was sourced from a salvage company, while the paintings of the Taj Mahal were done by Edward, based on sketches he made on the banks of the Yamuna river. EXTERIOR (opposite bottom) The east front of the house, seen reflected in the eighteenth-century fish pool. FAMILY ROOM (this page) The oak-panelled walls are hung with pictures by family and friends
KITCHEN (this page) John Beavan made the kitchen units to the Bulmers’ design. FRONT HALL (opposite top left) Leading into the family room, the front hall has a chandelier from a local antique shop and a carpet from Roger Oates. GARDEN HALL (opposite top right) The flags on the floor here were taken from the demolished nineteenth-century wing. CONSERVATORY (opposite bottom right) The kitchen’s eating area is housed in the conservatory, part of the newly built wing. EXTERIOR (opposite bottom left) Edward with dog Molly outside the old granary, which is now used as a painting studio
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‘Classic ARCHITECTURAL RULES of proportion, scale and colour are designed to BRING HARMONY to a room’
It is furnished with many of the antiques Edward collected in his early days as a decorator, with warm grey walls and curtains in a design specially made for Edward by Watts of Westminster. On the other side of the hall, the kitchen is a comfortable country room with a light-filled eating area, part of the newly built wing. From the main east façade, the front door opens into a wide hall with a well-proportioned early staircase of oak. To one side of the hall is the family room, also panelled in oak; it is a very personal room with comfortable furniture, much of which was designed by Edward, and every possible inch of the panelling is hung with pictures by family and friends. As Edward says, it could be called The Bulmer Room. On the other side of the hall is the music room, which was originally two rooms. To achieve the change, rather than following the conventional route of inserting a lower beam below the not-particularly-high ceiling, Edward put in a steel beam hidden above the ceiling. The result is an unbroken line in a now well-proportioned room. To harmonise the different wall surfaces and uneven proportions, he installed oak panelling from floor to ceiling ‘in the eighteenth-century fashion’, painted in a subtle green. ‘The use of classic architectural rules of proportion, scale and colour, as well as a balance of styles, are designed to bring harmony to a room,’ says Edward. Here, the balance of style is found in the furnishings – sofas designed by Edward, one upholstered in pink tweed and the other in pink leather, as well as the carpet, a bright Bessarabian design, re-created by David Bamford. The pink and green curtains – ‘very much Robert Adam’s palette’ – are made from bedcovers found in Jaipur and the silver and white console tables were commissioned in Udaipur. The Indian references are not coincidental: about 10 years ago, the Bulmers took their then young daughters out of school and went to India and Sri Lanka on an extended trip. It affected them all deeply and today the house is, in many ways, a reflection of that period of their life. Upstairs, leading off the staircase landing, are the bedrooms. The main bedroom is a glory, with eighteenth-century painted Chinese wallpaper panels, originally from Biddick Hall, rehung here in all their bosky beauty. In the best spare room, created from two rooms, the lucky guest sleeps in a Chippendale bed with fabric-covered walls and recycled silk sari curtains. It comes as no surprise that the subtle wall colours in every room are startlingly good – amplifying both the architecture and the decoration; they are of course all from Edward’s own, interior design-led natural paint range. Because each of the colours is based on so few pigments, there is a calm synchronicity between them – really just like the house itself. ‘I don’t like restoring everything to within an inch of its life or stripping out everything,’ Edward says. ‘My approach to decorating my own home is that it is our life story as a family and everything in the house should, and I hope does, reflect that’ Edward Bulmer Natural Paint: 01544 388535; edwardbulmerpaint.co.uk NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
MAIN BEDROOM (opposite top) This brightly patterned room includes an eighteenth-century painted Chinese wallpaper, a carpet by David Bamford and curtain fabric from Chelsea Textiles; Edward designed the bed. MAIN BATHROOM (opposite bottom) ‘Cuisse de Nymphe Emue’ paint from Edward’s range provides a backdrop for artworks including nudes by Edward. SPARE BEDROOM (this page) The carved mahogany four-poster bed is a Chippendale design
REACHING A HIGH POINT Called upon to create a house that would fit the Suffolk landscape, Mole Architects came up with an intriguing sloping structure that graduates from one storey to two, with large windows placing the focus on dramatic river views TEXT DOMINIC BRADBURY | PHOTOGRAPHS PAUL MASSEY | LOCATIONS EDITOR DAVID NICHOLLS
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
EXTERIOR The house rises from one storey to two, with the main bedroom in the upper part. The windows on this side of the house face south, looking over the reed beds to the river, while the zinc roof and cladding unify the structure
T
he views from Marsh Hill are mesmerising. Looking out from Ben Baglio and Richard Wilson’s new Suffolk home, your eye is drawn across the reed beds and the tidal waters of the River Alde, before reaching across to the green farmland on the opposite bank. This vista is one of the greatest joys of this magical spot on the edge of Aldeburgh and the distinctive shape and roofline of the house, designed by Mole Architects, echoes the rugged, undulating coastal landscape here. ‘All the main rooms have windows facing south to these big views,’ says publisher-turned-ceramicist Ben. ‘The birds here are just fantastic, especially as the tide goes out and the wading birds come in. It’s become a new interest for us. You see these amazing things and want to know what they are, so our knowledge is growing. We have marsh harriers and also an owl that comes by every night.’ Both Ben and Richard have strong connections with East Anglia, an area that they have loved for many years. The couple used to share an Arts and Crafts house in the nearby town of Saxmundham, but decided that they wanted a more rural setting that was still within easy reach of Aldeburgh and Snape Maltings, known for its concert hall and a key setting for the annual Aldeburgh Festival. Down a farm track, they came across a Seventies house in poor condition and
spotted the opportunity to replace it with something that was both contemporary and tailored to their own needs. Having noted the design of The Dune House in Thorpeness – a collaboration between Mole and the Norwegian practice Jarmund/Vigsnæs – Ben and Richard contacted Mole’s Meredith Bowles, who is based in Cambridgeshire. Meredith offered a number of design options initially, but his preferred choice was also the favourite for his new clients, with the house ascending from a single storey at one end to a twostorey section. The entire house is unified by the zinc roof, which is also characterised by a subtle and sculptural twist. ‘This idea of going from a low point at one end to the rooms in the roof at the other end was really suggested by the site itself,’ says Meredith. ‘We wanted the house to fade to nothing at one end and the sense of lift and movement is a result of that desire, along with the need to connect each room to the river view. There’s also a play of scales inside the house between the tall open spaces and the lower ceilings of the more intimate rooms.’ Meredith talks of inspiration gained from Scandinavian summer houses and the façade of white brick, while the crafted quality of the interiors suggests the influence of warm Modernists such as Alvar Aalto and Arne Jacobsen. Ben and Richard were also taken by Meredith’s description
SITTING ROOM (this page and opposite) The large, open sitting room is furnished with several pieces from the couple’s collection of mid-century modern furniture, while an eighteenth-century grandfather clock bought in Saxmundham provides an element of contrast NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
KITCHEN/DINING AREA (this page and opposite) A vintage Danish pendant light bought from Alfies Antique Market hangs above an ‘EM Table’ by Jean Prouvé for Vitra in the dining area. Laki Carpentry made the steel and granite island to Elaine Williams’ design JULY 2017 HOUSEANDGARDEN.CO.UK NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
of the roof as a gull wing, which seems apt given the richness of the bird life here. The intriguing form of the house itself is beautifully offset by the naturalistic landscaping by Todd Longstaffe-Gowan, where meadow grasses bow down towards the water reeds. ‘Like the wing of a herring gull, the colours of the house are mainly whites and greys,’ says lawyer-turned-archivist Richard. ‘The climbing roof meant that we could have the main bedroom upstairs and set apart from the rest of the house, but without creating a full two-storey building, which would have been too invasive in the landscape.’ For the interiors, Ben and Richard turned to interior designer Elaine Williams of Interior Couture, with whom they had already worked on a number of occasions. Elaine worked closely with the owners and architects, creating a rounded and characterful home, full of texture and warmth, layered with many bespoke elements. The entrance leads into a central ‘great hall’, with a fireplace sitting between large windows facing the Alde. It is a dramatic space, with a high ceiling and a sliced brick
