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Mini Gate Bags in Calf and Matte Python, 2018
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CONTENTS OCTOBER 2018
34
ANTENNAE
AUTUMN SHOWS
What’s new in style, decoration and design, chosen by Nathalie Wilson
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84
Miranda Sinclair chooses her highlights from this year’s Decorex and Focus design shows
CUT-GLASS ACCENTS
ANTENNAE ROUNDUP
See yourself in the best light with Miranda Sinclair’s classy selection of mirrors
118
94
Roll up, roll up! Miranda Sinclair’s bold new wallpapers are demanding the spotlight
EBONY ON IVORY
AUTUMN SWATCH
Makoto Kagoshima and Julian Sainsbury work in perfect harmony, says Amy Sherlock
144
101
Jessica Hayns and Max Egger find the best of Decorex and Focus distinctly Moorish
BOOKS
AUTUMN FABRICS
Reading on art, architecture and design COVER Cameo appearance – the surfaces of
Massimiliano Locatelli’s ‘Atollo’ tables were made using the ‘cold enamel’ technique em ployed in jewellery production. Discover the setting on page 324. Photograph: Luca Rotondo
SPECIAL
131
SERIOUS PURSUITS
Auctions, antique fairs and diverting activities
275
NETWORK
Merchandise and events worldwide
278
ADDRESS BOOK
issues delivered direct to your home address. Call 01858 438815 or fax 01858 461739. Alternatively, you can visit us at www.worldofinteriors.co.uk Periodicals postage paid at Rahway, NJ. Postmaster: Send address corrections to ‘The World of Interiors’ c/o Mercury Airfreight International Ltd Inc, 2323 Randolph Avenue, Avenel NJ 07001, ‘The World of Interiors’ (ISSN 0264-083X) is published monthly. Vol 38 no 10, total 433
THE WORLD OF LONDON DESIGN
Dive into our LDF supplement and discover tales from the riverbank, worshipful artworks and an open house on steps to socialism. Plus: a map, highlights of this year’s shows and more
Suppliers in this issue
INTERIORS
370
288
INSPIRATION
How to recreate some of the design effects in this issue, by Grace McCloud
SUBSCRIPTIONS AND BACK ISSUES Receive 12
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374
EXHIBITION DIARY
Oceania in excelsis, Scandi drama, little-known Italy, plus Charlotte Edwards’s listings
TWIST OF FETE
Michel and Jacques Guyot chanced upon a derelict French château that they had seen on TV. By luck, it was for sale. But could they turn its fortunes around? Text: Tim Beddow
298
GIMME SHELTER
International modelling left Georgia May Jagger longing for a real home. With design JOURNAL OF A PLACEMAKER Dan Johnson’s inventive mini parks are helping maven Jane Ormsby Gore’s aid, she’s under to green up those grey London streets her own roof at last, says Laura Freeman r
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CONTENTS OCTOBER 2018
308
A TIME TO TAKE STOCK
A former tank factory has been requisitioned to house Jamb’s ever-growing store of antiques and reproductions. Sophie Barling carries out an inventory of the new premises
324
CONCRETE POETRY
Earlier this year, a Milanese piazza became home to a 3D-printed, four-stanza house. This experimental technique could be a graphic solution to housing issues, avers Lee Marshall
332
MARINA’S HARBOUR
ART & ANTIQUES
40
UP WITH THE NEW
How could Tobias and the Angel rise into the digital age without abandoning the quality of its tried-and-tested hand-block printing? Charlotte Edwards looks to the future
70
HELLO, DOLLIES
A welcome initiative by Umberto Pasti has been greeted with enthusiasm by his Moroccan neighbours. The toys they now make raise vital funds for their village, as he writes here
Stilt houses were a key influence on the build of a Cap Ferret holiday haven, which was designed COPY AND PASTE to encompass quiet places to rest and relax. Elfreda Pownall finds sanctuary within its walls An 18th-century chinoiserie wallpaper at Houghton Hall was replicated by De Gournay in the present châtelaine’s bathroom. Matthew PRIVATE VIEW Dennison applauds a repeat performance In an exclusive arrangement, Pierre Le-Tan rented a friend’s rooms by day while his own FLICK AND MIX flat was being renovated. There, he curated his own personal showroom, as he explains Compton Marbling’s swirls and speckles have long adorned choice papers for stationery and lampshades. Hannah Shuckburgh picks out the EAT, SLEEP, PEAT history of this family business The no-frills blackhouses of the Outer
76
342
136
348
Hebrides provided the fundamentals of warmth and shelter for owners and livestock alike. Kathleen Jamie goes back to basics
358
A WOLD OF THEIR OWN
In late 1909, three Arts and Crafts devotees began building and furnishing Rodmarton Manor according to their artisanal ethos. Ruth Guilding takes the high ground
FROM THE ARCHIVE
316
COUNTRY FOLK
Ceramicist Mary Wondrausch planted wheat stencils, rustic slipware and a collection of traditional dollies around her Surrey cottage, as she explains here. First published: May 1988
IMAGE Front runner – whisper it, but you’re
on firm ground with our annual round-up of the best autumn fabrics at this year’s Focus and Decorex fairs. They’re under starter’s orders on page 144. Photograph: Ricardo Labougle
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antennae What’s in the air this month, edited by Nathalie Wilson
1 Servomuto’s lights are en-
1 2
tirely handmade by Italian craftsmen, a fact the company is justifiably proud of. Many, including these ‘Alghero’ wall sconces (available in black or orange; £120 approx each), are limited editions. So best get your skates on. Ring 00 39 0291 668 674, or visit servomuto.com.
2 There’s surely no shortage of used sari material available to Luke Irwin for his recycled ‘Sari Silk’ hand-knotted rugs (£1,245 per sq m): each garment requires five to eight metres of fabric. Shown from top: ‘Lal’ and ‘Baingani’, two of 20-odd available, many of which reflect the original colours. Ring 020 7730 6070, or visit lukeirwin.com.
3 Sorting the wheat from the chaff, or the low3
grade granite from the lapis lazuli, has been Gerald Culliford’s aim for nigh-on 50 years. Its Kingston-upon-Thames depot houses up to 3,000 stones (including some manmade composites), which range from £250 per sq m up to £2,900 per sq m for some of the rarest marbles. Ring 020 8390 4656, or visit geraldculliford.co.uk.
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year with three collections possessing ‘different but complementary voices’. The ‘Duale’ two-tables-in-one (£17,630 approx) are part of Marcante-Testa’s ‘Futuraforma’ range, which nods to the Turin school of interior design, while Elisa Ossino’s ‘Check’ table and stools (from £4,185 approx and £890 approx each respectively) have surfaces lightly incised with… that’s right, you guessed it. Visit sem-milano.com.
5 Without a headboard a bed is just somewhere to sleep; with one of Lorfords’ eight custommade models it becomes the
PHOTOGRAPHY: CATHERINE GRATWICKE (7)
4 Spotti Edizioni Milano made its debut this
6
centrepiece of a room. Shown from top: ‘Seville’ and ‘Jaipur’, yours for £1,095 each. Ring 020 3434 3133, or visit lorfords.com.
6 Stairway to heaven: Agnès Emery and her team of trusty craftsmen in Morocco have hammered out seven divine wrought-iron handrails (from £34 approx per finial, plus £49 approx per m of pole). Ring 00 32 2 513 58 92, or visit emeryetcie.com.
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7 Handcrafted in nine finishes or any colour, Reid & Wright’s mirrors are among the fairest you can hang on a wall. Shown from top: ‘Dressing’ (£880), which is inspired by Georgian shapes, and ‘Oval’, which is available in four sizes (from £450). Ring 07525 838810, or visit reidandwright.london.
8
8 Gifted gardener, cattle farmer and self-taught plumber/electrician, Nalinji Charo Kifalu has revealed another talent: appliqué work. When he mentioned trying his hand at something like Dhahabu’s embroideries (WoI Oct 2012), Kirsten Hecktermann suggested he experiment with offcuts from her clothing range and local Kenyan calico – then left him to his own creative devices. The delightful results are available as panels for curtains and lampshades or as finished tablecloths (from £144). Ring 07887 680672, or visit kirstenhecktermann.com.
9 In 1931 the British Council attempted to
9
unify colours across our imperial realm with ‘dictionaries of colour’. It is to one of these tomes that British Colour Standard refers when creating its homewares, the latest being bubbleglass jugs and tumblers (from £6 each). Ring 020 7620 2091, or visit britishcolourstandard.com.
10 Pretty in pink, isn’t she? Ochre’s beechframe ‘Gatsby’ sofa is all the more attractive for being upholstered in a mildly clashing combination of pink linen and peach velvet (£8,406). Ring 020 7096 7372, or visit ochre.net. r 10
antennae 1 Those who missed Assemble’s in-
1
stallation at this year’s Venice Architecture Biennale have another chance to get up close to the encaustic tiles. Granby Workshop, the ceramics maker established by said Turner Prize-winning collective, will show and sell them alongside tableware at Pentagon Tiles during London Design Festival; £7 each. Ring 020 3668 1555, or visit pentagontiles.com.
2 Matthew Cox brings his antiques
2
expertise to a range of made-tomeasure furniture, which includes these ‘Galley’ lanterns (from £5,100 each) and this ‘Pyramid’ table (from £3,000), which is inspired by ‘Egyptian lines and country vernacular’. Both are made in his workshops in a variety of finishes. Ring 01780 481092, or visit matthewcox.com.
3 Abigail Ahern’s proclivity for dark interior schemes has surfaced in four existing Roger Oates flatweave designs; £129 per m. The results are testimony to the limitless possibilities of colour combining: they were woven with yarn from the same range that is used to make the more colourful floor coverings for which the company is renowned. Ring 020 7351 2288, or visit rogeroates.com.
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4 Tapping into its archive of 500-plus topsecret glaze recipes amassed over 200 years and its artisans’ hand-decorating skills, Derbyshirebased Denby Pottery has crafted a collection of eight mugs (£15 each). Particularly appealing are ‘Blue Stripe’ and ‘Multi Spot’. Ring 01773 740899, or visit denbypottery.com.
5 Like a hunter Choosing Keeping tracks down 5
novel stationery from independent companies around the world. Recent quarry includes J&J Jeffery’s reproduction 18th-century hand-decorated Dutch-gilt papers (from £40 per sheet) and sketchbooks bound in them (from £30). Ring 020 7613 3842, or visit choosingkeeping.com $
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Lengths of fabric from the new Tobias and the Angel collection – Angel Hughes’s first foray into digital printing – hang in the workshop, a c1840 mill building on a country estate in Surrey. Maria Yiannikkou’s animal patterns complement the denser, single-colour designs taken from the blocks Angel acquired 20 years ago from Yateley Industries for the Disabled. Both are printed on painstakingly sourced Scottish linen
antennae
UP WITH THE NEW Angel Hughes is famous for venerating time-tested hand-block-printing modes of making lovely cloth. But the Tobias and the Angel owner was aware that digital technology was key to the process being cost-effective. So how to update without compromising quality? Charlotte Edwards finds out how a familiar WoI face, a textiles graduate and Angel’s well of knowledge have raised a fresh collection to the rafters. Photography: Antony Crolla r
41
antennae
ANGEL HUGHES doesn’t really do new. ‘Everything I buy is second-hand,’ she says, looking around the treasure-trove rooms behind her shop in Barnes, southwest London. Out front, Tobias and the Angel sells the things she has mined from the past: antique homewares, vintage textiles given new life as accessories or Christmas decorations, wooden furniture made to traditional designs. On the last day of a heatwave, the proprietor is keeping cool in a dress made from printed cotton over a century old, patterned with roses once dark brown, now faded to palest pink. ‘Isn’t it pretty? I’ve loved old cloth my whole life. I stole clothes of my mother’s, made out of pyjama silk. When I compare most modern cloth with what I’ve played with in my life…’ Her voice trails off in disappointment. Angel is perhaps as surprised as anyone else that she has spent the past few years immersed in digital technology to develop Tobias and the Angel’s new fabric collection. For two decades, she dedicated herself to block-printing by hand, on antique textiles and on paper for lampshades, boxes and books, testing various dyes, learning how to prepare the lengths of grubby old linen. ‘I had to teach myself how to do it,’ she says. ‘I made my life as difficult as possible, because I wanted it to be good enough.’ A great number of her prints come from the archive of Yateley Industries for the Disabled, a Hampshire-based initiative that founded a blockprinting workshop for young women in 1937. When Yateley abandoned printing 20 years ago, Angel and her long-time collaborator Mark Betty drove there and bought up their inventory of some 3,000 blocks. Dense, single-colour patterns with a strong repeat, mostly on lino, they range from grandly intricate designs produced for clients to simpler, more rustic motifs. Angel is especially fond of the ‘very bold and fabulous’ blocks designed by the workers themselves, often labelled with the girls’ names (‘Ethel’s’ or ‘Betty’s’). But how to make the most of these thousands of designs without wasting the precious time and resources required to print by r Top: below shelves stacked with Angel’s block collection, Maria Yiannikkou’s ‘Bird Chatter’ design covers a cushion (left) and the chaise; the green seat cushions are a Yateley design, ‘Chambers’, while the pattern on the blue cushion on the far right is called ‘Ethel’s’. Above: Maria’s ‘Deer Deer’ and ‘The Hare’ flank Yateley’s ‘Globe’. For the team, the challenge of a digital collection lay in capturing ‘the life in the surface’ of hand-blocked cloth
Fabrics, Wallpapers, Carpets, Furniture & Accessories
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PIERRE FREY London Showroom 107 Design Center East, 1st loor Chelsea Harbour, LONDON SW10 0XF Tel : +44 (0)20 7376 5599 - Email : contact.uk@pierrefrey.com
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hand? Angel and Mark had plenty of ideas for expansion, but couldn’t see how to realise them without compromising quality. Screenprinting didn’t come up to scratch. Computers were all right for some, but she was sceptical about achieving what she wanted that way. ‘I get heartbroken when I see what’s produced elsewhere,’ she sighs. ‘A lot of it looks OK on a screen, but not when you get hold of it in real life.’ And yet she knew that digital printing, on new cloth, would allow her to produce fabric to order quickly, in four or five colours, and with very little wastage. The breakthrough came when she met a friend’s daughter, Phoebe Brown, a Royal College of Art textiles graduate who not only shared what Angel calls her ‘nerdy perfectionist attitude’ but knew how to go about digitally capturing the subtleties of the block-printed cloth. While Phoebe put in ‘many, many hours of boring, gruelling work’ developing the collection, there was another fortuitous meeting. Knowing that her former colleague Maria Yiannikkou had been tentatively experimenting with block printing, WoI creative director Jessica Hayns persuaded Maria to join her on a one-day course Angel runs in her workshop in Lingfield, Surrey. ‘Halfway through the morning, Jess said to get my own stuff out,’ Maria says. ‘It all happened so quickly. Angel said: “Would you do a collection with me?” I felt like when my husband proposed.’ Maria’s fledgling designs – busy birds and leaping hares, fluidly drawn and framed by scrolling branches – were a perfect fit. ‘I looked at them and immediately loved their scale,’ Angel says. ‘They are so much more open than my Yateley patterns; I thought they would be a wonderful addition.’ Maria hadn’t used the right dyes, tools or fabric, and her designs didn’t exactly repeat, but ‘it didn’t matter’, says Angel, ‘because I could see what I wanted in it. I thought, yes! That’s it! It will give you that movement.’ Maria, whose starting point was her collection of King Penguin natural-history books, agrees. ‘I like pattern when it’s about life. When I was editing r Top: curtains in ‘Lawford’, a cockerel-strewn pattern, hang in the workshop kitchen. The chair on the right is covered in ‘Red Check’, also from the archive range, while Maria’s ‘Penny Partridge’ supplies a tablecloth. Tobias and the Angel chairs surround the table. Above: printed on cotton, patterns from the two archive ranges taken from Angel’s treasury of offcuts include (from top): mustard ‘Damask’; ‘Red Check’; orange ‘Damask’; orange ‘Nursery’; ‘Bold Stripe’
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the Inspiration pages for the magazine, I always liked it if there was a portrait or an animal or a figure in among everything else.’ An Italian and linguistics graduate who began a career in finance before joining WoI as managing editor, Maria hadn’t really drawn anything since her art A-level. Printmaking didn’t enter her head until she came across the Folly Cove design collective in Cape Ann, Massachusetts, while researching stories for WoI. ‘There was something about it,’ she says. ‘I just wanted to do it. Today.’ Having made the occasional lunch-hour linocut at her desk, she returned to it after she left the magazine, rolling out cotton or linen on her dining-room table at home in north London while her two daughters were asleep. ‘I really wasn’t confident, but I was happy – and dirty.’ Now, five patterns by Maria featuring British wild animals have joined a selection of Yateley designs and two groups of prints drawn from Angel’s apparently boundless archive of vintage textiles for Tobias and the Angel’s first digitally printed collection. One of the archive ranges comprises smart, versatile checks and stripes; the other, called ‘Biddy’s Basket’, is almost a biography of Angel (real name Biddy) in cloth form. It features straight reproductions of what Mark describes as ‘things she refused to sell; things that were absolutely inviolable’, including dancing bluebells, strutting cockerels and a loose floral pattern called ‘Nursery’, a re-creation of the shredded curtains in the abandoned nursery at Lawford Hall in Essex, where Angel was once a tenant. As you would expect from a collector of antiques, she is already imagining her own textiles in their old age. ‘I want someone like me to go into a junk shop in 20 years and spot a piece of our printed linen and say: “That’s really nice”’ $ From £219.20 per m. Launching at Focus/18, the new range will be stocked by Turnell & Gigon (020 7259 7280; turnellandgigon.com). Tobias and the Angel. Ring 020 8878 8902, or visit tobiasandtheangel.com. Maria Yiannikkou. Visit mariayiannikkou.com Top: many of Angel’s Yateley blocks are rather ‘moth-eaten’, she says – others are no longer usable. ‘We’re getting to the point of having to recut them, because they’re wearing out.’ A sample blanket of Yateley patterns covers the table in front of the windows, which have blinds in ‘Chambers’ and Maria’s ‘The Hare’. Above: Angel with Maria (left) and Phoebe (right). ‘Harpton’, behind them, was originally produced for the Duchess of Devonshire
Photography by Andrea Ferrari
Temple by Anni Albers
Christopher Farr | cloth in association with The Josef and Anni Albers Foundation
christopherfarrcloth.com
antennae roundup It’s showtime! As the curtain raises on London Design Festival, Miranda Sinclair compères the star turns For details see page 278 2
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1 ‘Marshall’ mirror, by Mark Moussa, £1,341, Arteriors. 2 ‘Fold’ chair, by Alain Gilles, £2,750, Another Country. 3 ‘Sakura’ knobs, from £204 each, Serdaneli. 4 ‘Starre’ dining table, £17,739, Rubelli/Donghia. 5 ‘Park Uno’ bed, by Carlo Colombo, £4,888, Poliform. 6 ‘Kago’ armchair, by Perrouin, £1,856, Frenchy Furniture. 7 ‘Combine’ kitchen, by Piero Lissoni, from £40,000, Boffi. 8 Mohair kilim, £462 per sq m, Stark Carpet. All prices include VAT. For suppliers’ details see Address Book r
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PHOTOGRAPHY: LIAM STEVENS (2, 7)
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1 ‘Stepney’ pendant light, £342, Vaughan. 2 ‘Active’ emulsion (from top: ‘English Pear’; ‘Artichoke’; ‘Botanical Garden’), by Sanderson, £47 per 2.5 litres, Style Library. 3 ‘Edgar’ sofa, £5,695, Beaumont & Fletcher. 4 ‘Duval-Alexander’ sofa, £12,814, McKinnon & Harris. 5 Verdigris-copper bath, £5,422, William Holland. 6 ‘Forres’ planters, from £540 each, Bronzino. 7 ‘Trianon’ trimming (from top: ‘NCT512-04’; ‘ Muette NCT513-04’), by Nina Campbell, £35 per m, Osborne & Little. 8 ‘D-Rajput Fantasy’, from £173.88 per sq m, Iksel. All prices include VAT. For suppliers’ details see Address Book r
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Design Centre Chelsea Harbour, 2nd Floor, South Dome, London SW10 0XE | +44 (0) 800 130 3180 | www.evitavonni.com
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1 ‘Sophie’ armchair, by Federica Biasi, £4,572, Gallotti & Radice. 2 ‘Katya’ dining table, £21,191, Davidson. 3 ‘Campiello’, by Antonio Citterio, £7,460, Flexform. 4 ‘Benjamin’ handles, by Oliver Knights Architectural Hardware, from £79.20 each, SDS. 5 ‘Diego’ long cabinet, £6,770, Julian Chichester. 6 ‘Chessleton’ double washbasin, £8,340, Drummonds. 7 ‘Chevallerie’ appliqué borders (from left: ‘58291-05’; ‘58291-04’), by Timothy Corrigan, £115 per m, Samuel & Sons. 8 ‘Hackney’ side table, by Bert Frank, £3,120, Decca. All prices include VAT. For suppliers’ details see Address Book r
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1 ‘Saybrook’ lantern, by Oomph, £7,646, Nina Campbell. 2 ‘Franck’ armless chaises, by Vincent van Duysen, £10, 296 each, Sutherland Perennials Studio. 3 ‘Pivot’ rug, by Marcus Hodge, £680 per sq m, Amy Kent. 4 ‘Superior Continental’, £12,000, Jensen Beds. 5 ‘Artist Canvas’ cushions (from left: night; tawny), £145 each, De Le Cuona. 6 Jeans ‘Manhattan’ tiles, £52.20 per sq m, Pentagon Tiles. 7 ‘Taiki’ armchair, by Chiara Andreatti, £3,515, Lema. 8 ‘Ebru W72982’ fabric, £168 per m, Thibaut. All prices include VAT. For suppliers’ details see Address Book r
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1 Cushion cover, £75, The Conran Shop. 2 ‘Eton’ love seat, £2,299, Heal’s. 3 ‘JOK’ side table, by G&O Buratti, £1,151, Porada. 4 ‘Braque’ wallpaper, £514.32 per sq m, Fromental. 5 ‘Haussmann’ floor lamp, from £720 approx, Hugues Chevalier. 6 ‘Quadrate’ lamp, £1,194, Porta Romana. 7 Washbasin, by Kartell, from £790, Laufen. 8 ‘Cove’ light, £1,400, Soane Britain. All prices include VAT. For suppliers’ details see Address Book r
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1 ‘Diamond Knurl’ handles, from £350 each, The Nanz Company. 2 ‘Infinity’ light, by Jaroslav Bejvl, £17,555, Gladee Lighting. 3 ‘Geo 3’ dining chair, by Sally Sirkin Lewis, £3,945, J. Robert Scott. 4 ‘JAZ’ table, by Christophe Delcourt, £17,483, GMR Interiors. 5 Monochrome ‘Origami Rockets’ fabric, by Gio Pagani for Kirkby, £368 per m, Harrods. 6 ‘Montaigne’ basin mixer, by Stéphanie Coutas, £5,177, THG Paris. 7 ‘Orion’ light, £850, Lee Broom. 8 Bespoke kitchen, from £38,000, Officine Gullo. All prices include VAT. For suppliers’ details see Address Book $
design centre L ONDON
DESIGN CENTRE, CHELSEA HARBOUR TEL: 020 7225 9166 WWW.DCCH.CO.UK
T HE WORL D OF INT ERIORS 쮿 PROMOT ION
PRIDE OF PLACE Design Centre, Chelsea Harbour fosters excellence in design – and all at one destination With its unceasing momentum, Design Centre, Chelsea Harbour continues to evolve and develop, championing the design world with a confident vision. On every floor, discover designs from a collective of undisputed world-class talent. With 120 international showrooms and more than 600 brands, it is all at one address.
Opposite: ‘Calle Stella’ side table and ‘Triennale 2’ sofa, both Rubelli/ Donghia. ‘Carmen’ ottoman, Flexform. ‘Saybrook’ lantern, by Oomph, Nina Campbell. ‘Kotori’ wallcovering, by Christian Fischbacher, David Seyfried. ‘Menagerie of Extinct Animals’ wallcovering, by Moooi, Arte. ‘Green Lizard’ fabric, Dedar. ‘Curzon’ fabric, by Zoffany, Style Library. ‘Black Feather Georgette’ fabric, by James Hare, Marvic Textiles. This page: ‘Natasha’ pendant, Arteriors. ‘Nuvolari’ armchair and ‘Greta trio’ side tables, both Rubelli/ Donghia. ‘Peregrine’ fabric, by Stroheim, Alton-Brooke. ‘Murano’ vase, Birgit Israel. ‘Pomegranate’ tiles, by Michael Angove, Artisan of Devizes
design centre L ONDON
DESIGN CENTRE, CHELSEA HARBOUR TEL: 020 7225 9166 WWW.DCCH.CO.UK
T HE WORL D OF INT ERIORS 쮿 PROMOT ION
With its keen eye on the future, Design Centre, Chelsea Harbour has created more spaces for international brands to thrive and flourish. They’ve been carefully selected for their impeccable credentials, so it’s no wonder this renowned hub is the first port of call for design enthusiasts around the world.
Opposite: ‘Sugar’ armchair, Julian Chichester. ‘Artemisia 8’ vase, by Wunderkammer, Miles x Bookshop. ‘Hughes’ dining table, Arteriors. Flamingo pink/gold and mint green/gold ‘Phenomena’ floor lamps, by Bomma, Poliform. ‘Costerman’s Garden’ wallcovering, Iksel Decorative Arts. ‘Brera’ wallcovering, by Armani Wallcoverings, Brian Yates. ‘Aquarelle’ wallcovering, Altfield. ‘Chintal’ fabric, by Jane Churchill, Colefax & Fowler. ‘Musk Pink’ paint, by Zoffany, Style Library. This page: ‘Two Birds’ wallcovering, by MC Escher, Brian Yates. ‘Sophie’ armchair and ‘Oto Big’ table, both Gallotti & Radice. ‘Rosenquartz White’ lamp, by Lumisol, GMR Interiors. ‘Appleton’ fabric, by Sister Parish, Tissus d’Hélène. ‘Emery’ embroidered border, Samuel & Sons
design centre L ONDON
DESIGN CENTRE, CHELSEA HARBOUR TEL: 020 7225 9166 WWW.DCCH.CO.UK
T HE WORL D OF INT ERIORS 쮿 PROMOT ION
Fresh approaches to colour, shape and pattern channel the spirit of individuality that is in the ascent. Experience the wealth of creativity, quality and style in person and seek out expertise in the showrooms. Bespoke design is another forte.
Opposite: ‘Figaro’ side table, Julian Chichester. ‘Cheyne’ lantern, Vaughan. ‘Octagon’ basin, Villeroy & Boch. ‘Barcelona’ bath, Victoria and Albert Baths. ‘Prato’ wallcovering, Nobilis. ‘Iride’ wallcovering, Brian Yates. Midnight pond ‘Lilies’ wallcovering, Phillip Jeffries. ‘Aime’ fabric, by Misia, Colony. ‘Flamestitch’ fabric, by Gainsborough, McKinney & Co. ‘Biophilia’ fabric, by Kit Miles, Miles x Bookshop. Peacock ‘Tivoli’ fabric, Weymss. ‘Newby Green’, ‘Meadow Violet’ and ‘Oxney Olive’ paints, by Sanderson, Style Library. This page: ‘Stanford’ low armchair, Poliform. ‘Taraz’ wallcovering, Pierre Frey. ‘Bourgeous’ chest of drawers, Oficina Inglesa Furniture. ‘Narnia’ pendant, Arteriors. Wall-mounted bath filler with divertor to hand shower, Samuel Heath. ‘Pixel’ wallcovering, Brian Yates.‘Kamek’ fabric, Wemyss
design centre L ONDON
DESIGN CENTRE, CHELSEA HARBOUR TEL: 020 7225 9166 WWW.DCCH.CO.UK
T HE WORL D OF INT ERIORS 쮿 PROMOT ION
Design Centre, Chelsea Harbour has long been a catalyst of creative connections, but now an exciting new chapter is unfolding. With strategic expansion on the horizon, some highly influential names moving in and the Design Avenue on the way, the sense of community is set to get even stronger.