floor, yet the mixture of mid-century pieces, artwork and ceramics ensures that the space is welcoming. A few steps lead down to a generous kitchen and dining area, lifted by a number of custom elements designed by Elaine, such as the island and the banquette that helps border the dining table. ‘The south-facing dining area is one of my favourite spaces,’ says Elaine. ‘The banquette gives extremely comfortable seating for dinner parties and is relaxed, with these amazing views over the marsh to the River Alde. Ben and Richard were really looking for a clean-lined, contemporary country house, influenced by the mid-century aesthetic, as well as suiting their artworks and ceramics.’ Upstairs, the main bedroom is crowned by a picture window opposite the bed, framing a dramatic vista; the space flows directly into the bathroom, with its vibrant tilework floor, while a dressing room and study sit alongside. At the opposite end of the house, back on the ground floor, are
two spare bedrooms. Here, the beds are placed at a slight angle to enhance the connections to the view, while an oakpanelled ‘bulkhead’ around the headboard lends the room a more crafted, cabin-like quality. Beyond these bedrooms sits one more space, offering a dedicated pottery studio for Ben and the perfect place to indulge his ongoing love of ceramics. Here, too, the view is a constant presence and an inspiration. ‘The design of the house takes perfect advantage of the location with the positioning of the windows and the framing of the views,’ says Richard. ‘You really appreciate the landscape, but there isn’t so much glass that you feel as if you are in a greenhouse. The interiors feel cosy and coherent but with a connection to this fragile, dynamic landscape’ Mole Architects: molearchitects.co.uk Interior Couture: interiorcouture.com Todd Longstaffe-Gowan: tlg-landscape.co.uk
BATHROOM (opposite) Jean Prouvé’s long-arm ‘Potence’ light illuminates the bath. MAIN BEDROOM (top left, bottom right) De La Espada’s ‘Hepburn’ bed is focused on the view. STUDY (top right) A beni ourain rug adds softness. MAIN BATHROOM (bottom left) The floor tiles are Fired Earth’s ‘Evora’ HOUSEANDGARDEN.CO.UK NOVEMBER 2017
The
K NOW L E D G E WA L L T I L E S Eighteenth-century ceramic tiles by Sadler & Green Liverpool decorate the recess walls around the Aga in the kitchen. In the eighteenth century, John Sadler and Guy Green invented a transfer-printing process that was used by companies including Wedgwood, and their original tiles sell at auction for upwards of £400 each. Milagros’ ‘Anita’ tiles in green are similar to the ones in Edward’s kitchen. They are 10.5cm square and cost 75p each. milagros.co.uk
BALANCING AC T Pages 150 –159
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One of the sofas in the music room is covered in a pink leather from Crest Leather. The company’s ‘Shelly’ in the rose colour is made from corrected hides embossed with a grain pattern, which makes it stain resistant, durable and easy to clean. It costs £22.71 a square metre (trade only). jmt.crestleather.com
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PAINT Designer Edward Bulmer has used his own paint range throughout his Herefordshire house. The colours are created with natural pigments, in a matt, chalky finish, and are microporous to let walls breathe. He has used green ‘Pomona’ in the music room (1); bright yellow ‘Brimstone’ in the conservatory (2); ‘Mouse Grey’ in the dining room (3); ‘Vert de Mer’ on the kitchen cupboards (4); and ‘Lilac Pink’ in the front hall (5). ‘In the dining room, I wanted a colour that departed from the traditional red or green as a backdrop for Old Master pictures, and “Mouse Grey” has a good earthy tonality that allows them to glow,’ Edward says. ‘Blues go particularly well with natural wood surfaces, but for the kitchen I needed a greeny blue like “Vert de Mer” to unite the tiles above the Aga with the units.’ A 2.5-litre pot of emulsion costs £45. edwardbulmerpaint.co.uk NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
CUSHION The cushions on the bed and sofa in a spare room were made from offcuts of the Rajasthani saris used to make the curtains. Irving & Morrison sells silk cushions with a similar look, including this ‘Flower and Weave’ style (30.5 x 49cm, £180). irvingandmorrison.com
Inspired by the houses in this issue, BETHAN HYATT gives directions on how to achieve similar style
LIGHTING WHERE THE ART IS Pages 136–14 3
CTO Lighting’s ‘Array Opal’ pendant (above) is a close match to the one in the dining area on the lower ground floor. In bronze with brass details, it measures 85 x 160 x 130cm and costs £3,420. Its ‘Solaris1100’ pendant (left) in brass is similar to the one in the main bedroom. It is 25 x 110cm diameter and costs £6,648. ctolighting.co.uk
REACHING A HIGH POINT Pages 160 –16 7
SOFA Several pieces of furniture in this Suffolk house, including chairs by Hans J Wegner and Erik Jorgensen, were sourced from The Modern Warehouse, an east London-based specialist in mid-century modern pieces. Its selection of original vintage pieces is ever changing, but currently available is an ‘Even Arm Sofa’ by Hans J Wegner. It measures 75 x 194 x 77cm and costs £3,450. themodernwarehouse.com
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MIRROR
PIXELATE IMAGING; MICHAEL SINCLAIR; LUCAS ALLEN; PAUL MASSEY; JAKE FITZJONES; MATTHEW BOOTH
F L O O R A N D WA L L T I L E S Interior designer Shalini Misra has placed a strong focus on using interesting flooring throughout this London house. In the main bedroom, she used the ‘Tan Brogue Border Briquettes’ leather f loor tiles from De Ferranti, which are supplied on a marine ply base (from £900 a square metre). ‘We wanted to use something really plush and these are so beautiful to walk on,’ she says. She also called upon De Ferranti, a specialist in floor and wall surfaces, for the 3D ceramic ‘Deco’ tiles that line a wall of this room. They cost £858 for a square metre. deferranti.com
A ‘Lumi’ mirror from Skandium hangs on the wall in the guest bathroom. Its walnut frame adds warmth to the room, while adhering to the clean-lined design. This version measures 80cm diameter and costs £375, but it is also available in oak and in a smaller size. skandium.com
In the main bedroom, a geometric rug ref lects the angled lines of the architecture. It is the ‘Harlequin Rug’ from Niki Jones. Hand-tufted and knotted in wool, the design can be made to order in the colours and size of your choice. It costs £275 a square metre. niki-jones.co.uk
CHAIR A ‘Canasta’ outdoor armchair from B&B Italia resides beside the basement pool. Its aluminium frame is covered in woven polyethylene and comes in two sizes and two colours: white and brown. This brown one measures 123 x 98 x 78cm and costs from £1,732. bebitalia.com
PORCELAIN Porcelain pieces by Ben Baglio, one of the owners of the house, are displayed throughout the living areas. ‘They tend to move about the house,’ he says. Pictured from left are his starburst vases, bowls and incised bullet vases, which cost from £30 each. benbaglio.com HOUSEANDGARDEN.CO.UK NOVEMBER 2017
Repeat motif GABBY DEEMING and RUTH SLEIGHTHOLME create impactful room schemes using matching wallpapers and fabrics PHOTOGRAPHS ALICIA TAYLOR THIS PAGE ‘D32A’ hand-printed domino wallpaper, €360 a square metre; linen (on seat pad, coat hanger and apron), £155 a metre; papier-mâché lamp, €120; all from Antoinette Poisson. ‘4994’ brass hook, by Carl Auböck, £215, from Sigmar. Early-twentieth-century wood and rush chair, by Josef Zotti, £8,500, from Rose Uniacke. ‘Chocolate’ stoneware mug (red), by Nicola Tassie, £55, from Maud & Mabel. Stoneware side plates (white), by Wonki Ware, £18 each, from Summerill & Bishop. OPPOSITE WALLS ‘Knurl’ wallpaper (brick), £120 a 10-metre roll; and linen (on blind), £144 a metre; both from Howe at 36 Bourne Street. FLOOR ‘Fine Basketweave’ seagrass rug (natural), with ‘LT8’ linen border, 300 x 250cm, £436.08 as shown, from Crucial Trading. FURNITURE Sycamore-topped wood dining table, £8,600, from Max Rollitt. ‘Salon’ beech-framed chairs, covered in ‘Knurl’ linen, as before, £13,861 for set of six, from Howe. ACCESSORIES ‘Page’ ceramic pendant lights, from $600 each, from BDDW. ‘Sofia’ terracotta teapot, £325; ‘Adelaide’ terracotta cups, £120 each; ‘Setsuko’ terracotta candlestick, £365; all by Astier de Villatte, from Summerill & Bishop. ‘Egan’ terracotta vessel, by Banti Ram, £540, from The New Craftsmen NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
WALLS ‘Adam’s Eden’ wallpaper (ebony), 132cm wide, £68.50 a metre; and linen (on curtains), £118 a metre; both from Lewis & Wood. Wood curtain pole (faux lime), £140.40 a metre; ‘Pomegranate’ wood finials, £352 a pair; ‘Architrave’ brass brackets, £76.80 a pair; brass rings, £8.40 each; all from McKinney & Co. ‘Scoop’ brass wall light (matt blue), $1,276, from The Urban Electric Co. FLOOR ‘Fine Basketweave’ seagrass rug (natural), with ‘LT8’ linen border, 300 x 250cm, £436.08 as shown, from Crucial Trading. FURNITURE Metal and slate console tables, £1,450 a pair, from Matthew Cox. ‘Morse’ full-feather sofa, from £1,290, from The House & Garden Collection at Arlo & Jacob; covered in ‘Ticking 01’ (brown), cotton, £27.50 a metre, from Ian Mankin. Sycamore-topped coffee table, £4,960, from Max Rollitt. ‘Montgomery’ wood-framed chair, covered in ‘Knurl’ (brick), linen, from Howe at 36 Bourne Street, £3,800 as seen, from Ensemblier London. ACCESSORIES Willow ‘Block Basket I’ (on console), by Hilary Burns, £132, from The New Craftsmen. Ceramic ink blotter (on coffee table), £220, from Sibyl Colefax & John Fowler. ‘Marriage’ large papier-mâché box, covered in ‘D18A’ paper, €245, from Antoinette Poisson. Cushions, from left: cotton ‘Khamir Cubes Kantha’, £125; cotton ‘Chindi Patchwork Kantha’, £133 each; wool ‘Desi Natural Stripe’, £93; all from Stitch by Stitch. ‘Shido’ resin table lamp (new chalk), £1,585; ‘Turmeric’ linen shade, £326, both from Porta Romana. All items in back room, as before
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
OPPOSITE WALLS ‘Scrolling Fern Frond’ wallpaper (emerald), £430 a 10-metre roll; and linen (on headboard, valance and curtains), £178 a metre; both from Soane. Sixties cane mirror, £420, from Quindry. FLOOR ‘5451/4197’ wool kilim, 344 x 247cm, £4,037.68, from Sinclair Till. FURNITURE ‘Burdock’ king-size bed with headboard, from £595, from Button & Sprung. ACCESSORIES ‘Mariette’ cotton bedlinen, from £18 for a housewife pillowcase, from Cologne & Cotton. Eiderdown in ‘Wheatflower’ (green/blue/ brown on oyster), linen, £207 a metre, from Bennison Fabrics. ‘Marriage’ small papier-mâché box, covered in ‘D30A’ paper, €134, from Antoinette Poisson. Wicker basket, £140 (used as table); ‘Bloomsbury Bobbin’ wood lamp, £410 excluding shade; both from Max Rollitt. THIS PAGE WALLS ‘Wheatflower’ (green/blue/brown on oyster) (on wall and screen), linen, £207 a metre, from Bennison Fabrics. Prints, from £150 each, from Matilda Goad. Faux bamboo frames (tweety yellow), £145 each, from C L J Home. FLOOR ‘Greek Key’ concrete tiles (butter/milk), £200 a square metre, from Popham Design. FURNITURE ‘Rockwell’ Vitrite bath (powder/polished nickel), £6,336; and bath shower mixer (polished nickel), £1,538.40; both from The Water Monopoly. Bespoke screen, from £320, from The Dormy House. ACCESSORIES Cotton washbag, £24, from Cologne & Cotton. Wooden nail brush, £9.75; cotton towel, £75; bath bridge with mirror (polished nickel), £417; all from Balineum. Willow ‘Block Basket IV’, by Hilary Burns, £276, from The New Craftsmen. ‘Agua de Colonia’ cologne, by Álvarez Gómez, £39.95, from Cologne & Cotton. For suppliers’ details, see Stockists page Discover Ruth’s tips on how to use matching wallpapers and fabrics at houseandgarden.co.uk/decorating
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
Matthew Reese
CLARE FOSTER meets the Great Dixter alumnus, whose skill in seeking out new plants is creating a naturalistic environment at a Hampshire estate PHOTOGRAPHS ANDREW MONTGOMERY
New garden design talent PART 2
THIS PAGE A spectacular unknown thistle from the Himalayas, brought back by a friend of Mat’s and grown from seed, is illustrative of the experimental planting style that the garden designer favours. OPPOSITE Mat in the walled garden at Malverleys, where a mixture of white roses, foxgloves, Eryngium giganteum and self-seeding annuals such as Orlaya grandiflora create a relaxed, natural-looking border
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mbitious, talented and, above all, plant mad, Matthew Reese is one of a handful of top-echelon gardeners working in Britain. Typically, these career-gardeners go to Great Dixter to learn from the masters, eventually prising themselves away to be guardians of some of the country’s most important estates and gardens. Mat, as he is known, landed at Malverleys, a private estate in Hampshire, where he is developing and redesigning the gardens. Mat realised early on in his life that he would much rather be outside than sitting in a classroom. Having taken part in a British Schools Exploring Society trip to Greenland aged 16, he made the decision not to do A Levels, and enrolled at Ness Botanic Gardens as an apprentice. He had found his niche, and spent the next seven years furthering his knowledge, with three years at Myerscough College, a year at Wisley, and then a final three years at Kew. ‘I just wanted to keep on learning,’ says Mat. ‘I’ve never been interested in specialising in one area of horticulture. If you pin yourself down too early, you miss so much.’ It was while he was at Wisley that he was introduced to gardener and writer Christopher Lloyd and spent subsequent weekends volunteering in his garden, Great Dixter. So when he finished at Kew, there was only one place he wanted to be: ‘There was an intensity about Kew, with 14 of us together for three years, working full-on, so I needed to get back into a real garden and recover.’ He went to see Fergus Garrett, head gardener at Dixter, and started work almost immediately. ‘I was part of a small, very close team at Dixter,’ says Mat. ‘They were the best six years of my life. Christo was very much involved, so we learned from him, but he never dictated: he let us learn by trial and error. Dixter is gardened in a creative and inventive way, so we were constantly trying new things.’ With 10 acres to play with at Malverleys, including a large walled garden originally designed by Tom Stuart-Smith for a previous owner, Mat is in his element. He is replanting borders and working with the owners to design new, contrasting areas of the garden: a pool garden, a vegetable and cutting garden, a perennial meadow and a stumpery. ‘Design is like good music or a good novel,’ he says. ‘It’s all about entertaining people, creating an atmosphere, keeping them engaged as they explore.’ The part of the garden most in tune with Mat’s gardening ethos is the area at the back of the house, where he has replanted and widened the existing long borders, filling them with his own experimental and
ever-changing mix of plants. Teetering on the brink of wild, the borders spill out on to the York-stone terrace, with verbascums, dianthus and other self-seeders colonising the cracks. ‘When you give plants a bit of freedom to do what they like, you get surprises,’ says Mat. ‘Things just happen – plants come up where you hadn’t planned. There’s a lot of satisfaction in those little incidences.’ As at Great Dixter, annuals play a key role, making up as much as 30 per cent of the borders, with perennials, grasses and a handful of shrubs forming the backbone. ‘We have pockets of bedding so we can change the plants seasonally and use them as stopgaps,’ explains Mat. More importantly, it also means that he can satisfy his plant addiction by growing new things from seed each year. He points out a fabulous thistle, flowering for the first time this year. ‘It might be cirsium, it might be carduus,’ he says. ‘It came from someone who collected the seed in the Himalayas.’ He mentions the Himalayas wistfully, having been on a planthunting trip there several years ago with legendary plantsman and explorer Michael Wickenden, whose life was cut short in 2016 when he died while trekking in Burma. ‘My trip with Michael was an unbelievable experience. You go off into the mountains for weeks at a time, which means you reach places no one has ever seen. We were building makeshift bridges over ravines and sleeping on the edge of precipices. Seeing plants in the wild is the most amazing thing, and the landscapes monopolise your mind.’ This and other plant-hunting expeditions have clearly inf luenced Mat’s planting style, fuelling his desire to seek out new plants – but it is clear that he is not just a fanatic plantsman putting together a random collection of interesting plants. The borders have a beautiful rhythm and are skilfully designed, sewn together with common threads. This year, those threads include the slender corn cockle, Agrostemma gracile, and Persicaria orientalis, a tall, annual persicaria, which will very gently self-seed. Dianthus and dierama arch over the paths, selfseeding to create their own instinctive patterns. The look is soft and natural, yet everything is tightly controlled: the small teasel, Dipsacus pilosus, is allowed to spread in a restrained way, for example. Editing out just the right amount is key, and keeping that balance is hard work. Recreating nature is not as easy as it looks. Six years into his tenure at Malverleys, Mat has only just begun to touch the sides of this exciting new venture. With the former editor of Gardens Illustrated, Juliet Roberts, he is developing plans to open the garden to groups, hold lectures and sell a selection of plants and seed from the garden. Mat is one of a new breed of head gardeners who are changing the perception of horticulture as a career, and if he can pass on some of his extensive knowledge, the gardens of the future will have much to thank him for
THIS PAGE Mat walks the length of the long borders at the back of the house, where plants are allowed to escape from the beds and self-seed in the paving. OPPOSITE Vignettes of the garden at Malverleys, including some of Mat’s key self-seeders: poppies (top left and middle left); Centranthus ruber (also middle left); Dianthus carthusianorum (middle right); and Hordeum jubatum (also middle right) NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
ELEVATED NATURE Originally influenced by the eighteenth-century Picturesque movement, Millichope Park’s immaculate lawns, walled gardens and follies are a study in historic landscaping TEXT CLARE FOSTER | PHOTOGRAPHS NGOC MINH NGO
The lake at Millichope Park is crowned at one end by an Ionic temple, designed in 1770 for the then owner Thomas More. Temples and follies and dramatic, contrived landscapes were typical of gardens in the Picturesque style
THIS PAGE FROM TOP Situated at the top of a slight rise overlooking the lake, the striking house was designed in Victorian times in the Greek Revival style, with recently updated planting by gardeners and nursery owners Jack and Laura Willgoss. The lake is surrounded by specimen trees, with spectacular autumn colour NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
THIS PAGE FROM TOP A series of small garden rooms near the house, enclosed in crenellated yew, was designed in the Seventies by then owner Sarah Bury. The walled garden has recently been taken over by Jack and Laura, who helped spearhead a project to restore the rare curvilinear glasshouse; they are creating a new, dynamic garden here to complement their nursery, Wildegoose Plants HOUSEANDGARDEN.CO.UK NOVEMBER 2017