ABBOTT & BOYD • ALTFIELD • ALTON-BROOKE • ARTE • ARTERIORS • ARTISANS OF DEVIZES • BAKER • BAKER LIFESTYLE • BEAUFORT COLLECTION • BELLA FIGURA • BESSELINK & JONES • BIRGIT ISRAEL • BLACK & KEY • BRIAN YATES • BRUNSCHWIG & FILS • C & C MILANO • CECCOTTI COLLEZIONI • CHASE ERWIN • CHRISTOPHER HYDE LIGHTING • CHRISTOPHER PEACOCK • COLE & SON • COLEFAX AND FOWLER • COLONY • CREATION BAUMANN • CRESTRON EMEA • DAVID SEYFRIED LTD • DAVIDSON • DE LE CUONA • DECCA • DEDAR • EDELMAN LEATHER • ESPRESSO DESIGN • EVITAVONNI • FLEXFORM • FOX LINTON • FROMENTAL • GALLOTTI&RADICE • GEORGE SPENCER DESIGNS • GIORGETTI • GLADEE LIGHTING • GMR INTERIORS • GP & J BAKER • HOLLAND & SHERRY • HOULES • IKSEL – DECORATIVE ARTS • INTERDESIGN UK • J. ROBERT SCOTT • JACARANDA CARPETS • JASON D’SOUZA • JEAN MONRO • JENSEN BEDS • JIM THOMPSON • JULIAN CHICHESTER • KRAVET • LACAZE LONDON • LEE JOFA • LELIEVRE PARIS • LEWIS & WOOD • LIZZO • MARC DE BERNY • MARVIC TEXTILES • MCKINNEY GAINSBOROUGH • MCKINNON AND HARRIS • MILES X BOOKSHOP • MULBERRY HOME • NADA DESIGNS • THE NANZ COMPANY • NINA CAMPBELL • NOBILIS • OFICINA INGLESA FURNITURE • ORIGINAL BTC • PAOLO MOSCHINO FOR NICHOLAS HASLAM LTD • PERRIN & ROWE • PHILLIP JEFFRIES • PIERRE FREY • POLIFORM • PORADA • PORTA ROMANA • POTTERTON BOOKS • PROVASI • ROMO • RUBELLI/DONGHIA • SA BAXTER FOUNDRY & DESIGN STUDIO • SACCO CARPET • SAHCO • SAMUEL & SONS • SAMUEL HEATH • SAVOIR BEDS • SIBERIAN FLOORS • THE SILK GALLERY • SIMPSONS • STARK CARPET • STARK FABRIC • STUDIOTEX • STYLE LIBRARY • SUMMIT FURNITURE • SUTHERLAND PERENNIALS STUDIO • SWD • TAI PING • THREADS AT GP & J BAKER • TIM PAGE CARPETS • TISSUS D’HELENE • TOPFLOOR BY ESTI. • TUFENKIAN ARTISAN CARPETS • TURNELL & GIGON • TURNELL & GIGON AT HOME • TURNSTYLE DESIGNS • VAUGHAN • VIA ARKADIA (TILES) • VICTORIA + ALBERT BATHS • VILLEROY & BOCH • WATTS OF WESTMINSTER • WEMYSS • WEST ONE BATHROOMS • WHISTLER LEATHER • WIRED CUSTOM LIGHTING • WOOL CLASSICS • ZIMMER + ROHDE
Opposite page: ‘Franck’ lounge chair, by Vincent van Duysen, Sutherland Perennials Studio. ‘Le Coupe’ occasional chair, J. Robert Scott. ‘Koi Carp’, by Alexander Lamont, Miles x Bookshop. ‘Monticito Stripe’ wallcovering, by Anna French, Jacaranda Carpets. ‘Small Medallion’ wallcovering, by Blithfield, Lewis & Wood. ‘Tansman’ wallcovering, by Anna French, Jacaranda Carpets. ‘Taro Stripe’ wallcovering, by Jane Churchill, Colefax & Fowler. ‘Kassena’ fabric, by Hodsoll McKenzie, Zimmer & Rohde. This page: ‘Du Bosque’ dining table, McKinnon & Harris. ‘Jali’ and ‘Bazaar’ fabrics, Sutherland Perennials Studio. ‘Elliott’ chair, Davidson. ‘Prism’ sideboard, by Alexander Lamont, Miles x Bookshop
antennae A field in Umberto Pasti’s wild garden in Rohuna has become temporary home to some of the small wooden houses his friend Mohammed, a carpenter, makes and paints at night to relax
HELLO, DOLLIES It’s not only Umberto Pasti’s ravishing garden that greets visitors to Rohuna outside Tangier. At his suggestion the villagers are now creating a menagerie of captivating toys in mud, wood, palm fibre and cloth to raise funds for essentials. But if the novelist sowed the seed, the idea took root due to a local spirit of enterprise and guileless creativity, as he explains here. Photography: Hicham Gardaf and Sarah Wheeler r
PREVIOUS PAGES AND THIS PAGE, BOTTOM CENTRE: HICHAM GARDAF. THIS PAGE, TOP, BOTTOM LEFT AND BOTTOM RIGHT: SARAH WHEELER
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ROHUNA is a village of 400 people, located 60km south of Tangier, on the Atlantic coast of what is known as old Spanish Morocco. There are a few wild olive trees, along with a sprinkling of fig and carob trees around a handful of stone houses with zinc roofs. The overall impression is of a sort of shanty town, set in a grandiose landscape, like the apparition of a god. I arrived here 20 years ago when I was out walking and I’ve never left. There was no road then, no water and no light, only two houses, one small and one larger. Immediately I began planting a garden, saving hundreds of plants and thousands of bulbs from the development that is disfiguring northern Morocco. Then I found water, and eventually I got electricity too. Today, life is easier. A dozen youngsters work alongside me in the garden and I love them all dearly. The main problem for our
community is money. In our village there are 11 households that live below the poverty line and about 50 people in all who cannot afford to eat twice a day. It is necessary to raise funds to buy each of them a cow and two sheep, so that gradually they become economically independent. A couple of the kids are all right, thanks to the arbutus-furniture workshop run by Najim (WoI March 2012). But there is still medical treatment to pay for and, after late nights shepherding, school to get to five kilometres away. I have set up money boxes everywhere in the grounds, in the kitchen, in the corridor, on the drystone walls, where visitors to the garden can insert donations. But, no matter how generous, these are not sufficient. An idea came to me. I asked the village’s older women to teach their granddaughters how to make the dolls and toys they themselves played with 50 years ago, before plastic appeared. And so r
Clockwise from top: Moulay Sultan, a bearded male doll complete with djellaba, lurks in ivy next to his wife, Arousa, and three other females; Fatima Zorah Aimran, a 13-year-old villager, shows off her handiwork in the family sitting room; dolls made by Amina Costa, 11, are propped against canes in a corner of the garden; Soukeina Aimran Bando (left) and Soraya Gharabi embark on a new batch
the likes of Soukeina, Fatima Zorah and Amina began making stick-and-rag dolls strangely similar to those in the ethnographic collections in the Quai Branly museum in Paris. These were soon joined by mythological animals, such as Pegasus, and historical figures, such as Gilgamesh, made of baked earth mixed with straw. Then came hares and camels, Trojan horses, tractors, certain hieratic and callipygian matrons, discreetly veiled as in a school anatomy book. I found myself in a fable suspended somewhere between Giacometti and Henri Rousseau, with touches of rock engraving and primitive art. Finally, some dwarf palm-fibre objects – tableaux of seed planting, cavaliers and more camels – were added to this strange mix. It was then that I realised mine is a village of artists. I realised, too, that their work perfectly complements the little wooden houses my friend Mohammed in the
neighbouring shanty town makes at night when he’s smoked too much kif (before entrusting them to me, he used to burn them). The harmony between these shapes created by isolated people over the millennia (at Lascaux, by the Mayans, by the Bambara in Mali, on the banks of the Sepik river) raises complex questions that are fascinating to ponder but best not simplified. For my part, I’m just proud of my young friends and happy that their talent bears fruit in the shape of the minibus in which they travel to school – along with books, warm winter clothes, a few sheep and many, many sweets $ The Rohuna children’s toys will be shown at Tristan Hoare Gallery, 6 Fitzroy Square, London W1 (020 7383 4484; tristanhoaregallery.co.uk), 28 Sept-17 Nov, and Maria Grazia Montesi, 13 Via Marsala, 20121 Milan (00 39 02 2900 2057), from 4 Oct
Clockwise from top: a menagerie of animals, which were woven from palm by cousins Mohammed and Ismail G’bari, ‘grazes’ among the native plants; the clay horse and elephant were made by Latifa Aimran and baked in her bread oven. She rediscovered her love of making toys in the process of teaching younger villagers how to do so; some of Rohuna’s children mix mud for clay under a fig tree
TOP AND BOTTOM RIGHT: HICHAM GARDAF. BOTTOM LEFT: SARAH WHEELER
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This page: the scale of the wallpaper provides a dramatic foil for the Cabinet’s other furnishings, including a pair of Rococo looking-glasses. Opposite: ‘Houghton’, seen here in close-up, is De Gournay’s interpretation of the pattern
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COPY A ND PA ST E When the current châtelaine of Houghton Hall was after some new wallpaper she didn’t have to look very far. There, in the exquisite Cabinet room, hung a 1790s chinoiserie pattern ripe for imitation. Painstakingly adapted by De Gournay’s craftsmen, its branches and birds now beautify the countess’s bathroom – and are available to buy. It is one repeat you’d never tire of, says Matthew Dennison. Photography: Tim Beddow r
C A M U S
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J O N A T H A N B R O W N I N G I N C . C O M
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FEW ROOMS as lovely as the Cabinet, in a corner of Houghton Hall in Norfolk, owe their appearance to financial exigency. Nor can there be many instances in English decoration of hand-painted Chinese wallpaper chosen as a pragmatic solution to the depredations of the salesroom. Across the walls of Houghton’s Cabinet fans a tracery of silver-white branches against a blue ground the colour of Ceylon sapphires. Without the sale of Sir Robert Walpole’s collection of old-master paintings to Catherine the Great of Russia in 1779, forced by his successors’ pressing debts, this ravishing paper – which this year inspired a collaboration with the handpainted wallpaper makers De Gournay – might never have been hung. According to the inventory compiled after Walpole’s death, more than 50 of the great politician’s smaller paintings were once displayed in the Cabinet. The room was chock-a-block with furniture too: 15 chairs, two settees and a table. By the end of 1797, without paintings and following removal of much of this furniture, it had taken on its present appearance: an exquisite chinoiserie confection, in which lacquer furniture, giltwood mir-
rors, blue-and-white and turquoise-glaze china and a fabric-hung bed complement wallpaper that, on installation, was bang on trend. In a recent survey of historic Chinese wallpaper in British interiors, specialist Emile de Bruijn points to stylistic developments in papers produced for export in the last decades of the 18th century. Notable among them was the incorporation within typical bird-and-flower papers of new decorative features: stone balustrades, birdcages, baskets of flowers, jardinières, vases and planters containing flowering or fruiting shrubs and trees. Houghton’s paper includes all these elements. Tasselled baskets of flowers hang from branches, birds perch on carved swings, circular fruits like lychees are flushed with pink and garnet, and shrubs emerge from planters on octagonal stands. Birds, butterflies and branches, all the colour of moonstone, are flecked black, grey and brown. The effect resembles grisaille, otherworldly in feeling despite the busy overall design. Houghton’s paper was certainly in situ by the end of 1797; it may have been installed by 1792, when an inventory records that chairs in the room sported r
Top left: in the De Gournay paper made for the Countess of Cholmondeley, coloured birds sit on monochrome stems and branches. Birdcages and perches were a feature of Chinese bird-and-flower wallpapers from the end of the 18th century. Top right: the apparent naturalism of the paper contrasts with the formality of William Kent’s interior. The walnut-and-gesso armchairs are robustly Kentian
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blue loose covers made of a plain wool-and-cottonmix fabric called tammy. The earlier date suggests that it was Horace Walpole who installed the paper. If the later date is correct, the paper was an innovation on the
part of his successors, the Fourth Earl and Countess of Cholmondeley. The earl held a senior position in the household of the Prince of Wales, afterwards George IV, who had commissioned from Henry Holland a r
Unused lengths of 18th-century wallpaper were discovered in storage at Houghton Hall. Remarkably, they preserve the intense cerulean-blue ground of the day they left the workshop to travel halfway around the globe. De Gournay’s ‘Houghton’ pattern is available in a ‘New’ colourway more faithful to these unfaded papers; ‘Old’ is inspired by the colours found in the Cabinet
WOODLAND ~Quercetum~ 115/4011
cole-and-son.com
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Chinese drawing room for his London home, Carlton House, as early as 1789. The countess was also familiar with ‘Chinese’ decoration: her father, the Third Duke of Ancaster, had furnished a ‘breakfasting closet’ at the family home of Grimsthorpe Castle with what was described in 1769 as ‘fine India [sic] paper… the ground… prettily dotted with coloured India birds’. Whatever its origin, it was Houghton’s Cabinet that came to mind when, recently, the current Countess of Cholmondeley approached De Gournay in search of wallpaper for her bathroom elsewhere in the house. The room in question is loosely square, with two arched windows fitted with frosted glass that gives a blue tinge to the light. Together Rose Cholmondeley and the De Gournay team, headed by founder Claud Cecil Gurney, decided to create a pattern based on the antique paper. ‘We adapt lovely designs to people’s environments,’ Claud says. ‘In this case, it’s the colour of the background that makes the paper so lovely and the wonderful arching patterns.’ As with all De Gournay papers, Lady Cholmondeley’s new wallpaper has been painted by hand on panels in the company’s studio in Wuxi, about an hour from
Shanghai. Each panel is the work of at least three artists busy simultaneously on separate elements – birds, flowers and branches – and took in the region of 130 hours to complete. ‘That this is not a perfect copy makes it all the more special,’ Claud comments of the new paper. ‘Handpainting allows us to fit the design to the room and enables a degree of adapting certain design features.’ For her bathroom, Lady Cholmondeley chose a pinkish-hued warm natural colour for the paper’s background as a contrast to the blue paper hanging in the room almost immediately below. This autumn, De Gournay will add its Houghtoninspired paper to its collection of historically inspired designs. ‘Houghton’ will be available in two standard colourways, as well as the bespoke options for which the company is best known. ‘Old’ reproduces the colours that are currently visible in the Cabinet; ‘New’ is inspired by unused panels discovered in storage at Houghton, which have not faded with exposure to the light $ De Gournay. Ring 020 7352 9988, or visit degournay.com. Houghton Hall, King’s Lynn, Norfolk PE31 6TY. For opening times, ring 01485 528569, or visit houghtonhall.com
Top left: pale washes of colour, glimpsed in petals and ripening fruit, lend De Gournay’s hand-painted ‘Houghton’ wallpaper a particular freshness. Top right: the black-and-gold japanned furniture, a collection of blue-and-white porcelain and the iridescent depths of the 200-year-old paper together form a sumptuous chinoiserie vignette in one corner of Houghton Hall’s Cabinet
collection INSOLENCE pattern GROW
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C U T- G L A S S ACCENTS Whether Louis XVI or Lucite, the right mirror will add a touch of class to any room – and speak of impeccable discernment. Having reflected at length on the matter, Miranda Sinclair can now pronounce on the fairest. Photography: Anders Gramer
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1 ‘Split’, £2,300, Lee Broom. 2 Hand-bevelled antique mirror, £3,432, Rupert Bevan. 3 Long mirror, by Studio Roso, £790, Fritz Hansen. 4 ‘Vento’, £100, Habitat. 5 ‘100265’, by Eric Ericson, £1,073 approx, Svenskt Tenn. 6 ‘Four Seasons’, by Opera Design, £888, Porada. 7 ‘The
Shark’s Tooth’, £5,900, Soane Britain. Reflected: Creamware candlesticks, from £38 each, Pentreath & Hall. Antiqued candlesticks, from £12.95 each, Graham & Green. Coloured candles, £4 per pair, Re. All prices include VAT. For suppliers’ details see Address Book r
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Chimneypieces | Lighting | Furniture 020 7730 2122 | jamb.co.uk
SHORTLIST 1 ‘Golden Eye’, £19.95, Graham & Green. 2 ‘Carmine’, £2,500, Marianna Kennedy. 3 ‘Pediment’, by Bridie Hall, £750, Pentreath & Hall. 4 ‘Lily’, £1,860, Tom Faulkner. 5 ‘Margo’, £984, Porta Romana. 6 ‘Orlo Offset Rectangle’, by Theo Williams Studio, £169, Another Brand. All prices include VAT. For suppliers’ details see Address Book r
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1 Brass ‘Berrington’, £675, Vaughan; reflecting ‘Plushy 145’, £156.50 per m, Dedar. 2 ‘Star’, £203, Caravane. 3 Brass ‘Augustus’, £1,560, Balineum; reflecting ‘Plushy 137’, £156.50 per m, Dedar. 4 Venetian-style octagonal mirror, £585, Tindle Lighting. 5 Medium rectangular wall mirror, by Gubi, £899, The Conran Shop. 6 ‘Tear Drop’, £1,404, Julian Chichester. 7 ‘Aurora’, £4,662, Davidson. All prices include VAT. For suppliers’ details see Address Book r
SHORTLIST 1 ‘Coco’, £1,494, Ochre. 2 Handmade plaster mirror, by Viola Lanari, £480, 8 Holland Street. 3 ‘Chicama’, £4,836, Tatiana Tafur. 4 ‘Sienna’, £4,200, Paolo Moschino for Nicholas Haslam. 5 ‘Sorrel’, £635, Oka. 6 ‘Mazarin’, £2,431, Christopher Guy. All
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1 Louis XVI giltwood mirror, £9,500, Julia Boston Antiques. 2 ‘Odette’ dressing-table mirror, £295, Graham & Green. 3 ‘Hereford Pier’, £650, The Looking Glass of Bath. 4 ‘Melbury’, £3,360, Jamb. 5 ‘Oak Branch’, £1,794, Richard Taylor Designs. All prices include VAT. For suppliers’ details see
Address Book. Shot on location in the Judges’ Dining Room, Old Sessions House, London EC1. For details, visit theoldsessionshouse.com $
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This page: Makoto Kagoshima paints freehand on to the air-dried porcelain vessels, after first marking out the design in pencil. His toolbox includes traditional Japanese ink-painting brushes as well as more unconventional items, such as a broken umbrella rib and dentist’s tools. Opposite: for the new collaborative works, Kagoshima spent a day and a half painting thrown platters, bowls and jugs in the John Julian studio outside Salisbury
EBONY ON IVORY On seeing Makoto Kagoshima’s hand-painted black and blue ceramics, Julian Sainsbury had a vision of how combining the masterfully simple forms of his own pottery’s ivory porcelain and the artisan’s expressive illustrations could create a distinctive hybrid. With their latest collaboration exhibiting at Messums Wiltshire, Amy Sherlock looks on as an Anglo-Japanese synthesis of two worlds unites to striking effect. Photography: Jan Baldwin r
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WHEN WE think of the great centres of Japanese ceramics, the city of Fukuoka, on the southern island of Kyushu, might not immediately spring to mind. Yet, for the past 16 years, in a studio amid the bustle of the city, Makoto Kagoshima has been making and handpainting tableware whose distinctive, whimsical motifs depicting flora and fauna have collectors queuing around the block to buy. Kagoshima’s route to ceramics was likewise unobvious. He grew up in a family that included many craftsmen, in an environment where making and manual skills were a part of everyday life. While he has worked with clay for most of his life, he was never apprenticed to a master ceramicist, nor did he train as part of any particular school. In fact, he was working for a number of years as a manager at the Conran Shop in Fukuoka before making the decision, in 2002, to devote himself to pottery. He credits coming late to the trade for the distinctness of his output. Without the formal constraints of a particular school, he had the freedom to experiment with various different styles and techniques, eventually perfecting a wonderfully fluid manner of freehand painting on dry stoneware that makes his work instantly recognisable. His thrown and moulded forms are simple, unobtrusive – shallow bowls, platters, plates. The story of Kagoshima’s collaboration with John Julian (WoI May 2014), the Wiltshire-based producer of handsome, handmade porcelain tableware, begins – as do many good things – with a tea party. Specifically, a British-themed promotional event held by the department store Isetan in Fukuoka in January 2017. Julian Sainsbury, founder of John Julian, was introduced to Kagoshima by shared contacts during 2016. The Japanese ceramicist was already working with Isetan, and he and Sainsbury initially collaborated on a small number of hand-painted works and a limited-edition range of tableware stamped with Kagoshima’s designs for the department store’s event. Sainsbury developed new forms for the painted works – a series of tall vessels and shallow bowls that have since become part of John Julian’s standard range – and emailed his sketches to Kagoshima in Japan. Kagoshima then visited Sainsbury’s workshop in late 2016 and spent a day and a half painting between 30 and 40 unique pieces to be shipped back to Fukuoka. They sold out immediately. Based in Wiltshire since 2013, when Sainsbury moved production to a single workshop just outside Salisbury, John Julian ceramics are a masterclass in simple line and balanced form. Inspired by traditional r
Top right: after painting, the vessels are sealed with a transparent glaze and fired just once. Right: the blue and ivory of the fired plates evoke traditional Chinese porcelain, as well as Wedgwood’s creamware. Unlike the overlapping floral patterns of William Morris, an influence, these designs feature discrete elements that fit round one another without touching
antennae English pewterware and pre-mechanisation, smallscale porcelain manufacture, his tableware – though hand-thrown or made through the use of moulds and a jolly – has a smooth regularity that nods towards mass production. You might think of it as a contemporary update on the ‘Standard Ware’ of Bernard Leach – half, with Hamada Shoji, of the 20th-century’s towering Anglo-Japanese ceramic partnership. It is, also, for the most part, scrupulously undecorated. That said, Sainsbury, who for many years worked as a sculptor, has always been interested in hand-painting: the walls of the John Julian office are adorned with plates decorated by artist friends from his early days in a shared studio in London. Kagoshima’s designs are all done freehand. Forms are drawn in pencil on the dried clay, then blocks of colour are applied using a paintbrush. His usual repertoire includes pinks, yellows, greens and blues, but the collaborations feature a single colour – either black or cobalt blue – on John Julian’s classic ivory porcelain. Fine lines are then scratched out to give detail, using the improvised tools of a dentist’s pick and the broken rib of an umbrella. He draws on repeating motifs – a furled rose, doves, cats, a pair of smiling fish – surrounded by flowers and heart- or laurel-shaped leaves. Kagoshima cites William Morris as an influence and the intricate millefleur detailing of Arts and Crafts floral designs are in evidence. So, too, are the blossoms, birds and butterflies of traditional Japanese kimono designs, which Kagoshima remembers filling his childhood home. Though their aesthetics are different, Kagoshima and Sainsbury seem to share the Arts and Crafts belief that beauty can and should be incorporated into everyday life, can and should be functional. A very small number of hand-painted platters, bowls and jugs from their latest collaboration will be sold through Fortnum & Mason and Messums Wiltshire. The latter, an art centre near the John Julian studio, will also be hosting an exhibition of Kagoshima’s work. In addition, the pair will launch a second limited edition of stamped porcelain tableware. Along with two birds and a bushy-tailed fox, Kagoshima’s designs include a lion and a dragon: a little bit of England on a backdrop of Japanese-inflected porcelain simplicity $ Prices from £250 approx. ‘Contemporary Japanese Ceramics’ runs 13 Oct-4 Nov (Wed-Sat 10-5, Sun 10-4) at Messums Wiltshire, Place Farm, Court St, Tisbury, Salisbury, Wilts SP3 6LW. Ring 01747 445042, or visit messumswiltshire.com. To contact John Julian, ring 01722 744805, or visit johnjulian.co.uk
Top left: these black-and-ivory bowls are from Kagoshima’s first collaboration with John Julian, which was sold through the Japanese department store Isetan in Fukuoka. Many of the motifs – roses, flowers, birds, butterflies, cats – repeat across Kagoshima’s work. Left: this unfired hand-thrown dairy jug is from John Julian’s line of porcelain serveware
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THE ROYAL ACADEMY OF ARTS: HISTORY AND COLLECTIONS (eds Robin
Simon and Maryanne Stevens; Yale, rrp £75) Two hundred and fifty years young this year, facelifted and extended, the Royal Academy is kicking up its heels. The Summer Exhibition, once a byword for dullness, is a riotous assembly hung on Technicolor walls by the nation’s favourite transvestite potter. Grayson Perry has also joined academy colleagues in decking London’s West End with flags, giving the capital a much-needed tonic. But the RA is also a serious place. Another show, accompanied by a thoughtful book, has addressed its exhibition history and the evolving culture and politics of spectacle, with the rivalries, riots, crowds, pictures-of-the-year and equally dramatic flops that they entailed. Crowning all these achievements is this splendid book, heavy to carry but not to read, telling academy history through its collections. This rich and complex story could easily be lost in an excess of detail or – as sometimes before – in over-simplification and cliché. The editors have avoided these traps by splitting the book into four areas: the origins and organisation of the academy and its successive homes, from Somerset House to the east wing of the National Gallery and today’s Burlington House; its collections, from old masters to silver and furniture; its schools and teaching resources, including its magnificent library and cast collection; and the archives that hold its collective memory. Extended essays by expert contributors are followed by ‘closer looks’ at individual objects and works, informed by the
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larger project of cataloguing all of them digitally. Spanning academicians’ diploma presentations to Michelangelo’s Taddei Tondo and Sir Joshua Reynolds’s tea caddy, they chart British art and taste from their point of highest aspiration in 1768 to their revival today. The book does not entirely dispel the doldrums in between. Tracey Emin’s mutation from enfant terrible and unmaker of beds to academician and professor of drawing has certainly helped to banish the academy’s stuffier image, but dinners and committees a century earlier look so male and stale that one can almost smell the cigar smoke. Although four women were founder members, none followed for another 150 years except as models, students in the schools, cleaners scrubbing the floors or as exhibition visitors. A chapter on ‘Munnings and After’ discerns only a gradual acceptance of modern art after the dinner in 1949 when the president and Winston Churchill, well into their port, were broadcast saying exactly what they would do to Picasso if they met him in the street. Yet the academy was always self-critical as well as self-regarding. A mark of its resurgence, this book deserves to share the ‘honour and glory’ proclaimed in the RA’s official toast. It is not as consistently entertaining as Robert Wraight’s unofficial anthology of ‘scandals and scoundrels’ published for its bicentenary in 1968, but it is also surely far too valuable a resource ever to turn up second-hand for 60p, as this reviewer found Mr Wraight $ DAVID BLAYNEY BROWN is senior curator of British Art 1790-1850 at Tate Britain r
To order The Royal Academy of Arts for £67.50 (plus £8 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
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ISLAMIC ARCHITECTURE OF DECCAN INDIA (by George Michell and Helen
Philon; ACC Art Books, rrp £55) This is India, but not as you know it. No towering temples or sunken stepwells; instead, soaring structures with ornate domes, virtuoso vaulting and lofty minarets. Clad in calligraphic friezes and elegantly entwining arabesques, these are some of the world’s greatest but least-known masterpieces of Islamic architecture. As the authors acknowledge in their preface, they are ‘for the most part, unfamiliar to visitors from other parts of India, let alone from outside the country’. Michell and Philon, an architect and an architectural historian respectively, are co-founders of the Deccan Heritage Foundation, a charity dedicated to preserving the rich heritage of this region of southern India. From the 14th to the 18th centuries, the Deccan was settled by a succession of Muslim dynasties that commissioned mighty forts, palaces, mosques and tombs complete with hammams, libraries and pleasure pavilions. This new publication, though not encyclopaedic, fills a gaping hole in the literature by drawing attention to more than a hundred of them. After guiding us through building typologies and ornament, the authors explore each of the old dynastic capitals and their environs. Sites include the overgrown and crumbling, such as the great basalt citadel of Daulatabad. Perforated parapets emerge from lush landscapes with hints of sculptural exuberance in the form of curly-tailed lions, strutting peacocks and heavy lotus medallions. We see traces of incised plaster decoration and the odd glistening tile. But gone from most of these buildings is any glimpse of court luxury. Some of the
highlights are, in fact, those structures of majestic simplicity from which all the interior decoration is now lost. The Great Mosque of Gulbarga – conceived as an audience hall in the 14th century – is a Modernist dream: an austere articulated space of receding planes of light. It would appear that the original polychrome spectacle survives only in those few religious buildings that have remained in use. Among them is the 15th-century tomb of Ahmad Shah Bahmani in Bidar, to this day a popular pilgrim destination. Its interior walls and dome are cloaked in spectacular murals of rich vermilion, turquoise and black. Similarly, the Jami Masjid in Bijapur contains the largest, most sumptuous prayer niche in the Deccan, if not all India. Capturing the scale and visual complexity of this architecture might seem an impossible task, but not so for Paris-based Venetian Antonio Martinelli, who trained as an architect and has worked extensively in India since the 1970s. His extraordinary photographs date from 2014, when New York’s Metropolitan Museum commissioned him to capture views of the Deccan to use as backdrops for its landmark exhibition showcasing the art of the region. Their power lies partly in his determination to show the buildings not as isolated structures but intrinsically tied to their environment, their inhabitants and guardians. Given the rapidly changing pace of India in the 21st century, one can’t help but feel that these are invaluable records of a history and humanity in danger of being lost $ EMILY HANNAM, assistant curator at the Royal Collection Trust, is the author of ‘Eastern Encounters: Four Centuries of Paintings and Manu scripts from the Indian Subcontinent’ (Royal Collection Trust) r
To order Islamic Architecture of Deccan India for £46.75 (plus £4.50 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
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PALM SPRINGS: A MODERNIST PARADISE (by Tim Street-Porter; Rizzoli, rrp £57.95) From
the satiny thirties to the far-out seventies, America’s domestic architecture embodied its modern dream. Streamlined and beetle-browed, with flat roofs, fieldstone, sliding walls, miles of glass, travertine and swimming pools – impossibly turquoise swimming pools – the style spawned inept versions across the US like the proverbial fleas on a dog. It was Palm Springs, desert playground of the likes of Steve McQueen, William Holden, Marilyn Monroe, Cary Grant and Frank Sinatra, with his ‘ladykiller’ entourage, that gave it real pizzazz, however. Not that it needed pizzazz. It couldn’t last, of course. Forty or so years ago, with the passing of Old Hollywood, the country cast aside mid-century modern, with its UFOs, tail-fin cars, hula hoops and Op art. It was too ‘sterile and repetitive’, they said. Here’s Tim Street-Porter’s book – long and low, and cool as its content – to convert any lingering doubters (even those of us who don’t love the furniture). In fact, since the early 1990s the avant-garde have been quietly buying up the best of Palm Springs’ benignly neglected time capsules and restoring them with carloads of chrome, patent-leather upholstery, lacquer, icy Perspex and foil ceilings (though not all at once). Some are even listed on the National Register of Historic Places. We’ve come a long way, baby, as the book’s glamorous illustrations and informed but conversational text prove. Both of these are occasionally surprising. Did you know, for instance, that Ringo Starr designed furniture? That there are Alexander Calder wallpapers and fabrics? That Diamonds Are Forever was filmed in the living room of the Elrod House, beneath its skylights and 20m dome? That in the second house Albert Frey designed for himself, a monumental boulder, like some craggy, breaching whale, separates the living room from the bedroom and has a functioning light switch as an eye? At Sunnylands, Walter Annenberg’s estate, we read that the architect’s brief stipulated an ‘oasis with not one visible grain of sand, except in the golf traps’ (naturally, there was a private golf course). Guests included presidents and celebrities – and Queen Elizabeth. There’s a nice anecdote about the morning Her Majesty was found on her own, exploring the fountains, Van Goghs and Gauguins. She had, she explained to her host, wanted to get ‘a better idea of how ordinary Americans live’. You might get a good idea of how we still live if you happen to notice that 14 out of the 17 houses listed in this otherwise exceptional Modernist Paradise have either names (i.e. Sunnylands and Villa Grigio) or are named for their all-male architects or the all-male owners who presumably paid them. Only three of the chapter headings even mention women, though ‘Mrs Betty Ford’ is one of those. Do the Rat Pack’s values live on in the architecture world? That would be heavy, man $ CAROL PRISANT r To order Palm Springs for £49.25 (plus £8 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
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ENID MARX: THE PLEASURES OF PATTERN (by Alan Powers; Lund Humphries, rrp £40) ‘I rather
prefer abstract patterns,’ Enid Marx told listeners of a radio programme called The Critics in 1948, and Alan Powers’s new survey of Marx’s life and work includes numerous examples of her success as the author and printer of mostly small-repeat, non-figurative designs. Marx was a doughty customer: she knew what she liked, was clear in her own mind about the limitations of popular British taste and developed a distinctive style that won her critical renown if not broad commercial success. Her work synthesised wide-ranging elements – 19th-century chapbooks, decorative bark cloths from the Pacific, the influence of Paul Nash (her painting teacher at the Royal College of Art) – but was seldom derivative and offers convincing proof of her verdict that ‘pattern and texture had always had a fascination for me’. She was born in London in 1902. Her father was a German/Jewish inventor. He developed an early artificial silk that cost twice as much as natural silk and, more usefully, a prototype paper shredder. After Roedean, Enid studied at the RCA in the early 1920s. Among her contemporaries were Ravilious, Bawden, Barnett Freedman and the potter Katherine Pleydell-Bouverie; she shared life-drawing classes with Henry Moore. Despite her passion for drawing, her earliest commissions included repeat-pattern bookbinding papers for the Curwen Press: the decision to pursue design over fine art was partly made for her. In the short term it offered practical benefits: a means by which an unmarried young woman could make a living. Twenty years later, she would evolve a very personal drawing style in the handful of stories for children she both wrote and illustrated. At the age of 25, Marx launched herself as an independent textile printer, her workshop a hayloft in Hampstead. Practice at wood engraving as an art student had given her the necessary skills for cutting textile blocks. She used vegetable and mineral dyes. Journalists described her designs as ‘modernistic’: folk art and the Regency revival in interior design also coloured her output. Success was swift. Within five years, her work was being collected across Europe; interior designer Ronald Fleming commissioned her to print curtain and furnishing fabrics for a flat owned by fashionable actress Gertrude Lawrence. In 1937, she was invited to design upholstery fabrics for London Underground, her first sortie into industrial design; she created woven patterns for the wartime Utility Furniture Scheme. Her best-known design dates from 1952: the penny and halfpenny stamps produced at the start of the reign of Elizabeth II, with the Queen’s portrait by Dorothy Wilding framed by a garland of flowers inspired by Tudor embroideries. Today, a handful of Marx’s designs remain in production; she is equally well known as the founder, with her lifelong companion Margaret Lambert, of a collection of ‘popular’ art now at Compton Verney. Although his analysis of her skill is occasionally opaque – ‘her designs [convey] a sense of controlling taste that does not limit the possibilities of taste and colour’ – Alan Powers’s handsome, engaging survey successfully knits together her life and career $ MATTHEW DENNISON’s forthcoming book is a life of the author Kenneth Grahame r
To order Enid Marx for £36 (plus £4.50 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
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(by Emily Evans Eerdmans; Rizzoli, rrp £57.95) The era of French interiors of which Henri Samuel (1904-96) could be claimed to be the master began with the postwar revival of Gallic pride, after the humiliation of occupation, started by Christian Dior with his defiantly optimistic New Look. Fifty years later, Samuel was still designing in his 90th year, with a glorious château for the designer Valentino. Samuel had advantages that made him the perfect interpreter of classic French decoration: he had been trained at Jansen, which, with Carlhian and Alavoine (where Samuel was a director for nearly 25 years), was one of the three great decoration houses. Samuel had grown up in luxury, the son of a rich and leisured Jewish banking family who indulged the young Henri with his rearranging of the furniture in their Paris apartment, and with a grandmother, an antique dealer with superb taste, who took him on her foraging trips. The great ensemblier decoration firms of his day were the direct descendants of those of the ancien regime, with massive historical archives and skilled expertise: Jansen employed 700 artisans, the perfection of whose workmanship was such that their copies of antique furniture commanded, on resale, the same prices as the originals. Samuel’s institutional work at the Grand Trianon at Versailles, the Musée Nissim de Camondo in Paris and the Metropolitan Museum in New York – and especially his revival of Ferrières, the private palace of Baron James de Rothschild – was considered at the time the perfection of the classic French style. He worked for all of the French-based members of the family, and Emily Evans Eerdmans is particularly interesting on Samuel’s interpretation of le goût Rothschild. Haussmann’s rebuilding of Paris between 1853 and 1870 released a large number of 18th-century boiseries on to the market, and
HENRI SAMUEL: MASTER OF THE FRENCH INTERIOR
these salvaged sets of carved panelling were the foundation of many rooms for the banking dynasty, combined with Second Empire overstuffed upholstery and museum-quality artworks. These Rothschild commissions, and Samuel’s knowledge, taste and savoirvivre, attracted such clients as Gianni Agnelli, Prince Sadruddin Aga Khan and the Shah of Iran, as well as American society clients Susan Gutfreund and Jayne Wrightsman. (These last two had such a passion for all things French and antique that FFF, standing for the de rigueur Fine French Furniture, became common shorthand between them.) Though some of Samuel’s classic interiors for these latter clients, and for Ferrières, appear to modern eyes somewhat stiff and overdone, lacking the drama and relaxed sensuality of Geoffrey Bennison’s work in Baron David de Rothschild’s Paris apartment (WoI Jul/Aug 1983) or his country house at Reux (WoI April 1983), Samuel’s own country houses and Paris apartments still look wonderfully fresh and original. His beautiful red drawing room in the last of these, from 1973, was an inspired combination of an 18thcentury background with modern commissioned pieces from such artists as Diego Giacometti and Guy de Rougemont. Though the book fills a gap in our knowledge of 20th-century French and US interior decoration, one of its joys is the social revelations of a very different era: even the picnics at Samuel’s country home were presided over by a sommelier and a butler – entertaining at home was the main method of finding clients. And Samuel’s major domo (one of his domestic staff of four) served afternoon tea at 4.30pm every day to his designers, one of whom described it as ‘a moment of pleasant relaxation, when we spoke of everything and nothing for 30 minutes’ $ ELFREDA POWNALL is a freelance writer r
To order Henri Samuel for £49.25 (plus £8 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
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INTERNATIONAL SIGNAL CODE ALPHABET (by
115 QUEENSTOWN ROAD LONDON SW8 3RH
Corita Kent; Atelier Editions, rrp $50) This year is the centenary of Sister Corita Kent’s birth, and the 50th anniversary of her serigraphed series based on the International Code of Signals. Kent’s double life in Los Angeles, as a nun and screen-printing artist, brought her recognition in the 1950s and 60s. Her work is often described as Pop, but it has none of Pop’s cynicism and nothing to sell, other than a general message of peace and love. In 1968, several months after making the cover of Newsweek, she went to Cape Cod for a break from her demanding schedule. There she decided to leave her order and become a full-time artist. And she noticed the coded flags on the boats. Kent’s major works of that year were two alphabet series: Damn Everything but the Circus and International Signal Code. The former was published in book form two years later; the latter has had to wait 50 years for this reproduction by Atelier Editions. The two alphabets have in common quotations (Jim Morrison as likely a source as the Book of Revelation), found antique elements (letters, woodcuts), and Kent’s own handwriting. Beyond this, there are big differences. The circus theme suited Kent’s irreverent cutting-up of words, as did her colour juxtapositions, which could be as eye-watering as those of Victor Moscoso’s psychedelic posters of the same era. Circuses entertain; a signal code must inform. ICS flags use a five-colour palette and basic forms (stripe, triangle, circle). Out went Kent’s wild colour schemes, and the elements she added were superimposed on to the flags rather than interacting with them. The original flags represent more than letters in themselves: ‘I’ can also mean ‘altering course to port’ when used in isolation, or, in combination with ‘T’, that one’s vessel is on fire. Kent ignored this, and reduced them to canvases for her handwriting and typography. The fact that they enabled vessels to communicate mattered, but she was not apparently interested in what they actually said. The book is mainly a facsimile of the series, bookended by short biographical texts and a vacant essay by Aaron Rose (‘You can tell a lot about a person by what they choose to hang [or not to hang] in their residences’). The prints are brightly and beautifully printed, and are so bold that even the mannerism of having the book bound with black thread doesn’t get in the way. What does ‘Q’ stand for? ‘Cutie pie’, naturally. Seek a meaningful relationship between the signal code and Kent’s additions and you will be disappointed. Instead the series is to be enjoyed for its joyfulness and formal exuberance – if one has enough of a sweet tooth $ CHRISTOPHER WILSON is the author of ‘Richard Hollis Designs for the Whitechapel’ (Hyphen Press) r
+44 (0)20 3355 1817 P O R T E R B AT H R O O M . C O M
To order International Signal Code Alphabet for $50 (plus p&p), visit atelier-editions.com
rugiano.com
GRACE bed Showroom: Via della Moscova, 53 MILANO_ rugiano@rugiano.it
books
LATE MEDIEVAL AND RENAISSANCE TEXTILES (by Rosamund Garrett
and Matthew Reeves; Sam Fogg, rrp £30) For anyone who was visually frustrated by the conservation gloom and the distance of the exhibits from the protecting glass in the otherwise wonderful exhibition Opus Anglicanum at the V&A last year, this book provides a satisfying antidote. Showing some 30 examples of rare and sumptuous textiles spanning 200 years between about 1400 and 1600, it features several examples of a type of embroidery that was the speciality of English workshops from the 12th to the early 16th centuries. All are photographed both complete and in close-up, so that you can see every pulse of the painstaking split stitching, every etched line of the couched metalwrapped threads that still glimmer behind the sinuous figures of saints, the gloss of the untwisted silk ‘floss’ and the delicacy of the silk shading, where colours are blended into one another to give the impression of three dimensions. A large paperback, this book was published to accompany a selling exhibition in June and July at Sam Fogg, a dealer who specialises in the art of the European Middle Ages. As well as embroideries of extraordinary skill and sophistication, there are tapestries, including a fabulous fragment with a design of peacock feathers and cardoon leaves on a rich red background, and one woven in imitation of damask. You’ll also find lampas silks, woven-linen ‘Perugia towels’, cut-and-voided silk velvets and a mid-15th-century Spanish carpet. Illustrations include contemporary paintings showing similar fabrics and how they were worn and used in interiors, and one of the pleasures of the book is to recognise some of the textures and patterns painted by Van der Weyden, Crivelli, Van Eyck or Titian. All the pieces are museum quality. It is possible that some were purchased by institutions, but others will inevitably have gone into private collections, making this a valuable record of these fragile survivors, beautifully photographed, extensively researched and comprehensively described in the text. Because it is essentially a catalogue, there is a quite a lot of repetition – explanations of terms such as ‘lampas’ (a luxurious silk with a particularly complex weave) and ‘orphrey’ (a band of decoration applied to an ecclesiastical garment such as a chasuble) recur. On the other hand, it is good to know these things, or even to be reminded. And what a joy to learn that those pointy shoes worn by 15th-century noblemen are known as ‘crakows’ and the equally pointy headdresses worn by their ladies are ‘hennins’, or that certain flower-shaped pinnacles can also be referred to as ‘trilobed fleurons’ $ ROS BYAM SHAW’s latest book is ‘Perfect English Townhouse’ (Ryland Peters & Small) r To order Late Medieval and Renaissance Textiles for £25.50 (plus £4.50 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
G A R DENI A Prints & Embroideries romo-gardenia.com
books
BANDSTANDS: PAVILIONS FOR MUSIC, ENTERTAINMENT AND LEISURE
THE INVISIBLE LIGHTSWITCH® www.forbesandlomax.com London & New York +44 (0) 20 7738 0202
(by Paul Rabbitts; Historic England, rrp £25) It’s easy to forget just how extraordinary some of the most everyday architectural fixtures of our towns and cities are. Take the bandstand, still a typical feature of parks and proms around Britain. Yet these temples to music – usually a platform elaborately fashioned in cast iron and wood and crowned with a majestic dome roof – owe their distinctive appearance to Ottoman Turkish kiosks. Such kiosks had been exhibited in Paris around the time of the Crimean War, where they were spotted by Captain Francis Fowke of the Royal Engineers. Later the architect of the no-less dome-y Royal Albert Hall, Fowke was to create two bandstands in the Ottoman vein for the Royal Horticultural Society Gardens at South Kensington in 1862. They were later installed in Southwark and Peckham Rye parks in 1889. But by then the style was almost the default model for public bandstands, with the firm of Walter MacFarlane churning out the lion’s share from its Saracen Foundry in Glasgow between 1864 and 1914. Equally illustrated here is the fact that, despite some strikingly modernistic additions in the interwar years at places such as Swindon’s Town Gardens – and inspired programming at Harlow Town park in the 1970s and 1980s, which saw concerts by the likes of 10cc and The Pogues – that period really represents the high-water mark of the bandstand. Rabbitts’s desire to be comprehensive – covering music as it was performed in pleasure gardens such as Vauxhall and Cremorne, the Midlands’ rapid industrialisation, the brass-band movement and much else – leaves this book with a slightly scattergun, topics-ticked-off structure. But he does well to place the bandstand firmly in the context of the morally improving mindset of the Victorian age. Exposure to musical concerts of a higher calibre would, it was thought, have a refining influence on the great unwashed. Rabbitts argues that for early promoters of open-air public concerts, ‘music represented the best of all rational recreations’. Indeed one of the reasons cited by London County Council for advancing its musical programme across the city’s parks in the 1890s was to mitigate against the ill effects supposedly caused by exposure to organ grinders and their ilk. A century on and it’s clear bandstands reached something of a nadir, with hundreds having been lost already and countless more languishing in awful states of decrepitude. But Rabbitts’s book ends optimistically, recording an upturn in their fortunes through Lottery-funded restoration schemes and a revival of their use as spaces for performances since the late 1990s $ TRAVIS ELBOROUGH is the author of ‘A Walk in the Park: The Life and Times of a People’s Institution’ (Vintage) r To order Bandstands for £22.50 (plus £4.50 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
books
DESIGNED IN THE USSR 1950-1989 (Phaidon, rrp £24.95) Western
Cold War propaganda was a powerful tool: it persuaded those on one side of the iron curtain that the Soviet Union was failing to provide its citizens with a decent quality of life, that everyday goods of poor quality lagged behind those in the West. A different argument shines through in this book, postulating that what was lacking in terms of quality and choice was made up for through inventiveness and aesthetics. As Alexandra Sankova notes in her foreword, after the collapse of the Soviet Union, the bodies and research centres from which designers emerged fell away, leaving a sense of bewilderment. Using the collection of the Moscow Design Museum, this book is an attempt to fill that vacuum, reinstating a sense of continuity as it illustrates the achievements – and the peculiarities – of Soviet design. Much of it focused on public information and the importance of industry. The posters, many here by Miron Lukyanov, are ravishing. But there was also room for play, as shown by the existence of the Experimental Research Institute for Toys. Lack of resources created imperatives for recycling. Beautiful milk and kefir bottles with wide necks for easy cleaning were used over and over again, as were avos’ka string shopping bags, whose name means ‘on the off-chance’ (in case citizens found anything to buy). Impromptu drinking sessions on the way home from work were facilitated by the especially handy collapsible cup. The book’s captions highlight how the pre-1917-revolution Art Deco style endured, from labels on condensed milk to muchcelebrated chocolate wrappers. Bottles and packaging trace the origins and evolution of Soviet perfume. Some wonderful designers stand out, such as Svetlana Mirzoyan, who repurposed metal components from teapots to create a space-age wall light. In terms of cutting-edge technology, Sphinx – a ‘super-functional integrated communicative system’ created in 1987 to bring automation to the home – was more advanced than anything being developed at that time in the West. The range of footwear included shows the failure to provide for the Soviet citizen adequately. Enforced resourcefulness as a reaction to deficit is clear: the caption under high-heeled galoshes reads: ‘due to the lack of athletic footwear, pointed-toe galoshes were popular with Soviet mountain climbers’. The book is not comprehensive, with some designers better represented than others, and with little text to explain why. The translations are patchy, and it is printed on low-grade paper to evoke the spirit of the times, a decision which I think backfires. Nevertheless, it is full of delights and surprises $ CLEMENTINE CECIL is director of Pushkin House, a Russian cultural centre in London To order Designed in the USSR for £21.20 (plus £4.50 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747
1 ‘Garance NCW4354-04’, by Nina Campbell, £76, Osborne & Little. 2 Green ‘Trellis Panel’, by No. 9 Thompson, £370, Fox Linton. 3 ‘Scrolling Fern Frond SFF-001’, £190, Soane Britain. 4 ‘Clea 1705-W4’, by Alexandra Palmowski for Virginia White, £90 per m, Tissus d’Hélène. 5 ‘Mousson STN-32’, £100 per m, Nobilis. 6 Teal ‘Painted Stripe EW15025-615’, by Threads, £95,
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GP&J Baker. 7 ‘Carrare 882’, £500, Zuber. 8 ‘Extinct Animals’, by Moooi, from £45 per m, Arte. 9 Black and Leaf ‘Fernarium 5009-191’, by Clements Ribeiro for Schumacher, £240 per m, Turnell & Gigon. 10 Vert ‘Toucan’, £96.80, Casamance. Leather tape measures, £30 each, Re. Folding ruler, £8.50, Labour and Wait. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r
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AUTUMN SWATCH For wallpapers with reel appeal, from easy-to-follow patterns to the much more elaborate, thread your way over to Focus and Decorex. Petite-main Miranda Sinclair has the best all sewn up. For show details see page 278. Photography: Neil Mersh
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1 ‘Elephant Jungle’, by Jennifer Shorto, £170 per m, The Fabric Collective. 2 ‘Ink & Print WP-INP-OBRN-01’, £99
per m, Dana Finnigan. 3 ‘Cosmic’, by Nathalie du Pasquier & George Sowden for Coop DPS, £72 per m, 4Spaces. 4 ‘Macchine Volanti 114-10020’, by Fornasetti, £345 (sold by the double roll), Cole & Son. 5 ‘Concorde D17002-001’, £387.50, Dedar. 6 ‘Sticks’, £130, Flock. 7 ‘Appleton SPW-9000-13’, by Sister Parish Design, £318, Tissus d’Hélène. Left-hand scissors, £32.50, Labour and Wait. Cutting-out scissors, £19, Objects of Use. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r
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Design Centre | Chelsea Harbour | landmark-collection.co.uk | Made in England
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1 Fuchsia ‘Cactus Flower’, by Commune, £120 per m, Christopher Farr Cloth. 2 ‘Pineapple 300-02’, £60 per m,
Blithfield. 3 ‘Aurora 1804-116-01’, £85, 1838 Wallcoverings. 4 ‘Birds, Oiseaux et Treillage’, £365, Zuber. 5 ‘Taraz LP110-003’, by Le Manach, £422.40 per 4.5m roll, Pierre Frey. 6 Night blue ‘Prairie’, by Maison C, £244 per sq m, George Spencer Designs. 7 ‘Sweet Pea 115-11032’, £100, Cole & Son. 8 ‘Ananas W7266-02’, by Matthew Williamson, £76, Osborne & Little. Hornbeam tape measure, £18.50, Objects of Use. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r
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AUTUMN SWATCH 1 ‘Oolite ZW129-01’, £380, Zinc Textile. 2 ‘Painted Stripe TCW1020-03’, by Tapet Café, £116, Tissus
d’Hélène. 3 ‘Kienze Shimmer 111972’, by Harlequin, £119, Style Library. 4 ‘Beadazzled Sparkle Geode MR-BGS-1519’, by Maya Romanoff, £372 per m, Altfield. 5 ‘Shore Birds 216565’, by Sanderson, £49, Style Library. 6 ‘Pure Pimpernel 216539’, by Morris & Co, £69, Style Library. 7 ‘Wiggles W571-02’, by Christopher Corr for Villa Nova, £55 per m, Romo. 8 ‘Swakeley’s Chinoiserie’, £33.30 per m, Hamilton Weston Wallpapers. Tailor’s shears, £86.50, Objects of Use. Ruler, £12, Re. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r
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IVASSALLETTI.IT ph. M. Listri • Adv Santi&Santi
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1 ‘Expressions W1086-02’, by Weitzner, £195 per m, Altfield. 2 ‘Geometric Silk J8001-04’, by Jane Churchill,
£110, Colefax & Fowler. 3 Mehmet ‘Ottoman Tent’, from £340 per sq m, Iksel. 4 ‘Zeus’, £185, House of Hackney. 5 ‘Pine Handblock PNHB-3’, by Jet, £300, Whiteworks. 6 ‘Karaba 01’, £151, Lizzo. 7 ‘Maîtres de la Forêt Mosaïque H214054M-03’, by Annie Faivre and Gianpaolo Pagni, £385, Hermès. 8 ‘Passages 1095’, £428 per panel, Phillip Jeffries. Left-hand scissors, £32.50, Labour and Wait. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book r
AUTUMN SWATCH
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1 ‘Nykel Viken’, by Astrid & Rudolf, £114, Nicholas Herbert. 2 ‘Silvi Clouds 216602’, by Sanderson, £85, Style Library. 3 ‘Marie Arches 801-24’, £89, Sandberg. 4 ‘Wisteria BP-2223’, £115, Farrow & Ball. 5 ‘Fontaine F-020H-01’, £762.84 per sq m, Fromental. 6 ‘Como 0615’, £149, Robert Kime. 7 ‘Highland Cable LWHC-03’, by Lake August, £175 per m, The Fabric Collective. 8 ‘Brahmi PDG1061-05’, £65, Designers Guild. 9 ‘Graycott Stripe 07190-04’, £64, Colefax & Fowler. 10 ‘Jouy
AT78751’, by Anna French, £99, Thibaut. Cutting-out scissors, £19, Objects of Use. Folding ruler, £8.50, Labour and Wait. Wallpaper prices are per 10m roll, unless otherwise stated; all prices include VAT. For suppliers’ details see Address Book $
SERIOUS
pursuits
Auctions, antique fairs and diverting activities, chosen by Grace McCloud
1 Frontispiece of The Mariner’s Mirror, 1588, National Maritime Museum, 20 Sept. 2 The V&A Dundee, 15 Sept. 3 Henry Moore, Helmet Head 4, 1963, Goodman Fine Art at British Art Fair, 20-23 Sept.