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et in the deep folds of rural Shropshire near the romantic Wenlock Edge limestone escarpment, Millichope Park is a garden waiting to be rediscovered. With a picturesque, tree-filled landscape, historic follies and a newly restored Victorian walled garden, the estate is entering an exciting new phase, thanks to its current owners, Frank and Antonia Bury, who inherited Millichope in 2011. It could have been such a different story. Like many large estates in the mid-twentieth century, Millichope went through an extended period of neglect following the Second World War, when the family was overshadowed by tragedy. Frank’s grandfather, after whom he is named, a promising young conductor and composer, was killed in Normandy in 1944 aged only 33. His grandmother remarried but died in childbirth soon afterwards, leaving two children (including Frank’s father) behind. Frank’s great-grandparents, still living at Millichope when the war broke out, moved to a smaller property, leasing the house first as a monastery and latterly as a boys’ boarding school, from 1948 to 1962. So it was not until the late Sixties that the then crumbling estate was rescued from the brink of demolition by Frank’s father Lindsay. Orphaned at an early age, Lindsay was brought up by a great aunt and had never lived at Millichope, so it was a great leap of faith that propelled him to take it on, moving in with his new wife, Sarah, to start restoring the house and garden, finally turning it back into a family home. The gardens have always been an integral part of the estate, with elements dating back to the mid-eighteenth century when it was owned by landowner Thomas More. Although the original designer is unknown, it is likely that More would have enlisted the help of a landscape gardener such as William Emes, who was working in the Midlands and North Wales at the time. Emes and many other gardeners of the time were much influenced by the Picturesque movement, the main exponents of which, Uvedale Price and Payne Knight, both lived in nearby Herefordshire. A Picturesque garden or landscape was one in which nature was elevated to art. Natural features were tweaked, ruins and ravines contrived, and classical temples constructed – all designed to enhance the natural landscape and create a view worthy of the finest landscape painting. At Millichope, the landscape garden certainly fits the Picturesque bill. Relatively intimate in scale, it occupies a gently sloping bowl with a lake at its heart. Emerald lawns are studded with specimen trees, framing enticing views out towards the Clee Hills, and the requisite temple, dating back to 1770, is dramatically perched on top of a limestone bluff overlooking the lake. Crowned by a giant cedar of Lebanon behind it, the temple is certainly picturesque, but its beauty is tinged with sadness; inside is a memorial to two of Thomas More’s three sons, Leighton and John, who died before him. He also survived his third son, but died soon after his death and left the estate to his daughter. Intriguingly, the house, which looks every bit at home in the landscape, was built later, in Victorian times, to replace
the earlier timber-framed mansion. In 1832, Millichope was inherited by Robert Norgrave Pemberton, rector of nearby Church Stretton. This childless, wealthy vicar had surprisingly grand designs for a new house. He collaborated with his architect friend Edward Haycock to dream up a scheme in the Greek Revival style with giant ionic columns – presumably inspired by the existing Rotunda temple. It was at this stage that the lake was expanded and the vicar, obviously a romantic in tune with the picturesque, took the step of carving into the hill on which the temple stood, creating the cliff face that is visible today. Pemberton made other improvements to the garden. This included creating a large walled kitchen garden and commissioning an impressive curvilinear glasshouse. It is also likely that he planted most of the mature specimen trees in the parkland, which now create such a wonderful spectacle each autumn. Later in the nineteenth century, Pemberton’s nephew made further changes, adding 14 cascades that ran through the park, an admirable accomplishment on land with very little incline. Seven of these cascades were restored in 2009 with a grant from Natural England. These are the gardens of the eighteenth and nineteenth centuries that are still seen today, with the addition of a series of more intimate gardens near the house, enclosed in crenellated yew, which Sarah Bury, Frank’s mother, made in the Seventies. With each generation developing
With each generation developing the garden in its own way, the current owners are following suit, restoring old features and adding their own the garden in its own way, the current owners are following suit, restoring old features and adding their own. In 2013, Frank and Antonia had the good luck to meet Jack and Laura Willgoss, who were seeking a garden space to lease for their nursery. The derelict walled garden was ideal for them, and the couple have not only established the successful Wildegoose Nursery here, but are also transforming the garden, planting it in a contemporary, painterly style with a mixture of herbaceous plants and grasses. With the Burys, and with the help of a Heritage Lottery Fund grant, they have collaborated on a project to restore the Victorian glasshouse, a rare example of an iron-framed curvilinear model from the 1830s. The walled garden is now a visitor attraction in its own right, open every weekend through the spring and summer months, while the main garden is open less frequently on selected days through the year for the National Garden Scheme. First and foremost, Millichope is a family home for the Burys and their four children, and following in the footsteps of the previous generation, this has been its saving grace, preserving its heritage for future generations Millichope Park and Walled Garden is open on October 15 for the National Garden Scheme (ngs.org.uk), with further dates in February and May 2018. The Walled Garden and Wildegoose Nursery (wildegoosenursery.co.uk) are open every Friday to Sunday from the end of March to mid October
OPPOSITE In the wider parkland, streams have been modified to create a series of pools and rills, probably dating back to the eighteenth century. This is the Upper Lake, where woodland walks and winding paths invite visitors to explore the grounds. NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
F O O D & T R AV E L RECIPES | TASTE NOTES | CAPE TOWN | DUBROVNIK | CAMBODIA
C omfo r t s e a s o n Chef and restaurateur SALLY CLARKE creates warming recipes using the best of British autumnal ingredients. All recipes serve 6, unless otherwise stated PHOTOGRAPHS KRISTIN PERERS | FOOD AND PROP STYLING CLAIRE PTAK
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
FOOD & TRAVEL | RECIPES
CHEDDAR CHEESE AND OATMEAL BREAD This delicious soda bread is shaped and baked in the traditional way, with indentations on the top, which makes the ‘breaking of the bread’ easy – and each triangle becomes a portion. It is best served with the pumpkin soup, or a selection of tasty cheeses and chutneys for an easy lunch.
PUMPKIN SOUP WITH GRUYERE AND SAGE I find the idea of baking a whole pumpkin filled with cream and garlic wonderfully inviting and warming. Add roasted wild mushrooms, sweetcorn or chopped walnuts to make it into a more filling meal. For the stuffed pumpkin X 1 x 2kg iron bark, blue hubbard or onion squash, or similar pumpkin X 300ml double cream, plus a little extra if needed X 50ml vegetable or chicken stock X 1tbsp finely chopped sage X 3 garlic cloves, crushed with salt X 100g Gruyère or Cheddar For the crisp sage X 12 large sage leaves X 2tbsp olive oil X 100g Parmesan, or extra Gruyère, freshly grated To serve Green salad and crusty bread
1 Wash the pumpkin and, with a sharp, sturdy knife cut off the top third (ideally keeping the stalk attached to the lid). With a strong spoon, scoop out the seeds and discard. Continue to scoop out some of the flesh so about one third has been removed. Chop this roughly and place in a pan with the cream, stock, chopped sage and garlic. Season with salt and pepper and bring gently to the boil. 2 Heat the oven to 180°C/fan oven 160ºC/mark 4. Fold two 30cm strips of aluminium foil in half lengthways. Place them in a cross in a deep roasting pan that will hold the pumpkin snugly. Place the pumpkin in the centre of the cross. Carefully pour the hot cream mixture into the pumpkin and put the lid on top. Draw the foil up and secure the pumpkin and lid by folding the ends together. Put in the oven and bake for 1 hour or until tender (different varieties of pumpkin will need different times). Test with a skewer in the flesh under the lid (not the side). When it feels tender, remove from the oven, take the lid off carefully, sprinkle in the Gruyère cheese and a little extra cream if needed – it should be half full. Return to the oven with the lid to one side and continue to bake for 5–7 minutes, until the cheese starts to melt and becomes stringy. 3 In a small frying pan, fry the sage leaves in the olive oil until they sizzle and become crisp – this takes seconds. Remove and drain on kitchen paper and sprinkle with salt. 4 Use the foil to lift the pumpkin carefully out of the roasting pan, place it into a warm serving bowl, slide away the foil and serve by scooping the sides of the pumpkin ‘bowl’ and lid together with the cream filling onto individual plates or bowls. Scatter with the grated Parmesan and sage leaves, and serve with a salad and warm bread.
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
X 350g good
X 100g Cheddar,
quality (rough) wholemeal flour X 150g rolled oats X 1 level tsp bicarbonate of soda
grated X 450ml buttermilk X 1tbsp honey X 1tbsp melted butter
1 Heat the oven to 200°C/180ºC/mark 6 and cover a baking sheet with parchment paper. Put the flour, 100g of the oats, the bicarbonate of soda and the cheese with 1tsp sea salt in a bowl and mix well. 2 In another bowl, mix the buttermilk and honey until smooth. Stir this into the flour and mix quickly but thoroughly together – this is best done by hand. Knead gently on a clean surface until it is one mass. Shape this into a ball, then flatten slightly and coat with the melted butter all over – again, best done by hand, despite being messy. 3 Wash and dry your hands, then roll the loaf in the remaining oats and place on the baking sheet. Using the handle of a wooden spoon, mark out six triangular portions, pressing down three or four times gently but firmly. 4 Bake for 30 minutes or until the bread is crisp on the outside and hollow sounding when knocked underneath. Allow to cool slightly before breaking into individual pieces along the indentations.