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Opened in June 1857 by Queen Victoria, the South Kensington Museum was a first in many respects. Not least – unlike the hallowed halls of the British Museum or National Gallery – it was to be ‘a schoolroom for everyone’, said its first director, Henry Cole, with late opening hours so that rich and poor alike could benefit from its diverse collections. It was also the first of its sort to feature refreshment rooms, as lavishly attended to as the rest of the building, with William Morris and Edward Burne-Jones having a hand in their décor. Today the great institution is known as the V&A, renamed in 1899, and Cole’s maxim still stands: people flock in their millions each year to see ancient carvings, Regency dresses, Da Vinci’s notebooks… Londoners are lucky to have it on their doorstep. And, come 15 SEPTEMBER, Dundonians will be too, as the V&A DUNDEE opens in the Scottish city. Shiplike, parked on the banks of the Tay, it’s been designed by Japanese architect Kengo Kuma, and stands as a powerful symbol of reconnection with the old docklands area. Local heritage has prominence inside too, with permanent galleries dedicated to the best in Scottish design alongside pieces from across the world. At the centre will be Charles Rennie Mackintosh’s transported and restored Oak Room, 13.5m of panelling made for a Glasgow teashop – just one of many highlights (a Cartier tiara, original Beano comic strips, a 15th-century book of hours and much, much more) on view for all to see. Henry Cole would no doubt be very proud. Details: 01382 305665; vam.ac.uk.
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BRITAIN UNTIL 27 OCTOBER SERPENTINE PAVILION, KENSINGTON GARDENS, LONDON W2 RADICAL KITCHEN. Lunchtime ‘picnic talks’ on selected Thursdays in
Frida Escobedo’s pavilion. Details: serpentinegalleries.org. UNTIL 28 OCTOBER TATE BRITAIN, MILLBANK, LONDON SW1 A COMMON GROUND.
A working garden pops up by the Millbank gallery, hosting suppers, art events and a harvest festival. Details: 020 7887 8888; tate.org.uk. 11 SEPTEMBER SOTHEBY’S, NEW BOND ST, LONDON W1 IRISH ART. Lord of the ring: a circus painting by Jack Butler Yeats (brother of WB) steals the show. Details: 020 7293 5000; sothebys.com. 13 SEPTEMBER CHRISTIE’S, KING ST, LONDON SW1 INTERIORS. A sale put together by Martin Brudnizki – you might remember his work at Annabel’s in the June issue. Details: 020 7839 9060; christies.com. 14 SEPTEMBER SOTHEBY’S, NEW BOND ST, LONDON W1 MADE IN BRITAIN. Be mine, equine: we’ve fallen for Nic Fiddian Green’s horse sculptures, two of which feature in this biannual sale. Details: 020 7293 5000; sothebys.com. 19-21 SEPTEMBER DESIGN CENTRE CHELSEA HARBOUR, LONDON SW10 FOCUS/18. The fair takes us on a Journey of Colour with artist Moritz Waldemeyer’s kaleidoscopic LED installation. Details: 020 7225 9166; dcch.co.uk. 20-23 SEPTEMBER SAATCHI GALLERY, DUKE OF YORK’S HQ, KING’S RD, LONDON SW3 BRITISH ART FAIR. Formerly known as 20/21, the fair has moved too, now occupy-
ing the Saatchi Gallery. The stuff on show, however – Bomberg, Hitchens, Frink – remains as desirable as ever. Details: britishartfair.co.uk. 20 SEPTEMBER NATIONAL MARITIME MUSEUM, PARK ROW, LONDON SE10 FOUR NEW GALLERIES OPEN. A £12.6 million project has seen the development of four new spaces dedicated to British and European ocean-going explorations over the past 500 years. Details: 020 8312 6565; rmg.co.uk. r
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4 Mary Fedden, Cats in a Basket, 1996, Sotheby’s, 14 Sept. 5 John Godward, Dolce far Niente, 1907, Bonhams, 26 Sept. 6 City Hall at Open House London, 22-23 Sept. 7 Jack Butler Yeats, The Circus, 1921, Sotheby’s, 11 Sept
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SERIOUS
pursuits
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1 1 Herbert Gunn, Portrait of Angel Blundell, 1920s, The Decorative Antiques and Textiles Fair, 2-7 Oct. 2 Chinoiserie mantel clock in a bell-top case, c1890, Olde Time at The Northern Antiques Fair, 4-7 Oct. 3 Tony Cragg, Red Square, 2007, 18 Davies Street at Pad London, 1-7 Oct
20 SEPTEMBER SOTHEBY’S, NEW BOND ST, LONDON W1 YELLOW BALL. A world of Hirst: a two-part sale of the collection of Lorna and Frank Dunphy (Damien’s one-time business manager). As you might expect, there’s a strong showing of YBAs, but Warhol, Richard Prince and Lucio Fontana also feature. Details: 020 7293 5000; sothebys.com. 20 SEPTEMBER SOUTH LONDON GALLERY, PECKHAM RD LONDON SE5 FIRE STATION OPENS. Hot stuff: Peckham’s old fire station gets a revamp,
transformed into a new annexe for the gallery. Details: 020 7703 6120; southlondongallery.org. 21-23 SEPTEMBER CHATSWORTH HOUSE, CHATSWORTH, BAKEWELL, DERBYS ART OUT LOUD. David Dawson provides some Freudian discourse – on his old boss Lucian – at the talks festival. 01246 565300; chatsworth.org. 22-23 SEPTEMBER LONDON OPEN HOUSE LONDON. Highlights include Bouncing off the Wall!, a graphic-arts fair in the listed Greenside School in Shepherds Bush. Details: 020 3006 7008; openhouselondon.org.uk. 26 SEPTEMBER BONHAMS, NEW BOND ST, LONDON W1 19TH-CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART. Dolce far Niente, one of John
Godward’s depictions of sweet idleness, tops the lots. Details: 020 7447 7447; bonhams.com. 1-7 OCTOBER BERKELEY SQUARE, LONDON W1 PAD LONDON. A Congolese mask, Josef Hoffmann chairs, a Roman bust – whatever your collecting concern, Pad is sure to satisfy. Details: 00 33 1 53 30 85 20; pad-fairs.com. 2-7 OCTOBER EVOLUTION, BATTERSEA PARK, LONDON SW10 THE DECORATIVE ANTIQUES AND TEXTILES FAIR. This year’s event focuses on Japan’s influence
on European interiors. Details: 020 7616 9327; decorativefair.com. 4-7 OCTOBER HARROGATE CONVENTION CENTRE, HARROGATE, N YORKS THE NORTHERN ANTIQUES FAIR. Take on the mantel – clock, that is. A very
lovely Victorian chinoiserie specimen sells at Olde Time. Details: 01797 252030; northernfair.com. 4-7 OCTOBER REGENT’S PARK, LONDON NW1 FRIEZE. This year the fair dedicates a section to women who challenged the male-dominated art market of the 1980s, curated by a panel of 11 female art historians and critics. Details: 020 3372 6111; frieze.com. 4-7 OCTOBER REGENT’S PARK, LONDON NW1 FRIEZE MASTERS. Holy smoke: an 18th-century Rajasthani painting of pipe-puffing ascetics is on show at Francesca Galloway, one of more than 130 galleries. Details: 020 3372 6111; frieze.com. 4-7 OCTOBER THE ROYAL BOTANIC GARDENS, KEW, RICHMOND, SURREY HANDMADE AT
9, RUE LAUGIER 75017 PARIS TÉL. (+33)1 47 63 60 60
KEW. There’s nothing common-orgarden about the crafts being exhibited at this event, which returns to Kew for the fourth time. Details: handmadeinbritain.co.uk. r
CONTACT@FEAUBOISERIE.COM - WWW.FEAUBOISERIE.COM 3
BY APPOINTMENT ONLY
THE ORGANISERS REQUEST THE PLEASURE OF YOUR COMPANY AT SERIOUS
WINTER ART ANTIQUES FAIR
pursuits
oLYMPIA London
30 OCTOBER – 4 NOVEMBER 2018 NATIONAL HALL GALLERY LEVEL
Over 70 specialist dealers. 1
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1 Pemji, attrib., Intoxicated Ascetics, late 18th-century, Francesca Galloway at Frieze Masters, 4-7 Oct. 2 Bernard Buffet, Nature Morte à la Cafetière Bleue, 1958, Haynes Fine Art at Fine Art Asia, 29 Sept-2 Oct. 3 English gold and foiled-amethyst target brooch, c1870, Kentshire at San Francisco Fall Art and Antiques Show, 11-14 Oct
4-7 OCTOBER SOMERSET HOUSE, STRAND, LONDON WC2 1-54 CONTEMPORARY AFRICAN ART FAIR. This year’s ten solo exhibitions are the highlight,
among them Ibrahim Ahmed’s at Gallery Nosco, and Atta Kwami’s at Beardsmore Gallery. Details: 1-54.com. 5-7 OCTOBER MERE, WILTS MERE LITERARY FRINGE FESTIVAL. A small but mighty new venture in the Southwest, with poetry readings, exhibitions and workshops. Details: singingapplepress.com. 9 OCTOBER SWORDERS, CAMBRIDGE RD, STANSTED MOUNTFITCHET, ESSEX THE HORLICK COLLECTION OF ROBERT ‘MOUSEMAN’ FURNITURE. A squeak in the
life: Sworders auctions pieces from across the oeuvre of the Yorkshire furniture-maker. Details: 01279 817778; sworder.co.uk. 11 OCTOBER BONHAMS, NEW BOND ST, LONDON W1 IMPRESSIONIST AND MODERN ART. Maurice de Vlaminck, Marc Chagall, Henri Martin and more. Details: 020 7447 7447; bonhams.com. OUTSIDE BRITAIN FRANCE 10 SEPTEMBER CHRISTIES, AVE MATIGNON, PARIS THE JUAN DE BEISTEGUI COLLECTION. Louis, Louis (and Louis): Christie’s gets into the
rhythm of the late collector, whose habit focused on the courtly styles of the French 18th century. Details: 00 33 1 40 76 85 85; christies.com. 18-21 OCTOBER GRAND PALAIS, AVE DU GENERAL EISENHOWER, PARIS FIAC.
The 45th edition welcomes 193 galleries. Details: fiac.com. GERMANY 27-30 SEPTEMBER FLUGHAFEN TEMPELHOF, TEMPELHOFER DAMM,
Plane sale: the art fair this year takes place in Tempelhof – formerly the city’s first airport and now one of the finest public parks. Details: 00 49 30 700 38 771; artberlinfair.com.
BERLIN ART BERLIN.
HONG KONG 29 SEPTEMBER-2 OCTOBER HKCEC, EXPO DRIVE, WAN CHAI FINE ART ASIA/INK ASIA. Fine Art Asia plays host to another, younger event: Ink
Asia, dedicated to the ancient medium. Details: fineartasia.com. ITALY 14-30 SEPTEMBER FONDAZIONE GIORGIO CINI, ISOLA DI SAN GIORGIO
ADMITS TWO * i>Ãi «ÀiÃi Ì Ì Ã «>}i >Ì Ì i L Ý vw Vi Ì }> V « i Ì>ÀÞ i ÌÀ> Vi Ì Ì i > À°
Olympia-antiques.com
MAGGIORE, VENICE HOMO FABER. European craftsmanship canal-side,
thanks to this ambitious new fair celebrating man as maker. Details: homofaberevent.com. USA 11-14 OCTOBER FESTIVAL PAVILION, FORT MASON CENTER, MARINA BLVD, SAN FRANCISCO, CA SAN FRANCISCO FALL ART AND ANTIQUES SHOW. Celestial imagery reigns at this year’s event. We’re mooning over an amethyst brooch set with a pearly star, selling at Kentshire. Details: sffas.org. 18 OCTOBER SWANN AUCTION GALLERIES, EAST 25TH ST, NEW YORK, NY ARTISTS AND
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AMATEURS. Photos and photo books.
Highlights include work by Manuel Alvarez Bravo. Details: 001 212 254 4710; swanngalleries.com $ 3
Introducing Exclusively
Plisse & Incisso
LONDON SHOWROOMS WATERLOO CHELSEA CHISWICK FULHAM NOTTING HILL MUSWELL HILL PRIMROSE HILL WIMBLEDON
NATIONAL SHOWROOMS ST ALBANS TUNBRIDGE WELLS DARTFORD BRIDGE GUILDFORD MANCHESTER NEW SHOWROOMS WINDSOR AMERSHAM
cphar t.co.uk
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FLICK AND MIX
Solveig Stone confects an assortment of speckled, spattered and swirled decorative papers for stationery, lampshades and boxes from nothing more savoury than dried seaweed and oil paint. What started as a tiny concern in a dank Wiltshire shed now occupies an entire farm and two generations of her family. With ducks and chickens roaming free, business is bucolic, says Hannah Shuckburgh – and pretty marble-ous. Photography: Christopher Simon Sykes r
Opposite: Solveig and Humphrey Stone and their youngest daughter, Clementine Earl, shelter from the heat under a restored archway. The upturned umbrellas are a defence against swallow droppings. Top: a bowl of dried carrageen moss – a key ingredient in the marbling process – sits beside sketchbooks and decorative papers, which have names such as ‘Bawsy’ (‘woven cloth’) borrowed from the local dialect
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IT WAS 1969,
and a fiercely hot summer in California. Newly married 23-year-old Solveig Stone was working as a secretary; her husband, Humphrey, was a year into a posting as art director of Stanford University Press. One lunch break, to escape the quivery heat, she took refuge in the cool darkness of the university library. Finding herself in the special-collections department, she came upon some books, bound by Arts and Crafts bookbinder TJ Cobden-Sanderson, with wildly colourful swirled, combed and spattered marbled endpapers by Douglas Cockerell & Son. Solveig was smitten. ‘I was intoxicated by them,’ she remembers. ‘I just thought: I need to learn how to do that.’ She set about finding a paper marbler among the couple’s coterie of printing and designer friends, but could find no-one who knew how to do it. It wasn’t until they returned to Britain in 1972 that fate would lead Solveig to the marbling tank. Humphrey, a typographic designer, started working for the Compton Press, a letterpress printer of short-run books founded by Julian Berry at Compton House in Wiltshire. In a moment of ‘sheer jaw-dropping revelation’, Solveig found a marbling room in an outhouse in the grounds, complete with a tank, a drying rack and oil paints. It had been created by Julian’s wife, Holly, who taught Solveig the basics – water and a solution of dried Irish seaweed; paint spattered, combed, flicked over; paper dipped and hung to dry – and Solveig began marbling endpapers for Compton’s books. When the press moved premises, she built a small shed behind the couple’s home near Tisbury. Here she began to experiment with the balance of colours, writing a recipe book for her patterns as she went along. She developed her own signature style: soft, grainy markings, with texture and depth. A few years later, as commissions grew, a friend named Caroline Mann joined her and together they rode the wave of marbling fever. ‘Everywhere you looked in the 1980s there was something with marbled paper on it,’ says Solveig. The pair took turns to use the tank in the shed, producing up to 75 papers a day as their children played outside. They made lampshades for Casa Pupo, covered photo albums and notebooks for Paperchase, r From top: a row of marbled papers hang to dry inside the 18th-century dovecot; in the 1980s the Stones replaced the rotten roof of the granary, which stands on its original saddle stones; the crest of the Beckford family – a heron with a fish in its mouth – is carved on a lintel of the dovecot, indicating that it was built by William Beckford of Fonthill
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Liberty and the General Trading Company. They designed papers for Barclaycard, tissue boxes for Tesco – even packaging for condoms. Solveig and Humphrey and their four daughters had by now outgrown their modest gamekeeper’s cottage, not to mention the tiny shed; stacks of lampshades and books filled every spare corner of every room. In 1981, Solveig spotted a small advert in the back pages of The Western Gazette. It had a postage-stamp-sized photograph of a house she knew and had always loved, a mile away in Fonthill Gifford, down a quiet lane that led to the cottage of a friend, the author and illustrator John Strickland Goodall. The house, in a secluded narrow valley, dated from 1866, with the Westminster coat of arms on its gable end. Below it stood a quadrangle of farm buildings and, beyond that, a late 18th-century granary and dovecot that had been built by William Beckford. The Stones bought the house and one side of the quadrangle, and Solveig moved her marbling tank into a shed at the back of the house. ‘It was very damp and dank, which is perfect for marbling,’ she says. Six years later they were able to buy the remaining farm buildings and with the help of architect Martin Llewellyn began restoring them. ‘It was very fashionable in those days to turn farm buildings into houses – to make “barn conversions” – but that was exactly not what we wanted,’ says Humphrey. The couple also established a new landscape around the cluster of buildings, with an orchard and kitchen garden. The family’s Poll Dorset sheep now graze meadows above the house, and they keep barbu d’Uccle bantams, Welsummer chickens and buff Orpington ducks. The buildings, once abandoned and half submerged in muck and hay, are now a hive of Stone family creativity. Humphrey is the son of the wood engraver and painter Reynolds Stone; on Reynolds’s death in 1979, he inherited some of his iron hand presses, including an 1827 Albion that he uses to print invitations and letterheads using his father’s typeface and wood blocks. What was once the milking parlour is now the research base for a memoir Humphrey is writing about his father, with help from his eldest daughters, Angelica and Emily. In the former r From top: decades’ worth of spattered paint forms a halo round the tank in Solveig Stone’s marbling room; papers are left to set overnight on the wooden drying rack – a gift from the marbler and bookbinder Sydney Morris Cockerell in the 1970s; the mounting block dates from the 18th century, when the farm buildings were used as stables
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stables, Clementine, the youngest Stone daughter, runs a shop selling marbled products – lampshades made to measure, photograph albums, journals, boxes and sketchbooks – Reynolds Stone prints and other finds. In what was the groom’s cottage, the couple’s third child, Lucy, now lives with her family. (Her Mexican homeware company, Montes & Clark (WoI Oct 2015), is based a mile up the road in Tisbury.) Four times a year, all the buildings are cleared to make way for Clem’s Fairs, when the family invite craftspeople, artists and small businesses to sell their wares. And at the heart of it all is the marbling studio, where the walls and floor are coated in layer upon layer of paint, with a fan of flicks and specks around the marbling tank, and Solveig’s decades-old splattered overalls hanging on the back of the door. Almost 50 years on from its founder’s Damascene moment in the library at Stanford, Compton Marbling has begun a fresh chapter, with Clementine taking the reins. The new boss has made a few tweaks, including commissioning her father to design a logo, in Reynolds Stone’s ‘Janet’ font, with a hand-drawn image of the Irish carrageen moss seaweed they use in marbling. She has built a website and brought in new products, but her first decision was to rename the 26 marbled patterns. Solveig had always listed them as numbers, but Clementine decided to change them to words from the old Wiltshire dialect. And so ‘Kiver’, a frothy, feathered paper in grey and cream, is christened after the word for brewing; ‘Bobbish’, the Wilts for happy, is applied to a vibrant veined and spattered pattern in blues and pinks. Clementine says she was inspired by the company’s ‘deep connection’ to its surroundings. ‘Marbled paper can appear very contemporary when used in certain ways, but it is also timeless,’ she explains. ‘It connects us strongly to the ancient past and to skills that have been passed down through generations. The work we do here is about that too: a passing-on of skills through a family. Our roots are deeply in the ground’ $ From £9.50 for a sheet of marbled paper. Compton Marbling. Ring 01747 871147, or visit comptonmarbling.co.uk. Reynolds Stone. Visit reynoldsstone.co.uk From top: the oak parquet floor in Humphrey’s studio, which retains the original stabling wall, was rescued from the Estonian embassy in London; in the print room a photograph of his father, Reynolds Stone, with friends Iris Murdoch and John Bayley hangs over sketches for Compton Marbling’s logo; marbled lampshades sit under a walnut tree
BEYOND
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1 ‘Morimont Velvet 74070’, by Schumacher, £974, Turnell & Gigon. 2 ‘Bromo Velvet 8018115-197’, by Brunschwig & Fils, £249, GP&J
Baker; with ‘Palais Silk Key Tassel KT56782-02’, £93, Samuel & Sons. 3 ‘Pemberley Cloud F0201-08’, £202, Watts of Westminster. Prices are per m and include VAT. For suppliers’ details see Address Book r
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A U T U M N F A B R I C S Andalusia offers lush flora, grand architecture, pristine coastlines and the rugged sierra. Altogether, they make this Moorish jewel of southern Spain the perfect frame for the latest fabric offerings from Focus and Decorex. Jessica Hayns and Max Egger decorate its landscapes. For show details see page 278. Photography: Ricardo Labougle
1 ‘Oriental Pheasants’, by Hazleton House, £378; 2 ‘Royal Court’, by
Hazelton House, £338; both Rosebank Fabrics. 3 ‘Rose Absolute 322652’, by Zoffany, £119, Style Library. 4 ‘Wisteria 7846-05’, £65, Romo. 5 ‘Constance Handblock’, by Clarence House, £745; 6 ‘Lustmore JM1290’, by Jean Monro, £114; both Turnell & Gigon. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 ‘Bixi Velvet 73971’, by Schumacher, £662, Turnell & Gigon. 2 ‘Nouvelles
Vagues T18011-006’, £185; 3 ‘Nouvelles Vagues T18011-004’, £185; both Dedar; ‘Paddington Wool Tassel Tieback 98839892-06’, £260, Samuel & Sons. 4 ‘Karsamba 0489’, £233, Robert Kime. 5 ‘Tigris 13’, by Shauna Dennison, £125, Lizzo. 6 ‘Nouvelles Vagues T18011-005’, £185, Dedar; ‘Paddington Wool Tassel Tieback 98839892-26’, £260; Samuel & Sons. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 ‘Seto SE-L’, by Brook Perdigon Textiles $230 per yd, Nicky Rising. 2 ‘Caton 21234-986’, by Hodsoll McKenzie, £103, Zimmer & Rohde. 3 ‘Shinku 132725’, by Scion, £45, Style Library. 4 ‘Goldfinch RKP10206-
2’, £59; 5 ‘Goldfinch RKP10206-01’, £59; both Korla. 6 ‘Formes Simples’, by Gianpaolo Pagni, £520, Hermès. Prices are per m, unless otherwise stated, and include VAT. For suppliers’ details see Address Book r
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1 Cardamon ‘Philip’, by Raoul Textiles, £304; 2 Cardamon
‘Poleng’, by Raoul Textiles, £277; both Turnell & Gigon. 3 ‘Garance NCF4336-02’, by Nina Campbell, £64, Osborne & Little. 4 Lawn/ ivory ‘Vera’, by Raoul Textiles, £277, Turnell & Gigon. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 ‘Taraz I4560’, by Le Manach, £300, Pierre Frey. 2 ‘Ajmer Tree F4618-01’, £89, Colefax & Fowler. 3 Red/blue ‘Palampore AF78726’, by Anna French, £75; 4 Sky blue ‘La Provence AF78727’, by
Anna French, £81; both Thibaut. 5 Red/blue/oyster ‘Trincomalee’, £214, Bennison. 6 ‘Kingsley Indienne 21226-554’, by Hodsoll McKenzie, £84, Zimmer & Rohde. 7 Rose blue ‘Jessamy Paisley’, £65, Ian Sanderson. 8 Red ‘La Provence AF78728’, by Anna French, £81, Thibaut. 9 Teal ‘Jessamy Paisley’, £65, Ian Sanderson. 10 ‘Deep Rose Tulip Vine’, £145, Susan Deliss. Prices are per m and include VAT. For suppliers’ details see Address Book r
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1 ‘Lodi Garden 8018119-8’, by Brunschwig &
Fils, £135, GP&J Baker. 2 ‘Ottoman Riders 44132526’, by Travers, £129, Zimmer & Rohde. 3 ‘Xian BR79601-157’, by Brunschwig & Fils, £175; 4 ‘Xian BR79601-133’, by Brunschwig & Fils, £175; both GP&J Baker. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 ‘Javan Weave 1804-4’, £195, Guy Goodfellow Collection. 2 ‘Guadarrama 5456-002’, by
Gastón & Daniela, £198.20, Abbott & Boyd; trimmed with ‘Paddington Wool Pom Pom Fringe 98539890-6’, £90, Samuel & Sons. 3 ‘Hardwick Crewel 332968’, by Zoffany, £169, Style Library. 4 ‘Guadarrama 5456-003’, by Gastón & Daniela, £198.20, Abbott & Boyd; trimmed with ‘Paddington Wool Pom Pom Fringe 98539890-6’, £90, Samuel & Sons. 5 ‘Javan Weave 1804-5’, £195, Guy Goodfellow Collection. 6 ‘Bandas 5497’, by Gastón & Daniela, £180.40, Abbott & Boyd. 7 ‘Javan Weave 1804-3’, £195, Guy Goodfellow Collection. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 Peacock ‘Gala’, by No. 9 Thompson, £170, Fox Linton. 2 ‘Stripe Me Skinny SMS002F’, by Amanda Ferragamo, £175; 3 ‘Broad Not Bored SMB004F’, by Amanda Ferragamo, £85; 4 ‘Stripe Me Skinny SMS001F’, by Amanda Ferragamo, £175; all Ailanto. 5 ‘Rayure Concorde 10720-64’, £151, Nobilis. 6 ‘Jamboree 01’, by No. 9 Thompson, £170, Fox Linton. 7 Multicolour ‘Rustic Stripe’, by Penny Morrison, £176, The Fabric Collective. 8 Strawberry fool ‘Gala’, by No. 9 Thompson, £170, Fox Linton. 9 ‘Rayure Concorde 10720-67’, £151, Nobilis. 10 Jeroboam ‘Gala’, by No. 9 Thompson, £170, Fox Linton. 11 Forest ‘Fiesta’, by No. 9 Thompson, £170; Fox Linton. 12 ‘Broad Not Bored SMB002F’, by Amanda Ferragamo, £85, Ailanto. 13 Berry ‘Varese Lambusa’, £75, Designers Guild. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 ‘Amazon River V3326-01’, by Villa Nova, £29.50, Romo. 2 ‘Palm Beach Floral 44144-676’, by Travers, £137, Zimmer & Rohde. 3 ‘Hustle Bustle V3335-01’, by Villa Nova, £29.50, Romo. 4 ‘Grace 5469-02’, by Rose Cumming for Dessin Fournir, £110 per yd, Fromental. 5 ‘Cactus 5491’, by Gastón & Daniela, £212.80; 6 ‘Porcelanas 5544’, by Gastón & Daniela, £164.60; both Abbott & Boyd. Prices are per m, unless otherwise stated, and include VAT. For suppliers’ details see Address Book r
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P U R E M O R R I S N O R T H F A B R I C S & W A L L PA P E R S To order a sample and find your nearest retailer visit stylelibrary.com/Morris&Co T: 01895 221099
AUTUMN FABRICS 1 ‘Fenton Check 236741’, by Sanderson, £89, Style Library. 2 ‘Hutton Plaid F4629-05’, £85; 3 ‘Lowick Plaid F4628-04’, £95; both Colefax & Fowler. 4 ‘Brindle Check 236735’, by Sanderson, £89, Style Library. 5 ‘Sévigné NCF4324-02’, by Nina Campbell, £95, Osborne & Little. 6 ‘Passel 466470-002’, $150 per yd, Maharam. 7 ‘Ouarzazate F3292001’, £264, Pierre Frey. 8 ‘Fenton Check 236743’, by Sanderson, £89, Style Library. Prices are per m, unless otherwise stated,and include VAT. For suppliers’ details see Address Book r
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FABRICS & WALLPAPERS FURNITURE LIGHTING RATTAN LONDON + 44 (0) 20 7730 6400 NEW YORK + 1 646 201 9553 SAN FRANCISCO + 1 415 590 3260 ENQUIRIES@SOANE.COM WWW.SOANE.COM/WOI
AUTUMN FABRICS
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1 ‘Bourbon 10716-54’, £151, Nobilis. 2 ‘La Comelle Plaid 8018108-5’, by 5
Brunschwig & Fils, £159, GP&J Baker. 3 ‘Nagano TEO24’, by Armani Casa, £280, Rubelli/Donghia. 4 ‘Urbino 35193-2’, by Clarence House, £461, Turnell & Gigon. 5 ‘La Comelle Plaid 8018108-8’, by Brunschwig & Fils, £159, GP&J Baker. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 ‘Happy Fish 167-01’, £118, Nicholas Herbert. 2 Sky blue ‘Chimney Swallows’, by John Derian, £65, Designers Guild. 3 ‘Go To Stripe 570-258’, £155; 4 ‘Go To Stripe 570-231’, £155; both Sutherland Perennials Studio. 5 ‘Elysian Geese 226519’, by Sanderson, £119; 6 ‘Elysian 226529’, by Sanderson, £69; 7 ‘Lismore 226521’, by Sanderson, £59; all Style Library. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 Bloom ‘Artist Canvas’, £145, De Le Cuona. 2 ‘Luna LF1931C-007’, £69.90, Linwood. 3 ‘Chelsea K5180-43’, by Kirkby, £65; 4 ‘Chelsea K518062’, by Kirkby, £65; both Romo. 5 Terracotta ‘Artist Canvas’, £145, De Le Cuona. 6 ‘Forenza 7558-77’, £62.50; 7 ‘Forenza 7558-76’, £62.50; both Romo. All trimmed with ‘Fru Fru’, by Gert Voorjans for Jim Thompson, £58, Fox Linton. Appliqué’d trophies: ‘Brera Lino’, £62, Designers Guild. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 ‘Kumazi PO1451’, by Pedroso Osório, £52.10, Colony. 2 ‘Bellona F461902’, £89, Colefax & Fowler. 3 ‘Pure Marigold Print 226484’, by Morris & Co, £89, Style Library. 4 ‘Midnight Mademoiselle F26766101-CO1’, by Jennifer Shorto, £180, The Fabric Collective. 5 ‘Alsace 5650-02’, by Rose Cumming for Dessin Fournir, £110 per yd, Fromental. 6 Red ‘Mali AF78715’, by Anna French, £84, Thibaut. 7 ‘Alsace 5650-04’, by Rose Cumming for Dessin Fournir, £110 per yd, Fromental. 8 ‘Heiho Ikat 72350’, by Schumacher, £172, Turnell & Gigon. 9 ‘Allie Blockprint LCF68373F’, £129, Ralph Lauren Home. 10 ‘Bellona F4619-01’, £89, Colefax & Fowler. Prices are per m, unless otherwise stated, and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 ‘Circles’, designed in 1952 by Alexander Girard, $110 per yd, Maharam. 2 ‘Porcelanas 5544’, by Gastón & Daniela, £165, Abbott & Boyd. 3 ‘Jules
AF78706’, by Anna French, £93, Thibaut. 4 ‘Sainval’, £176, Watts of Westminster. 5 ‘Burford 7858-07’, £70, Romo. 6 ‘SN Schwarzwald T18050-001’, £124.50; 7 ‘SN Schwarzwald T18050-003’, £124.50; both Dedar. 8 Russian green ‘Jessamy Paisley’, £65, Ian Sanderson. Prices are per m, unless otherwise stated, and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 ‘Albert Bobble Flock F0347-04’, £150, Watts of
Westminster. 2 ‘Cocorico F3336001’, £172.80, Pierre Frey. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 ‘Tucan 5539’, by Gastón & Daniela, £160.80, Abbott & Boyd. 2 ‘Chester
Berry 6805-03’, £92.50, Blithfield. 3 ‘Jaipur Rose FDG2822-01’, £69, Designers Guild. 4 Carmine/ivory ‘Aurelia’, by Raoul Textiles, £267.80, Turnell & Gigon. 5 ‘Adelaida 5486’, by Gastón & Daniela, £248.80; 6 ‘Ikat 5542’, by Gastón & Daniela, £184.60; both Abbott & Boyd. 7 ‘Manu 40880513’, £78.30, Casamance. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN WINTER 2018
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AUTUMN FABRICS
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1 Turmeric ‘Pattee’, £162, Molly Mahon. 2 Pink multi ‘Tiger Tiger’, from £135 for a cushion; 3 Red/blue ‘Caballo’, from £135 for a cushion; both Wicklewood. 4 Pink/red ‘Luna’, £162; 5 Blue ‘Rose’, £162; both Molly Mahon. 6 Multi ‘Caballo’, from £135 for a cushion, Wicklewood; trimmed with ‘Natural 7in Cotton Tassel Fringe 98418268-3’, £112, Samuel & Sons. Prices are per m, unless otherwise stated, and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 Peach ‘Orchestra’, by Anni Albers, £165, Christopher Farr Cloth. 2 ‘Small Medallion 6800-01’, by Peggy Angus for Blithfield, £92.50; 3 ‘Small Medallion 6800-03’, by Peggy Angus for Blithfield, £92.50; 4 ‘Circles and Squares 6801-03’, by Peggy Angus for Blithfield, £92.50; all
Lewis & Wood. 5 Ochre ‘Orchestra’, £165, Christopher Farr Cloth. Prices are per m and include VAT. For suppliers’ details see Address Book r
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P E N $#" ! $ $ plainenglishdesign.co.uk
AUTUMN FABRICS
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1 ‘Wilhelm Linen Plaid LFY68318F’, £171; 2 ‘Samburu Plaid
LCF68312F’, £228; both Ralph Lauren Home. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS 1 ‘Turin Minor 0772’, £237, Robert Kime. 2 Green ‘Inca Check’, by Penny Morrison, £158; 3 Red ‘Inca Check’, by Penny Morrison, £158; both The Fabric Collective. 4 ‘Turin Major 0771’, £237, Robert Kime. 5 ‘Casilda 5466’, by Gastón & Daniela, £352.80, Abbott & Boyd. 6 ‘Bourbon 10716-35’, £151, Nobilis. 7 Mulberry ‘Malati’, by William Yeoward, £65, Designers Guild. Prices are per m and include VAT. For suppliers’ details see Address Book r
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stylelibrary.com/zoffanypaint
AUTUMN FABRICS 1 Green/white ‘De La Tour’, £180; 2 Brown/white ‘De La Tour’, £180;
both Paolo Moschino for Nicholas Haslam. 3 ‘Espalier Square ESP001’, £190; 4 ‘Osmunda Silhouette OSS002’, £190; both Soane Britain. 5 ‘Circles 6802-02’, by Blithfield, £92.50, Lewis & Wood. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 Light purple ‘Charente’, £126; 2 Madder
‘Boucher’, £126; 3 Burgundy ‘Riviera’, £126; 4 China blue ‘Riberac’, £126; all Christopher Moore. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AUTUMN FABRICS
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1 ‘Les Vues de Paris 6203-1’, £64; 2 ‘Les Vues de Paris
6203-3’, £64; both Marvic. Prices are per m and include VAT. For suppliers’ details see Address Book r
AUTUMN FABRICS 1 ‘Palm Print GN000316610’, by Grey Watkins for Scalamandré, £144, Stark Carpet. 2 ‘Shikhara FDG2823-01’, £69, Designers Guild. 3 ‘Talavera F7242-01’, by Matthew Williamson, £64, Osborne & Little. 4 Red ‘Fig’, by Fanny Shorter, £105, Guy Goodfellow Collection. 5 Carmine ‘Jarabina’, by Raoul Textiles, £304.20, Turnell & Gigon. 6 Lemon ‘Margo’, by Fanny Shorter, £125, Guy Goodfellow Collection. Prices are per m and include VAT. For suppliers’ details see Address Book r
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AT DESIGN CENTRE
CHELSEA HARBOUR
The design event for excellence
TRADE PREVIEW 16 – 18 September ALL WELCOME 19 – 21 September FREE ENTRY 10am – 6pm Parking and courtesy transport
ABBOTT & BOYD • ALICE LILY INTERIORS • ALTFIELD • ALTON-BROOKE • ARTE • ARTERIORS • ARTISANS OF DEVIZES • BAKER • BAKER LIFESTYLE • BEAUFORT COLLECTION • BELLA FIGURA • BESSELINK & JONES • BIRGIT ISRAEL • BLACK & KEY • BRIAN YATES • BRUNSCHWIG & FILS • C & C MILANO • CECCOTTI COLLEZIONI • CHASE ERWIN • CHRISTOPHE DELCOURT AT GMR INTERIORS • CHRISTOPHER HYDE LIGHTING • CHRISTOPHER PEACOCK • COLE & SON • COLEFAX AND FOWLER • COLONY • CRÉATION BAUMANN • CRESTRON EMEA • DAVID SEYFRIED LTD • DAVIDSON • DE LE CUONA • DECCA • DEDAR • EDELMAN LEATHER • ESPRESSO DESIGN • EVITAVONNI • FAULT LINES X YARN COLLECTIVE • FLEXFORM • FOX LINTON • FROMENTAL • GALLOTTI&RADICE • GEORGE SPENCER DESIGNS • GIORGETTI • GLADEE LIGHTING • GP & J BAKER • HOLLAND & SHERRY • HOULES • HOUSE OF HACKNEY • IKSEL DECORATIVE ARTS • INTERDESIGN UK • J. ROBERT SCOTT •JACARANDA CARPETS • JASON D’SOUZA • JEAN MONRO • JENSEN BEDS • JIM THOMPSON • JULIAN CHICHESTER • KRAVET • LACAZE LONDON • LEE JOFA • LELIEVRE PARIS • LEWIS & WOOD • LIZZO • MARC DE BERNY • MARVIC TEXTILES • MCKINNEY GAINSBOROUGH • MCKINNON AND HARRIS • MILES X BOOKSHOP • MULBERRY HOME • NADA DESIGNS • THE NANZ COMPANY • NINA CAMPBELL • NOBILIS • OFICINA INGLESA FURNITURE • ORIGINAL BTC • PAOLO MOSCHINO FOR NICHOLAS HASLAM LTD • PERRIN & ROWE • PHILLIP JEFFRIES • PIERRE FREY • POLIFORM • PORADA • PORTA ROMANA • POTTERTON BOOKS • PROVASI • ROMO • RUBELLI/DONGHIA • SA BAXTER FOUNDRY & DESIGN STUDIO • SACCO CARPET • SAHCO • SAMUEL & SONS • SAMUEL HEATH • SAVOIR BEDS • SIBERIAN FLOORS • THE SILK GALLERY • SIMPSONS • STARK CARPET • STARK FABRIC • STUDIOTEX • STYLE LIBRARY • SUMMIT FURNITURE • SUTHERLAND PERENNIALS STUDIO • SWD • TAI PING • THREADS AT GP & J BAKER • TIM PAGE CARPETS • TISSUS D’HELENE • TOPFLOOR BY ESTI. • TUFENKIAN ARTISAN CARPETS • TURNELL & GIGON • TURNELL & GIGON AT HOME • TURNSTYLE DESIGNS • VAUGHAN • VIA ARKADIA (TILES) • VICTORIA + ALBERT BATHS • VILLEROY & BOCH • WATTS OF WESTMINSTER • WEMYSS • WEST ONE BATHROOMS • WHISTLER LEATHER • WIRED CUSTOM LIGHTING • WOOL CLASSICS • ZIMMER + ROHDE PLUS OUTSIDE PARTICIPANTS DESIGNERS GUILD AND OSBORNE & LITTLE IN CHELSEA
REGISTER ONLINE www.dcch.co.uk @designcentrech For more information call 020 7225 9166 Design Centre Chelsea Harbour London SW10 0XE
AUTUMN FABRICS 1 ‘Studio Linen LCF67815F’, £159, Ralph Lauren Home. 2 Raven ‘Tammaro’,
£42, Designers Guild. 3 ‘Sausalito Stripe LFY68332F’, £303, Ralph Lauren Home. 4 ‘Aristo’, by Bart Halpern, £98, Fromental. 5 Cocoa ‘Tammaro’, £42, Designers Guild. Prices are per m and include VAT. For suppliers’ details see Address Book. With special thanks to the Alcuzcuz Hotel (00 34 952 780332; alcuzcuz.es), Mario Connio, Gustavo Peruyera, Ana Marie Abascal (Ana Abascal Antiques, Paseo de Colón, 18 Bajo Izq, 41001, Seville; 00 34 954 224540), Plaza de Toros de Ronda and Real Maestranza de Caballería de Ronda $
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DuraSquare: Now with the new bathroom furniture series XSquare. The exact and precise edges of the DuraSquare bathroom series blends perfectly with the latest furniture collection XSquare designed by Kurt Merki Jr. Handle-free fronts, striking chrome proďŹ les and 28 furniture ďŹ nishes enable an individual bathroom design. Co-ordinating mirrors feature a touch-free control panel for demisting and light or dimming functions. Duravit London, open now. www.duravit.co.uk
PICKETT.CO.UK
10-12 BURLINGTON GARDENS, LONDON W1S 3EY 149 SLOANE STREET & SLOANE TERRACE, LONDON SW1X 9BZ +44 (0) 20 7493 8939
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JULIAN CHICHESTER
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INTRODUCTION Only the gentle swell of the Thames reveals that you’re not on terra firma at the elegant family home created by Alistair Langhorne and Claire Bunten, the married couple behind Lab Architects. Oak parquet flooring, polished plaster walls and (very stable-looking) Eames chairs belie the reality that you’re aboard a barge. The owners found their sea legs due to the prohibitive cost of land-locked locations in the capital. But our guide to this year’s London Design Festival allows you to negotiate the flotilla of related talks, shows and events wherever you call home. The exhaustively researched listings let you drop metaphorical anchor exactly when and where you like and take the trudge out of finding the Next Big Thing in lighting, furniture, ceramics, architecture and much more. Since an epiphany in Brazil, Nigerian-born, Brixton-based artist Abe Odedina has been on his own voyage of creative discovery, incorporating a panoply of charismatic religious figures from around the world into his paintings. But one of the delights of Interiors is to unlock the doors to places such as these; to allow a glimpse inside the widest range of the most interesting spaces you’d otherwise never get the chance to see. This month, concurrent with LDF, Open House London offers similarly unimpeded access to buildings where it’s usually verboten. So here, too, is Bevin Court, the social-housing block built for Finsbury council in 1954 by the Soviet émigré architect Berthold Lubetkin. For one weekend only you’ll be able to scale its astonishing Constructivistlike stair for yourself. ‘Nothing is too good for ordinary people,’ declared Lubetkin, and with so much to dazzle, delight, inform and inspire in London this September, it’s a sentiment the creators of LDF surely share. Using this 76-page guide to help you get your bearings, you won’t be all at sea $ RUPERT THOMAS, EDITOR
CONTENTS 206
LONDON DESIGN FESTIVAL MAP
Our guide to help you navigate this year’s festival
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DIFFERENT CLASS
With multiple choices available at this year’s London Design Festival, it’s not easy to tick off all the highlights. So why not let Nathalie Wilson do your homework for you? Her selection gets full marks every time
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SOCIAL CLIMBER
Berthold Lubetkin had high aspirations for Bevin Court, his housing block in London’s Islington, designing its central staircase specifically to encourage fraternising between the classes. Sophie Barling rises to the occasion
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IDOL SPECULATION
From Christian saints to Nigerian Orishas, ‘I’ve never met a god I don’t like,’ says Abe Odedina. His London home is filled with votive paintings, Voudou flags and other panreligious artworks. Peter Watts provides a faithful account
254 FRONT COVER: Bachelor pads – these handsome ‘Lily’ side tables by Tom Faulkner are handmade in steel, bronze, marble and, new this year, Murano glass. Tom Faulkner, Chelsea Reach, 79-89 Lots Rd, London SW10 (020 7351 7272; tomfaulkner.co.uk)
TAKE IT TO THE BANK
Certainly, many couples would think twice before converting a working barge into a home for four. But Bosco is an unqualified success, with airy, light-filled rooms and even a garden on deck. Matt Gibberd is sure impressed
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NETWORK
Merchandise and events during LDF season
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Clockwise from top left: ‘C-Four’ stove with high legs in gunmetal, £1,070, with ‘Vlaze’ wall-mounted heat shield and hearth plate in black, £745, and ‘Bodj Log Hoop’, £71. ‘All New Island’ stove in gunmetal (also bottom), £1,834, with ‘Vlaze’ hearth plate in off white crackle glaze, £378. Opposite: ‘Skye 7’ in gunmetal, £2,134, with‘Vlaze’ wall-mounted heat shield and hearth plate in ‘Moordale’ by Mini Moderns, £1,174
THERE’S NOTHING quite like heating your home with a real wood-burning stove, the process of loading the logs and feeling the natural warmth of the fire fill the room. Since 1972, Charnwood has been warming homes with its stylish and highly functional wood-burning stoves. The latest in its ultraclean range include the ‘Skye 7’ and the ‘All New Island’, both boasting exceptional fuel-burning efficiency and exceeding the levels set for eco-design. Responding to the concerns around burning wood in open fires launched by London Mayor Sadiq Khan, Charnwood’s designs are both DEFRA exempt and meet the exemption limits, making them market-leaders taking clean burn technology into the future. To complement these products, Charnwood has created ‘Vlaze’, a new range of fireplace surrounds and wall cladding in luxurious vitreous enamel. Made from the same material as London Underground’s signage, the range includes an exclusive new collaboration with London design house Mini Moderns. This material boasts excellent thermal properties that don’t distort, crack, or discolour when exposed to intense heat, making it the perfect surround for any fireplace or stove. Visit the Mini Moderns stand (B21A) at Decorex to see the Vlaze range. Ring 01983 537780, or visit charnwood.com. $
T HE WORL D OF INT ERIORS 쮿 PROMOT ION
FUEL THE FIRE Stylish and energy-efficient with low-carbon emissions, Charnwood’s wood-burning stoves are as good as they come. It’s latest designs, ‘Skye 7’ and ‘All New Island’, pair perfectly with Charnwoods enamel range of fire surrounds
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Different Class Have you started revising the highlights of this year’s London Design Festival yet? Avoid schoolboy errors: Nathalie Wilson always comes up with the right answers ‘PAINTED RATTAN AND ITS USE IN INTERIORS’ DEMONSTRATION/TALK [1] SOANE BRITAIN, 50-52 PIMLICO RD, SW1 18 Sept. 9.30-5 (weaving demonstration), 12-1 (talk). Craftspeople
from the UK’s last rattan workshop weave their magic; Lulu Lytle (owner of the studio and Soane Britain) extols the furnishing’s virtues. Shown: ‘Carousel’ armchair. Details: 020 7730 6400; soane.co.uk. ‘THE RUG COMPANY’S NEW COLLECTION WITH JONATHAN SAUNDERS’ PRODUCT LAUNCH [2] THE RUG COMPANY, 555 KING’S RD, SW6 15 Sept, 17-22 Sept. Mon-Sat 10-6. Dress 1
(floors) to impress with the fashion designer’s handmade rugs, inspired by Anni Albers’s work, and his own passion for colour and texture. Shown: ‘Witton’. Details: 020 3369 3916; therugcompany.com. ‘DESIGN FOR LIVING’ PRODUCT LAUNCH [3] B&B ITALIA, 250 BROMPTON RD, SW3 15-23 Sept. Mon-Sat 10-6, Sun 12-5. The latest from the B&B Italia/
Maxalto/Arclinea family, plus designs by newest member of the clan, Luigi Caccia Dominioni. Shown: ‘Jack’ bookcase system by Michael Anastassiades. Details: 020 7591 8111; bebitalia.com. SIGMAR & OKOLO ‘HOTEL PRAHA’ INSTALLATION [4] 1ST FLOOR, 3 YEOMAN’S 2
The tale of the noexpense-spared communist-era hotel (shown) – built to impress foreign dignitaries but now gone – told via images and artefacts. Details: 020 7751 5802; sigmarlondon.com.
ROW, SW3 15-23 Sept. Mon-Sat 10-6, Sun 12-5.
DECOREX INTERNATIONAL 2018 TRADE SHOW [5] SYON PARK, BRENTFORD, MIDDX TW8 8JF 16-19 Sept (open to public on 18 Sept). Mon, Sun
10-6, Tues 10-7, Wed 10-5. Tickets from £15. The ‘Blank Canvas’
theme sees 400 known and up-and-coming brands ‘explore how an empty space can celebrate a new beginning’. Shown: extra-large 1950s light by AEL Lamp and Lighting from Skinflint. Details: 020 7921 8166; decorex.com. LIZ WEST ‘COLOUR TRANSFER’ INSTALLATION [6] WESTWAY VIADUCT, PADDINGTON CENTRAL, W2 15-23 Sept. Daily 24 hours. The artwork 3
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(shown), commissioned by British Land, enlivens the concrete viaduct. Details: paddingtoncentral.com.
‘MATERIALITY AND SUSTAINABILITY: CREATING A SENSORIAL ENVIRONMENT’ SHOWROOM LAUNCH/TALK [7] DE LE CUONA, 44 PIMLICO RD, SW1 15 Sept, 17-22 Sept. Mon-Sat 10-6. 18 Sept 10-11 (talk), booking necessary. Eavesdrop
on Bernie de Le Cuona of the eponymous fabric house (selection shown) and Tom Bartlett of architectural practice Waldo Works as they ruminate on the former’s first stand-alone showroom. Details: 020 7730 0944; delecuona.com. 5
‘TRANS-FORM’ EXHIBITION [8] MINT, 2 NORTH TERRACE, SW3 15-23 Sept.
Mon-Wed, Fri-Sat 10.30-7.30, Thurs 10.30-6, Sun 11-5. Work by 60 designers ‘altering the state of matter through the design process’. Shown: ‘Can Can’ vase by Marre Moerel. Details: 020 7225 2228; mintshop.co.uk. AUSTIN FORUM ‘ST AUGUSTINE’S CHURCH REFURBISHMENT – FAITHFUL TO THE FUTURE’ EXHIBITION/TOURS/TALKS [9] ST AUGUSTINE’S CHURCH, 55 FULHAM PALACE RD, W6
15-23 Sept. Mon-Fri 7-7, Sat 10.30-7, Sun 8-7.30 (exhibition). Mon-Fri 1.30, Sat-Sun 3 (tours). 18 Sept, 20 Sept, 6.30-8 (talks), free but booking required. ‘Experience a sense
of the sacred through art and design’ at this RIBA-award-winning church (shown). Details: 020 8748 3254; austin-forum.org.
LDF WEST
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‘THIS WILL BE THE SPACE’ INSTALLATION [10] CASSINA, 238-242 BROMPTON RD, SW3
17-23 Sept. Mon-Sat 10-6, Sun 12-5. ‘The space’ where Gerrit T. Rietveld’s ‘Beugel’
chairs (shown) rub shoulders with other reissues by Frank Lloyd Wright and Vico Magistretti, as well as new creations by Patricia Urquiola and Michael Anastassiades. Details: 020 7584 0000; cassina.com.
ALSO LOOK OUT FOR ‘FOCUS/18’ TRADE SHOW DESIGN CENTRE CHELSEA
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HARBOUR, LOTS RD, SW10 16-21 Sept (open to public on 19-21 Sept). Daily 10-6. One-stop
shop: 120 rooms offer 600-plus global brands. Details: 020 7225 9166; dcch. co.uk. Plus, 20 more next door at the new London Interior Show, Chelsea Harbour Hotel. 16-17 Sept. Daily 10-6. Details: londoninteriorshow.com. ‘100% DESIGN’ TRADE SHOW OLYMPIA LONDON, HAMMERSMITH RD, W14 19-22 Sept (open
to public on 22 Sept). Wed 10-9, Thurs-Sat 10-5. Tickets £15. Four hundred international brands, emerging talents and a talks programme. Plus, an exhibition
showcasing the future vision for the venue (in the Upper Pillar Hall). Details: 020 3225 5200; 100percentdesign.co.uk. ‘SUZY HOODLESS × VANDERHURD’ OPEN STUDIO SUZY HOODLESS, 10 CLARENDON CROSS, W11 15 Sept, 17-22 Sept. Mon-Sat 10-5. Graphic wall hangings and rugs born out
of the pair’s collaboration on the BBC Television Centre redevelopment. Details: 020 7221 8844; suzyhoodless.com.
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‘PAINT AND WALLPAPER MASTERCLASS’ WORKSHOP DESIGNERS GUILD, 265277 KING’S RD, SW3 18 Sept 9.30-11. Free, but booking required. Discover
your style and learn how to create moodboards with Tricia Guild and co. Details: 020 7351 5775; designersguild.com. ‘THE IMPORTANCE OF DRAWING IN DESIGN’ TALK COX LONDON, 194 EBURY ST, SW1 17-22 Sept. Mon-Fri 9.30-6, Sat 10-4. 17 Sept 5-6 (talk), booking required. Sculptor/maker Chris Cox and interior designer Sophie
Elborne chat. Details: 020 3328 9506; coxlondon.com. ‘ANNI ALBERS × CHRISTOPHER FARR’ PRODUCT LAUNCH CHRISTOPHER FARR CLOTH, UNIT 32-33 CHELSEA WHARF, 15 LOTS RD, SW10 17-21 Sept. Mon-Fri
10-6. New and existing rugs and fabrics ahead of the Bauhaus cen-
tenary in 2019. Details: 020 7349 0888; christopherfarrcloth.com. ‘LEMA FOCUSES ON FABRICS WITH OSBORNE & LITTLE: 4 DESIGNERS, 4 PROJECTS, 4 FABRICS AND MORE…’ PRODUCT LAUNCH LEMA, 183 KING’S
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RD, SW3 15-23 Sept. Mon-Sat 10-6, Sun 10-4. 19 Sept. 6.30-8.30 (meet the
designers event). The title tells all. Details: 020 3761 3299; lemamobili.com. BOFFI, DE PADOVA AND MA/U STUDIO PRODUCT LAUNCH BOFFI CHELSEA, 254 BROMPTON RD, SW3 15 Sept, 17-22 Sept. Mon-Sat 10-6. The renewed display showcases novel-
ties from the three brands. Details: 020 7590 8910; boffi.com. ‘BELONGING’ INSTALLATION/TALKS/WORKSHOPS THE DESIGN MUSEUM, 224-238 KENSINGTON HIGH ST, W8 15-23 Sept. Daily 10-6; last admission 5. Use your thought power
to drive Loop.ph’s ‘Mind Pilot’ and contemplate inclusiveness. Plus more on the same theme. Details: 020 3862 5900; designmuseum.org. ‘LONDON DESIGN FESTIVAL AT THE V&A’ VARIOUS EVENTS CROMWELL RD, SW7 15-23 Sept.
Mon-Thurs, Sat-Sun 10-5.45, Fri 10-10. Be dazzled by Pentagram’s take on Norman
Wilkinson’s camouflage and slake your thirst for design with ‘A Fountain for London’ by Michael Anastassiades. Details: 020 7942 2000; vam.ac.uk. r
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LDF EAST
‘NATURE TABLE: RECENT WORK BY ANGIE LEWIN AND EMILY SUTTON’ EXHIBITION [1] THE TOWN HOUSE, 5 FOURNIER ST, E1
18-30 Sept. Mon-Sat 11-6, Sun 11.30-5.30.
The artists’ limited-edition prints, collages, watercolours and furnish1 ings forsake the natural world that inspired them for the Big Smoke, with reissues of wallpapers by Edward Bawden and Sheila Robinson. Shown: ‘Clover’ by Angie Lewin. Details: 020 7247 4745; townhousespitalfields.com.
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AKT II/OFIS ARCHITECTS ‘LIVING UNIT LONDON’ INSTALLATION [2] OLD STREET YARD, EC1
15-23 Sept. Mon-Fri 10-8, Sat 10-5, Sun 1-5. Back to the future: as we see a return to
cramped living conditions, three modular micro-dwellings (shown) offer space-saving solutions. Details: 020 7250 7777; akt-uk.com. ‘KELLENBERGER-WHITE: ALPHABET’ LANDMARK PROJECT [3] KELLENBERGER-WHITE, FINSBURY AVE SQUARE, BROADGATE, EC2 15-23 Sept. Daily 24 hours. The graphic-design
agency does its ABCs with folded metal chairs, each the colour of a renowned piece of engineering. Details: 020 3388 0160; kellenberger-white.com. ‘CELEBRATE 80 YEARS OF DESIGN AND DISCOVER OUR 2018 COLLECTION’ EXHIBITION [4] KNOLL, 91 GOSWELL RD, EC1 17-21 Sept. Mon-Fri 9-5.30. New and classic designs ‘re-
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affirm the creative vision’ that made the brand famous. Shown: ‘Butterfly’ chair. Details: 020 7236 6655; knoll-int.com. ‘LONDON DESIGN FAIR’ TRADE SHOW [5] OLD TRUMAN BREWERY, 26 HANBURY ST, E1 20-23 Sept (open to public on 22-23 Sept). Thurs-Fri 10-7, Sat
11-6, Sun 11-5. Tickets from £10. There’s plenty brewing, with 550
exhibitors from 36 countries. Plastic’s this year’s theme: Charlotte Kidger’s ‘Industrial Craft Vessels 1-4’ (shown) explores its potential. Details: 020 7739 5561; londondesignfair.co.uk. ‘A WORLD OF ORDINARY THINGS’ PRODUCT LAUNCH [6] SCP, 135-139 CURTAIN RD, EC2 15-23 Sept. Mon-Fri 9.30-
7, Sat 9.30-6, Sun 11-5. Brush with the past: a Michael
Marriott-curated display of historic manufacturer Bürstenhaus Redecker’s wares (shown). Plus, product launches look at our relationship with familiar objects. Details: 020 7739 1869; scp.co.uk.
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ALSO LOOK OUT FOR ‘COLOUR STORIES WITH FARROW & BALL’ POP-UP VILLAGE UNDERGROUND, 54 HOLYWELL LANE, EC2 20-23 Sept. Thurs-Sun 10-6 (open to public on 22-23 Sept). Immerse yourself in the company’s paint and patter.
Details: 01202 876141; farrow-ball.com. DARC ROOM TRADE SHOW NICHOLLS & CLARKE BUILDING, 3-10 SHOREDITCH HIGH ST, E1
19-20 Sept. Wed, Thurs 12-10. Find illumination at this lighting fair. Details: 0161
476 8351; darcroom.com. ‘ORIGINAL BTC × SUPERFRONT’ POP-UP 28 REDCHURCH ST, E2 15-23 Sept. Mon-Fri 10-7, Sat 10-6, Sun 10-5. The former’s lights meet the latter’s mix-and-match cabi-
net fronts, handles and legs. Details: 020 8969 3561; originalbtc.com. r
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Go with the times
CLASSIC IN A NEW COMPOSITION
KITCHEN FOR A NEW EPOCH
Composing is an art- and that also applies to interior design. With this in mind, SieMatic cooperates with renowned international designers to develop room planning concepts for the style collection Classic These concepts make it possible to play with styles and to utilise seemingly contradictory design elements to compose a harmonious whole, to the delight of all who seek to elegantly combine the old values and the new. Let yourself be inspired anew.
Competent kitchen consulting and professional planning: SieMatic UK 5300 Lakeside | Cheadle Royal Business Park | Cheshire | SK8 3GP | +44 (0)161 2466010 www.siematic.co.uk | info@siematic.co.uk
LDF NORTH
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MODERN DESIGN REVIEW × JAMES SHAW ‘PLASTICSCENE’ EXHIBITION [1] GASHOLDER 10, BAGLEY WALK, N1 15-23 Sept. Daily 11-7.
How creative designers are approaching waste plastic, ‘not with a sense of obligation but with excitement and possibility’. Details: kingscross.co.uk/event/plasticscene.
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BILL AMBERG STUDIO PRINTED-LEATHER RANGE PRODUCT LAUNCH [2] TOM DIXON, THE COAL OFFICE, 1 BAGLEY WALK, N1 15-23 Sept. Mon-Fri 10-5, Sat 10-6, Sun 11-6. Leather
guru Bill Amberg debuts hides printed with designs by Tom Dixon, Faye Toogood, Timorous Beasties, Alexandra Champalimaud and Natasha Baradaran. Details: 020 3848 6100; tomdixon.net. ‘CONCEPT GALLERY’ POP-UP [3] MATTER OF STUFF, FENMAN HOUSE, 5 LEWIS CUBITT WALK, N1 15-23 Sept. Mon-Sat 11-7, Sun 12-6. The host shows its expertise in ‘commis-
sioning design, researching materials and showcasing designs from renowned brands’ in an expo designed by Raw Edges. Shown: ‘Orbit’ (left)and ‘Solar’ chairs by Bohinc Studio. Details: 07712 680221; matterofstuff.com. ‘EDIT ’18’ PRODUCT LAUNCH [4] TWENTYTWENTYONE, 18C RIVER ST, EC1 19-23 Sept.
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Wed-Sat 9.30-5.30, Sun 11-5. The retailer’s pre-
ferred classic and contemporary designs by Barber Osgerby, Bodil Kjaer and Børge Mogensen. And that’s just the Bs. Shown: ‘Blur’ rugs by Ronan & Erwan Bouroullec for Nanimarquina. Details: 020 7837 1900; twentytwentyone.com. SO LAST CENTURY’S VINTAGE AND RETRO FAIR [5] MARKET SQUARE AND WEMBLEY LIBRARY, ENGINEERS WAY, HA9 0FJ
23 Sept 11-5. Traders in
20th-century homeware (shown), art et al alongside local designer/makers and artists. Details: solastcenturyfair.co.uk.
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‘ENID MARX: PRINT, PATTERN AND POPULAR ART’ EXHIBITION/WORKSHOP [6] HOUSE OF ILLUSTRATION, 2 GRANARY SQUARE, N1 Until 23 Sept. Tues-Sun 10-6. Tickets from
PHOTOGRAPHY: ‘THE LION AND THE UNICORN’ © ESTATE OF ENID MARX
£7.50. Marking 20 years since the textile designer/illustrator’s death with
over 150 artworks, many not seen before. Shown: ‘The Lion and the Unicorn’. Plus, ‘Women in Print: Enid Marx and her Contemporaries’ study day (17 Sept 11-4). Details: 020 3696 2020; houseofillustration.org.uk.
ALSO LOOK OUT FOR ‘CREATIVE UNIONS’ EXHIBITION UAL CENTRAL SAINT MARTINS, LETHABY GALLERY, 1 GRANARY SQUARE, N1 15-23 Sept. Daily 11-6. 25 Sept-27 Oct.
Tues-Fri 11-6, Sat 12-5. Graduate design addressing the current socio-political climate. Details: 020 7514 8098; arts.ac.uk/csm. ‘A THREAD IS ONLY A LINE’ EXHIBITION ROYAL COLLEGE OF ART ALUMNI, NEW RIVER STUDIOS, 199 EADE RD, HARRINGAY WAREHOUSE DISTRICT, N4 20-23 Sept. Thurs-Sun
12-8. Work by recent graduates of the RCA’s MA Textiles Design pro-
gramme. Details: 07794 450127; rca.ac.uk. ‘ELECTROANALOGUE’ VARIOUS EVENTS TOM DIXON, THE COAL OFFICE, 1 BAGLEY WALK, N1 15-23 Sept. Mon-Sat 10-7, Sun 11-4. His new HQ and flagship shop
play host to digital innovations. Details: 020 3848 6100; tomdixon.net. r
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FEATURING
Marina Diamandis of Marina And The Diamonds SINGER & SONGWRITER
Annie Sloan ARTIST & PAINTER
Melissa Hemsley COOK & AUTHOR
Jessie Burton NOVELIST
Jacqueline Rabun JEWELLERY DESIGNER
An exhibition celebrating London’s most pioneering females and the spaces in which they create
Heal’s, Tottenham Court Road, W1 11th – 23rd September 2018 PART OF LONDON DESIGN FESTIVAL
#healsspaces heals.com/spaces
LDF SOUTH
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‘OPEN STUDIOS AT ASSEMBLE’S SUGARHOUSE STUDIOS’ EXHIBITION [1] 19 COLLETT RD, SE16 21-22 Sept. Fri 10-6, Sat 10-4. The former school, currently run as studios
by the Turner Prize-winning collective Assemble, throws open its doors to reveal the creatives within. Details: 020 7237 0000; assemblestudio.co.uk. ‘WITH THE GRAIN: WOOD CRAFT FROM JAPAN’ EXHIBITION [2] WAGUMI, 1.08 OXO TOWER
Turning Japanese: using a hand-powered lathe, award-winning craftsman Kunimitsu Takatsuki demonstrates the art of gobarashikki. Details: 020 7928 1427; wagumi-j.com. WHARF, BARGEHOUSE ST, SE1 22-23 Sept. Daily 11-6.
‘TYPE TASTING EVENTS’ WORKSHOPS [3] TYPE TASTING, LAITHWAITE’S WINE, ARCH 219221, STONEY ST, SE1 AND FLAT IRON SQUARE, SE1 15 Sept 11-5. Free (pop-up typography
lab). 19-20 Sept (wine tasting), 22 Sept, 27 Sept (gin tasting), 7-9.30. Booking required: tickets £40. Immerse yourself in ‘a multisensory tasting through time, type
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and libation’ or learn ‘how fonts reflect your tastes, inform your choices and influence your experiences’. Details: 020 7503 3171; typetasting.com. ‘DESIGN JUNCTION’ TRADE SHOW [4] DOON STREET, OXO TOWER WHARF AND RIVERSIDE WALKWAY, SE1 20-23 Sept. Thurs-Fri 11-8, Sat-Sun 11-5. Tickets from £16. With the usual
international brands and pop-ups in tow, the trade show sails downriver to its new mooring on London’s South Bank. Shown: ‘Victoria’ light, by Bethan Gray for Editions Milano. Details: 020 7713 9388; thedesignjunction.co.uk. ‘JON DANIEL: RETROSPECTIVE’ EXHIBITION/TALKS/WORKSHOPS [5] 198 CONTEMPORARY ARTS AND LEARNING, 198 RAILTON RD, SE24 15 Sept-5 Oct. Mon-Fri 10.30-5.30. 22-23 Sept. Daily 12-5. Homage is paid to the prominent black creative, social activist
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and collector (shown) in the form of various events. Details: 020 7978 8309; 198.org.uk. ‘LONDON POTTERS IN DESIGN@BATTERSEA’ POP-UP [6] CIRCUS WEST VILLAGE POP-UP, GROSVENOR ARCH, BATTERSEA POWER STATION, SW11 14-16
Sept, 21-23 Sept. Fri-Sat 11-7, Sun 11-5. Ceramicists of all ilks show off
their skills via live demonstrations and an array of wares, all of which are up for grabs. Shown: bowl by Leslie Parrott. Details: 07761 840749; londonpotters.com.
ALSO LOOK OUT FOR ‘ROBERTO’S RIO’ EXHIBITION PLACE PRESS, GROUND FLOOR SPACE, 3 TYERS GATE, SE1 15-23 Sept. Daily 10-5.
Architectural drawings, photography and installation that explore the ways in which Roberto Burle Marx’s public spaces have informed the city’s identity. Inspired by the forthcoming book of the same name. Details: 020 7042 6380; placepress.com.
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‘PASTE × THE DEPARTMENT STORE’ INSTALLATION THE DEPARTMENT STORE, 248 FERNDALE RD, SW9 15-23 Sept. Daily 10-5. Pot(ted) history: RCA graduate Christopher Riggio’s ceramic installation responds to the building’s past and present incarnations. Details: 020 3598 6971; thedepartmentstore.com. ‘HAPPINESS’ POP-UP GREENWICH MARKET, SE10 21-23 Sept. Daily 11-5. Chock-a-block with things to bring cheer. Details: 020 8269 5096; greenwichmarket.london. ‘SOUTH EAST MAKERS CLUB – DEPTFORD’ EXHIBITIONS/INSTALLATIONS/WORKSHOPS SOUTH EAST MAKERS CLUB, DEPTFORD MARKET YARD, CARRIAGE WAY, SE8 15-16 Sept.
Daily 11-6. Spotlight on the creatives who are working in this neck of the
woods. Details: southeastmakersclub.co.uk. r
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‘GIO PONTI “TIME & LIFE” TABLE AND FRANCESCO MEDA “WOODY” CHAIR PREVIEWS IN LONDON’ PRODUCT LAUNCH/TALK [1] MOLTENI & C./DADA, 199 SHAFTESBURY AVE, WC2
17-22 Sept. Mon, Tues, Thurs, Sat 10-6, Wed 10-10. Marking the end of an era – and the start of another in west London: a show and talk featuring designer Francesco Meda and V&A curator/Disegno founder Johanna Agerman Ross (19 Sept 6). Details: 020 7631 2345; molteni.it.
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‘LONDON DESIGN BIENNALE 2018’ EXHIBITION [2] SOMERSET HOUSE, STRAND, WC2 Until 23 Sept. Mon, Tues, Sat-Sun 11-6, Wed-Fri 11-8.
Booking required: tickets £19.50. Forty participants from every
continent explore ‘Emotional States’. Shown: installation by India. Details: 020 7845 4600; somersethouse.org.uk. ‘A SENSE OF BELONGINGS’ EXHIBITION [3] VITSOE, 3-5 DUKE ST, W1 15-22
Sept. Mon-Sat 10-6, Sun 11-4. Why are some objects treasured while 3
others are trashed? A display of customers’ and friends’ possessions investigates. Shown: ikat sash. Details: 020 7428 1606; vitsoe.com. ‘MALGORZATA BANY: ON SHOW’ EXHIBITION [4] THE NEW CRAFTSMEN, 34 NORTH ROW, W1 15 Sept, 17-22 Sept. Mon-Sat 11-6. The designer and Jesmonite specialist’s
immersive installation features her work (shown) and that of others in the gallery’s stable. Details: 020 7148 3190; thenewcraftsmen.com. ‘MARBLE AND MOSAIC DESIGN TOURS OF WESTMINSTER CATHEDRAL’ WALKS/TOURS [5] WESTMINSTER CATHEDRAL, VICTORIA ST, SW1 15-17 Sept, 19-20 Sept, 23 Sept. Daily 2-3.
Free, but booking required. Make a pilgrimage to architect John Francis Bentley’s
masterpiece (shown). Details: 020 7798 9055; westminstercathedral.co.uk. ‘SCHOLTEN & BAIJINGS: TIME FOR TEA’ LANDMARK PROJECT [6] FIRST FLOOR, FORTNUM & MASON, 181 PICCADILLY, W1 15-23 Sept. Mon-Sat 10-9, Sun 11.30-6. The Dutch 4
duo’s tea installation features 80 of their products, all in the historic store’s iconic shade of eau de nil. Details: 020 7734 8040; fortnumandmason.com.