No other bird speaks to me more of autumn than pheasant. It is the most appealing of all the wild birds
BRAISED PHEASANT (recipe overleaf)
FOOD & TRAVEL | RECIPES
BRAISED PHEASANT (pictured on previous page) Perfectly complemented by a clementine and pomegranate salad, this dish could be served with a soft scoop of Parmesan polenta and steamed cavolo nero for a more robust meal. X 2 hen pheasants, about 750g each X 50g butter X 21/2tbsp olive oil X 1 medium onion, peeled and cut into 6 pieces X 1 large carrot, peeled and cut into 6 pieces X 2 sticks celery, cut into large chunks X 4 cloves garlic, crushed with skin on X A few bay leaves X 100ml red wine X 275ml chicken, game or vegetable stock
X 1 orange, zest and juice X 1tbsp chopped mixed fresh herbs, such as thyme, sage or rosemary For the salad X 3 clementines or tangerines X 1 small pomegranate X 1 large bunch watercress or other salad leaves X 120g vacuumpacked chestnuts X Balsamic vinegar X Extra-virgin olive oil
1 Check the birds for pieces of shot and remove. Wipe the cavities with kitchen paper and season inside and out. Heat the oven to 200°C/fan oven 180ºC/mark 6. 2 In a shallow, heavy pan, heat the butter and 2tbsp of the olive oil. Add the birds and, using tongs or a wooden spoon, turn them in the hot fat for 4–5 minutes, until golden on all sides. Place them in an ovenproof, lidded dish. Add the vegetables, garlic and bay leaves to the oil and sauté until they colour. Pour in the wine, stock and orange zest and juice, and bring to the boil. Spoon the liquid over the pheasants, sprinkle with most of the herbs and cover with a tight-fitting lid. Braise in the oven for up to 1 hour, or until the thighs feel tender when pierced with a knife. Allow to cool in the juices. 3 To make the salad, peel the clementines and slice horizontally into 4 or 5 rounds each. Cut the pomegranate across the equator and knock out the seeds with a rolling pin into the bowl, retaining all the juice. 4 Break each chestnut in half. In a small frying pan, heat the remaining olive oil with the rest of the chopped herbs. Over a medium heat, sauté the chestnuts until they start to soften. Set aside to cool. 5 Place the pheasants on a board, remove the legs, chopping off the ‘ankles’, before removing the breasts. Place the joints in a shallow serving dish. Taste the juices, season if necessary, then strain them over, discarding the vegetables. Cover and warm in the oven at 150°C/fan oven 130ºC/mark 2 for 10–15 minutes. Alternatively, simmer the joints in a shallow pan in the juices, covered, for 5–7 minutes. 6 Place the salad leaves in a bowl, add a dash each of balsamic vinegar and olive oil, and any pomegranate juice. Toss gently and season to taste, then pile onto a serving dish. Tuck the clementines and chestnuts in and around, and scatter the pomegranate seeds over. NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
BAKED ROOT VEGETABLES Thanksgiving is the most inclusive of all celebratory holidays in the US and Canada, and in my mind, maple syrup is a vital ingredient. Used to finish the roasting vegetables, it adds a hint of sharp sweetness. X 4 large parsnips X 8 medium
carrots X 4–6 medium Jerusalem artichokes X 1 head of garlic X 80ml olive oil X 2tsp finely chopped rosemary, plus a few small sprigs for garnish X 4tbsp maple syrup
1 Heat the oven to 160°C/fan oven 140ºC/mark 3. Wash and peel the parsnips and carrots and cut lengthways in equal-size pieces. Clean the artichokes well in cold running water. Bring them to the boil in salted water and simmer for 6–8 minutes or until almost tender when pierced with a knife. Drain and cut in halves or quarters depending on their size. 2 Break the head of garlic to release the cloves and then count out 12 cloves (two per person). 3 Bring a pan of salted water to the boil, add the carrots, parsnips and garlic. Boil for 3–4 minutes, or until softening at the edges. Drain and tip into a wide, shallow roasting tin with the artichokes. Drizzle with olive oil, add the rosemary, and season well with salt and pepper. Jumble together, coating all with the seasoned oil. Roast for 20 minutes, shaking the tin occasionally to prevent sticking. Continue to roast for a further 15–20 minutes, or until golden brown at the edges and soft in the centre. Five minutes before removing the tin from the oven, drain the excess oil away, drizzle with maple syrup and continue to roast. 4 Serve in a warm serving dish, garnished with the rosemary sprigs, and allow guests to squeeze the soft garlic from the skins themselves.
Add rainbow carrots or heritage beetroot to this root vegetable dish to add even more colour to your table
APPLE, QUINCE, PRUNE AND CINNAMON PIE Filo pastry is the only item we buy in ready-made at the restaurant as it is too difficult to make consistently well – so no one should feel guilty about doing the same. X 3 medium-ripe quinces (about 700g) X 2 oranges, juiced X 70g sugar, plus extra for dusting X 1/2 vanilla pod, halved lengthways X 2cm piece of cinnamon stick X 1/2 lemon, peel X 4 large Braeburn, Cox or Jonagold apples X 75g demerara sugar X Pinch of cinnamon powder
X 1 orange, grated zest X 8 pre-soaked prunes, halved and stones removed X 125g butter X Pinch each of cinnamon, cloves, allspice and ginger or 1 level tsp mixed spice X 12 sheets filo pastry To serve Whipped cream or ice cream
1 Peel, quarter and core the quinces. Cut each piece in half and place in a pan with 250ml water, the orange juice, 50g sugar, vanilla, cinnamon stick and lemon peel. Bring to the boil, cover, then simmer for up to 30 minutes or until tender when pierced with a knife. Allow to cool in the juices. 2 Peel, quarter and core the apples, and add to a bowl with the demerara sugar, pinch of cinnamon powder and orange zest. Add the prune halves and toss together. 3 For the pastry, warm the butter, the remaining 20g sugar and the spices together over a low heat. Place one filo sheet on a clean tea towel. Using a pastry brush, brush the spiced butter onto the filo and place a second sheet on top. Place this into a 20cm tart tin or a shallow cake tin with a removable base, pressing the pastry into the corners and allowing the ends to fall over the outside rim. Continue with the remaining sheets, placing them in a star pattern so the outside edges are irregular. 4 Drain the quince well, reserving the juices, and add the quince to the apple mix. Pile the fruit into the centre of the tart, then scoop the pastry edges over and around the tart decoratively. This will make the finished tart look attractive, so do not worry if it looks a bit like crumpled sheets at this stage. 5 Heat the oven to 180°C/fan oven 160°C/mark 4. Brush the top with the remaining spiced butter, sprinkle with a little extra sugar and bake in the oven for 1 hour, or until the pastry is crisp, golden brown and firm at the edges as well as underneath. 6 Meanwhile, reduce the quince juices over a high heat until syrupy and pour into a serving jug. Allow the tart to cool a little before removing from the tin, sliding the base away and serving on a flat dish. Serve warm or cool with the syrup and cream or ice cream.
FOOD & TRAVEL | RECIPES
WINE NOTES By Anne Tupker, Master of Wine Jim Clendenen’s Au Bon Climat Santa Barbara Chardonnay 2015 combines just the right mix of elegance and opulence to complement the pumpkin soup. The wine’s pear, citrus and roasted nut character echoes the soup’s rich, creamy texture and its sweet squash, salty cheese and punchy sage f lavours (£28.25, philglasswiggot.com).
CANDIED GINGER SHORTBREAD Something to nibble on around the kitchen table with a cup of tea. Roll on winter. Makes 16-20 biscuits X 50g demerara sugar X 200g soft butter X 300g plain flour, plus extra for dusting X 100g caster sugar X 20g candied ginger, finely chopped
1 Place the demerara sugar on a large plate in one layer. Either by hand or using a food processor, mix the butter with 200g of the flour and a pinch of salt until it resembles breadcrumbs. Add the caster sugar and ginger, and mix together quickly but firmly until it becomes one smooth ball. Using a light dusting of flour, shape it into a thick sausage, then roll it into the sugar on the plate until the edges are evenly coated. Wrap in cling film, retaining the shape, and chill overnight or freeze for up to 1 hour. 2 Heat the oven to 160°C/140ºC/mark 3. Line a baking sheet with silicone paper. Cut the log into 16–20 slices of even thickness and place them cut-side down on the sheet, allowing a little space in between as they will spread slightly during cooking. Bake for 10–15 minutes, or until they are a pale golden – they will become crisp on cooling. Remove to a cooling rack.