ALSO LOOK OUT FOR ‘JEAN ROYERE’ EXHIBITION GALERIE PATRICK SEGUIN, 45-47 BROOK ST, W1
17-22 Sept. Mon-Sat 10-6.30. Homage to the mid-
20th-century master. Details: 020 7499 7766; patrickseguin.com. 5
‘ITALIAN DESIGN’ EXHIBITION CHRISTIE’S, 8 KING ST, SW1 15-23 Sept. Mon, Wed-Fri 9.30-4.30, Tues 9-8, Sat-
Sun 12–5. Work by Pierluigi Giordano, Paolo Buffa, Paolo Venini et al due
to go under the hammer in October. Details: 020 7839 9060; christies.com. ‘COLOURS WITH A STORY TO TELL…’ WORKSHOPS LITTLE GREENE, 3 NEW CAVENDISH ST, W1 15 Sept, 18 Sept and 21 Sept. Daily 11-12, 1.30-2.30, 3.30-4.30. Thirty-one hues
rooted out during joint research with the National Trust. Details: 020 7935 8844; littlegreene.com. ‘KONSTANTIN GRCIC VOLUMES’ EXHIBITION GALERIE KREO, 14A HAY HILL, W1 15 Sept, 17-22 Sept. Mon-Fri 10-6, Sat 11-6. Bleu
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de Savoie-marble ‘objects of uncertain use’. Details: 020 7499 4611; galeriekreo.com $
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SOCIAL CLIMBER When designing Bevin Court, a postwar housing block in Islington, central London, Soviet émigré Berthold Lubetkin envisaged its staircase as a ‘collision zone’, eliminating hierarchies and encouraging interaction between residents. Combining Marxist ideals with Modernist elements, and rising above a magnificent Peter Yates mural, the result is not just a functional architectural feature, but the centrepiece of the building. Sophie Barling traces its ups and downs. Photography: Rachael A. Smith r Above: the entrance hall of Bevin Court, looking through to Berthold Lubetkin’s celebrated staircase. Opposite: Day and Night, Winged Bulls, a 1954 mural by the artist and architect Peter Yates. His abstract cityscape combines iconic London buildings such as St Paul’s with a deconstructed version of the coat of arms for Finsbury, the building’s former borough. The winged bulls are emblems of St Luke, while the dolphins represent St James
SOCIAL CLIMBER
Top left: Bevin Court was going to be named after Lenin until the UK’s political climate changed. Top right: looking back at what was once the bombdamaged Holford Square and a public bowling green. Opposite: the staircase rises within a circular well, with triangular half-landings between the floors. Biographer John Allen wrote: ‘It is difficult to cite any public staircase in the whole Modern Movement that can rival Lubetkin’s masterpiece’
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SOCIAL CLIMBER
BEING WOKEN up by a riotous dawn chorus isn’t something that many people would associate with central London living. For the residents of Bevin Court, however, that’s the reality on summer mornings. Hidden away behind the Georgian streets of Islington where it nudges Bloomsbury, this Modernist piece of social housing, completed in 1954, occupies an oasis of wildflower ‘meadows’, poplars and veg-filled allotments. And at the core of the building, the real surprise awaits: a masterpiece of a staircase rising through each floor as if in a vortex, with all the rhythm and sculptural qualities of its Constructivist roots. ‘Any staircase,’ said its architect, ‘is a sort of machine to climb up or to descend, but it is also a display, it is a dance.’ The architect in question was Berthold Lubetkin, a Soviet émigré who worked by the maxim ‘Nothing is too good for ordinary people.’ For the people of Finsbury, as the borough then was, Lubetkin had been commissioned to design new housing on the bomb-damaged site of Holford Square (older residents still know it by that name). Originally asked to retain the square’s layout, Lubetkin had to come up with something radically different in the face of postwar austerity and budget cuts. His answer was a central block of 118 apartments in three wings radiating from the staircase drum in a Y shape. This triaxial formation ensured that no wing faced only north, and each flat benefited from maximum light. Open sides on each staircase landing brought fresh air and views of St Pancras and beyond. Lubetkin asked his friend, the architect and painter Peter Yates, to devise a mural for the entrance hall. The result, Day and Night, Winged Bulls, is a deconstructed version of Finsbury’s coat of arms, and stylistically reminiscent of Picasso’s Guernica. The winged bulls of the title are emblems of St Luke, whose church spire on Old Street is also depicted. A pool of water represents the New River Head, the site across the road where fresh water was first piped into London from Hertfordshire. The clerks’ well that gave Clerkenwell its name is also here, as are the crescent and circle symbols of Charterhouse. Highlighted against the black ‘night’ of the mural is the dome of St Paul’s – visible from the top of Bevin Court and, it seems, close to Yates’s heart. During World War II, he had volunteered as a firewatcher in the St Paul’s area, r
Top: legend has it that Lubetkin buried the remains of a memorial to Lenin under the central concrete pillar. Right: the structure is made from reinforced concrete, which the architect used to great effect in London Zoo’s penguin pool
BIENVENUE DANS LE MONDE DE L’ART ET DE LA DÉCORATION
GLUSTIN PA R I S
www.glustin.net 140 rue des Rosiers – 93400 Saint-Ouen (Paris) – glustin@wanadoo.fr Ouvert tous les jours de 10h à 18h – Parking
SOCIAL CLIMBER
and had painted the great cathedral standing ashen but proud amid its blitzed surroundings. The mural has been recently renovated, and Lubetkin’s original colour scheme returned to the whole space: a buttery yellow for the entrance, and the undersides of the staircase painted red, emphasising its dynamic geometry. It’s the kind of attention that buildings of this era haven’t always been given. ‘Nowadays Modernism is trendy,’ says long-term resident Craig Ford, ‘but when I found my maisonette there were no estate-agent photos of the main building, or the staircase.’ A menswear brand manager and selfconfessed Modernism nut, Craig bought one of the block’s few ex-council units 14 years ago. The previous owner had ‘Victorianised’ it with ceiling roses and coving, but Craig stripped things back to Lubetkin’s clean lines and added some Modernist touches of his own – painted accents of a Corbusian pink, and a strip of yellow glass above the front door, inspired by the Eames House in Los Angeles. ‘Modernism is all about public spaces,’ he enthuses. ‘Because of the way it’s designed, you see people coming and going – you get to know people.’ The ‘social condenser’ idea from Soviet Constructivist theory is very much at play in the design of Bevin Court. With his central staircase hall Lubetkin had not only created a machine and a display, but also a ‘collision zone’ whereby people are encouraged to interact, and perceived social hierarchies could disappear. Born in Tbilisi in 1901, the son of a liberal Jewish businessman, Lubetkin attended art schools in St Petersburg and Moscow. Taught by Constructivists such as Rodchenko and Popova, he was exactly in time to witness the Russian Revolution, whose socialist ideals were to inform his work throughout his life. After spells studying and working in Berlin, Warsaw and Paris, the charismatic young architect arrived in London in 1931, finding it ‘about 50 years behind, as though locked in a deep provincial sleep’. He set about correcting this state of affairs, founding the practice Tecton with a group of Architectural Association graduates. One of their first commissions was the penguin pool at London Zoo, completed in 1934. With the help of the Danish engineer Ove Arup and his innovative use of reinforced concrete, Tecton created a spectacular, sculptural centrepiece of interlocking spiral ramps over the water – a piece of technical virtuosity r
Top: mahogany handrails follow the curves of the galleries. Right: a bust of Ernest Bevin, the foreign secretary who gave the block its name. The original disappeared some time ago, so in its place stands this 3D-printed, bronze-coated replica
SOCIAL CLIMBER
and theatre that anticipated the staircase at Bevin Court. Ultimately the penguins turned their beaks up at all that concrete and have been moved elsewhere; but the pool continues to draw human admirers, an exhibit in itself. Soon after came the Highpoint private apartment blocks in north London. Named for their lofty position on a hill in Highgate, they also represent one of the high points of Tecton’s oeuvre – and of early International Style architecture in London. Corbusier himself lavished praise on Highpoint I after visiting the gleaming-white, eight-storey building in 1935; Lubetkin’s fellow émigré architect Erno˝ Goldfinger took an apartment there before moving into his own creation on Willow Road, the other side of Hampstead Heath; and Lubetkin and his wife – also an architect – lived for years in the penthouse of the more luxurious Highpoint II, completed in 1938. It was in his collaboration with the radically leftwing Finsbury borough council, however, that Lubetkin was able to make concrete, literally, his ideas for social progress. Tecton’s work on Highpoint II coincided with the firm’s construction of Finsbury health centre. A low-lying spacecraft of a building in Clerkenwell, it anticipated the NHS by a decade, providing free medical care for local residents – which it still does today. Lubetkin completed two other housing estates for the borough before Bevin Court, which was begun in 1946. Its site, Holford Square, had been home to Lenin early in the century, and in 1942 Lubetkin had designed a memorial to the Marxist leader, which was installed opposite number 30. His new building there was to be called Lenin Court; before its completion in 1954, however, the Cold War was underway, and so it was named, instead, in honour of Britain’s fiercely anti-Communist foreign secretary, Ernest Bevin. Only two letters needed to be substituted in the signage design – but those small tweaks represented a huge shift in the political climate during the years between Bevin Court’s inception and its completion. In defiance, the no-doubt disappointed Lubetkin is thought to have buried part of his Lenin memorial in the foundations – at the very heart of the building, under his spectacular staircase $ Bevin Court can be visited during Open House London, 22-23 Sept. For more information, ring 020 7383 2131, or visit openhouselondon.org.uk
Top: most of the apartments are accessed via the staircase, emphasising the importance of community. Left: the chequered exterior is something of a signature for Lubetkin, who drew inspiration from the patterns of Caucasian kilims
T HE WORL D O F INT E RIORS 쮿 PROMOT ION
NAMES TO KNOW The World of Interiors presents must-see designers, makers and showrooms for interiors inspiration
Established in 2008 on Queenstown Road in London’s Battersea, Frenchy Furniture is a fabulous showroom oozing modern luxury. Here you will find the very best of French craftsmanship, with a collection ranging from bespoke furniture to classic and contemporary pieces from the likes of Gilles Nouailhac, Atelier de Brou, Pouenat, Tisserant Art & Style and Perrouin. For more information, visit frenchyfurniture.com FRENCHY FURNITURE
Clockwise from top left: ‘Kago’ chair with Icelandic sheepskin; ‘Hug’ chair with ’Sidney’ bookcase; ‘Hug’ chair with wooden back
B E S P O K E F LO O R I N G , F U R N I T U R E A N D STO N E WO R K T H E F R A N K L I N L O N D O N - S TA R H O T E L S C O L L E Z I O N E
+44 (0)1423 400 100 | L A P I C I D A . C O M
T HE WORL D OF INT ERIORS 쮿 PROMOT ION
is a London-based lighting design company with a clean-lined design aesthetic. The studio explores materials and production processes in innovative ways, synthesising time-honoured ceramic craftsmanship with modern industrial design techniques. The finished products celebrate the qualities inherent in the materials to create beautifully distinctive lighting. Part of its terracotta range is shown here – its natural warmth works well in a range of different environments. To view the full range visit handandeyestudio.co.uk and follow them on Instagram @handandeyestudio for news and updates. To order, ring 01252 715646, or email info@handandeyestudio.co.uk HAND AND EYE
Right: terracotta pendants are available in a range of different sizes, shapes and glazes. The unusual ‘A-Beam’, seen far right, is an extruded ceramic strip light up to 1.8m long
adds several new pieces to his distinctive and elegant collection this autumn, including the beautiful ‘Edge’ console table (pictured here). To launch the new range Tom will be holding a weeklong event in his expanded Lots Road showroom. Everything on display will be new, and in addition to his trademark geometric silhouettes there will be some exciting organic and sculptural pieces. Fresh finishes and brand-new lighting will also catch visitors’ eyes. Almost all of Tom’s designs are made in his Wiltshire workshop by a dedicated team of craftspeople. The Swindon studio occupies old railway workshops built by Brunel in the 19th century, and visitors are welcome by appointment. The new collection will be on display between 15 and 23 September during the London Design Festival. For details, ring 020 7351 7272, or visit tomfaulkner.co.uk
TOM FAULKNER
Left: ‘Edge’ console table, plate steel finished in Florentine gold with Nero Marquina marble top
T HE WO RL D O F I N TE R I OR S 쮿 P ROMOT IO N
Textural and intricate, Riviere’s incredible new collection of rugs will launch at Decorex 2018. Each beautifully hand-crafted design is a one-off; tonal colours and subtle hues have been carefully paired using different weaving techniques, pile heights and yarns to achieve an unsurpassed level of detail. As ever, the firm has combined modern creativity and age-old dyeing and knotting methods, meaning its remarkable rugs will last a lifetime and become the antiques of the future. All Riviere rugs are meticulously made by hand in Nepal’s Kathmandu valley or in the northern Indian state of Rajasthan. Every design in the company’s portfolio can be custom ordered in a huge range of colours and yarns. Riviere also offers a fully bespoke design service for completely original pieces. ‘Samarkand’, shown, features a timeless ikat pattern evoking the spirit of the ancient Silk Road. For details, ring 020 3601 4600, or visit riviererugs.com. Riviere Rugs will be exhibiting at Decorex International, stand B34 RIVIERE RUGS
Right: ‘Samarkand’ rug, which is knotted by hand using 100% manually spun raw Indian silk
BRONZINO Now in its 14th year, the Bronzino workshop is celebrated for its classic planters and vases, which are made entirely by hand the oldfashioned way, using solid sheets of copper with traditional bronze-foundry finishes. Less well known are the company’s garden containers made using sheets of solid zinc – a material most people associate with diet. Essential to all life, zinc is a fundamental part of metabolic processes, but it can also be a brilliant construction metal. Known for its long-lasting qualities, zinc has a rich global history. When Baron Haussmann renovated Paris for Napoleon III in the mid-19th century, for example, he used the metal extensively to create the grey roofs of the French capital that have inspired so many great artists since. After only a few weeks outdoors Bronzino’s zinc planters will develop a protective soft-grey patina, which will only improve with time. And because they’re made of solid metal – rather than coated – they will never scratch or rust. For details, ring 020 7370 4344, or visit bronzino.co.uk. Bronzino will be exhibiting a selection of zinc planters, alongside some of its new copper vases, at Decorex International, stand E38A
Left: zinc ‘Forres‘ planters, 52 x 49cm
THE CHIEFTAIN CHAIR 1949 BY FINN JUHL Holloways of Ludlow 14 Church Road I Wimbledon Village I London SW19 5DL Staffan Tollgard Design Store Gatliff Road I Grosvenor Waterside I London SW1W 8QN The Conran Shop 55 Marylebone High Street I Marylebone I London W1U 5HS Twentytwentyone 18C River Street I Clerkenwell I London EC1R 1XN
www.finnjuhl.com / info@finnjuhl.com / +45 70 27 71 01
T HE WO RL D O F I N TE R I OR S 쮿 P ROMOT IO N
Fiona McDonald has been sourcing mid-century Modern antiques for more than 20 years, and her showroom in central London has established a reputation for dealing in elegant and distinctive design. Now, having noticed the continued popularity of the forms of the period together with the demand for beautifully crafted pieces, McDonald has developed ‘Fiona Makes’, her own collection of exceptional furniture, mirrors, lighting and seating inspired by mid-century precedents. ‘The years I’ve spent travelling Europe on buying trips, visiting fairs and digging round antique markets has trained my eye to what makes a thoughtfully designed and timeless piece,’ she explains. ‘I gain a lot of inspiration from the handsome mid-century examples I find. A timber finish on a 1940s French cabinet may complete a dining table I’ve always wanted to make, or an unusual Murano glass vase might influence the colour of a chandelier I’m developing.’ For more information, ring 020 7731 3234, or visit fionamcdonald.com
FIONA MCDONALD
Right: oak/seagrass ‘Audrey’ sideboard, by Fiona Makes. Handmade in Britain, this piece comes in custom sizes and alternative timbers and finishes
BISQUE In its aim to banish ugly panel radiators from our homes, Bisque – Britain’s leading designerradiator supplier – has always placed colour at the heart of its philosophy. From dazzlingly daring finishes to discreet, subtle shades, the use of different hues can transform a previously solely utilitarian object into something sublime. Among the company’s carefully selected range of 50 hues, popular options include anthracite, volcanic and a striking etchedcopper finish, which is available on the ‘Arteplano’ radiator. Recent additions include matt black and rose copper. As part of Bisque’s bespoke service, customers have the option of colour-matching their radiators to their walls or furniture, creating the perfect complement to any interior aesthetic. For advice on choosing the right colour for your scheme, visit Bisque’s new London showroom at the Business Design Centre in Islington. For more information, ring 020 7328 2225, or visit bisque.co.uk
Left: ‘Classic’ radiator with an ombré finish, created using paint by Little Greene (from left: ‘Callaghan’; ‘Ashes of Rose’; ‘Blush’; ‘Dorchester Pink’). All are available as part of Bisque’s colour-matching service.
KESHISHIAN
An Oushak carpet, Turkey. Circa 1900.
73 PIMLICO ROAD, LONDON SW1W 8NE. TEL.020 7730 8810 NEW YORK TEL. 212 956 1586 info@keshishiancarpets.com www.keshishiancarpets.com
T H E WO R L D O F I N TER I OR S 쮿 P ROM OT IO N
TISSERANT ART AND STYLE For more than 88 years
Tisserant Art and Style has been using artisanal skills and know-how to design and make the finest bronze light fittings and furniture, recognisable for their singular blend of luxury and style. In response to the changing tastes of its clients, the workshop has developed new creation techniques, ensuring the quality and excellence for which the firm is revered. But as well as celebrating innovation, the company is also dedicated to the traditions and skills that have been handed down across generations. Today, Tisserant Art and Style is the only art-bronze foundry to still have its ateliers in central Paris, where highly trained craftsmen and designers exchange ideas and work together at every stage of the production process. Tisserant Art and Style is well known for its ability to beautifully match different materials, from Bohemian crystal to marble and wood, and for its gilding, patinas and finishes, which are all done on-site in the French capital. For more information,visit tisserant.fr From top right: ‘Pompadour’ lantern; ‘Ardoise’ lamp; ‘Vegetal Crown’ wall light; ‘Scarabées’ low table; a Tisserant Art and Style craftsman at work
www.galerie-chevalier.com / www.cbparsua.com
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established over 30 years ago, handcrafts furniture with wide appeal. At its heart lies a strong English ethos, and its name is renowned both in Britain and internationally. The company offers an extensive selection of carefully designed sofas, chairs, dining chairs, stools and ottomans made by its own dedicated teams of skilled craftspeople. The pieces are made to be beautiful, comfortable and durable, and the team pride themselves on offering a great personal service. They are passionate about their popular new collection, which includes shapely dining chairs as well as elegant armchairs and sofas. For more information, ring 020 7823 3848, or visit davidseyfried.com
DAVID SEYFRIED,
This page, clockwise from top left: ‘Ryder’ chairs; ‘Editor’s’ chair; ‘Salvesen Graham’ sofa; ‘Eaton’ sofa; ‘Kendrick’ chair
ARTCURIAL
A blanc de Carrare marble chimney piece, Louis XV style 110 x 229 x 64 cm Estimate : 28 000 - 35 000 € / £ 25 000 – 31 000
ARCHITECTURE & GARDEN STATUARY From Origines Auction: Monday 24th September 2:30pm & 8pm
7 Rond-Point des Champs-Élysées 75008 Paris
Online catalogue: www.artcurial.com Contact: Alexandre Barbaise abarbaise@artcurial.com +33 (0)1 42 99 20 37
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VOLEVATCH The château of Versailles is both an icon
of the flamboyant royal style and a source of endless inspiration for generations of artists. The French company Volevatch is happy to perpetuate the tradition with an exclusive limited edition of the same name. Each piece in the ‘Versailles’ collection is entirely handmade, using the purest rock crystals set in a bronze framework, delicately engraved by hand and covered with 24ct gold plating. Numbered and signed, each piece is unique. Every faucet is conceived as a masterpiece, with authenticity subtly balanced by modern functionality. ‘Versailles’ embodies absolute excellence and reflects a prestigious French patrimony in sanitary ware that’s acknowledged worldwide. For more information, ring 00 33 1 557 82247, or visit volevatch.fr From top: ‘Versailles’ deck-mounted three-hole basin mixer with an ‘Antique English’ porcelain basin. A craftsman chiselling the basis of the mixer in the Volevatch workshop in France
_ _ _ Chevrons, available in bespoke colours & dimensions Now available in the UK through SĂŠ 60 Fulham Road London SW3 6HH contact@manufacturecogolin.com manufacturecogolin.com
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SOVEREIGN INTERIORS takes great pride in bring-
ing fine craftsmanship to life. The company caters for both the English country-house set and London modern lovers. That means, on the ground floor, Regency-style gilt cabinets and chinoiserie chests; and downstairs, Art Deco-style coffee tables with modern exotic veneers and a wealth of fine materials such as mother-of-pearl, high-gloss lacquer and gold leaf. Sovereign specialises in hand-making and -polishing furniture in its own four-storey facility as well as in factories supervised by its staff in Vietnam and India. Run by a mother and daughter team, the company devotes itself to research and development, anticipating the needs of architects and designers. For details, ring 020 7259 0300, or visit sovereigninterior.com This page, clockwise from top left: ‘Zebra’ side table, ‘Wedgwood’ side table, ‘Chinois’ bar, ‘Red Chinois’ chair, ‘Red Chinois’ table, ‘Adam’ console
This page: Abe Odedina’s small garden studio. ‘Most of my figures are in white,’ he says. ‘It’s an ambitious colour to wear. It’s about purity.’ Opposite: the studio was originally an office for Odedina’s architectural work. When he began making art, he demolished the surfaces to use as canvases
IDOL SPECULATION Ten years ago in Salvador, Brazil, artist Abe Odedina had an ephiphany when he discovered Candomblé, a hybrid of Catholicism and Nigerian Yoruba. Becoming fascinated by faith in all its forms, he began filling his home – and work – with Haitian Vodou flags, African headdresses and Mexican votive paintings. Today, his divine intervention has turned an ordinary London dwelling into a real house of the spirits. Peter Watts sings its praises. Photography: Jan Baldwin
‘I’VE NEVER
met a god I don’t like,’ says Abe Odedina with a grin in his south London kitchen. ‘That’s why I venerate most of them in my paintings.’ It’s a house packed with deities from all cosmologies; they sit contentedly alongside each other on bookshelves and in cabinets, a democratic medley of statues, sculptures and votive offerings from all religions, continents and eras. The gods are Odedina’s muses and in the garden, in his small studio, he paints colourful figures in acrylic on plywood, inspired by Haitian Vodou, Nigerian Orishas and Christian saints, among others. Clad in a blue boiler suit, Odedina is ready for business. He talks quickly, eager to communicate the themes behind his work and demystify the process. Born in Nigeria, he was raised in Britain and trained as an architect in Hull. He moved to Brixton in 1987 and began to remodel the house he shares with his wife, the publisher and ceramicist Sarah Odedina, two grown-up children having since moved out. ‘It was totally unremarkable,’ he says of the three-bed Victorian terrace. ‘So we thought that over time we’d have a word with it. It was about giving ourselves more space, and bringing in light using materials we could afford – that way it doesn’t matter if you get it wrong.’ They knocked through the hallway to create a larger living area, and the solid stairs were replaced with an open-plan design, providing a view from the front door through to the garden. A small dining room/conservatory went up and one wall was lined with mirrors. Many of the materials were sourced cheaply. The kitchen floor is made from salvaged tiles and timber, while the huge gas stove once belonged in the kitchen of the London College of Fashion, which Odedina was transforming into a gallery. ‘All the textures are tied together by the bits and pieces we have collected over the years, which show what we like and how we live,’ he says. The house feels planned, but isn’t fussy. It’s filled with objects but not cluttered. That makes it rather like Odedina’s skin, every inch of which is covered in tiny tattoos that combine to form a single tapestry. He designed them himself, and went to the tattoo parlour every Friday for four years until the work was done. Several of the deities on the walls come from Brazil, which is where Odedina had his artistic epiphany ten years ago. He was in Salvador, the former Brazilian capital and centre of Afro-Brazilian culture, when he discovered the faith of Candomblé, which combines aspects of Catholicism with the Orishas, the gods of Nigeria’s Yoruba. ‘In Salvador, I reconnected with the Orishas, who were cast aside in Nigeria in the project of modernism,’ says Odedina. ‘This thing that had been created in Brazil was a wonderful hybrid. There was a lot of trauma but the end result was a new thing informed by Catholicism as well as African tradition. This is how religions have always worked.’
Top: Odedina and his wife, Sarah, knocked through the hallway to create an open-plan living area. He painted the chest next to the leather armchair with symbols and slogans. Above: one of Sarah’s ceramic pots sits on the table in the conservatory beneath an assortment of model limbs from Brazil. ‘The limbs are in the votive tradition, praying to god for relief or cure,’ says Odedina. Opposite: in the living room, this picture by Scottish artist Derek Roberts was the first the couple ever purchased: ‘When I bought this,’ he says, ‘I had no conception I’d ever be a painter’
Odedina was fascinated by the faith of others and the ‘energy around this creative veneration in people’s lives’. He began painting and eventually gave up architecture to focus on it full time. His diptych The Adoration of Frida Kahlo was nominated for the BP Portrait Award and displayed at the National Gallery in 2013. A steady stream of exhibitions followed, the latest of which will be at the Downstairs gallery in the Department Store, the Brixton office of Squire & Partners architectural practice. Part of the London Design Festival, it is called True Love and the paintings were commissioned by film director Danny Boyle for the Dramatic Need charity. Only a few of Odedina’s paintings hang in the house. Instead, space is given over to other artists, most of whom work with a similarly bright palette. Yet it’s the threedimensional religious iconography that really captures the attention, with extraordinary statues from all over Africa, South America and the West Indies. Mortality is a common theme: models of diseased limbs hang from the conservatory ceiling, a stuffed caiman sits dead-eyed on one bookshelf and a human skull rests on the writing desk. Meanwhile, in the cabinet under the staircase are a number of carved phalluses. These objects inspire the style, concerns and philosophy of Odedina’s work. He singles out some Mexican votive paintings, Haitian Vodou flags and two sculptures from the Congo that were made from wood, covered in organic material and then pierced with nails. ‘This collection of tribal pieces is completely central to my work – this is the tradition that anchors my expression,’ he explains. ‘It’s the idea that there’s a language and legibility to them. I don’t ask anybody to believe in anything, I just say look at all the different ways we can comprehend objects. Just look and think, don’t worry about the rules. I’m not immersed in the rituals of the Congo, but I enjoy the objects in other ways. I try to charge my paintings the same way, to tell you something about the concerns.’ Odedina’s paintings are often infused with symbolism in the form of cards and money, and he also likes ‘the authority’ of distinguishable objects. ‘I use objects to create the landscape and show the character’s attributes, back story and aspirations,’ he says. Yet despite the proliferation of gods and saints, the relationship between Odedina’s work and where he lives essentially rests on a concern for the homely. ‘The whole house is the studio and a lot of the work is domestic,’ he continues. ‘I privilege this realm because even with great events the real impact is felt at home. It matters when you cross the threshold and see how it affects you and your family. That’s when I get interested’ $ ‘True Love’ runs at Downstairs at the Department Store, 248 Ferndale Rd, London SW9 (020 3598 6971; downstairsbrixton. com), as part of the London Design Festival, 15-23 Sept. To contact Abe Odedina, ring 07507 067567, or visit edcrossfineart.com
Top: this space under the stairs has been turned into a display area. Inside the cabinet are all manner of religious statues, a collection of carved phalluses, and artworks by the couple’s now-adult daughters. Above: these colourful Haitian Vodou flags on the upstairs landing are used by priests to signal the start of ceremonies. Odedina borrows from this visual tradition in his own painting. Opposite: in the bedroom, a dramatic wooden head is covered in leather. It was made by the Ekoi people of Nigeria to be worn during young women’s coming-of-age celebrations
Built in 1957, Bosco had been a cargo barge carrying grain and coal â&#x20AC;&#x201C; her vast riveted hold of 5m by 38m was originally topped with a curved, demountable industrial steel roof. Fourteen brass portholes were added by her previous owner. The raised wheelhouse and glass box are separated by hardwood decking areas
TA K E I T T O T H E B A N K No doubt about it: Alistair Langhorne and Claire Bunten have transformed a working barge into an airy and comfortable family home. Successfully overcoming the space restrictions, theyâ&#x20AC;&#x2122;ve carved out an elegant master bedroom, discrete living and study areas for their children and even a glazed garden. Itâ&#x20AC;&#x2122;s a safe bet that having so much room near central London is a welcome advantage too. Text: Matt Gibberd. Photography: Alexander James
Top: in the glass box, Eriobotrya japonica shrubs, lemon trees, a grapevine and scented jasmine screen the â&#x20AC;&#x2DC;Barcelonaâ&#x20AC;&#x2122; chair, which sits opposite two Piet Hein Eek rattan seats. Above: the split-level galley kitchen incorporates cross-sawn oak, stainless steel and Carrara marble. Fragments of the original cabin, including some windows and portholes, were retained and extended. Unlacquered copper pipe was used to create downlights on to the worktop
The burnt-oak flooring continues on the wall behind the dining area. An ‘Octo 4240’ lamp by Seppo Koho sways above a Julian Chichester table and ‘C603’ chairs by Yuzuru Yamakawa. Bosco’s original registration number is on the sill
A parquet floor and plywood ceiling envelop the grown-upsâ&#x20AC;&#x2122; sitting room. In front of an Andrew Martin sofa lies a Beni Ourain rug, whose geometric theme is shared by the Tori Murphy cushion to the rear. In the early evening the sun hits the portholes and casts delicate shafts of light across these below-deck rooms
This page, clockwise from top left: this view looks down to the children’s sitting room, with its ‘Zoe’ chair from Verzelloni; vintage industrial lights from Original House flank the stairs to the galley. Their risers and adjacent wall finish are polished plaster in a concrete finish; the master bedroom houses a Habitat ‘Hana’ four-poster and chest of drawers from New Vintage; squeezed into the bow is a cinema-red media room, entered via saloon doors
Viewed from the master bedroom, the polished-plaster walls of the en-suite bathroom match the blue-black detail of the Moroccan cement-floor tiles, which come from Mosaic del Sur. The â&#x20AC;&#x2DC;Kyotoâ&#x20AC;&#x2122; basin and bath are both from Fired Earth, while underneath the mirror is a set of unlacquered brass taps
THERE’S reclaimed oak parquet underfoot, with the polished permanence of a rigorously buffed ballroom. The lighting is recessed in a flattering kind of way, cast-iron radiators and a woodburning stove hint at hunkered-down winters and a black Labrador reclines happily in an Eames chair (‘It’s a fake, but she doesn’t know it. The real one’s upstairs’). This feels like the home of an urbane architect couple. And it is. Except for one fundamental difference: a barely perceptible feeling of rocking. It’s subtle, like the vague vertigo after a long-haul flight, but it’s definitely there. This project is an admirable achievement: a working barge transformed into an enthralling and genuinely liveable family home (albeit a slightly wobbly one). It is the brainchild of Alistair Langhorne and Claire Bunten of Lab Architects, a practice known for its rarefied residential projects in west London. ‘People think it’s going to be a bit soggy and a bit sweaty, but it has a very civilised feel,’ Claire says. The pair have history with boats, having converted one for a client and another that they use as a studio space. But it’s quite another thing to uproot your children – aged 14 and 12 – from the family house in Fulham and plonk them on a vessel on the Thames. ‘We see it as a five-year adventure while they’re teenagers,’ says Claire. ‘And where else can you get this much space so close to central London?’ Given the quality of their set-up, it’s hard to argue. The space below deck has been configured in three parts, with a bedroom and en-suite bathroom for the grown-ups at one end, kids’ quarters at the other, and social spaces in the middle where the family comes together. Each one has its own staircase. In order to maximise the feeling of space, you can see all the way down the full length of the boat when the doors are open, with shafts of daylight admitted by brass portholes. The master bedroom is a refined and comfortable affair, its wood-panelled walls hung with an early 1980s acrylic piece by Alistair’s uncle, Iain Whitecross, an artist based in New York.
The children have their own study space, with a pair of desks, some old ladders from the boat’s previous life and an Eero Aarnio hanging chair from Lots Road (the dog can’t get into that). When they’re tired of revising, they can retreat to their cosy cabins for a rest. Every bit of space has been utilised: cleverly sequestered in the bow is a glitzy little telly room, accessed by flinging open the original saloon doors and pulling off a balletic leap over a banquette. ‘We never see our son because he’s always here,’ says Claire. ‘Actually, I don’t think I’ve been in here yet,’ says Alistair, laughing. Upstairs is an open-plan kitchen and dining area, which are imbued with as much natural light as any loft apartment. There’s even a breakfast bar with a picture window for nocturnal navalgazing. This is presided over by the wheelhouse at the stern, which had to be raised up to create a sightline over the top of the new structure. A commendably large amount of space is given over to a bar area with a wine fridge. It’s all incredibly domesticated, comfortable and familiar, like wearing your favourite fur-lined slippers – albeit with skateboard wheels attached to the soles. The best bit of all is the ‘winter garden’, a fully glazed rectilinear structure that the couple liken to a transparent sea container. ‘The design started off as a Fox’s glacier mint, but then it morphed into its current shape,’ Claire explains. It sits on a mirrored plinth, which lightens the aesthetic impact even further. ‘We could have overembellished it and given it a curved roof,’ says Alistair, and it’s true: you don’t usually see such Miesian right angles in nautical architecture, but it works beautifully. They’ve filled it with vines and citrus trees and more, and it’s all thrived in the sweltering summer. ‘We made the mistake of closing the doors and going away for a couple of days,’ admits Alistair, ‘and the leaves went a bit crispy.’ The name of the boat, Bosco, was inherited from the previous owner, a Frenchman with a penchant for working barges. ‘He puts portholes in them to let the light in and show how big the space is, then sells them on,’ Alistair explains. The vessel had to be shipped across the Channel to meet her new owners, so a considerable amount of ballast was added to the hull ‘to stop her blowing around like a paper bag’. A major part of the conversion process involved removing just the right number of solid-concrete blocks in the right areas to reduce the weight and keep the boat steady. As a result, there are various changes in level below deck, which has the happy side effect of enlivening your experience as you walk through the space and helping to demarcate the various zones. ‘When the tide goes out, the hull does touch the ground,’ says Alistair. ‘It’s quite nice not to be moving for a bit!’ The build took no longer than a standard renovation project, or indeed a standard pregnancy: nine months from immaculate conception to resplendent rebirth. Rather than confine the vessel to a boat yard, which makes for a protracted and costly process, the couple moored her on the Thames near Syon House, and called on the contractors who usually do their high-end residential work. The steelwork arrived from Lowestoft on the back of an articulated lorry and was craned into position. They fitted a diesel-fired boiler, and the wood-burning stove has its own back boiler that serves the radiators in the colder months. Bosco is moored on the Thames’s southern slopes, within reach of everything from Travis Perkins to the Hurlingham Club. There can’t be many better places for a sundowner; they often see seals flopping about in the river. ‘In a couple of years we’re going to take her down the Danube,’ says Claire. ‘You can’t do that in a house’ $ Lab Architects (020 7351 1446; labarchitects.com) will be collaborating with Fox Linton at Focus 18, as part of London Design Festival. For details, see londondesignfestival.com
Opposite: the Red Ensign flies at the stern. To maintain sightlines for navigation, the wheel and wheelhouse were raised above the new structures. This page: the flue from the wood-burning stove serves as a towel dryer in the blue shower room. The marble floor is from a Sloane Avenue designer showroom refit
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Food for the Eye USING HERING BERLIN’S HANDCRAFTED PORCELAIN OBJECTS ENHANCES THE FINE-DINING EXPERIENCE
Top right: Stefanie Hering. From top: the ‘Cielo’ collection; ‘Polite Gold’ tea/coffee cup; ‘Polite Gold’ teapot; ‘Alif’ coupe plate; ‘Cielo’ bisque object
Stefanie Hering is a trained master porcelain maker, and in the service of her internationally renowned brand she aims constantly to innovate: every stage is carried out entirely by hand in Germany, and her characteristic designs are tailored to a small but growing market of ‘mindful luxury’ consumers. These are customers who are consciously looking for handcrafted porcelain objects that are perfect in every detail. ‘What’s on the plate must be ingenious in terms of both taste and craftsmanship,’ says Stefanie. This is a standard that connoisseurs and design enthusiasts consistently apply to porcelain today, and one that naturally also applies to high-end gastronomy. Because top cuisine served on the finest handmade porcelain is a singular experience for the senses, this has become the preoccupation of a burgeoning number of rarefied international restaurants. Just as the frame rounds off the appearance of a work of art, so in creative cuisine it is precious, meticulously designed porcelain that completes the fine-dining experience. The Michelin-starred restaurant in Hotel Königshof in Munich, the 1515 West grill and steak house at ShangriLa in Shanghai, and the Iriatai at the Conrad Bora Bora Nui resort are just a few of the establishments that count on the impact of Hering Berlin’s porcelain objects. Johannes King also swears by the firm’s elegant and functional service. For nowadays, luxury is not just about flawless aesthetics. It’s also about mindfulness and time. Hering Berlin counters the never-ending cavalcade of colourful goods with international award-winning design objects – objects not subject to seasonal fashions, but ready to become tomorrow’s timeless classics $
Moooi presents A Life Extraordinary! We look forward to welcoming you at our London Showroom & Brand Store during LDF MOOOI LONDON · 23 Great Titchfield Street · London, W1W 7PA Discover more about the Dodo Pavone on moooi.com/ldf
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From top: a London basement refurbishment featuring Crittall doors, a skylight, lighting installation and decoration by Loop3; this fullhouse refurbishment in Godalming took in landscaping and structural changes, including an extension; an antique brass wall light and staircase detail highlight the company’s precise attention to detail when it comes to product installation, painting and decorating
LINKED IN Luxury refurbishment firm Loop3 draws upon its wealth of industry contacts, from architects to artisans, and its own specialist knowledge to see bespoke projects through seamlessly and with the highest attention to detail Based in Chelsea Harbour for almost 20 years, Loop3 works with the finest artisans and craftsmen to ensure the highest standards are achieved on each of its projects. The company’s skilled team are renowned within the industry for working with the broadest range of wall finishes and materials, as well as for ensuring that beautiful products are installed professionally, meaning design and style is never compromised. Having built an excellent reputation based on its long-term, collaborative relationships with design-industry professionals, Loop3 is behind many exceptional private residences in some of London’s most sought-after postcodes. The firm’s technical expertise means its projects run smoothly and are delivered on time. Loop3 believes that the secret to a successful project – from conception to completion – lies in taking the time to thoroughly understand the design team’s brief at the early stages. The firm is keen on supporting its teams’ professional development in-house and is always up-to-date on the latest innovations, whether it’s materials, construction methods of best working practices. Given Loop3’s technical knowledge, clients can be sure they’re in safe – and fully compliant – hands. Recently completed projects include the refurbishment of an Academy Gardens apartment in Kensington, a period country residence in Godalming, and various residential and commercial refurbishments within the Chelsea Harbour waterfront area $ Loop3. Ring 020 7376 5300, or visit loop3.co.uk
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THE BOILING-WATER TAP WITH FLEXIBLE PULL OUT HOSE The Flex is Quooker’s latest innovation. The world’s first 100°C boiling-water tap, equipped with a flexible pull out hose for hot, cold and filtered cold water. Thanks to the boiling-water stop, the Flex cannot dispense boiling water when the hose is pulled out, making it 100% safe to use. Interested? Visit a dealer, go to quooker.co.uk or call 0345 833 3333 for more information.
10 ans 17 21 janvier 2019 Les rendezvous des éditeurs et créateurs de la décoration internationale The «rendezvous» of international interior designers and decoration editors
Paris Déco Off fête ses 10 ans du 17 au 21 Janvier 2019 Avec plus d’une centaine de maisons internationales en décoration, des animations inédites, pour célébrer cette décennie.
Paris Déco Off will celebrate its 10th anniversary from 17 to 21 January 2019 Showing over an hundred international interior design companies along with new events to celebrate a full decade.
www.paris-deco-off.com #pdo2019 Carole.Communication Carole Locatelli et Hughes Charuit organisation@parisdecooff.com presse@parisdecooff.com Carole.Communication +33 1 45 20 24 68
LUXU RY B ES PO K E WARD ROB ES & DRESSING ROOMS The Heritage Wardrobe Company has long been associated with high quality, luxur y fitted furniture for customers with discerning taste. Distinct, traditionally crafted designs blend with modern style to create a statement of elegance for bedrooms, dressing rooms and walk-in wardrobes. Please contact us for more information on our innovative wardrobe design solutions and personal design ser vice.
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Imagine the light 1965: Jean Perzel combines Fresnel lenses and bronze to magnify light. And so the legend began… Visit us in our showroom: 3 rue de la Cité Universitaire, 75014 Paris. Phone: 33 1 45 88 77 24 or discover our creations on www.perzel.fr/legende
Whatâ&#x20AC;&#x2122;s missing from an Albion bath? Excessive Weight. Our unique material is strong and durable, yet weighs around 1/3 of the cast iron equivalent. Shown is our brand new Torre Dee bath with a Polished Pewter exterior.
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network Sophia Salaman chooses the best merchandise and events over London Design Festival season
Florence-based Officine Gullo creates handcrafted kitchens, appliances and accessories. Customising the size, colour and finish to create unique commissions, it uses the finest materials, such as burnished copper, cast iron and forged metal, and professional-standard appliances. Officine Gullo, 570 King’s Rd, London SW6 (020 7036 1632; officinegullo.com).
This year Italian rug-maker Sahrai will be exhibiting at Decorex for the first time. Its collections include ‘Crosshatch’, which features designs by architects Marco Piva and Dordoni & Guillaumier. Each Sahrai piece is handmade using the finest wools and silks, creating a timeless work of art. Sahrai, 62-64 Brook St, London W1 (020 3887 4589; sahrai.com). Italian brand Porada has collaborated with Staffan Tollgard on a new furniture collection. ‘Archipelago’ comprises two coffee tables, a side table and a bench made of handworked wood, leather and ceramic detailing. The name was inspired by the islands of Stockholm. Porada, Design Centre Chelsea Harbour, London SW10 (020 3155 3065; porada.it).
To celebrate the launch of Lodha’s Lincoln Square apartments near Covent Garden, central London, Spanish designer Patricia Urquiola has created a limited-edition sand timer. Inspired by the last true luxury – time – just 30 have been produced, each signed, numbered and available from The Conran Shop (0344 848 4000; conranshop.co.uk).
This year marks the 70th anniversary of the Italian brand Smeg, which is known for bringing colour, pattern and style to kitchens – as well as a passion for Italian traditions. Pictured above is the ‘Victoria’ cooker in slate grey, which is also available in different widths and colourways. Smeg, 14 Regent St, London SW1 (0344 573 5573; smeg.com).
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network Sophia Salaman chooses the best merchandise and events worldwide
Swedish company Hästens has opened a new ‘sleep store’ in the town of Köping. The 852sq m space has been designed to foster a harmonious, relaxing atmosphere to ensure you choose the right bed for your needs. Visitors are even encouraged to take a nap if they want to. Hästens, 82 Ringvägen, 731 50 Köping, Sweden (00 46 221 72550; hastens.com).
This orangery from Westbury features solar reflective glass and automatic vents wrapped around a flat roof. The inside includes a seating area and transition zones. The use of natural brick on the fireplace wall, stone flooring and colourful soft furnishings bring it all together. Westbury. Ring 020 7091 9781, or visit westburygardenrooms.com.
Little Greene presents a new palette of colours inspired by National Trust houses and gardens across England, Wales and Northern Ireland. Its designers took their cues from George Bernard Shaw’s writing hut and Beatrix Potter’s farmhouse, among others. Little Greene, 3 New Cavendish St, London W1 (020 7935 8844; littlegreene.com).
To celebrate 250 years of the Royal Academy, Porta Romana created a unique installation for its new space. Hanging in the Shaw staircase are five urchin chandeliers, designed by Sarah Hills. This year also marks Porta Romana’s 30th anniversary. Porta Romana, Design Centre Chelsea Harbour, London SW10 (020 7352 0440; portaromana.co.uk).
Richard Ginori’s porcelain ‘Totem’ collection can be customised with a dedication, your favourite phrase or memory. The range consists of squirrels, penguins, monkeys, elephants and camels on trays, boxes, plates and change platters. Richard Ginori is available at Harrods, 87135 Brompton Rd, London SW1 (020 7730 1234; harrods.com). r
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Designer Matthew Williamson’s ‘Deya’ collection for Osborne & Little is named after a small coastal settlement on the Balearic island of Mallorca. Despite the area’s extensive literary pedigree, Williamson was inspired by the colourful plants and animals he saw in the hills around his house there. Osborne & Little, 304 King’s Rd, London SW3 (020 8812 3123; osborneandlittle.com).
This year’s Focus at Design Centre Chelsea Harbour will feature an immersive, colourful installation by Moritz Waldemeyer. Experimentation and interaction are the key here, with LED technology lighting up a 12m walkway to resemble a kaleidoscope. Focus runs at Design Centre Chelsea Harbour, London SW10, 16-21 Sept. For opening times, ring 020 7225 9166, or visit dcch.co.uk $
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1 ‘Adelaida 5486’, by Gastón & Daniela, £248.80; 2 ‘Ikat 5542’, by Gastón & Daniela, £184.60; both Abbott & Boyd. 3 ‘Manu 40880513’, £78.30, Casamance. Prices are per m and include VAT
AUTUMN SHOWS 100% DESIGN OLYMPIA LONDON, HAMMERSMITH RD, LONDON W14 19-22 Sept.
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Open to the public on 22 Sept, 10-5. Tickets £15. For details, ring 020 3225 5200, or visit 100percentdesign.co.uk. DECOREX INTERNATIONAL 2018 SYON PARK, BRENTFORD, MIDDX TW8 8JF 16-19 Sept. Open to the public on 18 Sept, 10-7. Tickets from £15. For details, ring 020 7921 8166, or visit decorex.com. FOCUS/18 DESIGN CENTRE CHELSEA HARBOUR, LONDON SW10 16-21 Sept. Open to the public on 19-21 Sept, 10-6. For details, ring 020 7225 9166, or visit dcch.co.uk. LONDON DESIGN FESTIVAL 15-23 Sept incorporates 100% Design, Decorex International 2018, London Design Fair, Design Junction, a design programme at the V&A and other satellite events. For details, ring 020 7242 6022, or visit londondesignfestival.com. A selection of individual events is also listed on pages 208-216.
1838 Wallcoverings. Ring 01254 397631, or visit 1838wallcoverings.com. 4Spaces, 45 Breitensteinstrasse, CH-8037 Zurich (00 41 43 366 89 45; 4spaces.ch). 8 Holland Street, London W8 (020 7430 0150; 8hollandstreet. com). $ Abbott & Boyd. Ring 020 7351 9985, or visit abbottandboyd. co.uk. Ailanto. Ring 020 7460 9553, or visit ailantodesign.com. $ Altfield,
www.astonmatthews.co.uk online and in-store London and Guildford islington@astonmatthews.co.uk
020 7226 7220 guildford@astonmatthews.co.uk
01483 478826
Design Centre Chelsea Harbour, London SW10 (020 7351 5893; altfield. com). $ Amy Kent. Ring 07979 594651, or visit amykent.co.uk. Another Brand. Ring 020 7738 2424, or visit anotherbrand.co.uk. $ Another Country, 18 Crawford St, London W1 (020 7486 3251; anothercountry. com). $ Arte, Design Centre Chelsea Harbour, London SW10 (0800 500 3335; arte-international.com). $ Arteriors, Design Centre Chelsea Harbour, London SW10 (020 7929 8015; arteriorshome.com). $ Artisans of Devizes, Design Centre Chelsea Harbour, London SW10 (01380 720007; artisansofdevizes.com). Balineum. Ring 020 7431 9364, or visit balineum.co.uk. $ Beaumont & Fletcher, 261 Fulham Rd, London SW3 (020 7352 5594; beaumontandfletcher.com). Bennison, 16 Holbein Place, London SW1 (020 7730 8076; bennisonfabrics.com). r
since 1823 KEY TO ADDRESS BOOK $ Decorex $ Focus
I NSTAL L | ADV ISE | PR O CUR E | CO N ST R UC T | DE COR ATE | MA N AG E
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DESIGN CENTRE STUDIOS CHELSEA
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The Man in Black strikes again. 1 ‘Studio Linen LCF67815F’, £159, Ralph Lauren Home. 2 Raven ‘Tammaro’, £42, Designers Guild. 3 ‘Sausalito Stripe LFY68332F’, £303, Ralph Lauren Home. 4 Cocoa ‘Tammaro’, £42, Designers Guild. Prices are per m and include VAT $ Besselink & Jones, Design Centre Chelsea Harbour, London SW10 (020
Thermostatic Shower Valve Design Centre | Chelsea Harbour landmark-collection.co.uk | Made in England
7351 4669; besselink.com). Blithfield, Design Centre Chelsea Harbour, London SW10 (020 7460 6454; blithfield.co.uk). Boffi, 254 Brompton Rd, London SW3 (020 7590 8910; boffiuk.com). $ Bronzino. Ring 020 7370 4344, or visit bronzino.co.uk. Brook Perdigon Textiles. Visit brookperdigontextiles.com. Caravane. 38-40 New Cavendish St, London W1 (caravane.fr). $ Casamance, Design Centre Chelsea Harbour, London SW10 (020 7351 1299; casamance.com). Christopher Farr Cloth, 15 Lots Rd, London SW10 (020 7349 0088; christopherfarrcloth.com). Christopher Guy. Ring 020 3397 2410, or visit christopherguy.com. Christopher Moore. Visit thetoileman.com. $ Cole & Son, Design Centre Chelsea Harbour, London SW10 (020 7376 4628; cole-and-son.com). $ Colefax & Fowler. Ring 020 8874 6484, or visit colefax.com. $ Colony. Design Centre Chelsea Harbour, London SW10 (020 7351 3232; colonyuk. com). The Conran Shop, 81 Fulham Rd, London SW3 (0844 848 4000; conranshop.com). Dana Finnigan. Ring 01416 286575, or visit danafinnigan. com. $ Davidson, Design Centre Chelsea Harbour, London SW10 (020 7751 5537; davidsonlondon.com). $ De Le Cuona, 44 Pimlico Rd, London SW1 (020 7584 7677; delecuona.com). $ $ Decca, Design Centre Chelsea Harbour, London SW10 (020 7352 9578; deccalondon.com). $ $ Dedar, Design Centre Chelsea Harbour, London SW10 (020 7351 9939; dedar.com). Designers Guild, 267-277 King’s Rd, London SW3 (020 7351 5775; designersguild.com). $ Drummonds, 642 King’s Rd, London SW6 (020 7376 4499; drummonds-uk.com). $ Evitavonni, Design Centre Chelsea Harbour, London SW10 (0800 130 3180; evitavonnilondon. com). The Fabric Collective, 9 Langton St, London SW10 (020 7384 2975; thefabriccollective.com). Farrow & Ball. Ring 01202 876141, or visit farrow-ball.com. $ Flexform, Design Centre Chelsea Harbour, London SW10 (020 7376 3020; flexform.it). Flock. Ring 07756 594091, or visit flock.org.uk. $ Fox Linton, Design Centre Chelsea Harbour, London SW10 (020 7368 7700; foxlinton.com). Frenchy Furniture, 46 Queenstown Rd, London SW8 (020 7622 9786; frenchyfurniture.com). Fritz Hansen, 13 Margaret St, London W1 (020 7637 5534; fritzhansen.com). $ Fromental, Design Centre Chelsea Harbour, London SW10 (020 3410 2030; fromental.co.uk). $ Gallotti & Radice, Design Centre Chelsea Harbour, London SW10 (020 7351 1384; gallottiradice.com). r KEY TO ADDRESS BOOK $ Decorex $ Focus
Bringing a touch of elegance to the city The unique purity of Hildon Natural Mineral Water, along with our distinctly designed bottle has made us stand out from the crowd of competitors since 1989. Our customers donâ&#x20AC;&#x2122;t compromise on quality. They know they will always enjoy the same exquisite taste in every single bottle.
By Appointment to Her Majesty The Queen Supplier of Natural Mineral Water Hildon Ltd, Hampshire
www.hildon.com
ADDRESS
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1 Pewter ‘Boucle’, £168, Evitavonni. 2 Spruce/jet ‘Pastiche’, by Kelly Wearstler for Lee Jofa, £179, GP&J Baker. 3 ‘William 412704-53’, £57.20, Casamance. Prices are per m and include VAT $ George Spencer Designs, Design Centre Chelsea Harbour, London SW10
ORANGERIES | GARDEN ROOMS CONSERVATORIES | OAK BUILDINGS Call for a complimentary design consultation or visit our Chelsea showroom
01278 764444 davidsalisbury.com
(020 7584 3003; georgespencer.com). $ Gladee Lighting, Design Centre Chelsea Harbour, London SW10 (020 3632 5757; gladee.co.uk). GMR Interiors, Design Centre Chelsea Harbour, London SW10 (020 7352 1079; gmr-interiors.com). $ GP&J Baker. Design Centre Chelsea Harbour, London SW10 (01202 266700; gpjbaker.com). Graham & Green. Ring 020 8987 3752, or visit grahamandgreen.co.uk. Guy Goodfellow Collection, 15 Langton St, London SW10 (020 7352 9002; guygoodfellowcollection.com). Habitat. Ring 0344 499 4686, or visit habitat.co.uk. Hamilton Weston Wallpapers. Ring 020 8940 4850, or visit hamiltonweston.com. Harrods. Ring 020 3626 7020, or visit harrods.com. Heal’s. Ring 03332 121915, or visit heals. com. $ Hermès, 155 New Bond St, London W1 (020 7499 8856; uk.hermes. com). House of Hackney, 131 Shoreditch High St, London E1 (020 7739 3273; houseofhackney.com). Hugues Chevalier, 134 Boulevard Haussmann, 75008 Paris (00 33 1 56 88 50 70; hugueschevalier.com). Ian Sanderson. Ring 01635 33188, or visit iansanderson.co.uk. $ Iksel, Design Centre Chelsea Harbour, London SW10 (020 7351 4414; iksel.com). $ J. Robert Scott, Design Centre Chelsea Harbour, London SW10 (020 7376 4705; jrobertscott. com). Jamb, 95-97 Pimlico Rd, London SW1 (020 7730 2122; jamb.co.uk). $ Jensen Beds, Design Centre Chelsea Harbour, London SW10 (020 3914 1262; jensen-beds.co.uk). Julia Boston Antiques, 588 King’s Rd, London SW6 (020 7610 6783; juliaboston.com). $ Julian Chichester, Design Centre Chelsea Harbour, London SW10 (020 7622 2928; julianchichester.com). Korla. Ring 020 7603 7498, or visit korlahome.com. Labour and Wait, 85 Redchurch St, London E2 (020 7729 6253; labourandwait.co.uk). Laufen. Ring 01530 510007, or visit laufen.com. Lee Broom, 95 Rivington St, London EC2 (020 7820 0742; leebroom.com). Lema, 183 King’s Rd, London SW3 (020 3761 3299; lema-uk.com). $ Lewis & Wood, Design Centre Chelsea Harbour, London SW10 (020 7751 4554; lewisandwood. co.uk). Linwood. Ring 01425 461176, or visit linwoodfabric.com. $ Lizzo, Design Centre Chelsea Harbour, London SW10 (020 7823 3456; lizzouk. co.uk). $ The Looking Glass of Bath, 93-95 Walcott St, Bath BA1 5BW (01225 461969; lookingglassofbath.co.uk). Maharam. Ring 001 800 645 3943, or visit maharam.com. Marianna Kennedy, 3 Fournier St, London E1 (020 7375 2757; mariannakennedy.com). $ Marvic, Design Centre Chelsea Harbour, London SW10 (020 7352 3119; marvictextiles. co.uk). r KEY TO ADDRESS BOOK $ Decorex $ Focus
Drawing by Ronan Bouroullec.
London Regent’s Park 4–7 October 2018
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Marta strikes a pose. 1 ‘Les Vues de Paris 6203-1’, £64, Marvic. 2 Raspberry ‘Vintage Check Linen’, by Inchyra, £98, The Fabric Collective. Prices are per m and include VAT $ McKinnon & Harris, Design Centre Chelsea Harbour, London SW10 (020 7349 9085; mckinnonharris.com). Molly Mahon, Chaffinch Studio, Highgate Works, Tomtits Lane, Forest Row, E. Sussex RH18 5AT (01342 825700; mollymahon.com). $ The Nanz Company, Design Centre Chelsea Harbour, London SW10 (020 3300 0099; nanz.com). Nicholas Herbert, 118 Lots Rd, London SW10 (020 7376 5596; nicholasherbert.com). Nicky Rising, 8625 Melrose Ave, West Hollywood, CA 90069 (001 310 289 1385; nickyrising.com). $ Nina Campbell, Design Centre Chelsea Harbour, London SW10 (020 7352 9518; ninacampbell.com). $ Nobilis. Ring 020 8767 0774, or visit nobilis.fr. Objects of Use, 6 Lincoln House, Market St, Oxford OX1 3EQ (01865 241705; objectsofuse.com). Ochre, 46-47 Britton St, London EC1 (020 7096 7372; ochre.net). $ Officine Gullo, 570 King’s Rd, London SW6 (020 7036 1632; officinegullo.com). Oficina Inglesa, Design Centre Chelsea Harbour, London SW10 (020 7226 4569; oficinainglesa. com). Oka. Ring 0333 004 2042, or visit oka.com. Osborne & Little, 304 King’s Rd, London SW3 (020 8812 3123; osborneandlittle.com). $ Paint and Paper Library. Ring 0845 880 5844, or visit paintandpaperlibrary. com. $ Paolo Moschino for Nicholas Haslam, 10-14 Holbein Place, London SW1 (020 7730 8623; nicholashaslam.com). Pentagon Tiles, 45-49 Leather Lane, London EC1 (020 3668 1555; pentagontiles.com). Pentreath & Hall, 17 Rugby St, London WC1 (020 7430 2526; pentreathhall.com). $ $ Phillip Jeffries, Design Centre Chelsea Harbour, London SW10 (020 7351 3333; phillipjeffries.com). $ Pierre Frey, Design Centre Chelsea Harbour, London SW10 (020 7376 5599; pierrefrey.com). $ Poliform, 278 King’s Rd, London SW3 (020 7368 7600; poliformuk.com). $ Porada, Design Centre Chelsea Harbour, London SW10 (020 3155 3065; porada.it). $ Porta Romana, Design Centre Chelsea Harbour, London SW10 (01420 23005; portaromana.com). Ralph Lauren Home. Ring 020 7535 4600, or visit ralphlaurenhome.com. Re. Ring 01434 634567, or visit re-foundobjects.com. $ Richard Taylor Designs, Design Centre Chelsea Harbour, London SW10 (020 7351 2567; richardtaylordesigns. co.uk). Robert Kime, 190-192 Ebury St, London SW1 (020 7831 6066; robertkime.com). $ Romo, Design Centre Chelsea Harbour, London SW10 (01623 756699; romo.com). Rosebank Fabrics. Ring 020 7603 7498, or visit rosebankfabrics.com. $ Rubelli/Donghia, Design Centre Chelsea Harbour, London SW10 (020 7349 1590; rubelli.com). r
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TERRA FIRMA GLAZED BRICKS
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Hand-knotted limited-edition rugs
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1 ‘Shikhara FDG2823-01’, £69, Designers Guild. 2 ‘Talavera F7242-01’, by Matthew Williamson, £64, Osborne & Little. 3 Red ‘Fig’, by Fanny Shorter, £105, Guy Goodfellow Collection. Prices are per m and include VAT
Rupert Bevan, 11 Lonsdale Rd, London NW6 (020 7731 1919; rupertbevan. com). $ $ Samuel & Sons, Design Centre Chelsea Harbour, London SW10 (020 7351 5153; samuelandsons.com). Sandberg. Ring 00 46 321 531660, or visit sandbergwallpaper.com. SDS, 183-189 Northcote Rd, London SW11 (020 7228 1185; sdslondon.co.uk). $ Serdaneli, 19 Ave de Friedland, 75008 Paris (00 33 1 41 17 01 70; serdaneli.fr). Sibyl Colefax & John Fowler, 89-91 Pimlico Rd, London SW1 (020 7493 2231; sibylcolefax.com). Soane Britain, 50-52 Pimlico Rd, London SW1 (020 7730 6400; soane.com). $ Stark Carpet, Design Centre Chelsea Harbour, London SW10 (020 7352 6001; starkcarpet.co.uk). $ Style Library. Ring 020 3457 5862, or visit stylelibrary.com. Susan Deliss. Ring 07768 805850, or visit susandeliss. com. $ Sutherland Perennials Studio, Design Centre Chelsea Harbour, London SW10 (020 3904 6904; sutherlandfurniture.com). Svenskt Tenn,
5 Strandvägen, 11451 Stockholm (00 46 8670 1600; svenskttenn.com). Tatiana Tafur, 572 King’s Rd, London SW6 (020 7731 3777; tatianatafur. com). $ THG Paris, 4 Pont St, London SW1 (020 7838 7788; thg-paris. com). $ Thibaut, Design Centre Chelsea Harbour, London SW10 (020 7351 6496; thibautdesign.com). Tindle Lighting, 162 Wandsworth Bridge Rd, London SW6 (020 7384 1485; tindle-lighting.co.uk). $ Tissus d’Hélène, Design Centre Chelsea Harbour, London SW10 (020 7352 9977; tissusdhelene.co.uk). Tom Faulkner, 78-79 Lots Rd, London SW10 (020 7351 7272; tomfaulkner.co.uk). $ Turnell & Gigon, Design Centre Chelsea Harbour, London SW10 (020 7259 7280; turnellandgigon.com). $ $ Vaughan, Design Centre Chelsea Harbour, London SW10 (020 7349 4600; vaughandesigns.com). $ Waterworks. Ring 020 7384 4000, or visit waterworks.com. $ $ Watts of Westminster, Design Centre Chelsea Harbour, London SW10 (020 7376 4486; watts1874.co.uk). $ Whiteworks, Guy Goodfellow Collection, 15 Langton St, London SW10 (020 7352 9002; whiteworksgroup.co.uk). Wicklewood. Ring 020 7460 6493, or visit wicklewood.com. $ William Holland, Lewell Barn, Lower Lewell Farm, West Stafford, Dorset DT2 8AP (01305 251930; williamholland.com). Yves Delorme, 158 Walton St, London SW3 (020 7589 4033; yvesdelormeparis.com). $ Zimmer & Rohde, Design Centre Chelsea Harbour, London SW10 (020 7351 7115; zimmer-rohde.com). Zinc Textile. Ring 01623 756699, or visit zinctextile. com. Zuber, 67 Pimlico Rd, London SW1 (020 7824 8265; zuber.fr) $ KEY TO ADDRESS BOOK $ Decorex $ Focus
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Diana, the hunter, stands in front of the Escalier Montpensier, the staircase named after the duchess that installed it in the 1650s. It was in a sorry state when Michel bought the place. He restored it in 1989
TWIST OF FETE Scouring the country for a ruin to renovate, the Guyot brothers actually discovered Saint-Fargeau, a deserted château in central France, while watching a programme on TV. To fund the necessary works, they then had a wild idea: staging a take on a public pageant, with 60 horses and ten times as many actors narrating the castle’s 1,000 years. The risk paid off – and then some, as its beautifully appointed rooms attest. Text and photography: Tim Beddow
des Forts family, who had bought the castle in 1713 and who undertook to make good and pay for the terrible damage. Then, a hundred years later, the château was struck by lightning and set on fire again. Luckily, the flames were contained in time. The Boisgelin family, descendants of the Peletiers, later passed the estate on to Jacques Anisson du Perron, whose only daughter, Marie, married André Lefèvre, Marquis d’Ormesson, in 1920. The family stayed in residence until the late 1960s. It was the Guyot brothers’ intention to bring the château back to life – and, of course, it had to pay for itself. And so, for the first time in the building’s history, they opened it up to visitors. At first there was not much to see, apart from the structure itself and its many empty rooms, for only the curtains – decorated with lions and unicorns – and a billiard table had been left behind by the previous inhabitants. Nevertheless, people were curious to discover what was here. The brothers worked day and night, living for the first six months in the entrance lodge. It was here they conceived the idea of a historic ‘spectacle’, using the
château as a backdrop, tracing a millennium of the castle’s history with 600 actors, 60 horses and thousands of costumes from different periods. It was an immediate success, and brought in enough revenue to fund the restoration work and to buy furniture and objets to decorate the salons. ‘Neither Jacques nor myself quite knew where we were going at the beginning, but our mixture of passion and obsession just drove us on,’ says Michel. ‘When I have a vision, I’m the first to admit it is all I can think about and I can become a bit unbearable!’ Many see this life of recreating the splendour at SaintFargeau as a privileged dream, but really it’s a story of dedication and hard work. Come November, the château closes its doors until March, allowing the family to take stock and enjoy life on their own. Michel believes that these old houses must be used and fully occupied for their spirit to survive. ‘Yes, it was a risk taking this on,’ he says, ‘but in the words of the poet Pablo Neruda: “Live today! Risk today! Do not stop being happy!”’ $ Château de Saint-Fargeau, 89170 Saint-Fargeau, France. For opening times, ring 00 33 3 86 74 05 67, or visit chateau-de-st-fargeau.com
Top: the Pope’s Room got its name after a visiting apostolic nuncio – a friend of the D’Ormesson family – stayed in here. He went on to lead the Catholic church as John XXIII. Above: the bed, carved by local carpenters, faces a breakfast room. Opposite: the card room next door is part of a suite located in the Treasury Tower, overlooking the park. Today, guests can stay in this location
Seen here in the open-plan master bedroom and bathroom are a roll-top bath and fourposter bed. ‘I’m quite traditional,’ says Georgia May Jagger. ‘I’m not into the super-modern’
GIMME SHELTER A jet-setting model since her teenage years, Georgia May Jagger had long aspired to put down permanent roots. Now, with the help of friend and interior designer Jane Ormsby Gore, she has realised her dream, in a house dotted with personal mementoes and informed by youthful memories of her parentsâ&#x20AC;&#x2122; own properties. Laura Freeman has the whole thing covered. Photography: Fritz von der Schulenburg
Top left: the loo (far left) lies behind a mirrored door and screen with hand-painted foliate designs by Mathew Bray & Matthew Collins. Top right: Braquenié’s ‘Le Grand Genois’ curtains hang in the master bedroom. Above left: Georgia May’s bed was designed by JR Design. Above right: a photo of Georgia May hangs in the ‘watermelon room’, named for its Harlequin ‘Makrana’ wallpaper. Opposite: the ‘Purple Rain’ dressing-room is painted in Dulux ‘Velvet Ribbon 2’ gloss. The starry boots were once Georgia May’s mother, Jerry Hall’s
Left: the drawing-room sofas are by George Sherlock. ‘My parents have had theirs for 20 years. They get better with age.’ Top: the sun room features Designer Wallcoverings’ ‘Brazilliance Banana Leaf and Grape’ wallpaper. The windows overlook the garden, where Georgia May grows vegetables. Above: in the same room are dreamcatchers, Chinese lanterns and a cuddly Minnie Mouse
This page, clockwise from top left: Gerratts supplied the bespoke coloured stair carpet for this slim-as-a-supermodel 19th-century terrace; Georgia May’s friends autograph the polka dots (a bespoke pattern by Surface View) of the downstairs loo; the delft tiles in the kitchen are a mix of originals and replicas by Douglas Watson Studio; the laundry room has ‘Rouge Cardinal’ gloss walls by Pyrolave. Opposite: a corner of the basement kitchen. ‘I cook all the time,’ says Georgia May. ‘I’ve just taught myself to make a béchamel sauce’
GEORGIA MAY Jagger is back from LA. In the lapis-blue kitchen of her London town house on a square with June roses in bloom, she nurses a long coffee. Her two puppies, Dr Pepper and Gizmo, and rescue dog Edith are squabbling. They, too, are just off the red-eye. ‘Home’ has a particular resonance for Georgia May, who has been travelling and modelling since she was 16. New York, Paris, Milan. Tokyo, Mexico City, Cannes. On the red carpet, the catwalk, in front of flashbulbs and cameras, this house – the promise of it – was always her inspiration. She has been keeping ‘tear sheets’ for inspiration since she was 12. As a teenager, she used to lie awake in bed on the other side of the world and dream about paint colours. ‘All the money I had been saving up for a long time…’ she says. ‘It was a scary thing to pull the trigger and buy.’ Her aim was true. ‘The day that I moved in, I was so happy, I was literally hugging the house.’ It is a very huggable house: warm, bright, welcoming, utterly unprecious. After only a year, it is loved and lived in. Behind a decorous white-stucco façade, the rooms are a carnival of colour. She has an eye for the madcap and the miniature. She is a ceaseless collector. A relentless one, her mother, Jerry Hall, would argue. ‘My mum used to hate my collecting snow globes and bits of tat,’ says a rueful Georgia May. ‘Am I supposed to be a warehouse?’ Hall would say in mock outrage. Her four children – Lizzie, James, Georgia May and Gabriel – still store their belongings at the family home in Richmond. Georgia May’s is an eccentric collection, but not a tatty one. Hers is a millennial Wunderkammer, a cabinet of insta-curiosities. Day of the Dead ephemera from Mexico jostle for mantelpiece space with Japanese oddities. Georgia May is drawn to ‘small things’. Pinned beetles and bugs. Crystals from Colombia. A tiny silver mug from her christening. Kinder Egg toys. Hello Kitties. Frida Kahlo medallions. Model hands from markets in China. Bits and bobs from Glastonbury. A framed cornflower fairy from childhood. A zebra painted by her sister. Her own art-school photographs. Troll dolls with wild, back-combed hair. Georgia
May had her own hair cut last night – she is co-founder of the hair colourist Bleach London – and today she looks out anxiously under a new fringe for approval from Jane Ormsby Gore, founder of JR Design, who guided her through the works on the house. ‘I’ve known Jane my whole life,’ says Georgia May. It was Jane who oversaw the decoration of the house in Richmond. This narrow terrace on a bend in the square was formerly owned by a politician. The bedroom was in the basement. The kitchen was a ‘rather interesting’ black. And the rest of the house ‘was all painted a sort of lavendery colour’. ‘It’s completely different now,’ says Georgia May. ‘There’s not one single tap or toilet that’s the same.’ If black and lavender were out, so too were the tediously tasteful neutrals of international hotel rooms. ‘I was very much not keen on anything in the house being beige,’ says Georgia May with a smile. ‘I like poppy colours. Jewel tones. I’m not very into pastels at all.’ Her wall colours, she admits, are much bolder than the colours she wears. Today, she is in black jeans and a piratical red-and-white striped T-shirt. The sun room, which looks over the back garden where Georgia May grows kale, runner beans, herbs and strawberries, ‘has every colour of the rainbow in it’. A red Minnie Mouse soft toy suns herself on the bench. ‘I did a photo shoot with Minnie,’ explains Georgia May, ‘and that was one of the gifts.’ Miss Mouse, it turns out, is a prima donna. ‘It was very funny. I wasn’t allowed to talk to “Minnie” directly. I was only able to talk to her handlers. ‘A lot of the colours come from my parents’ houses. They were things I’d really loved to look at my whole life.’ The dusky walls in the ‘grown-up’ sitting room match those of Mick Jagger’s house in France. ‘It’s where I went every summer, so I think of it as a really “homey” colour.’ Her bedroom curtains are the same ‘Tree of Life’ pattern by Braquenié that decorate Hall’s dressing room at Richmond. ‘It’s where we always used to hang out and have chats, so they remind me of her.’ The guest bedroom is ‘malachite with a bit of sparkle. We call it the “watermelon room”.’ The cloakroom is papered in red and white polka dots. Every time a friend visits, she asks them to sign their name in a dot. Polaroid pictures of friends pulling daft faces cover the walls. ‘The idea came from Ronnie Wood’s bathroom. They had a room of all the funny newspaper stories that had been written about the Stones over the years. All the silly stories that weren’t true.’ At the very top of the house is a glorious surprise. ‘I was torn between two ideas,’ says Georgia May. ‘I wanted to make it Moroccan, like a tiled hammam, and also like a shell grotto. It was always one of my fantasies to have a mermaid room.’ With her long, loose, sun-blonde hair, she looks the part. There are fossils set into the floor and starlights in the ceiling. Her dressing-room – ‘The best cupboard in the world,’ jokes Jane – is deep purple. ‘It’s my favourite colour,’ says Georgia May. ‘I’m obsessed with Prince, so I describe this as “Prince Purple”.’ (Think: ‘Purple Rain’.) The rails are hung to bursting. ‘I have to force myself to get rid of things.’ Some dresses are too special to part with. ‘Old things of my mum’s, the gown I wore to the Met Ball.’ She strokes a sleeve of the silk kimono chosen for her by Alessandro Michele, director of Gucci. ‘When I have children, I might have to convert the walk-in closet,’ she muses. Jane is teasingly appalled. ‘No! Absolutely not!’ How long will she stay here? Five years? Ten years? She doesn’t hesitate. ‘Forever’ $ To contact JR Design, ring 020 7221 9048, or visit jrdesign.org
Top: the attic steam room, created by restorer Katherine Lloyd, took inspiration from the grottoes, follies and shell houses popular in Europe during the 18th century. Opposite: the green-hued basement bathroom has antiqued glass installed by Dominic Schuster
A TIME TO TAKE STOCK Jamb co-founder Will Fisher has a passion for acquiring new pieces, but his antiques and reproductions rapidly filled up the company’s original warehouse. Cache-rich but increasingly space-poor, they had to adapt. Now, a former tank factory has been transformed into a spacious repository and second showroom. Sophie Barling wonders just what’s in store. Photography: Simon Upton
Left: Jamb’s copper ‘Apsley’ dish lights hang in Will’s office. The flooring is made out of Dutch cheesemakers’ boards, used to mature the rounds. The chairs – made for the old Reading Room at the British Museum – adjoin a George III library table. Top: this early 19th-century wood-andpaper model of York Minster sits in its original mahogany-and-glass case
Left: the pine floorboards of the antiques mezzanine were reclaimed from Dutch canal houses. Both the mirror and mantelpiece are 18th-century Palladian. Top: this Cuban-mahogany door came from writer Elizabeth Bowenâ&#x20AC;&#x2122;s family home. Above: a view of the second mezzanine, with antique fire surrounds, a Victorian marble column and 17th-century figures
WILL FISHER
has just confessed to yet another cache of antiques squirrelled away somewhere. His wife, Charlotte Freemantle, responds to this news with impressive composure and only a mild expletive. The question of storage is something of a leitmotif when you talk to the couple about their fireplace and lighting business, Jamb, and its sister company, Hawker Antiques. There was a perilous lack of it in 2001, when Will left valuable stock in a London alleyway while he went to Thailand for Christmas. ‘Luckily it snowed, which concealed the boxes quite a bit, so nothing was nicked – that would have been catastrophic.’ Then, when Charlotte joined him in Fulham a couple of years later, ‘we had one container outside that held our entire stock,’ she says. ‘And of course,’ Will adds, ‘everyone would always want the fireplace that was at the very back of the container.’ Many storage solutions down the line, each one larger than before, and it’s clear that containing Will himself is the real problem. ‘The part of the job every antique dealer lives for is acquiring,’ he explains. ‘That’s where the ultimate fun is had.’ And boy, has he had fun. So much so that their latest solution is a hangar of a warehouse on the edge of London, formerly used for the construction of army tanks. The move to Mitcham from their previous warehouse came just in time, at the point ‘where the seams really broke’, says Charlotte. ‘When we got it just over a year ago, Will said we were going to have to find someone to rent half of it; now we’ve got our Italian warehouse manager, Alex, crying every day trying to work out where to fit yet more stuff.’ This being Jamb, we’re not talking about just any old stuff. Around us in their Pimlico Road gallery, splendid antique and reproduction chimney pieces rub shoulders with mahogany cabinets full of natural-history specimens; Neoclassical busts stare down a taxidermied mandrill crouching on a marbletopped Georgian console; the stately and the curious abound – and there’s plenty more where that came from. Charlotte estimates it took Will and his team nearly two weeks to transport crates and crates from the old Wandsworth warehouse to Mitcham (and this all acquired since 2012, when Will sold off pretty much everything he owned in a sale at Christie’s). They drove back and forth at night to avoid daytime traffic ‘in huge, 18-wheel lorries’, says Will of this Herculean task. ‘It really was quite exciting, and the camaraderie of it all…’ The new home for this ‘gear’, as Will refers to it, has also provided a crucial second showroom. ‘People think asking to look at seven particular antique fireplaces is just like trying on hats,’ says Charlotte. ‘But it would take us a whole day to bring them out and stand… We’ve probably got 250 antique mantels, and suddenly with this new space we’re able to stand 70 of them at one time.’ Typically, adds Charlotte, ‘before we were able to make sense of these hundreds of chimney pieces, Will decided the priority was to build himself a really nice office – which I’m yet to see him sit in; and then a really beautiful mezzanine for all his antique furniture. But then, of course, it’s now the nicest part of the warehouse.’ As we leave Belgravia for Mitcham to see all this in the flesh, Charlotte issues a mysterious warning: ‘Don’t let Will get side-tracked – he’ll want to buy you curry goat.’ Forty minutes or so later, we’re on the terrace of Jamb’s new industrial-estate hangar, Mitcham’s finest curry goat on the table. It seems pleasant enough out here already, but Will is
Top: sitting on a lift used to move furniture up to the mezzanine, a carved-mahogany George II side table is flanked by a George II mirrored cabinet (left) and an early George III burr-yew chest on chest, right. Above: in the warehouse space, palettes are labelled with unique codes. Each holds the components of an antique or reproduction chimney piece. Opposite: to the right is one of a pair of 19th-century caryatids, copies of those on the Acropolis’s Erechtheion
‘desperate to put in Crittall windows. And I want to make an outdoor gym – wouldn’t that be great?’ Now back inside, his Edwardian-style office is furnished with the antiques and glasscased curios – stuffed miniature dogs, cathedral models – that are very much Jamb’s bag. Elegant glazing divides this room from the rest of the office (‘I wanted a bit of Peaky Blinders), where staff work at computers on a pair of enormous desks by Gillows. They’re the only thing here Will wouldn’t part with. ‘It would be a bit like selling the dining table two days before Christmas, which is what my childhood mentor, Warner Dailey (WoI Sept 1998), did.’ Downstairs, we walk through a series of specially built machine rooms and workshops, where Jamb’s craftsmen are noisily cutting stone and marble slabs for chimney pieces. Intersected by industrial pipework, the walls around them are a patchwork of plaster friezes, capitals and columns – all the decorative elements that might make up the chimney piece of a client’s choosing. ‘We’ll take a cast off each original antique fireplace we have,’ Will explains, ‘so we’ve got all the detail, and then a reproduction can be hand-carved from that at a later date.’ They keep a large stock of different marbles – gorgeous varieties such as Breche Violette and Occhio di Pavone, the results of ‘marble-hunting mini-breaks to Italy with the guys – so that customers can take their pick’. Another corner of the building houses the lighting workshop, where antique lanterns and wall lights are either reproduced faithfully or remade and resized. ‘Everything we do,’ says Will, ‘has an eye back to tradition, to the past; so we’re not reinventing the wheel, we’re just trying to make the perfect product, I suppose; if one can’t find the original antique then to idealise what one would dream of finding… I think there’s a real pleasure in doing things that aren’t so easy to do. It’s probably not so commercially viable but it’s more fun.’ Two mezzanine spaces above the workshops have become showroom areas. The first is for their antique chimney pieces, several of them monumental, baroque examples that are too large for the Pimlico Road gallery. An old crane hook from the tank-building days looms overhead, looking ready to snare one of Jamb’s classical statues. The second is for antique furniture, and doubles as a photographic studio with a working fireplace around which decorative scenes can be staged. Where images of fires and burnt logs are concerned, only the real thing will do: Will once travelled to his parents’ house in Kent just to have a fire and bring the cinders back to London for a photo shoot – a mission that involved his car bursting into flames. Perhaps the most awe-inspiring aspect of all this, however, is the main storage space. Row upon row of packing cases tower above our heads, reminiscent of the final scene from Raiders of the Lost Ark, when the precious but lethal treasure is deposited among thousands of identical wooden boxes, surely never to be found again. For now, however, order has been imposed on the results of Will’s ‘six years of crazed buying’. Cases have been carefully labelled – N for Neoclassical, G for Georgian, I for Italian and so on. But there’s still a door he opens and rapidly shuts against its teetering contents, muttering about a ‘chamber of hell’. As the song almost goes, how do you solve a problem like Will Fisher? $ Jamb, 95-97 Pimlico Rd, London SW1 (020 7730 2122; jamb.co.uk)
Top: a slab of Breche Violette marble is on the saw, while slabs of Derbyshire fossil from the Chatsworth estate sit on palettes. Above: in the lighting workshop, Jamb’s ‘Delaval’ lantern is being finished with an antique brown-bronze effect with gilt highlights. Opposite: the classical plaster casts are taken from antique chimney pieces and are used for reference. ‘The thing with chimney pieces is,’ says Will, ‘lots of the elements are interchangeable’
COUNTRY FOLK
Surrounded by the fields and pasture of Surrey, Mary Wondrauschâ&#x20AC;&#x2122;s cottage bore affectionate witness to her love of traditional arts and crafts. A ceramic artist and authority on 17th-century slipware, she enlivened the walls of her rural home with stencilled wheat patterns and a rich colour scheme redolent of traditional canal longboats â&#x20AC;&#x201C; all augmented by her own hand-decorated earthenware, as she writes here. Photography: Liesa Siegelman. First published: May 1988
Maryâ&#x20AC;&#x2122;s pottery taken and had been showroom, shown to the mower and friend the left, is housed in a of the family for converted garage. 28 of them. Here, Emmie the donkey she seems to have was 33 years old been outpaced by when this photo was the front garden
IN A SENSE my first meeting with Brickfields
in 1955 was anything but perfect. With two children under two years old and another on the way, I approached country life with fear and in isolation. Never having lit a fire, held an axe or dug a spit, I learned these skills slowly as I also began again to paint and to exhibit. There was no money and very little time to spend on decoration in the early years, but when all the children had gone I began to put into the house the love and attention that previously they had absorbed. The dark-red drawing-room ceiling was inspired by a visit I made to Bruges; stencils in ochre and beige adorned cornice and architrave. The rooms changed their function as well. The nursery, which had become a playroom, then the snug and once again a bedroom, was now at last my study. I discovered it was possible to buy worn Persian rugs reasonably and that unfashionable furniture could be covered in pieces of kilim and other exotic materials. Crocheted edgings from old tablecloths were stapled to rotting window frames, while every bare space held my books. My paintings were reframed and my pots filled the kitchen. What a shame you can’t smell that room: yeasty, garlicky, the crossbeam hung with herbs that fall like fragrant dust as you pick a leaf of mint or
tarragon for the soup. Sometimes I lay a sprig of rosemary on the hotplate of the Rayburn and the air becomes like incense. The colours here were inspired by the longboats on the canals, another favourite form of folk art; strong red, vivid dark green – even on the ceiling – and one royal-blue door. The room lengthens beyond the beam to a white area as the polished refectory table and 18th-century chairs are rather dark. The long windowsill holds a straight row of Devon and Sussex earthenware pitchers – probably all early 20th-century, but their form is beautiful and functional. I removed the leaded glass doors from the big kitchen dresser and now it holds some Scottish spongeware and a few bright Quimper and other faience plates. My bread-making pancheons and other bowls sit on the little central table with its legs standing in the earthenware slip-trailed coasters of the kind made by the 19th-century potters to protect the wood from rotting. The worn brick floor is best pecked clean by the bantams. There are log baskets and coal hods, a tufted 1940s hearth rug and dust from the ashes. Mud and hay and clay have constantly to be swept away. Above the doorways and over the windows are ochre stencils, which we painted about nine years ago. The original fire space is behind the cooker – I revealed and refilled the area with a lovely orange
Opposite, top: the stencilled linen curtains around the doorway and window in the drawing room were bought at auction. Bottom: Mary stencilled the
walls around the drawing-room fireplace herself. This page: the fiddlefronted dresser, c1720, holds part of Maryâ&#x20AC;&#x2122;s collection of European slipwares
At one end of the kitchen, the refectory table sits beneath a crumbling window lined with early Devon redware water jugs. The chairs are
18th-century. Herbs and garlic dangle from the crossbeam, while the rich red walls and dark-blue door were inspired by painted canal boats
Selborne brick. Above the ceiling is the smoke bay, its blackened lath and plaster dating this part of the house to the 1550s. Beyond the kitchen is my study, with its stone-flagged floor, rough beams and 17th-century door. You have to be under six foot to stand upright and I find it a little claustrophobic. Here I keep all my ceramic reference material and books. I work a 12hour day, making pots and running the business, so any house projects are done swiftly after the main potting of the day. The conservatory is almost my only addition to the house. It fits beautifully into a small niche left by the old washhouse and the main chimney and gives us for the first time a sunny outlook. Cottages such as mine were built with the minimum of glass and look inwards to protect the poor yeoman from rain and wind. The colouring in corridors and stairway was inspired by quattrocento paintings: palest pink, two shades of grey, a touch of dark olive. The drawing room is dominated by a three-metre fireplace, which consumes timber and gives out heat and dust. Chairs and sofa are draped about with old textiles, and the Mexican sarape hides a large hole made by a leaping spark. The walls are covered in both stencils and paintings inspired by Swedish folk art, and some jolly, painted wooden plates hang alongside the plaster flying ducks. An early 18th-century
oak dresser with cabriole legs is covered with indigo ikat from Majorca and holds a small group of European tin-glazed wares. I bought the large fiddle-fronted dresser (c1720) in a sale for £275; it’s a wonderful setting for my collection of European slipwares. Even when the fire is unlit the drawing room glows with colours and atmosphere. Rampaging along the top of the house is the studio – where I escaped when the children were small. In 1955 it was a roof space open to the tiles and approached by squeezing through a tiny gap cut into the wall. I imagine in earlier days children or the little maid may have slept here. Under its rotting floor mummified rats and buttons and shoe buckles lay hidden. My easels and oil paints are in this room. One wall is constructed of rough beams still covered in bark and lath and plaster – to my builders’ horror I left this exposed. I hung the crossbeams with ropes and corks that I’d found on rubbish tips and beaches in Catalonia; books and biscuit tins, a Masai gourd and other bygones clutter the room. The bassinet is full of folk dollies, part of my collection (69 at the last count). The long shelves that hold more books and rustic slipwares came from a defunct bakery. Birds poke their heads through the roof and their sounds in spring are stupendous $ Mary Wondrausch died in 2016
Opposite, top: the oldest part of Brickfields is the low section to the right, which dates from c1550. Maryâ&#x20AC;&#x2122;s studio is on the top floor to the left. Bottom: the
kitchen walls are canal-boat green. Over the door is one of her stencils. This page: Maryâ&#x20AC;&#x2122;s love of folk art is strikingly reflected in this jolly bedroom wardrobe
Massimiliano Locatelli 3D-printed a temporary four-stanza house in a Milan piazza, leaving the fine granite pavement practical side too. Inexpensive, portable and easy to assemble, the structure could one day serve as a disaster-zone Locatelli designed the nest of ‘Atollo’ tables – brass with enamel tops – and ‘ML 1.2’ chairs himself. The Gio Ponti brassand-satin-finish glass ceiling lamp dates from 1964, while the hand-knotted wool ‘House Plan’ rug is by Martino Gamper