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
Paul Draper’s Ridge Lytton Springs Zinfandel 2014 – another California classic – is my pick for the braised pheasant. Its combination of zesty redcurrant and dark cherry fruit, savoury undertones and spicy American oak sweetness provides a stunning match for the bird’s mild gamey flavours, as well as the earthy chestnuts, tangy clementines and pomegranate, and the root vegetables (£38.50, bbr.com). A Loire sweetie from Côteaux du Layon, Domaine des Forges 1er Cru Chaume ‘Les Onnis’ 2014, with its luscious f lavours of dried fruits, quince, marmalade, honey and ginger, is the ideal accompaniment to the pie (£22, tanners-wines.co.uk)
FOOD & TRAVEL | NEWS
TA S T E NO T E S BLANCHE VAUGHAN shares her news, reviews and tips for cooks and food lovers
ORANGES ARE NOT THE ONLY CITRUS FRUIT
Until recently, the Asian yuzu fruit could be hard to find. Now it is available in a range of forms – including fresh, juiced, candied peel or purée – from The Wasabi Company. As an introduction to the beguiling and exotic flavour of this fruit, which tastes like a mixture of grapefruit, mandarin and clementine, try using the bottled juice as an alternative to lemon, sprinkled over grilled fish, in a Japanese-style salad dressing with sesame oil or in desserts; £14 for 200ml. thewasabicompany.co.uk
Party time
Spiced pumpkin-patch layer cake Athina Kontos creates a velvety, fragrant celebration of autumn that is simple to make and free of animal products. For orders and commissions, including gluten-free options, visit athinakontos.com For the cake 220g soft, light brown sugar X 50ml maple syrup X 120ml melted coconut oil X 1tsp vanilla extract X 570g self-raising flour X 2tsp baking powder X 2tsp ground cinnamon X 2tsp ground allspice X 2tsp ground ginger X 1tsp ground nutmeg X 720g pumpkin purée (homemade or tinned). For the frosting 350g icing sugar X 150g non-dairy ‘butter’ or butter X 1tsp vanilla extract
ATHINA KONTOS; NICOOLAY/ISTOCKPHOTO; AFLO CO/ALAMY STOCK PHOTO
1 Heat the oven to 180ºC/fan oven 160ºC/mark 4. Grease three 20cm loose-based cake tins and line the bases. Mix the sugar, maple syrup, oil and vanilla extract in a large bowl. 2 Sift in the flour, baking powder, spices and a pinch of salt. Mix thoroughly until an even, crumbly sand is formed. Add the pumpkin and 2tbsp water, and stir until smooth and free of lumps. 3 Divide equally between the prepared tins and bake for 30 minutes – or until a skewer inserted into the middle comes out clean. 4 For the frosting, combine the icing sugar, butter and vanilla, and beat until smooth. Once the cake layers are cool, use a third of the mixture to spread between each – creating a three-layer sandwich. Use a palette knife to spread the remaining frosting around the sides and evenly on the top. 5 Decorate with fondant icing pumpkins, cookie crumbs and dark chocolate chips.
FAIR GAME Abel & Cole’s game boxes are a very welcome seasonal alternative to my everyday meat cookery. Including venison, pigeon, pheasant and rabbit, sourced from a Hampshire woodland estate with an eye on sustainability and high welfare standards, these meats are more richly flavoured and leaner than farm-bred alternatives. The Abel & Cole website has an inspiring range of game recipes for everything from quick pan-fried dishes to slow roasts; £15 for a 1kg box. abelandcole.co.uk
Raise a toast
Miller’s Toast on the Go Almond, Butter & Sesame Seeds (£5.95 for 125g) would be just as good with a cup of tea or coffee as with a soft, fresh goats’ cheese such as the wonderfully named Trickle (£2.75 for 60g), also available from The Fine Cheese Co. finecheese.co.uk
In her new cookbook, Dinner & Party (Seven Dials, £25), Rose Prince (the writer of the ‘Harvest time’ recipes in the October issue) shares her wisdom and experience of entertaining at home, giving practical and confidenceboosting ideas to even the most reluctant host. Marinated slow-cooked lamb shoulder, smoky aubergines, game ragout and clafoutis with pears are among the enticingly straightforward recipes. There are also plenty of realistic tips to help your entertaining look and feel effortless, and allow you to enjoy your own dinner as much as your guests
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
FROM LEFT Trevyn McGowan in Guild, her design studio and gallery. Beau Constantia offers fine dining and spectacular views across its vineyards
ask a local CAPE TOWN TREVYN MCGOWAN, CO-FOUNDER OF DESIGN PLATFORM THE GUILD GROUP, TAKES US ON A TOUR OF SOUTH AFRICA’S CULTURAL AND SHOPPING HUB PHOTOGRAPHS WARREN HEATH
FOOD AND DRINK The City Bowl district is where you will find some of the most exciting places to eat and drink. Go first to Outrage of Modesty (anoutrage.com) for a sensational cocktail – all spirits are made in-house – and have dinner at The Shortmarket Club (theshortmarketclub.co.za), run by two of South Africa’s greatest chefs, Luke Dale-Roberts and Wesley Randles. Or head to SeaBreeze Fish & Shell (seabreezecapetown.co.za) for seafood in a lovely heritage building. Sophisticated interiors and sublime ceramics define Hemelhuijs (hemel huijs.co.za) as a stylish spot to have food, coffee and cocktails. In the wine-producing area of Constantia, Beau Constantia (beauconstantia. com) has great views and a seven-course menu, while Blanco at the Alphen Hotel (alphen.co.za) is a family favourite. For fine dining overlooking the ocean and 12 Apostles mountain range, The Roundhouse (theroundhouserestaurant.com) at Camps Bay is one of the best. NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
ANTICLOCKWISE FROM LEFT An African-inspired ceramic pot by Imiso, in the Old Biscuit Mill. Earthy interiors and fresh, seasonal food at Hemelhuijs
FOOD & TRAVEL | DESIGNER HAUNTS
ACCOMMODATION Ellerman House is perhaps the most desirable hotel address in town, situated above Bantry Bay. Aside from the elegance of the rooms (there are 13 in total with two spectacular threebedroom villas), the defining feature of this hotel is the art – quite simply one of the best private collections of South African art in existence. This is displayed throughout the hotel and in a purpose-built exhibition space in the garden. For ‘wow’ factor, check out the hotel’s wine gallery, where more than 7,500 bottles are stored, many in a giant corkscrew-shape unit – itself a piece of dramatic sculptural art. ellerman.co.za
SHOPPING The Silo district on the V&A Waterfront is Cape Town’s most exciting area. You can browse jewellery from Kirsten Goss (kirstengoss. com), African fashion and leather goods from Kat van Duinen (katvanduinen.com) and exquisitely crafted leather travel accessories from Wolf & Maiden (wolfandmaiden.com). You can also visit Guild (theguildgroup.co.za), our store, studio and gallery, where we offer in-house and locally designed homeware and show work by leading designers in the African collectable design category. Nearby is Watershed (V&A Waterfront), an historic building reinvented as a market for 160 artisans selling hand-produced wood, stone, beadwork, ceramics, textiles, furniture, fashion and jewellery – all curated by us at Guild. In the City Bowl area, Sherwood (robert sherwooddesign.com) sells an eclectic selection of art and design pieces, while just along the road, Missibaba (missibaba.com) takes a unique approach to leather with decorative jackets and beautifully patterned handbags and jewellery. Margie Murgatroyd has an incredible eye for shape, form and pattern; at Africa Nova (africanova.co.za), she sells ceramics, sculpture and decorative accessories that pay homage to African creativity. Equally impressive is Michael Chandler’s eighteenth-century Cape Dutch Chandler House (chandlerhouse.co.za), which is both a gallery with monthly exhibitions and a shop filled with homeware, antiques and textiles. In Woodstock, do not miss Whatiftheworld art gallery (whatiftheworld.com), housed in an old synagogue and championing the most exciting young talent from Africa. Also, I love the Old Biscuit Mill (theoldbiscuitmill.co.za) for its weekend Neighbourgoods Market and workshops and studios, among which Imiso sells distinctive, African-inspired ceramics.
CLOCKWISE FROM TOP LEFT The Shortmarket Club. Inside Guild. Ellerman House in Bantry Bay. SeaBreeze seafood restaurant. Watershed market. Whatiftheworld art gallery. Sherwood design studio
HOUSEANDGARDEN.CO.UK NOVEMBER 2017 195
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FOOD & TRAVEL | CROATIA
A perfect weekend in...
DUBROVNIK FIONA SMITH EXPLORES THE MAGNIFICENT WALLED CITY AND ITS NEIGHBOURING ADRIATIC ISLANDS
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unlight dances on the deep blue ocean between the forested island of Lokrum and the white-stoned, redroofed buildings that make up Dubrovnik Old Town. George Bernard Shaw asserted, ‘Those who seek paradise on Earth should come to Dubrovnik,’ and the view afforded from the terrace at Villa Orsula, which was once home to local nobility, is appositely blissful. The boutique hotel is located just a five-minute stroll from the iconic walled city – a Unesco World Heritage site. Perfumed by the scent of wild jasmine, its grandiose architecture includes the gothic-renaissance sixteenth-century Sponza Palace, the Venetian-gothic Rector’s Palace and the baroque Church of St Blaise. A more contemporary cultural touchstone is the television series Game of Thrones, extensively filmed round the old town. While lowering the average age of visitors, it heralded an influx of mega cruise ships, the passengers of which can choke up the cobbled streets during high season. But in walking the city walls, with aerial views of historic buildings, azure ocean and rugged mountain contrasting with glimpses of local life – children filing home from school as old women peg out washing – the appeal to those of a cinematic sensibility or poetic persuasion is obvious. Amid this splendour, it is difficult to envisage the shelling suffered during the Balkans conflict. Commemoration never dominates in Dubrovnik, but the past is subtly – and often defiantly – acknowledged, from the studio of artist Ivo Grbic, firebombed during the war but now sympathetically renovated, to a display illustrating the damage to the old town. The Museum of Contemporary History is in a fort where Croatian forces resisted the siege, now at the end of a cable-car ride that provides photogenic views of the walled city and a perfect sundowner spot. Famed for its botanical gardens, Benedictine monastery and pristine
beaches, popular Lokrum is just a 15-minute ferry ride from the old harbour. Yet, the next day we head a little further out to sea, north-west across the topaz waters to the Elaphiti Islands. Sipan is renowned for vineyards and verdant valleys of olive and fig trees. Among the yachts anchored in the picturesque harbour, the Konoba Kod Marka restaurant has a reputation at odds with its humble interior. In place of a menu, guests are greeted with quince rakija, a local fruit brandy, and divine dishes created from that morning’s catch. Nearby, languid Lopud offers the best beaches, homemade gelato and gifts made from local lavender. There are more offbeat attractions back on the mainland. Half an hour inland is the family-owned, agritourism Kameni Dvori, in the Konavle region, which provides rustic accommodation, sweeping vistas, outdoor activities and hearty farm-to-fork cuisine, usually served with a glass of something ‘medicinal’ by genial host Ivo. Back in the old town, evenings can be whiled away on a mini-crawl of mellow bars, including live jazz at the Troubadour, on the bustling Buniceva Poljana square behind the cathedral. Our weekend comes to a close with a final photo opportunity at Buza, accessed by precarious stone steps high in the city’s seaward-facing walls. The bar provides magnificent views by candlelight, befitting Shaw’s depiction of an earthly heaven.