underfoot. The rhythmic lines of piped cement certainly have aesthetic appeal, but the architect is keen to stress its shelter, or provide vital affordable housing. Lee Marshall lays out its graphic appeal. Photography: Luca Rotondo
C O N C R E TE P O E TRY
Above: the waxed-iron â&#x20AC;&#x2DC;ML 01â&#x20AC;&#x2122; chair is upholstered with leather. Its back slides off to create a bench (as has happened here). The table, carved in red Levanto marble, was designed by Massimiliano Locatelli for Nilufar, as was the chair. Below: this single-block utility-and-cooking unit, in polished brass, was custom-made by Locatelli for the 3D house. The lacquered-metal-and-glass Alvar Aalto lamps were made by Finnish company Taito Oy. Opposite: Locatelli created these bespoke brass doors, linking the bedroom and living room, for the house. The grey-pink granite flagstones are those of the piazza
Above: the bed base rocks slightly around the central support where the two iron sheets meet, like a cradle. The screen has an iron frame and is covered with parchment. The ‘LS10’ standard lamp was designed by Luigi Caccia Dominioni and dates from the 1950s, as does the wood-and-iron Le Corbusier bedside table. Below: the 1940s Osvaldo Borsani wall lamps have been adapted to take LED bulbs. The ‘Oval’ rug is by Thierry Betancourt. Opposite: Pozzi Ginori’s ‘Montebianco’ sink and pedestal have been reproduced in yellow marble, the same material used for the bath. The satin-brass taps are by Signorini
This view of the house that stood in Piazza Beccaria also shows the entrance to the Galleria del Corso, built in 1926–35. The piazza’s pavement was created in the classic Milanese style introduced at the end of the 19th century. The granite for the flagstones is from the quarry of Cuasso al Monte near Varese
THE DANCE of the nozzle is mesmeric. As delicate in its movements as an elephant’s trunk, and seemingly as alive, it lays down a thin layer of wet cement as it skims gracefully along the top edge of a hollow curved structure that grows a little taller with each circuit. Every so often a workman checks with a spirit level, although there’s really no need: each meticulously piped course is perfectly in line with the others, and with the floor. Only in the vertical plane does the cement bulge a little as it settles and dries. The final effect is tactile, dynamic. It looks like a craft artefact, rather than a mechanical one, a huge clay coil pot made by a class of gifted primary-school kids with a penchant for mid-century modern design. This thin, tall vase is one of the wall panels of 3D Housing 05, a one-storey, 100sq m house designed by Massimiliano Locatelli of CLS Architetti and printed in situ in the middle of a Milanese piazza. Inaugurated on 15 April during the 2018 Salone del Mobile, the house remained on show for just a week, before being dismantled and moved to the headquarters of Italocementi, one of three partners on the project. The man behind this vision of the future lives inside one of Milan’s great old-school Modernist buildings, BBPR’s 26-floor Torre Velasca, a skyscraper that nods, in its buttressed upper section, to the Medieval fortresses of Lombardy. The studio Locatelli shares with the other partners and staff of CLS Architetti is rooted in a still more distant past, though arguably one which knew a thing or two about innovative 3D design. It occupies the deconsecrated 16th-century church of San Paolo Converso: workstations are inserted into the side chapels of the nave, beneath
huge oil paintings of saintly miracles, while a free-standing fourstorey steel-and-glass office has been deftly inserted into the rear section of the church, where the cloistered nuns of the adjoining convent once worshipped. In fact, such daring juxtapositions are something of a Locatelli signature. If his studio plays a stern modern box off against all that Baroque shapeliness, then the interior of the house that the architect built in Piazza Cesare Beccaria, a couple of blocks back from Milan’s Duomo, is equally provocative in the way that it juxtaposes rough and posh. Locatelli decided early on that he wanted to leave the walls raw and untreated, inside and out. Before embarking on the project, the architect made a series of visits to firms in China and Russia that were developing 3D printers for the building industry. All, he soon realised, considered what came out of the printer to be ugly and unfinished – ‘so they’d developed a series of panels,’ he told me as we chatted about 3D Housing 05 in his Torre Velasca apartment, ‘designed to be applied on top in order to clothe the house in the French style, the American style, the English style, with fake stone or brick finishes’. Locatelli was excited precisely by the finish these hardware companies sought to conceal. Up to now, pattern in raw concrete has mostly been achieved via impression, like the panel seams that are a trademark of Tadao Ando’s work. But when the flow of poured cement can be controlled to a millimetric degree, as in 3D printing, far more expressive effects can be achieved. Locatelli discovered that ‘the pattern can vary both due to the density of the liquid cement and the speed of the machine. With denser
The roof garden is reached by means of external stairs. Usefully, some climbing plants can adhere to the corrugated wall without any other support. The title of the project – 3D House 05 – refers to the five key criteria on which the build is based: creativity, sustainability, flexibility, affordability and rapidity
material you get a more regular pattern… whereas if it’s more liquid and the machine is running fast, you get a plissé effect.’ He soon realised that pushing the machine slightly beyond its comfort zone could work wonders. ‘It’s a bit like Missoni’s knits,’ he explains, ‘when they emphasise the “mistakes” of the loom in order to create a special effect.’ Working with the project’s other two partners, engineering firm Arup and 3D printer-technology company CyBe, the architect also carried out tests on colour (achieved by mixing in powdered dyes) and various structural challenges. For example, it’s easy enough to program the machine to leave a gap for a door or window – but how do you prevent the lintel from sagging before the cement has time to harden? If the walls have been left raw, the interior of the 3D house is decidedly polished. In the roughly circular living room, a nest of five enamel-topped brass tables designed by Locatelli for cult Milanese design gallery Nilufar cluster beneath a glorious early 1960s chandelier by Gio Ponti, which was originally designed for the Parco dei Principi hotel in Rome. The tables stand on a huge hand-knotted wool carpet by Martino Gamper with – a lovely ironic touch, this – a traditional domestic house plan woven into it. Meanwhile, in the kitchen, two Alvar Aalto appliqué lamps illuminate a shiny brass sink, cooker and storage unit that hugs the undulating curve of the wall. In the bathroom, Locatelli plays another gently ironic game: he asked a marble sculptor to reproduce, in precious yellow marble, Pozzi Ginori’s ‘Montebianco’ sink and pedestal – a fixture in so many Italian middle-class houses, with its solid stile inglese
lines. Here and in the bedroom, certain panels were plastered with the same cement to create smooth expanses with a marmorino look – Locatelli was keen, he says, to show ‘that there was real freedom here to choose your own finish’. An elegant, not to say luxurious, interior that might belong to a wealthy collector well grounded in 20th-century design culture is not necessarily what we would expect to see inside a house that took just 46 hours of machine time to ‘print’. For Locatelli, however, this is exactly the point. The interior was, he tells me, a ‘seduction method’ designed to woo doubters of this remarkable new building technology, one that involved deliberately ‘exaggerating all the finishing touches, using a rich, bourgeois design vocabulary, a bit 1950s, from the Milanese tradition’. But for Locatelli, the social, political and environmental implications of this fluid new way of making ‘machines for living in’ are equally important. The house, which won a ‘Best Sustainability’ award at this year’s Salone, is not only light and transportable, but cheap and fast to make. This version may have been designed with what Locatelli calls a ‘rich visionary’ in mind, but the really radical applications of 3D houses, the architect believes, will soon be found in ‘emergency and disaster zones, or for the millions of people who don’t have their own place, or for young people who don’t want a mortgage their whole life’. ‘There’s flexibility, leggerezza, speed, creativity in all this,’ Locatelli enthuses as we gaze out over Milan’s urban skyline from the 21st floor. ‘It’s like going to Zara to buy a jacket… with the difference that a 3D house can be solid and durable. It can age gracefully’ $ To contact CLS Architetti, ring 00 39 02 866247, or visit clsarchitetti.com
This page: the east terrace of this Asian-inspired holiday home looks out across a verdant garden. Originally, the ground was so swampy that pine trees had to be introduced to stabilise it. Opposite: outside the living room, the main terrace is where the family takes its meals
M ARINA’S H A R B O U R Inspired by the tchanquées, or stilt houses, she found around France’s Arcachon basin, Marina de Lasteyrie du Saillant set about building the perfect holiday home for her family at Cap Ferret. Although the terrain was tough – and her self-imposed strictures even tougher – what emerged is an oasis of calm incorporating coppiced wood, exotic trees and the traditional Asian influences they adore so much. Elfreda Pownall unwinds in style. Photography: Richard Powers
In the corner of the sitting room, a Chinese opium bed continues the Asian theme. Local coppicer Cyril Delage found the branches that jut out above the fireplace, itself based on one in Brancusiâ&#x20AC;&#x2122;s studio. The table was made from the stumps of three trees that had grown together
This page, clockwise from top: adding to the sense of privacy, the house was built on a plateau cut into the hillside to compensate for the steep gradient while complying with local planning conditions; these stairs take guests down from street level to the house. On the terrace beneath the main bedroomâ&#x20AC;&#x2122;s balcony is a small basin for cleaning fish; the houseâ&#x20AC;&#x2122;s exterior is accented in traditional Asian red paint with a repeated stork motif
This page, clockwise from top: Marina devised this imposing kitchen cabinet herself, and it was then crafted by Cyril Delage; the kitchen table is made of planks attached to chestnut pole trestles, a style repeated through the house. The ceramic ‘rug’ underneath and the Art Deco-inspired tiles on the wall were designed by Olivier Mangnez of Villa Paris; in the adjoining dining room, Delage’s shelves hold books and bric-à-brac
This page, clockwise from top: a stark photograph by Hiroshi Sugimoto hangs in the master bedroom. In one corner sits a chestnut rocking chair,in another is a sculpture fashioned from a roll of Thai fishing net, and either side of the bed are Ikea lights; daughter Olgaâ&#x20AC;&#x2122;s bedroom features a screen she and her mother found in an antique shop years ago then turned into an elegant headboard; the mirror in Marinaâ&#x20AC;&#x2122;s bathroom is by Thomas Boog
In the bathroom, this structural detail was left visible so that it could serve as a set of narrow shelves for family knick-knacks. The taps, as elsewhere, are by Louis Roy
‘THE MAIN
character is a kind-hearted, fanciful, elegant grandmother, born in around 1900, who has spent her life out in the Asian colonies and brought her youthful memories back here.’ This is not a screenplay, nor an actor outlining a role, but the owner and designer of an astonishing house at Cap Ferret, a sandy peninsula that curves around the Arcachon basin on the Atlantic coast of France, attempting to describe its imaginary owner. ‘I always write a novel in my head for all our properties,’ says Marina de Lasteyrie du Saillant, ‘and think of who I’m creating them for. It provides the fil rouge – the theme or guidelines to follow when making the house.’ The Asian influences are there because, as Marina explains: ‘Our family [her husband Paul and their four children, Gaspard, Pierrot, Eloise and Olga] loves Thailand and its simple, traditional houses.’ Searching for a place to build a holiday home, the Du Saillants came across the tchanquées, or stilt houses, of the Arcachon basin. These are large wooden huts, constructed on stilts or piles, which stand tall on the sand at low tide but are surrounded by the sea when the water is high. Built in the 1890s for owners of the local oyster parks, they could easily be mistaken for Asian houses. The Du Saillant family’s property was to be a place of escape from civilisation, from Paul’s high-powered job in Belgium and Marina’s own as an art broker. She laid down several rules for herself – nothing could be industrial, or bought in a shop (except a few necessary appliances); everything had to be done with minimal, basic and very natural means – wood and string, all put together by skilled craftsmen, people she knew and liked. And having found a wild, sandy and hilly site where she could hear the sounds of the ocean, Marina also dispensed with an architect. To meet local planning restrictions, she and her builder decided to cut away the hill to make a plateau on a middle level. ‘Once we had the idea of the plateau we put together the design in a fortnight: there were no two solutions,’ she says. ‘You want to face the sun, every room should have a covered terrace, open to the garden, Paul wanted a peaceful study, and the children needed their own rooms, with a bathroom each, no matter how small.’
To begin with, Marina employed a carpenter to build the basic structure, using local pine wood. He is a member of the Compagnons du Tour de France, a French organisation for the training of craftsmen and artisans, which dates back to the time of the great Medieval cathedrals. ‘They are admirable people,’ she says, ‘it is a very high calling.’ Years before, at her husband’s family château in the nearby Corrèze region, they had asked Cyril Delage, a local feuillardier, or coppicer, to make a tree house for them. She called on him, at first to make just the kitchen and the children’s rooms: ‘You know how children always want to have a hut, with beds to climb on. Then I asked him to do more and more.’ She would draw what she wanted on to a photograph of the room and then Cyril would go ahead and make it. ‘I thought we could put three tree trunks to mark out the shape of the dining room,’ she says. ‘“That’s great,” he said. “I’ve got just the perfect trees in mind.” He felled them two days later.’ The main floor of the house is in the shape of a J, with the parents’ bedroom, bathroom and dressing room, two other bedrooms and a bathroom, the kitchen and a small sitting room making the top horizontal stroke of the letter. Meanwhile, the dining room, another sitting room and a large terrace make up the downward stroke and curve – all overlooking a central pool. On the lower floor are three more bedrooms and bathrooms and the garage. ‘I made this house so we could be lazy,’ says Marina. ‘There are lots of places to nap, but everyone wants that bed.’ She is referring to a Chinese opium bed in the main sitting room, which, like much of the other furniture, has cushions in off-white linen. Above the large fireplace, which was modelled after the one in Brancusi’s studio, the branch of a tree juts into the room, courtesy of Cyril, and in front is a large, low table, made from a slice taken through the roots of three trees that had grown together – the swirling growth rings make a wonderful pattern. The chairs in here, made from coppiced chestnut, echo the shapes of the bamboo chairs in Jim Thompson’s house in Bangkok, which has been a great source of inspiration. The tables are made of planks with chestnut pole trestles, a design replicated in the dining room and kitchen. You understand why the fictitious grandmother had to come of age in the 1920s when you see the Art Deco-inspired tiles on the kitchen wall, and those making a ceramic ‘rug’ beneath its table, all designed by Olivier Mangnez of Villa Paris. But Marina’s unsung hero is Monsieur Dignan – a local man who has proved himself a genius with the garden that envelops the house. The peninsula was originally very swampy, so pine trees were planted to dry out the soil, mimosas followed, and then gradually bamboos and palm trees took hold and can now be found everywhere, from street roundabouts to the local oyster farms. With the help of M. Dignan she has used many of these plants, allowing them to grow free and wild to create a lush setting for this extraordinary house. Marina’s dilemma for both house and garden has been to reconcile her passion for Asia with an even more fervent desire to respect the local traditions. ‘But then I discovered that there is a historic link between Le Ferret (never say “Cap Ferret”) and Asia – a lot of people who lived here had previously made their fortunes there. I made the house because of the story that ran through my mind of the old grandmother – but the funny part is, the grandmother could easily have existed!’ $
This page: on the lower floor of the house, Marina’s four children have this terrace all to themselves – they can even sleep here if they wish. Opposite: in the pantry, the shelves and cupboards were designed by Marina and built by Cyril Delage, with tiles by Villa Paris and hanging lights from Ikea. The philosophy behind the build was that, bar a few necessary appliances, nothing should be bought when it could be made instead
The wall of the drawing-room in Pierre Le-Tanâ&#x20AC;&#x2122;s bolthole is hung with antique textiles, while Anatolian prayer rugs are laid out on the floor. The armchair dates from the 19th century and is probably English
PRIVATE VIEW
When Pierre Le-Tan rented a friend’s Paris rooms, it presented him with a unique opportunity. He assembled a selection of his own objets d’art there, both personalising the interior and curating a show intended for his eyes alone. The environment inspired the artist to produce a wealth of new work, which – along with objects from his own collection – goes on sale in London later this month, as he explains here. Photography: Ivan Terestchenko
This page, clockwise from top left: standing on this shelf, from left to right, are an Indian miniature, a piece of 16th-century Japanese silk from the Vever Collection and a framed group of Coptic fragments; Pierre created this seashore-themed butterfly-box collage himself; standing behind the 19th-century armchair to the right is an 18th-century chinoiserie painted screen
This page, clockwise from top: taken from the entrance hall, this view of the drawing room includes a self-portrait by Pierreâ&#x20AC;&#x2122;s cousin, Horatia Stern; this group portrait of the artistâ&#x20AC;&#x2122;s mother, brother and himself was painted by his father, Le Pho, in 1955; an 18th-century Japanese calligraphy hangs behind the armchair. On the table is a silver-plated 19th-century representation of an African man
ABOUT A YEAR AGO, after a fairly long
stay in hospital, I came back to my flat and realised that all my windows had been covered with black plastic sheets. I knew they had started renovating the façade of my building, but I wasn’t expecting to arrive at a totally dark place. I was devastated. A friend of mine owned a flat just across the road, which she had left empty for a while, and I asked her if I could rent it for a few months while I was in darkness. It was such a relief when she very kindly let me have it. Situated on top of a lovely late 18th-century building, it was a magnificent place with spectacular views. On one side you could see the river at the end of the street, and the Place de la Concorde beyond. On the other, you could glimpse the National Assembly and the Eiffel Tower. A postcard from each window. I brought a couple of chairs and a table, and I remember sitting and wondering what I was doing there. I felt a bit lost. The problem was that the former owner, an old lady who managed theatres, had redecorated the whole place 30 years ago in a luxurious but ghastly way. Everything she had done was ugly – bad ‘chi-chi’ Parisian taste. One of the bathrooms was the ultimate in kitsch, with turquoise tiles and mirrors everywhere. After a short while, I decided to do something about it and started bringing things I liked, which I was keeping hidden in cupboards or behind sofas. I hung some of the antique textiles I had accumulated, covering a hideous bookcase that occupied an entire wall. With a few objects, lamps, books, some of my Anatolian prayer rugs, the big drawing room became my own secret hideout. The bedrooms remained empty, as I never slept there. I came to this new place to work or sit and look at things I carefully arranged. I was so used to my own flat that I couldn’t see the things I had amassed over the years with a fresh eye. In my new premises everything looked different and it was exciting to put a chair in a very specific place or to hang pictures that had been sitting for years in a corridor. For somebody like me, unfortunately
obsessed with objects and the way they have to be displayed, it was a dream. It wasn’t somewhere occupied by my family, it was just a selfish playground for me. Little by little, things arrived. A blue-and-white Ming bowl left for four years at an auctioneer’s; a Safavid bottle imitating Chinese porcelain; my favourite photograph of Tennessee Williams by Daniel Farson; a 1967 work by Lucio del Pezzo that had never found its place at home; a very subtle painting by Tom Phillips; Japanese calligraphy rolls that had remained in their boxes… Although I knew I wouldn’t stay there, I even bought things specially, like an Italian Renaissance chair or an 18th-century miniature bronze cannon that I couldn’t even lift. Another thing I found was an extraordinary 14th-century Japanese painting of a monk, which I pinned on the wall. My friend Gilles Dufour (WoI Nov 1985), a keen collector, used to come regularly and called the place my showroom. I guess he was right. I was also delighted to be able to display on an easel the rather large portrait on silk that my father had painted of my mother, my brother and myself. We had posed in the dining room of our country house in Normandy, and I can still recognise everything, from the fruit basket to the 16th-century Italian ceramic plate hanging on the wall. The big 17th-century table came from a monastery. Where are all those things? My father, Le Pho, was a marvellous artist whose influences mixed ancient Chinese painting with Italian Renaissance. He was taught by Victor Tardieu, who had studied at the Beaux-Arts with Matisse. He was reasonably well known when he was alive, exhibiting in Paris and New York, but he has now become one of the important Asian artists, fetching prices that he would never have dreamed of. Of course, I stupidly sold some of his paintings before they became priceless, and unfortunately I can’t afford to buy any now. How peaceful and reassuring it was to cross the road and find myself in this big room, sitting in silence or listening to Prince singing ‘Purple Rain’ on the radio. I looked at my patchwork of textiles. I found that different old fabrics mixed together were particularly soothing, a bit like groups of various Islamic tiles. Unlike paintings or drawings, which have to be seen one by one, their various floral designs form a harmonious background, like a beautiful landscape. At night I would watch the headlights of the cars moving slowly on the Place de la Concorde. It was even more beautiful when it was raining. Months passed by. I had done many drawings there and prepared an exhibition. I had arranged objects like a child playing with his toys. I had also relaxed when I needed to be on my own, only one minute away from home. Suddenly, my friend needed her flat back. It meant I had to leave my small paradise – but any wise person knows that nothing lasts forever. Marie-France Boyer had asked me from the start if photographs of my objects might be taken for Interiors. I thought it was a great idea to see this temporary décor printed on paper. Ivan Terestchenko, an old friend, took the pictures with his unique sensitivity, understanding perfectly what I had tried to create. I was very lucky. In a few years, if I’m still here, I will be able to look at those images and remember what fun it was to play there $ ‘The Collection of Monsieur X’, featuring drawings by Pierre Le-Tan and objects from his private collection, runs at Tristan Hoare, 6 Fitzroy Square, London W1 (020 7383 4484; tristanhoaregallery.co.uk), 28 Sept-17 Nov
Above: a large geometric painting by Tom Phillips hangs behind Pierre. To his left is a portrait of Shirley Goldfarb by her husband, Gregory Masurovsky, below which is a relief by Lucio del Pezzo and an image of a cat by Anton Prinner. Opposite: on the table, Chinese and Islamic ceramics sit alongside a Donald Trump troll. On the wall is a Leonor Fini portrait and photo of Tennessee Williams by Daniel Farson
This page: built in the late 19th century in the village of Arnol, the blackhouse – the larger thatched building in the background – forms part of a complex. To the left is a smaller barn. In the foreground is a corn stackyard, and rearing up behind is the peak of Beinn Bragar. Opposite: a peat-stack stands by the door. The material is plentiful on Lewis and is still used. Arnol’s supply lies a long mile from the township
E AT, S L E E P, PE AT Built for those that dug the boggy land of Lewis, one of the Outer Hebrides, blackhouses are ancient dwellings. Providing basic shelter in this hard and unforgiving landscape, their small rooms were warmed only by sweet, smoky fires and the farm beasts sharing the familyâ&#x20AC;&#x2122;s spaces. But Kathleen Jamie, visiting one of the last to be built on the island, in 1886, finds thereâ&#x20AC;&#x2122;s something to be said for the simple life. Photography: Antony Crolla
The family living room has a peat fire at its centre, which was never allowed to go out, not least because it kept the thatch in good condition. On the far wall is a box-bed, which can be closed off by floral curtains
This page, clockwise from top: long, low, windproof and watertight, the blackhouse is at one with its landscape, constructed of natural materials using time-honoured techniques; no. 42 Arnol was occupied by the McLeod family until the 1960s. As such, it has some â&#x20AC;&#x2DC;modernâ&#x20AC;&#x2122; features, such as this bedroom window; oak-straw thatch is held in place by fishing nets and rocks tied together with traditional heather ropes
This page, clockwise from top: this door leads from the vestibule/hen house into the family space, with the kettle seen hanging over the fire. Turn around and you would see where the cows were kept; the settle is draped in Harris tweed. Many other blackhouses, once abandoned for the new white houses, became weaving sheds; functional furniture is arranged against the buildingâ&#x20AC;&#x2122;s walls, a safe distance from the hearth
IT’S HIGH summer. Swaths of buttercups tremble in the breeze; the verges of the narrow island roads are thick with cow-parsley. The sky holds clouds in every shade of grey. Westward, the Atlantic is calm, stretching to a vast horizon. Here, on the northwest coast of Lewis, in the Outer Hebrides, the feeling is of rock, peat, sky, sea: a difficult land which has nevertheless been settled for thousands of years. A few miles away rises the great Neolithic stone formation of Callanish. There are Iron Age brochs, or circular towers, nearby. A trained eye can spot the remains of Medieval mills beside the streams. Outcropping everywhere through the peaty earth are knuckles of grey glittery Lewisian gneiss – one of the oldest rock types on Earth. Traditionally on the islands, summer was time for a bit of fishing, a time to tend crops and cut peats. Few arable crops are grown now, but people still go out on the moors to cut the boggy soil for fuel (a hard labour), which is left to dry until September, then brought home. Many a gable-end, even on the most modern houses, boasts a neat, rounded peatstack, ready for winter, which is long, with fierce winds. As the raven flies, one is closer here to Bergen than to London. Light and dark, wind and weather, rock, crops, animals, water and peat. Such are the elements which combine to form the long-standing culture of these islands. Bring them together with a deeply human sense of family, Gaelic language, song and story and you have the elements of the blackhouse: an ancient style of dwelling once found all over
the far north, from Norway to Greenland. At one with the landscape, long and low, with the cattle stalled at one end, and without a chimney, the blackhouse was once ubiquitous. Indeed, it is a type of home so ancient that to cross the threshold of no. 42 Arnol and smell the peat-smoke is to sense something deeply familiar. ‘A blackhouse was the best place in a storm,’ people will still say. ‘The blackhouse was the most cosy.’ And it is best appreciated after having spent long hours labouring outdoors. It’s cosy because the stone walls are low and two metres thick. There is a thick roof of thatch above. To enter, you stoop into a sort of vestibule. Rightward is the byre where the cattle were stalled in winter, adding their body heat to the fug. Straight ahead is the barn. But to the left, beyond a partition, is the family’s space: two rooms – a living room and a bedroom beyond. In the centre of the living room, the peat fire burns constantly, a reminder that ‘hearth’ and ‘heart’ are words closely related. Above the fire, a smokeblackened kettle hangs from a chain. There being no chimney, the smoke seeks its way out up through the thick thatch, but not before filling the home with its sweet smell. There are no windows, save for a small skylight. One can stand upright, but the settle along the wall is low, so that family and visitors could sit down beneath the smoke to entertain themselves through a long winter’s evening. If the peat-smoke, the quiet and lamplight seem somehow familiar, the family’s effects certainly do. Lined up against
This page: unconventionally, no. 42 Arnol has a separate sleeping area. Its three box-beds are made of wood – a rare resource on this island, which has very few trees. Opposite: on the left, a length of Harris tweed screens one of the beds, while the others are hung with pretty curtains. Mattresses were made of straw, and blankets were knitted. In the 1960s, lino covered the floor and paper lined the walls
the far wall are a table, a stolid sideboard and a dresser. Those, and the dishes displayed, remind many visitors of their own childhood visits to granny’s. The floor is of stone, but in some regards, the family of this house kept up with the times. When they left in the mid-1960s, there was lino on their floor and bright paper on the walls, now removed. Three box-beds are still screened with pretty curtains. The blackhouse is evocative of a working family, but not of poverty. Butter-churns and tools stand by, because people were rarely at leisure. There were always clothes to knit, fishing nets to mend, ropes to plait, food to prepare for family and beasts. Photographs show Lewis people thick-wrapped in wool and tweed, all with huge hands, possessors of many practical skills. The peat smouldering under the blackened kettle represents a great deal of physical labour, a seasonal and gendered world of work. The blackhouse at Arnol was one of the last ever built. It was constructed in 1880, when already the modern ‘white house’ had arrived on the islands, steadily supplanting the traditional dwellings. Indeed, the term ‘blackhouse’ only arose in the late 19th century when modern houses were introduced to take their place. Before that, there were only taighean (houses). The new-style dwellings were dubbed white houses because of their render and were deemed healthier because of their fireplaces and chimneys. By the end of the 19th century, thanks to the 1886 Crofters’ Holdings Act, local farmers at last enjoyed some secu-
rity of tenure and felt able to improve their homes. Wellintentioned legislation was introduced and sanitary inspectors were employed, insisting that cattle be banished to their own separate byres. The new houses may have been more hygienic, but they weren’t always universally popular at first, being notoriously cold and damp. Having swapped their old dwelling for a white house, some families quietly stole back again. As one of the last ever to have been built, 42 Arnol was also one of the last blackhouses to have been occupied, the McLeod family leaving in 1966. With that, a way of life that had endured for a thousand years finally came to a close. In a percipient move, the state bought the property just after the family left and in due course employed the lady of the house to act as guide, showing visitors around what had recently been her own home. Even on a summer’s day it is restful and warming to spend some time inside the silence of the blackhouse. One leaves, blinking into the daylight and breeze, almost with a sense of loss. Of course it’s easy to romanticise; the life of Lewis crofters could be hard and demanding, and was brutally interrupted by landlordism and the Highland clearances. But at Arnol the glimpse of an ecologically sound, skilful and resourceful community lingers, like the smell of peat-smoke in the air $ Blackhouse, 42 Arnol, Bragar, Isle of Lewis HS2 9DB. For opening times, ring 01851 710395, or visit historicenvironment.scot
This page: in winter the byre housed cattle, which provided extra warmth to the family. In May, the cows would be taken out to high pastures by the women and children, who would live in shielings (rough huts) until harvest time. With the beasts away, the end wall would be dismantled and the muck cleared out. Opposite: the byre was also used for threshing and winnowing grain, and for storing tools and potatoes
Rodmarton Manor, a 74-room Arts and Crafts exemplar, as seen from the wildflower-filled daffodil paddock
A WOLD OF THEIR OWN At the end of the 19th century, an architect, a designer and a cabinetmaker struck out for the countryside to found a community dedicated to traditional craftsmanship. In 1909, given free rein over the construction of Rodmarton Manor, a 500-acre Gloucestershire estate, they started a utopian experiment, doing everything by hand, using local timber and stone, and teaching long-forgotten skills to the villagers. The result is a masterpiece of the Arts and Crafts movement, as Ruth Guilding discovers. Photography: Christopher Simon Sykes
Designed by Alfred Powell, the drawingroom panelling was added in the 1930s. The round table with the curious cross-
stretcher is by Ernest Gimson. Beside the fireplace is a walnut display cabinet by Oliver Morel that dates from 1972-73
This page, clockwise from top: from the topiary garden you can almost see into the open-air bedroom, top left â&#x20AC;&#x201C; sleeping exposed to the elements was a popular health craze at the time; a stone sarcophagus turned planter sits on the garden terrace; looking down the library towards the drawing room. This screen was painted by Louise Powell, who was known for her Wedgwood ceramics; draped over one of Philip Clissettâ&#x20AC;&#x2122;s ladder-back chairs in the drawing room is a fragment of cloth hand-printed by Phyllis Barron and Dorothy Larcher
This page, clockwise from top: a reverse view of the library facing from the drawing room towards the dining room. The oak hayrake table was made by Sidney Barnsley; the manor’s dog kennels; in an Alpine garden known as the Troughery, a series of old stone animalfeed troughs collected from the farm and a wooden one from the butler’s pantry have been turned into rustic planters; in the dining room a rocking horse made by Ernest Barnsley faces a doll’s house by gamekeeper Alfred Cox
Styled like an brothers and Peter Elizabethan long Waals. The Spanishgallery, the first- style armchair under floor corridor the picture was made contains furniture by AJ Wright in the by the Barnsley manorâ&#x20AC;&#x2122;s workshop
This page, clockwise from top: in the ground-floor corridor, Peter Waals’s crimsonpainted travelling chests stand over wool runners designed by Louise Powell and made by George H. Lambert; The Village Scene is one of four appliqués designed by Hilda Sexton (née Benjamin), with needlework by the Rodmarton Women’s Guild; Irongate Farm Scene, also by Sexton, hangs in the upstairs corridor; above the staircase is Summertime (1924), a Sexton mural. The girl on the right is Marnie Biddulph, aged nine
This page, clockwise from top: all the bedrooms are named after local places. ‘Stonehill’ contains a folding dressing table by Peter Waals, a Thebes stool, bowlegged table and chest of drawers by Ernest Barnsley, and a basin and wash jug by CH Brannam; the oak half tester above Waals’s bed is carved with an armorial lion and family motto; the ‘Little Tarleton’ bathroom boasts a Morris Sussex chair, right, and a set of Arts and Crafts oak fittings; a smaller Sexton mural brightens the alcove in another first-floor bedroom
THE COTSWOLDS’ old stone build-
ings – sandy-buff Chastleton or lichen-grey Kelmscott – have long roots running deep into the agricultural life of the 17th century. When the architect Ernest Barnsley, his furniture-maker brother Sidney and designer/maker Ernest Gimson relocated here in 1893, they found an unfashionable, remote and rural backwater, a green and pleasant land. This colony of Arts and Crafts makers and architects had become thoroughly disillusioned with city life. They dreamed of founding a new community here, true to nature and spirit of place, working with traditional materials, practices and local vernaculars; the only customers for their rather self-conscious ‘honest craftsmanship’, however, were the highbrow rich. By 1902, they were established at Sapperton at Lord Bathurst’s expense, with the use of his ancient manor house, Daneway, as a showroom and workshop; chair- and cabinetmakers were already being trained up there. When Claud Biddulph and his wife, Margaret, decided to build a family home on the 500-acre estate given to them by Claud’s father, Ernest Barnsley was their natural choice to be master of the works. The Biddulphs’ new house, Rodmarton, was built without either a contract or contractors. Barnsley began with the kitchen court in 1909 and completed the main work (after the hiatus of World War I) in the year of his death, 1926, although the chapel was finished with supervision from the architect’s son-in-law Norman Jewson three years later. The house describes a long, narrow curve little more than one room thick, its utility, living and entertaining rooms connected by a lateral spine corridor. Everything here was done by hand, adopting traditional village craft skills that were already close to extinction. Margaret Biddulph was the driving force. She pored over Lawrence Weaver’s Small Country Houses of Today with her husband, folding over favourite pages and adding pencil notes and afterwards ‘presiding over house and village like the abbess of some great Medieval religious house’, in the words of family friend John Rothenstein. She had attended Studley Horticultural College for Women and met her future head gardener, William Scrubey, there. Later she would have his name and that of her foreman cut over the door to Rodmarton’s exceptionally lovely garden. ‘I think it really was extraordinary,’ says John Biddulph, the fourth generation of his family to live here. ‘I see a shift from the 1906 plans for a formal Edwardian house; I think that way of life was no longer appropriate.’ Rodmarton was a deeply socialist, utopian experiment. In training the villagers to build and fill this new house with its complement of furniture, the Biddulphs and the Barnsleys were living out the Arts and Crafts dream in a way that Morris and his circle had never quite attained. Its stone was quarried and timber, cut and sawn up locally, while its contents were made in Sapperton and Daneway and at Rodmarton itself, where onsite workshops taught the local men and boys these new skills. Underlining this point, Margaret Biddulph had two stanzas from Oliver Goldsmith’s 1770 poem moralising against the agrarian land clearances, ‘The Deserted Village’, inscribed onto an
outside chapel wall. ‘I’ve seen no modern work to equal it,’ CR Ashbee wrote in 1914. ‘The English Arts and Crafts movement at its best is here.’ John Biddulph and his wife took on the running of Rodmarton just a couple of years ago, moving in with their children, who are now aged 15, 14 and 11. In the 1950s, finding the house too big, his grandparents rented out the family and service parts, and moved into the formal and entertainments end of the house, bringing quantities of its furniture with them. Now, John and his family have reoccupied the central family part, next to the formal ‘public’ end. ‘It works really well. We come across, we use all these rooms, but not on a daily basis; we gather in them at Christmas, at parties.’ They did ‘a bit of heating and rewiring’, and still have to think about the roof: ‘Cotswold stone roofs are given a life of about a hundred years, and we’re getting to that point.’ But the partitions for the bedrooms and bathrooms inserted into the first-floor spine corridor by John’s grandparents are coming down, and Rodmarton’s concertina’d pieces of furniture will spread back out into the spaces for which they were originally designed. John Biddulph learned Rodmarton’s story by osmosis, following his father, Simon, on a couple of house tours, then conducting some himself. Walking about, he is eloquent on the singular stylistic details peculiar to the furniture made here. ‘This curvature, chamfering, is very similar because it’s made in the same workshop – it has the same dovetail joints. These are quite rare, designed by Peter Waals,’ he says of a pair of crimson travelling chests, decorated by Alfred and Louise Powell. ‘But with the Sidney Barnsley version, they liked to show you how something was put together. They didn’t like painted furniture and they didn’t like veneers.’ Unvarnished wood predominates here, although the effect is never monotonous, for every piece of furniture is a oneoff piece, similar but subtly different. Typical is a massive dough bin that may have been made by Gimson for Ernest Barnsley, who kept his flour in it. Local people continue to be closely involved with the life of the house. ‘Frank Baldwin, the village blacksmith here from 1920 to 1970, made the fireguards and the crosses in the chapel. His widow still helps us with our visitors,’ says John. When the building work at Rodmarton was done, village women took over what is now the drawing room to sew a set of pictorial hangings showing scenes of everyday life. Next door, amateur dramatics were staged in the Long Room, and the sculptor William Simmonds modelled a set of Punch and Judy puppets and wrote plays for them. ‘We might be using Punch and Judy again later on this year,’ says John. ‘There does seem to be an increased interest in this sort of furniture,’ he goes on. ‘It’s always been recognised that it’s a unique collection. My father used to say there’s not much point in insuring it because, if it all burns in a fire, it would be impossible to replace. My grandparents had that cabinet made in 1973. I don’t think there’s anything younger in the house. It would be good to keep that tradition going here, and leave something new for the next generation’ $ Rodmarton Manor, Cirencester, Glos GL7 6PF. For opening times, ring 01285 841442, or visit rodmarton-manor.co.uk
This page, clockwise from top: finished in 1929 and still used by the Biddulph family, this compact chapel contains a stone altar by Monty Tugwell alongside woodand metalwork by Rodmarton’s craftsmen; looking down the garden to a circular pond and the stone summer house in the distance; in front of the manor’s main facade, these lime trees were part of the original planting scheme; at the back of the chapel, these appliqué curtains were made by the Rodmarton Women’s Guild
inspiration Some of the design effects in this issue, recreated by Grace McCloud
1 Just a spoonful of salvage makes Georgia May Jagger’s London house chic, not shabby. Take the chandeliers in her bedroom (page 298), made by Madeleine Boulesteix from crockery and cutlery, jelly moulds and jewellery. This sixcup version, £825, has space for tealights and bulbs. Ring 01822 853957, or visit madeleineboulesteix.co.uk.