WAYS AND MEANS Fiona Smith visited Dubrovnik as a guest of Elegant Resorts (01244-897516; elegantresorts.co.uk), which offers three nights at Villa Orsula, B&B, including f lights, transfers and a guided walking tour of Dubrovnik, from £1,265 per person
GETTY IMAGES/RORY MCDONALD
Dubrovnik’s old harbour at sunrise
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
CLOCKWISE FROM BELOW A woman in a Khmer costume. Angkor temple Ta Prohm. The pool at Belmond La Résidence d’Angkor
FROM THE ANCIENT MAGNIFICENCE OF ANGKOR WAT TO THE MID-CENTURY COASTAL CHARM OF KEP, PAMELA GOODMAN DISCOVERS A CAMBODIA RECOVERING FROM ITS PAINFUL, WAR-TORN PAST
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here is no escaping the cliché of sunrise at Angkor Wat and, no matter what time you arrive, there is no escaping the crowd, which multiplies inexorably as the night sky gives way to the first golden hues of dawn. But whatever the number of camera-touting tourists jostling for position, nothing can truly diminish the serenity and magnificence of the monument’s lotus-bud towers reflected in its lily pond. Too many people rush a trip to Angkor, forgetting – or perhaps not knowing – that, in their quest to tick off the bucket list, there are numerous temples to explore. We take our time, spreading our visit over three days and rising early each morning before the heat kicks in. With us is our guide Ohm, who magically secures us pre-crowd entrance to the fabulous twelfth-century Ta Prohm, the second most visited temple after Angkor Wat and more commonly known these days – thanks to the Indiana Jones film – as the Temple of Doom. We sit among the giant, tangled roots of the fig and silk-cotton trees that have been absorbing the temple slowly back into the jungle since its abandonment in the fifteenth century and hear Ohm’s story. Cambodia’s war-torn past is a sensitive subject, but people are prepared to talk more openly about their personal experiences. Ohm’s father, he tells us, was a government minister in Phnom Penh when the Khmer Rouge wrested control in 1975; he was incarcerated in the notorious S-21 torture, interrogation and execution centre – now the Tuol Sleng Genocide Museum – and never seen again. In Siem Reap, though, we have the most uplifting encounter of our stay, taking a dusty evening tuk-tuk ride to the outskirts of town from the elegant NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
Belmond La Résidence d’Angkor, where we while away the searing, posttemple heat of each day in one of the most beautiful hotel pools imaginable. The big-top tent we are delivered to is home to the Phare Circus, an inspirational troupe of orphaned or unprivileged young entertainers rescued from poverty and schooled in the performing arts. The stories they tell through art, dance, music and acrobatics are personal stories of abuse and hardship, of death and destruction and of triumph against the odds. In a country that is trying hard to re-establish itself in the face of a frail democracy, where several former Khmer Rouge members are still in positions of influence (not least Hun Sen, the prime minister and president of the ruling Cambodian People’s Party), the Phare Circus is shiny with
HUW JONES/4CORNERS IMAGES; LUIGI VACCARELLA/4CORNERS IMAGES; GETTY IMAGES; ALAMY; PAUL MASSEY
A brighter future
FOOD & TRAVEL | CAMBODIA
CLOCKWISE FROM BELOW Outdoor dining at island eco-resort Song Saa in the Koh Rong archipelago. The modernist Blue Villa in Kep, built in the Sixties, is now part of the 18-room Knai Bang Chatt hotel. Colourful waterside restaurants in Kep beach resort. Cooking the local delicacy fresh crab with Kampot pepper sauce
optimism. Siem Reap, too, positively buzzes with creative energy, much of it due to an expanding community of young and talented entrepreneurs delving into fashion, design, food and tourism. And the feeling is no different on the coast. At Kep, a one-time upscale beach resort in the south-western corner of Cambodia, an air of sophistication is creeping back. Strung ribbon-like along a two-mile stretch of coast, this small village became so popular with the French colonial elite from the Twenties to the Sixties that it earned the moniker Kep-sur-Mer. Wealthy Cambodians retreated here, too, from the claustrophobic heat of Phnom Penh, many commissioning modernist villas designed by the Cambodian architect Vann Molyvann who was a student of Le Corbusier. In the Seventies, however, the Khmer Rouge put paid to Kep’s glamour, ransacking these symbols of prosperity and colonialism and leaving nothing but charred, bullet-ridden ruins, which now stand forlornly among gardens strangled with weeds. And then along came Belgian Jef Moons, who rescued three of the most spectacular villas right on the waterfront, restoring them to create a stylish 18-bedroom hotel, Knai Bang Chatt. On the adjacent plot, accessed through a large wooden door in the garden, he created The Sailing Club, a white clapboard seafront restaurant with a wraparound veranda and long wooden jetty stretching into the sea. There are sailing boats to rent and a new indoor/ outdoor lounge area for sunset drinks and late-night revelry. It is all very East Coast America until the sights and sounds of Kep’s lively crab market a few hundred metres along the shore draw you back to Cambodia. And it is to here that every visitor should go, to one of the over-water, wooden-stilted shacks (Holy Crab is the most famous) for the region’s signature dish – fresh crab with Kampot pepper sauce. Times are a-changing off the mainland, too, with two of Cambodia’s tiny islands being the focus of the country’s push upmarket. Both the Six Senses and Alila chains are opening hotels on Krabey and Koh Russey, paving the way for a greater influx of well-heeled tourists to travel beyond Siem Reap, Angkor Wat and Phnom Penh. For the moment, though, exquisite little Song Saa, in the Koh Rong archipelago, continues to top the pile of beach resorts, its luxurious eco-chic credentials setting a new benchmark in Cambodia when it opened in 2012. Its founders, Australians Rory and Melita Hunter, were well ahead of the game back then, not simply in terms of the hotel they created but in recognising that with time, love, education and investment, Cambodia could turn its back on the past and welcome a brighter future
WAYS AND MEANS Pamela Goodman visited Cambodia as a guest of Red Savannah (01242-787800; redsavannah.com). Ten nights cost from £4,978 per person, including four nights, B&B, in the Belmond La Résidence d’Angkor, three nights, B&B, at Knai Bang Chatt and three nights, all-inclusive, on Song Saa Private Island in a Jungle Villa. Flights and private transfers are included.