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2 All manner of patterns and textures enliven Georgia May Jagger’s home – as in her sun room (page 303), with its bobbled cushions in François Gilles’s ‘Trellis with Pompoms’ fabric, £210 per m, shown here in black/red. Ring George Spencer Designs on 020 7584 3003, or visit georgespencer.com.
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3 Even Georgia May Jagger’s kitchen chairs declare her avowed dislike of pastels (page 305). If you’re of a multicoloured mindset, Habitat’s ‘Talia’, £95, comes in five vampish colours, including lime. Ring 0344 499 4686, or visit habitat.co.uk.
still covet the keepsakes Jagger fille has collected on her travels, fear not. Re sells similar exotica, including Peruvian ‘miracle’ hearts (from £18) and a Day of the Dead skull (£165) like the one beside her sun-room window (page 303). Ring 01434 634567, or visit re-foundobjects.com.
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5 If you’d looked down in the 3D-printed struc-
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ture on a Milan piazza you would have seen the pavement underfoot – except in the dining room, where Martino Gamper’s hand-knotted ‘House Plan’ rug (£62,295 approx) softened the slabs (page 324). It is what it says, right down to the hob. Ring 00 39 02 780 193, or visit nilufar.com.
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Don’t quite have the wherewithal to 3D-print your own concrete house, as Massimiliano Locatelli did in Milan (page 324)? Bring a bit of brutalism home with one of nine Material Immaterial miniatures, 5
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PHOTOGRAPHY: LIAM STEVENS (2, 4, 10, 11, OVERLEAF 4, 5, 6)
4 If you don’t lead a jet-set life but
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£41.50 a pop from Twentytwentyone. Ring 020 7837 1900, or visit twentytwentyone.com.
7 One of Michel Guyot’s first tasks after buying Saint-Fargeau was to restore the staircase installed in the 1650s by a duchess (page 288). If you’re in need of a banister fit for a blueblood, Pouenat’s bespoke version with acanthus leaves is just the thing; from £8,603 approx per m. Visit pouenat.fr. 10
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8 A set of red chairs marches along a corridor at Saint-Fargeau, their velvet worn by centuries’ worth of aristocratic behinds (page 294). Mimic the effect, without the wait, with Donghia’s subtly striated ‘Heirloom’, £446 per m, shown (from top) in keepsake red, vintage taupe and brooch blue. Ring 020 7349 1590, or visit rubelli.com.
9 A chaise sits at the foot of the four-poster in the French château’s Treasury Tower (page 296). With its high back and white legs, we think this ‘Napoléon III’ reading chair by Moissonnier (from £5,463 approx) is a dead ringer. Ring 00 33 4 74 23 15 31, or visit moissonnier.com.
10 We searched hard for stylish sprigs similar to those on the walls of the Pope’s Room in Michel Guyot’s castle (page 296). The best of the bunch? Paolo Moschino for Nicholas Haslam’s blue/brown ‘De La Tour’ linen, which comes paper-backed for £201.50 per m. Ring 020 7730 8623, or visit nicholashaslam.com.
11 Inspired by the patterns in Mary
11
Wondrausch’s home (page 322), the Stencil Studio created a ‘Folk Art’ range (£18.48 for a set of eight A5 sheets). We used Annie Sloan’s Florence and Arles chalk paint (£5.95 for 120ml) to evoke her kitchen scheme. Ring 01453 731233, or visit thestencilstudio.com. Ring 01865 803168, or visit anniesloan.com.
12 Mary Wondrausch is still considered the doyenne of slipware, which she made in her Surrey home studio (page 316). Her influence can be seen in these Andrew McGarva dishes, which cost (from left) £360 and £96 respectively. Ring 01532 632083, or visit tinsmiths.co.uk. r 12
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inspiration 1
1 Designed as a luxurious holiday home, the Cap Ferret property offers a plethora of places to laze, whether by the pool or on the sitting room’s opium bed (page 334), which is topped with buttoned pads. For comparable cushioning, lounge lizards could do worse than Urban Outfitters’ cream ‘Rohini’ – yours for £180. Visit urbanoutfitters.com.
2 Marina de Lasteyrie du Saillant stuck to the rule of tree when decorating her pad on a French peninsula – even the handles of her kitchen cabinets have a certain bough factor (page 337). They put us in mind of these 40cm ‘Twig’ pulls by Philip Watts Design, which are available in three metals and a variety of finishes from £177 each. Ring 0115 926 9756, or visit philipwattsdesign.com.
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3 Asian influences abound in the Du Saillant family’s house on the Bay of Biscay. Altfield’s ‘Chrysanthemums’ divider (£2,000) is an excellent match for the Japanese screen that lends a golden glow to the daughter’s bedroom (page 338). Ring 020 7351 5893, or visit altfield.com.
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4 Vintage-looking floral fabric jollies up one 5
of the box-beds in the Arnol blackhouse (page 354), lending cheer to an otherwise dour interior. Kate Forman’s ‘Cameo Rose’ (top) and ‘Matilda’ linens have similar charm; £75 per m. Ring 01962 732244, or visit kateforman.co.uk.
5 A heady scent fills the air on Lewis, where for centuries blackhouse inhabitants burned peat to see them through winter (page 348). Most of us don’t have access to the rich fuel, but we can still smell its sweet smoke, thanks to this candle by the Hebridean Soap Company (£4.50). Ring 01851 621306, or visit hebrideansoap.co.uk.
6 The red suzani gracing the drawing room of Pierre Le-Tan’s temporary Paris bolthole has faded gracefully after years of sun exposure (page 342). If you prefer yours bolder and brighter, turn to Susan Deliss, who’s offering this antique Uzbek number for £480. Ring 07768 805850, or visit susandeliss.com $ 6
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This page: Masi (barkcloth), mid-to late-19th-century, Matuku or Moala, eastern Fiji. Opposite, top left: navigation chart, 19th-century, Marshall Islands, wood, fibre, snail shells. Top right: female tattooed figure, 18th- or early 19th-century, Aitutaki, Cook Islands, wood, pigment. Bottom: stylised human figure (Hei tiki), nephrite (greenstone), haliotis shell, resin plant
Oceania’s umpteen, lesser-seen Italians, Scandi provocateurs, plus Charlotte Edwards’s listings
OPPOSITE: MUSEUM OF ARCHAEOLOGY & ANTHROPOLOGY, UNIVERSITY OF CAMBRIDGE. Z 5064. ABOVE LEFT: NATIONAL MUSEUM OF DENMARK, COPENHAGEN. PHOTO: JOHN LEE. ABOVE RIGHT: © FIVE CONTINENTS MUSEUM, MUNICH. PHOTO: MARIANNE FRANKE. BOTTOM: PITT RIVERS MUSEUM, UNIVERSITY OF OXFORD
EXHIBITION
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Oceania ROYAL ACADEMY OF ARTS Piccadilly, London W1 ‘Our ancestors, who had lived in the Pacific for over 2,000 years, viewed their world as “a sea of islands” rather than as “islands in the sea”.’ In Tongan writer Epeli Hau’ofa’s characterisation of Oceania, the sea is the sacred centre of a realm in which all the elements are locked in a family relationship. The RA’s autumn blockbuster on this region’s art is shaped by that perspective, and, like the Pacific itself, it is vast and restless, bringing together some 200 spectacular items from what is almost a third of the Earth’s surface. It marks the 250th anniversary both of the RA and the voyages of Captain Cook, which shattered for ever the assumed certainties of both Europeans and Oceanians, and began a process of mutual discovery, mythologisation, exchange and conflict. The exhibition combines an unusual number of indigenous voices. It’s not to be expected they’ll all agree on how to see what Nicholas Thomas, one of the curators, has termed ‘entangled objects’. Cultural shibboleths jostle uncomfortably. Islanders are seen not as passive in that first, 18th-century stage of globalisation but as empowered actors. Local mythology is to be read as eco-sensitivity, so that kinship relationships with sea, rivers and their creatures become moral imperatives driving sustainability. There are debates over whether objects in Western museums are hostages or refugees, but the fact the great efflorescence of Oceanic arts that created these works was partly due to the introduction of European steel tools and the creation of a new market is not noted. Oceania has been poorly served by British exhibitions. Even the British Museum’s collection, chiefly represented here by the figure of A’a from
Rurutu, has been under wraps for years. Some forms are familiar, such as the impish Hei tiki that has become a Māori icon, but many others are from foreign, even antipodean collections, and will be new to the most inveterate museum-goer. Historical continuities are impressive. Particularly striking is the oldest-known sculpture from New Zealand, the 14th-century Kaitaia carving, whose angularity is matched by a Tahitian work acquired by Cook in the 18th century, while a 19th-century Hawaiian featherwork cloak is virtually identical to one collected by the captain years before. Some pieces have a haunting quality, such as the Kiribati trident, fish-skin helmet and coconut-fibre armour. The extravagant tattoos of some Oceanians caused a sensation in 18th-century London. They are well represented here and feature in the works of various official artists taken along by Cook. Most wonderfully outrageous object? The contemporary Māori grand piano. Most enigmatic? The Marshall Islands navigation charts, handfuls of intermeshing twigs and shells that enabled bold sailors to venture across hundreds of miles of open sea with the stars, winds and currents as their only markers. They are probably not ‘charts’ at all but mnemonic devices – like knots in a handkerchief – and can’t be converted into the individual features in a fixed spatial arrangement that we demand from Western maps. They might well serve as a symbol of the sheer difficulty of the task undertaken by this ambitious show, which seeks to translate one culture into something understandable by a very different other culture. OCEANIA runs 29 Sept-10 Dec, Mon-Thurs, Sat, Sun 10-6, Fri 10-10 $ NIGEL BARLEY is an anthropologist
ICONS
DECEMBER 2018
WHO SHAPES THE WAY OUR LIVES LOOK? his December he World of Interiors answers the question by honouring the famous igures and under-the-radar radicals who deine how we design and decorate today. Looking back over three centuries of creativity, this special issue will outline the architects and artists, decorators and home makers, trendsetters and trailblazers whose decisions still inluence our choices. If you want to ind out what makes taste tick, donâ&#x20AC;&#x2122;t miss the December issue.
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EXHIBITION
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Left: Renato Birolli, The Harlequin, 1931, oil on canvas. Below: Renato Birolli, Red Taxi, 1932, oil on canvas. Bottom: Giuseppe Mignecco, Still Life with Masks, 1941, oil on canvas
ALL WORKS: COURTESY GIUSEPPE IANNACCONE COLLECTION
The Giuseppe Iannaccone Collection ESTORICK COLLECTION Canonbury Square, London N1 In 1922, Benito Mussolini marched on Rome; in 1945, he was strung up by his heels. Between these two events, Italy produced some of the most extraordinary art of that century, and some of the least known. Unlike their German counterparts, artists under Italian Fascism could carry on more or less as before, provided they kept their heads down. This meant making work that didn’t look political, even if, in its makers’ minds, it was: no manifestos, no groups or schools, safe subjects such as landscapes and portraits. This caution has led to Italian art of the interwar period being dismissed as (in the words of one scholar) ‘lacking in vitality and retreating into provincialism’. That is not the view of Giuseppe Iannaccone, whose collection comes to London this autumn. Iannaccone is an unashamed enthusiast for his subject. The Milanese lawyer calls the work in his private gallery ‘the story of an underworld’. While postwar Italian artists such as Lucio Fontana became household names, most non-Italians will never have heard of Mario Mafai or Renato Guttuso. Their circumspection has turned them into secrets. If Iannaccone has his way, his exhibition at the Estorick Collection will change this. The earliest work in the show is Ottone Rosai’s The Wait. Painted in 1920, two years before Mussolini, it is a product of the same anxiety that brought Il Duce to power. A cross between a Lowry and one of Cézanne’s card players, The Wait is a portrait of anticipation,
human and historical. A better-known name (although on account of his playwright father, Luigi) is Fausto Pirandello, perhaps the great discovery of this show. His handling of flesh in Composition (Rustic Siesta), 1924-26, is startlingly carnal. Pirandello’s plump, dozing ladies, two nude, one in a red dressing gown, are so like Lucian Freud’s that you wonder if the wily old fox can have lifted from it. Foro Bonaparte in Milan (1941) by Filippo de Pisis makes a handy pendant to Rosai’s The Wait. If the earlier work asked where Italy was heading, De Pisis’s covertly provides the answer. Apparently a jaunty street scene, the painting’s jagged brushwork suggests a country about to fall into anarchy. Where a show of French art of the same period could be hung by school or movement, this is impossible here: its story is of affinities, not manifestos. What glues the collection together is its creator’s passion. Iannaccone’s fondness for Renato Birolli is a case in point. Birolli’s Red Taxi (1932) fizzes with the excitement of a young country boy new in Milan, a thrill that Iannaccone, now in his early sixties and himself from Campania, clearly understands. ‘Milan was a wonderful fairy tale that gave [Birolli] the joy of being an artist,’ he says. ‘I fell in love with him straight away.’ A NEW FIGURATIVE ART 1920-1945: WORKS FROM THE GIUSEPPE IANNACCONE COLLECTION runs 26 Sept- 6 Jan, Wed-
Sat 11-6, Sun 12-5 $ CHARLES DARWENT is the author of ‘Josef Albers: Life and Work’, published by Thames & Hudson on 11 Oct
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TOP LEFT: COURTESY OF THE ARTISTS, IMAGE COURTESY CRISTINA GUERRA. TOP RIGHT: COURTESY OF ART PRODUCTION FUND, NEW YORK; BALLROOM MARFA, MARFA; THE ARTISTS. BOTTOM: COURTESY OF KÖNIG GALLERY, PHOTO: ROMAN MAERZ
EXHIBITION
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Elmgreen & Dragset WHITECHAPEL GALLERY Whitechapel High St, London E1 Elmgreen & Dragset don’t shy away from drama. When the Berlin-based artists – Dane Michael Elmgreen and Norwegian Ingar Dragset – took over the Danish and Nordic Pavilions at the 53rd Venice Biennale in 2009, their work, Death of a Collector (WoI Nov 2009), featured a lifelike mannequin of a businessman floating face down in a swimming pool, his Rolex watch and pack of Marlboro sunk to the bottom. It wasn’t that long after the global financial crash of 2008 and I remember seeing some of the wealthy collectors at the preview – and a few museum directors who rely on their donations – wince at the sight. This autumn, the Whitechapel Gallery is holding the UK’s first major overview of the duo’s career, covering 20 years of work. It promises equally unsettling scenes with a sharp perspective on current economic and social conditions, especially when you learn that the major new commission will address the gentrification of London’s East End. The artists cite Vilhelm Hammershøi as an inspiration; surprising, perhaps, but then every floating dust mote in the 19thcentury Danish painter’s sublimely lit, often unpopulated, bourgeois interiors seems to encapsulate unseen domestic tensions. In the company of such fraught references, Elmgreen & Dragset’s sculptural installation Modern Moses, a carrycot containing a hyper-realistic wax baby abandoned next to an illuminated cash machine, stands to be as poignant as it was when they first showed it in 2006. The pair’s art often occupies the realm of the uncanny. Probably their most famous work, Prada Marfa (2005), saw them installing a meticulously recreated Prada shop, complete with shoes and bags, in the Texan desert. Their 2015 project Aéroport Mille Plateaux transformed the Samsung Museum of Art in Seoul into an airport, complete with a departure board and luggage conveyor belt. Given that collaboration is a cornerstone of their practice, it’s perhaps to be expected that Elmgreen & Dragset make frequent reference to artists they admire. Their Self-Portraits series pays tribute to those who influenced both their work and their personal lives, with colossal versions of generic gallery labels rendered as painted canvases and carved slabs of white marble. Self-Portrait, No.16 (2015), pays homage to David Hockney’s male nude Clean Boy (1964) simply by stating its title, date, medium and dimensions. If their art tackles charged topics, such as sexual politics and the disparity of wealth, it also carves out a space for hope. In 2012, Londoners saw the duo’s Fourth Plinth commission, Powerless Structures, Fig. 101, set among the civic statues on Trafalgar Square. The bronze figure of a child on a rocking horse might be read as a depiction of vulnerability, but the boy can also be seen as full of potential. Humour, too, is always in evidence in Elmgreen & Dragset’s work, helping to take the edge off difficult themes. Flouting the convention that one does not touch the art, The Bottle and the Book (2015), a desk with a chair and bottle of whisky, will be on display at the Whitechapel, for people to sit down and take a swig while they contemplate the show. ELMGREEN & DRAGSET: THIS IS HOW WE BITE OUR TONGUE runs 27 Sept-13 Jan, Tues, Wed, Fri-Sun 11-6, Thurs 11-9 $ ELLEN MARA DE WACHTER is the author of ‘Co-Art: Artists on Creative Collaboration’ (Phaidon) From top: Self-Portrait, No.77, 2018, engraved marble; Prada Marfa, 2005, adobe bricks, plaster, aluminium frames, glass panes, MDF, paint, carpet, Prada shoes and bags, permanent installation in Marfa, Texas. Too Heavy, 2017, rock (aluminium cast, lacquer paint), trampoline (aluminium cast, steel, fabric)
EXHIBITION
diary 1 1 Screen siren – Alex Prager, The Big Valley: Desiree, 2018, at the Photographers’ Gallery. 2 Madonna on tour – Giovanni Bellini, The Virgin and Child, c1475, at the National Gallery. 3 Isolation units – Frank Collins, St Pancras Smallpox Hospital, London, 1881, at the Wellcome.
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LONDON
MARIAN GOODMAN GALLERY LOWER JOHN ST, W1
BRITISH MUSEUM GREAT RUSSELL ST, WC1 6 Sept20 Jan. Mon-Thurs, Sat, Sun 10-5.30, Fri 10-8.30.
Politicised teapots, subversive saltcellars and other objects registering dissent – even if discreetly – chosen by Private Eye’s Ian Hislop.
13 Sept-20 Oct. Mon-Fri 10-6. Certain enigmatic objects – bird houses, porcelain dogs, casts of his aunt’s hands, school furniture, shoelaces – make repeated appearances in artist and activist Kemang Wa Lehulere’s installations.
CHELSEA PHYSIC GARDEN ROYAL HOSPITAL RD, SW3
MUSEUM OF LONDON LONDON WALL, EC2 Until 11
Until 31 Oct. Mon-Fri, Sun 11-6. Liquid assets: let-
Nov. Mon-Sun 10-6. The city after dark, and in its darkest days, in the work of 50 photographers. Look out for lantern slides by amateur Mercie Lack, a schoolteacher whose claim to fame was that she (almost accidentally) photographed the excavation of Sutton Hoo.
tering artists present stones, sculptures and ornaments inscribed with drinking songs, poems and recipes for cordials and brews. CONNAUGHT BROWN ALBEMARLE ST, W1 14 Sept20 Oct. Mon-Fri 10-5. Henri Martin’s early alle-
gorical paintings were exhibited in the first Rose + Croix Symbolist salon in Paris; later, he made dream-like plein-air landscapes reinterpreting Pointillist and Fauvist techniques. CRANE KALMAN GALLERY BROMPTON RD, SW3 20 Sept-28 Oct. Mon-Fri 10-6, Sat 11-4. Close obser-
vations of the natural world and rural life – farm animals, fields and fêtes – in watercolours and drawings by Mary Newcomb. DANIELLE ARNAUD KENNINGTON RD, SE11 15 Sept-
13 Oct. Thurs-Sat 2-6. Nicky Coutts’s charcoal drawings are based on the five admonitory phrases signed to the 2015 UN climate change convention by Koko the gorilla, who was said to understand over 2,000 English words. GOLDSMITHS CCA ST JAMES’S, NEW CROSS, SE14
8 Sept-4 Nov. Wed, Fri-Sun 11-6, Thurs 11-8. This 3
new space, converted from a public baths by Turner Prize-winning collective Assemble, opens with Mika Rottenberg’s absurdist films holding up a (funhouse) mirror to society. GUILDHALL ART GALLERY GRESHAM ST, EC2 Until
28 Oct. Mon-Sat 9-5, Sun 12-4. It all adds up: ex-
ploring geometry and symmetry in the pots, tiles and plates of Victorian ceramicist – and mathematician’s son – William De Morgan. HAYWARD GALLERY SOUTHBANK CENTRE, SE1 26
Sept-6 Jan. Mon, Wed, Fri-Sun 11-7, Thurs 11-9.
4 4 Vice precedence – Nicholas Pope, Pride, 2015, at The Sunday Painter. 5 Mass production – pontifical chasuble, Spanish, c1580, at Indar Pasricha. 6 Rotate view – Jeppe Hein, 360˚ Illusion III, 2007, at the Hayward. 7 Penny for your thoughts – defaced coin, 1903, at the British Museum
Reflective, see-through or otherwise disorienting installations by 20 artists who alter our sense of space. Especially welcome is the chance to see work by German minimalist Charlotte Posenenske (1930-85) and Helen Pashgian (b.1934), an overlooked protagonist of California’s Light and Space movement.
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INDAR PASRICHA FINE ARTS MORETON ST, SW1 25 Sept-27 Oct. Tues-Sat 11-6. ‘Bizarre’ silks and glit-
NATIONAL GALLERY TRAFALGAR SQUARE, WC2 17
Sept-20 Jan. Mon-Thurs, Sat, Sun 10-6, Fri 10-9.
Manet’s sad-eyed barmaid, Renoir’s theatregoers and Cézanne’s card players travel half a mile from the Courtauld to hang with other Impressionist and Post-Impressionist masterpieces bought by its founder Samuel for the National Gallery. 1 Oct-27 Jan, two pairs of paintings in which Mantegna and Bellini tackle the same subjects – The Agony in the Garden and The Presentation at the Temple – are at the heart of an exhibition on the artists’ creative exchanges and family ties. OLD TELEPHONE EXCHANGE KENNINGS WAY, SE11
8-23 Sept. Tues-Sun 12-5. Intricate and painstak-
ing works attesting to the skill of the artist’s hand occupy this abandoned building for a project by itinerant gallery Roaming Room. THE PHOTOGRAPHERS’ GALLERY RAMILLIES ST, W1
Until 14 Oct. Mon-Wed, Fri, Sat 10-6, Thurs 10-8, Sun 11-6. US photographer Alex Prager’s super-
slick staged images, mostly shot on LA sets, and films that immerse the viewer in the same theatrical Technicolor aesthetic. Plus, Tish Murtha’s (1956-2013) compelling pictures of marching bands, the young unemployed in Tyneside and Soho sex workers. SOUTH LONDON GALLERY PECKHAM RD, SE5 22 Sept-18 Nov. Tues, Thurs-Sun 11-6, Wed 11-9. What
do you get when you cross an art gallery with a fire station? The punchline will be supplied when SLG opens its smart new annex in the repurposed building across the road, with a show about humour in contemporary art. THE SUNDAY PAINTER SOUTH LAMBETH RD, SW8
15 Sept-3 Nov. Wed-Sat 12-6. Nicholas Pope uses
tering vestments recycled from aristocratic garb figure in a sumptuous survey of 16th- to 19th-century European textiles.
the slipperiness and transparency of glass to metaphorical effect here, with 14 chalices dedicated to the seven sins and seven virtues, accompanied by corresponding drawings.
KOREAN CULTURAL CENTRE STRAND, WC2 17 Sept-
WELLCOME COLLECTION EUSTON RD, NW1
3 Nov. Mon-Fri 10-6, Sat 11-5. Yunchul
Kim has filled 18 tubes with suspended photonic crystals for his experimental solo show.
4 Oct3 March. Tues, Wed, Fri, Sat 10-6, Thurs 10-10, Sun 11-6. A consideration of
the role of buildings in restoring, promoting or damaging our health. Don’t miss the 1932 scale model of a King Edward’s Fund hospital, with bedspreads made from Queen Mary’s lace hankies.
MAAS GALLERY CLIFFORD ST, W1 3-13 Oct. Mon-Fri 10-5.30.
Sarah Adams’s lyrical oils of the caves, rocks and dunes in Cornwall’s Camel estuary. 6 7
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EXHIBITION
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1 OUTSIDE LONDON
WADEBRIDGE CIRCLE CONTEMPORARY 22 Sept-20
CHICHESTER OTTER GALLERY Until 7 Oct. Mon-Fri 9-5 (until 10 Sept); Mon-Fri 9-9, Sat, Sun 11-6 (from 10 Sept). Art made by pacifists and conscien-
Oct. Mon-Sat 10-4. Analogue photographers in north Cornwall. Joni Sternbach makes wetplate tintypes of surfers in a portable dark room, while Caroline Marrack documents clifftop walks with her rangefinder camera.
tious objectors during both world wars. COMPTON WATTS GALLERY Until 14 Oct. Tues-Sun
11-5. In the infancy of creative therapy, James Henry Pullen (1835-1916) created complex model ships, articulated puppets and a comicstrip-style autobiography in a specially converted studio-room in Earlswood Asylum. DUNDEE DUNDEE CONTEMPORARY ARTS 8 Sept-25
Nov. Mon-Wed, Fri-Sun 10-6, Thurs 10-8. The city’s
new V&A (see Serious Pursuits) will be drawing the crowds, but don’t overlook this gallery’s staging of two extraordinary projects. A 2010-11 film trilogy by Mike Kelley follows the journey of an exact replica of the artist’s childhood home, which he built on the back of a trailer; Santiago Sierra’s Black Flag (2015) documents his quest to plant the anarchist symbol at both the North and South Poles. EDINBURGH INGLEBY GALLERY Until 20 Oct. Wed-
Sat 11-5. Across the universe: a group show of
historical and contemporary art charting the cosmos, in honour of the 50th anniversaries of 2001: A Space Odyssey and the Earthrise photograph by Apollo 8 crewman Bill Anders. SCOTTISH NATIONAL GALLERY OF MODERN ART
Until 21 Oct. Mon-Sun 10-5. Glowing colours and
religious fervour pervade Emil Nolde’s landscapes and ecstatic flower paintings. Until 28 Oct, look sharp: Raqib Shaw uses a porcupine quill and enamels in an overheated palette to make paintings reinterpreting Old Masters. ELY ELY CATHEDRAL Until 28 Oct. Mon-Sun 7-6.30.
When her mother expressed sadness at the ‘absence of spirituality’ in Holocaust memorials – many based on imagery of possessions or empty rooms that she felt conveyed only loss, not hope – Helaine Blumenfeld began to create her Tree of Life sculptures, trying to encapsulate both death and regeneration in organic, branching bronze or marble forms. FIRLE CHARLESTON 8 Sept-6 Jan. Wed-Sun 10-5 (gal-
leries), Wed-Sat 11.30-5, Sun 12-5 (house, until 28 Oct only). A new exhibition space at Bloomsbury
HQ opens with contemporary responses to Virginia Woolf’s 90-year-old novel Orlando, exploring gender-fluid identity, dress, costume, transformation and exoticism. PORT SUNLIGHT LADY LEVER ART GALLERY
Until 7 Oct. Mon-Sun 10-5. Hives of
industry: 19th-century etchings of London and New York. RIPON FOUNTAINS ABBEY AND STUDLEY ROYAL Until 4 Nov. MonSun 10-6. Polly, architect Charles
Holland’s 9m-tall tower painted in parrot-plumage colours, is one of four contemporary follies installed in the Georgian water garden.
WAKEFIELD THE HEPWORTH Until 7 Oct. Mon-Sun 10-5. Lee Miller’s role in developing and documenting Surrealism in Britain. Plus, stumble
like a somnambulist through a dream-like landscape of imagery by photographic artist Viviane Sassen. Until 13 Jan, in the spirit of Chippendale’s Director catalogue and a 1959 domestic-design exhibition at Wakefield Art Gallery, Giles Round (WoI March 2015) has created a ‘showroom’ of ceramics, textiles and furniture. He’s also set up a marbling workshop in the Chippendale interior of nearby Nostell Priory (WoI Sept 2017).
1 Horse sense – George Stubbs, Portrait of Assheton, 1st Viscount Curzon, and his mare Maria, 1771, in Chantilly. 2 History play – Vanessa Bell, Angelica as the Russian Princess, 1928, in Firle. 3 Creature comforts – Emil Nolde, Exotic Figures II, 1911, in Edinburgh.
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WEST BRETTON YORKSHIRE SCULPTURE PARK 29
Sept-6 Jan. Mon-Sun 11-4 (Longside Gallery), 10-6 (grounds). Sean Scully’s having a busy year,
with solo shows in London, Liverpool and Washington, DC, this month alone. Trek across the park at YSP to see his monumental stacked sculptures in rusted corten steel, painted aluminium and Yorkshire stone. FRANCE CHANTILLY JEU DE PAUME Until 14 Oct.
Mon-Sun 10-6. Horses for courses: Stubbs, Géricault and Degas paint the races. 15 Sept-14 Oct. Tues-Thurs 10-6, Fri 10-9, Sat, Sun 10-8. Greengrocer Ito
PARIS PETIT PALAIS
Jakuchu (1716-1800) was 40 when he handed over his business to his brother in order to paint full-time. His Colourful Kingdom of Living Beings, 30 silk scrolls depicting birds, fish and trees, are on show for the first time in Europe.
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ITALY CERNOBBIO VILLA ERBA 5-7 Oct. Fri-Sun 9-7.
Kim L. Pace’s prickly ceramic cactus people populate curator Jeff Gleich’s ‘cosmic garden’ of surreal or supernatural botanical art. USA NEW YORK LEHMANN MAUPIN 501 W. 24TH ST
6 Sept-27 Oct. Mon-Fri 10-6. Liza Lou, best
known for that jaw-dropping life-size kitchen tableau she made entirely out of glass beads (1991-96), presents new paintings of clouds on a grid of 600 (beaded) cloths. MOMA Until 1 Jan. Mon-Thurs, Sat, Sun 10.30-
5.30, Fri 10.30-8. Fantastical maquettes by
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Congolese artist Bodys Isek Kingelez. MUSEUM OF THE CITY OF NEW YORK Until 28 Oct. Mon-Sun 10-6. Eyes wide open:
Stanley Kubrick’s five years as a Look magazine photographer. Plus, Rosario Candela’s chic pre-war designs for high-rise Manhattan apartments. WASHINGTON, DC NATIONAL PORTRAIT GALLERY Until 10 March. Mon-Sun 11.30-
7. Profile pieces: the art of the cutpaper silhouette, both then (Auguste Edouart) and now (Kristi Malakoff’s maypole dancers; Kara Walker’s plantation panoramas) $ 6
4 Miller time – Andrew Lanyon’s 2004 reconstruction of Man Ray’s Indestructible Object, in Wakefield. 5 Top of the pile – Sean Scully, Stack Blues, 2017, in West Bretton. 6 Point taken – Auguste Edouart, Chin Sung, 1841, in Washington DC. 7 Trumped-up tower – Bodys Isek Kingelez, UN, 1995, in New York
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JOURNAL OF A PLACEMAKER
BEAKS AND TROUGHS Venture off London’s Oxford Street these days and you might happen across a small park in a narrow street. There, shaded by a pergola, you will find people from all walks of life – shop workers, builders, young families, worshippers from a nearby church and synagogue, tourists clutching guidebooks and maps… I often wonder how many of them realise that they are sitting in what was until very recently a cut-through for delivery vehicles. I have reason to be thrilled by this sight. As a ‘placemaker’ it’s my job to improve city streets, reinventing them so they become places for people, not just traffic. Ideally these new urban spaces, sometimes squeezed out of the unlikeliest pockets, will be both sustainable and inspirational. But that’s not always easy in such a complex and densely populated area as the West End. While there are fine buildings aplenty in the tight grid of Georgian streets behind Marble Arch station, there are surprisingly few outdoor places for their occupants. And so naturally I was cock-a-hoop when earlier this year I heard about plans to carve out the aforementioned Wild West End Garden on Old Quebec Street, just off one of the world’s busiest thoroughfares. Here was an all-too-rare opportunity to reimagine a rat run as a traffic-free haven fit for people and wildlife. It takes coordination to pull off an idea like this and so I ought to mention the project’s supporters: Westminster City Council, which consented to the road closure; the Portman Estate, which owns surrounding buildings; Wild West End, which lent its biodiversity expertise; and the Baker Street and Marble Arch Business Improvement Districts. Together we created a garden that echoes London’s great garden squares in design. But where the latter are so often closed to the public, on Old Quebec Street we created one accessible to all. It is, in short, a space to relax, reflect and socialise. The planting is a joy. We were lucky enough to work
with the award-winning garden designer Kate Gould, who selected mature acers, Chinese dogwood, Paul’s scarlet and ferns – all known for their pollution-resistant properties. The remainder of the garden is planted with evergreens and colourful pollinators, giving a wild feeling to an otherwise urban space. The garden joins others to form a green corridor designed to help wildlife cross the city. Bees and other insects have wasted no time in visiting, pollinating plants as they do so. This, in turn, has brought birds and bats to Old Quebec Street and the surrounding area. Rare species such as black redstarts and starlings have already been spotted, along with a kestrel, Leisler’s bat and – perhaps most impressive – great spotted woodpecker, which is generally pretty choosy about its habitat. I think that says something about the ecosystem we have created in this improbable place. The Wild West End Garden is just one of the projects with which I’ve been involved. Since 2014 I have been working on the £10 million renovation of Bond Street, where a new ‘town square’ and wider footpaths have freed up 60 per cent extra space for pedestrians. The imminent arrival of the Elizabeth Line, which will bring 30 million more people to the West End every year, makes reclaiming such streets doubly important. As soon as passengers step out from stations on to the street, I want them to feel uplifted. That should certainly be the case at Hanover Square – another key gateway to Oxford Street when the new line opens – which will become traffic-free, with a fully restored garden at its heart. Such spaces are a symbol of a civilised city and essential to our health. For now I am just overjoyed every time I visit the Old Quebec Street garden. Whenever I do I often reflect on these words from Maya Angelou: ‘People will forget what you said, people will forget what you did, but people will never forget how you made them feel.’ Making people feel better is one of the perks of my job $
ILLUSTRATION: ROBERT NICOL
WITH A FEW PLANTERS, SOME CHOICE GREENERY AND A LOT OF IMAGINATION, CIVIC-SPACE CREATOR DAN JOHNSON IS MAKING CENTRAL LONDON MORE ATTRACTIVE TO PEOPLE – AND WOODPECKERS. MICRO PARKS BRING MANY PERKS, HE EXPLAINS, IN OUR CONGESTED CITIES