HOUSEANDGARDEN.CO.UK NOVEMBER 2017
STOCKISTS
Merchandise from these companies is featured editorially in this issue. Information is checked at the time of going to press, but House & Garden cannot guarantee that prices will not change or items will be in stock at the time of publication A
ABBOTT & BOYD 020-7351 9985; abbottandboyd.co.uk AMARA 0800-587 7645; amara.com ANOTHER BRAND 020-7738 2424; anotherbrand.co.uk ANTHROPOLOGIE 00800-0026 8476; anthropologie.eu ANTOINETTE POISSON 00-33-1-77 171 311; antoinettepoisson.com ARLO & JACOB 0333-006 2830; arloandjacob.com
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BALINEUM 020-7431 9364; balineum.co.uk BDDW 00-1-212 625 1230; bddw.com BEATA HEUMAN 020-8741 0102; beataheuman.com BENNISON FABRICS 020-7730 8076; bennisonfabrics.com BUTTON & SPRUNG 0333-3201 801; buttonandsprung.com CARAVANE 020-7486 5233; caravane.fr CHRISTOPHER FARR CLOTH 020-7349 0888; christopherfarrcloth.com C L J HOME 020-3816 0798; cljhome.com C M O PARIS 00-33-1-4020 4598; cmoparis.com COLEFAX AND FOWLER 020-8874 6484; colefax.com
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DEIRDRE DYSON 020-7384 4464; deirdredyson.com THE DORMY HOUSE 01264-365808; thedormyhouse.com
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ENSEMBLIER 020-7352 8975; ensemblierlondon.com
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FERMOIE 01672-513723; fermoie.com FLOOR STORY 020-7871 3013; f loorstory.co.uk FRONT 020-7376 3355; frontrugs.com
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JOHN LEWIS 0345-604 9049; johnlewis.com
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LA REDOUTE 0844-842 2222; laredoute.co.uk LARUSI 020-7428 0256; larusi.com LAUREN HWANG NEW YORK 00-1-917 545 9602; laurenhwang newyork.com LEWIS & WOOD 020-7751 4554; lewisandwood.co.uk
LUKE IRWIN 020-7730 6070; lukeirwin.com
MCKINNEY & CO 020-7627 5077; mckinney.co.uk
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MADE 0344-257 1888; made.com MADE A MANO 07478-713672; madeamano.com MADELINE WEINRIB 00-1-212 414 5978; madelineweinrib.com MATTHEW COX 01780-481092; matthewcox.com MAX ROLLITT 01962-791124; maxrollitt.com
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G P & J BAKER 01202-266700; gpjbaker.com GUY GOODFELLOW COLLECTION 020-7352 9002; guygoodfellow collection.com
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OLIVER BONAS 020-8974 0110; oliverbonas.com
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PENTREATH & HALL 020-7430 2526; pentreath-hall.com PIERRE FREY 020-7376 5599; pierrefrey.com POPHAM DESIGN 00-212-5243 78022; pophamdesign.com PORTA ROMANA 020-7352 0440; portaromana.co.uk
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QUINDRY 07958-517017; quindry.net
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HABITAT 0844-499 1122; habitat.co.uk HOWE 020-7730 7987; howelondon.com HOWE AT 36 BOURNE STREET 020-7730 7991; 36bournestreet.com
RALPH LAUREN HOME 020-7535 4600; ralphlaurenhome.com ROSE UNIACKE 020-7730 7050; roseuniacke.com THE RUG COMPANY 020-7908 9990; therugcompany.com
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IAN MANKIN 020-7722 0997; ianmankin.co.uk
NEPTUNE 01793-427427; neptune.com THE NEW CRAFTSMEN 020-7148 3190; thenewcraftsmen.com NINA CAMPBELL 020-7225 1011; ninacampbell.com
S Stainless steel ‘Cairo 5 Piece Place Setting’ (gold), £75, from Ralph Lauren Home
SCUMBLE GOOSIE 01453-731305; scumblegoosie.co.uk
SIGMAR 020-7751 5801; sigmarlondon.com SIMON HASAN 020-7739 8242; simonhasan.com SINCLAIR TILL 020-7720 0031; sinclairtill.co.uk SOANE 020-7730 6400; soane.co.uk SOLLOS 00-55-49 3641 0014; sollos.ind.br STARK 020-7352 6001; starkcarpet.co.uk STITCH BY STITCH 07715-169194; stitchbystitch.eu SUMMERILL & BISHOP 020-7221 4566; summerilland bishop.com SVENSKT TENN 00-46-8670 1600; svenskttenn.se SWOON EDITIONS 020-3137 2464; swooneditions.com
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TAPET CAFÉ 00-45-3965 6630; tapet-cafe.dk TIBOR 020-7229 3399; tibor.co.uk
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THE URBAN ELECTRIC COMPANY urbanelectricco.com
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THE WATER MONOPOLY 020-7624 2636; thewatermonopoly.com WORKSTEAD 00-1-347 618 5142; workstead.com
Below are The List members who have appeared in this issue. Go to houseandgarden.co.uk/the-list to see their complete profiles
BEATA HEUMAN | COLLETT-ZARZYCKI | EDWARD BULMER | FRONT RUGS | GUY GOODFELLOW JANE CHURCHILL INTERIORS | JOHN CULLEN LIGHTING | LUKE IRWIN | MARTIN BRUDNIZKI DESIGN STUDIO MAX ROLLITT | PAOLO MOSCHINO FOR NICHOLAS HASLAM | RABIH HAGE | RITA KONIG | THE RUG COMPANY
NOVEMBER 2017 HOUSEANDGARDEN.CO.UK
GEOFF SOKOL
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COLOGNE & COTTON 0845-262 2212; cologneandcotton.com CRUCIAL TRADING 01562-743747; crucial-trading.com
Mougins, Côte d’Azur, France
RESIDENCE365.COM +31 20 26 10 430 | e-mail: info@residence365.com
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Pablo Picasso’s home from 1961-1973 This property will be sold in the final auction at October 12th, 2017 in France. The property will be delivered free and unencumbered. For viewing dates and information visit our website: www.residence365.com/mougins
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B R OA D OA K S PA R K WEST BYFLEET
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DE S IG N E D & BU I LT BY O C TAG O N The magnificent Broadoaks Park will soon be making an appearance in West Byfleet, Surrey. This unique and exclusive new development will offer an appealing mix of residential properties, ranging from stylish apartments to spacious detached family homes. The existing Grade II listed mansion, alongside its adjoining lodges, coach house and ornamental gardens, will be beautifully restored and converted into luxury homes. Broadoaks Park will feature large areas of open and beautifully landscaped grounds, set in approximately 25 acres. The local amenities and station of West Byfleet are minutes away, with a regular train service arriving at London Waterloo in just half an hour.
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An architectural masterpiece Cleobury Mortimer: 2 miles | Worcester: 18.5 miles (Paddington from 2 hrs 20 mins) | Birmingham: 28.5 miles (Euston from 1 hr 25 mins) Grade I Listed Georgian masterpiece with 12 bedrooms | Far reaching views over the Clee and Malvern Hills | Impressive Coach House 5 Houses and cottages | Redundant cottage in walled garden | Landscaped formal gardens with temples and follies | Rolling parkland Exceptional high bird pheasant shoot | About 2 miles of double bank ďŹ shing | Arable farmland, pasture and woodland About 550 acres (222 ha) Mark McAndrew Mark Wiggin National Estates & Farm Agency | 020 7318 5171 Ludlow Office | 01584 873 711
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JUST LAUNCHED The Arts House is a luxury development of 11 uniquely appointed 1, 2 and 3 bedroom apartments and a single, elegant town house located in South Kensington, the heart of the cultural capital of the world. Prices range from ÂŁ1,895,000 - ÂŁ4,995,000. To arrange a viewing, or for more details on the Arts House, please contact Chestertons on the details below.
020 7589 1234 sales.southkensington@chestertons.com www.theartshouse.co.uk
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D I S COV E R LO N D O N ’ S B R I G H T E ST N E W P L AC E TO L I V E
MARKETING SUITE & SHOW HOME NOW OPEN •
Suites, 1, 2 & 3 bedroom apartments
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Swimming pool and spa
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Eight acres of park and gardens
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Private residents’ facilities include club lounge with concierge service, cinemas and exclusive dining room
Adjoining Westfield London and Imperial College
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White City and Wood Lane Underground stations at entrance
Contact our sales team: 020 3944 0004 | www.whitecityliving.co.uk
www.stjames.co.uk Proud to be a member of the Berkeley Group of companies
Details correct at time of going to press. Computer Generated Images are indicative only.
SELF PORTRAIT I love jewellery, but I’m too old for it now. If I were a princess or a duchess, I would wear a FORTUNY GOWN
The North Drawing Room at HAM HOUSE in Surrey has the
most fantastic carved pilasters. It is the perfect combination of rich and restrained.
I have a bee in my bonnet about the amount of choice available today. With digital printing, you can create a design in unlimited colours, whereas with hand-block printing, more colours used to mean more expense. I think it is better to work with limitations. I use just one or two blocks and a maximum of two colours in MY WALLPAPERS.
Marthe Armitage THE WALLPAPER DESIGNER PAINTS A PICTURE OF HER LIFE, WORK AND INSPIRATIONS I recently bought a print of DAVID HOCKNEY’s Rapunzel Growing in the Garden, an etching he produced in the Sixties for Illustrations for Six Fairy Tales from the Brothers Grimm. I love its combination of abstract lines and emotion. It is such a sad story.
The scent of STOCKS takes me right back to when my grandfather grew them in Holland. I also adore the smell of lily of the valley and lavender.
VICTORIAN SEASIDE RESORTS
When I want to draw during the winter, I look to Stella Ross-Craig’s
like Hastings, Scarborough and Cromer are the epitome of England. I am sure some of them are due a revival, but they have not all become chichi yet.
DRAWINGS OF BRITISH PLANTS,
for exhaustive, beautiful pictures of every plant in the country. Richard Hatton’s The Craftsman’s Plant-Book is another brilliant resource.
I find the work of VAN GOGH so moving. He had such an awful life, but produced brilliant art. I’ve read all the heart-rending letters he wrote to his brother Theo.
It is one of my great regrets that I did not continue riding horses beyond childhood. They are such noble animals. It is so clear from GEORGE STUBBS’s paintings that he loved horses. A painter has to love their subject.
Buy Marthe’s wallpapers at hamiltonweston.com and for more of her inspirations, visit houseandgarden.co.uk/marthearmitage
AS TOLD TO BETHAN HYATT. PHOTOGRAPHS: KRISTIN PERERS; PIXELATE IMAGING; FORTUNY GOWN, 1STDIBS.COM; © NATIONAL TRUST IMAGES/BILL BATTEN; VINCENT VAN GOGH, LETTER FROM VINCENT VAN GOGH TO THEO VAN GOGH WITH 12 SKETCHES, ETTEN, MID SEPTEMBER 1881, PENCIL, PEN AND INK, WATERCOLOUR, ON PAPER, 20.7 X 26.3CM, VAN GOGH MUSEUM, AMSTERDAM (VINCENT VAN GOGH FOUNDATION) LETTER 172; ALAMY; RAPUNZEL GROWING IN THE GARDEN, DAVID HOCKNEY, SIGNED ETCHING AND AQUATINT, FROM THE GRIMMS FAIRY TALES, EDITION 100, 1969/© HESTER FINE ART
and a rich, gold necklace with rubies, sapphires, emeralds and diamonds.
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