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PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

HOMES

APRIL 2018

O DECORATING O GARDENS O ANTIQUES & VINTAGE O RENOVATION

Classic elegance

Stunning period homes, from a converted station house to an extended cottage

SHOP FOR...

BEDROOMS DECORATIVE PLATES TABLE LAMPS ANTIQUE VASES

Fresh BLOOMS Pick beautiful flowers from your very own cutting garden

DESIGN INSPIRATION FOR WINDOWS AND DOORS

Spring greens Decorate with on-trend zesty hues and leafy prints

Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

eeping both sides in a relationship happy is not always easy when it comes to home design choices. For some couples, there is one party who is so passionate about what they want, that their easy-going other half just lets them get on with it. But often there are conflicting tastes: one is drawn to bold pattern and colour, while the other wants to keep things simple and neutral; one craves the character of period homes, while the other hankers after a modern new build. What should you do in such circumstances? You could please yourself at the expense of your spouse, but this can breed resentment if you don’t give them free rein over the next project. Alternatively, you can do what my husband and I resort to in such deadlock situations and go for something that you both find inoffensive – although I can’t really recommend this route as you end up with something that neither of you love, and then no one is happy.

Of course, there are the lucky ones: those matches made in interior design heaven, where two like-minded souls with complementary styles somehow manage to harmoniously combine belongings and embark on a lifetime of successful decorating collaborations. One such couple is Jo Davison and Alistair Haxton, whose Georgian apartment in South Yorkshire is finished with dark, dramatic shades and eclectic furnishings, plus a perfect mix of junk shop gems and quality antiques that give the whole scheme a sense of grandeur (page 38). There were inevitably compromises to be made, and some of their beloved possessions didn’t make the final cut, but the end result proves that when you work together, you can achieve a beautiful, happy home that you both truly love.

Elsewhere this issue, we celebrate the long heralded arrival of spring with a look at how to create a cut flower garden (page 119). Not only will growing your own blooms add interest to your outdoor space, but it will save you money on buying bouquets, attract beneficial insects, and fill your home with colour and scent. You may even discover that you have a flair for flower arranging. And where better to put your freshly picked stems than in a decorative vase? We asked Antiques Roadshow expert Marc Allum to provide a potted history of this mantelpiece staple (page 29), from its ancient roots to modern artistic interpretations. It’s a fascinating read, and will certainly make me think more carefully about the next vase I buy.

Finally, this month we take a look at the less glamorous – but crucial – subject of doors and windows. I always feel annoyed when I pass a lovely period house with chunky, gleaming white plastic frames – the originals forever lost. From page 100 we reveal some of the best new designs, then Roger Hunt provides a guide to caring for original metal windows. Enjoy!

Melanie Griffiths Editor, Period Living Period Living 3

PERIODLIVING

Future PLC, Units 1 & 2, Sugarbrook Court, Aston Road, Bromsgrove B60 3EX EDITORIAL Editor Melanie Griffiths Content Editor Rachel Crow Chief Content Sub Editor Emily Hawkes Homes Content Editor Karen Darlow Style Editor Pippa Blenkinsop Contributions by Michelle Guy Email periodliving@futurenet.com ART Head of Art Billy Peel Senior Art Editor Emily Smith Designer Karen Lawson ADVERTISING Media packs are available on request Print & Digital Sales Director Jackie Sanders 01527 834426 jackie.sanders@futurenet.com Print & Digital Sales Manager Rebecca Vincze 01527 834415 rebecca.vincze@futurenet.com Classified Sales Manager Emma Farrington 01527 834445 emma.farrington@futurenet.com INTERNATIONAL Period Living is available for licensing. Contact the International department to discuss partnership opportunities International Licensing Director Matt Ellis matt.ellis@futurenet.com SUBSCRIPTIONS Email enquiries contact@myfavouritemagazines.co.uk Orderline and enquiries +44 (0)344 848 2852 Online orders and enquiries www.myfavouritemagazines.co.uk Head of Subscriptions Sharon Todd CIRCULATION Head of Newstrade Tim Mathers

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áƺ Əȸƺ ƬȒȅȅǣɎɎƺƳ ɎȒ ȒȇǼɵ ɖɀǣȇǕ ȵƏȵƺȸ ɯǝǣƬǝ ǣɀ ƳƺȸǣɮƺƳ ǔȸȒȅ ȸƺɀȵȒȇɀǣƫǼɵ ȅƏȇƏǕƺƳً ƬƺȸɎǣˡ ƺƳ ǔȒȸƺɀɎȸɵ ƏȇƳ ƬǝǼȒȸǣȇƺ‫ٮ‬ǔȸƺƺ ȅƏȇɖǔƏƬɎɖȸƺِ The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and ɀȒƬǣȒƺƬȒȇȒȅǣƬ ɀɎƏȇƳƏȸƳɀِ Áǝƺ ȅƏȇɖǔƏƬɎɖȸǣȇǕ ȵƏȵƺȸ ȅǣǼǼ ǝȒǼƳɀ ǔɖǼǼ I³! ٢IȒȸƺɀɎ ³ɎƺɯƏȸƳɀǝǣȵ !ȒɖȇƬǣǼ٣ ƬƺȸɎǣˡ ƬƏɎǣȒȇ ƏȇƳ ƏƬƬȸƺƳǣɎƏɎǣȒȇِ All contents © 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited ٢ƬȒȅȵƏȇɵ ȇɖȅƫƺȸ ‫דזזז׎׎א‬٣ ǣɀ ȸƺǕǣɀɎƺȸƺƳ ǣȇ 0ȇǕǼƏȇƳ ƏȇƳ áƏǼƺɀِ «ƺǕǣɀɎƺȸƺƳ Ȓǔˡ Ƭƺ‫ ي‬ªɖƏɵ RȒɖɀƺً Áǝƺ ȅƫɖȸɵً ƏɎǝ ‫׏ ׏‬È ِ ǼǼ information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press.

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CONTENTS Cover

Features

Decorating & shopping

11 17 19 20 22 61

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Photograph Douglas Gibb

April journal We round up the latest interiors offerings, news and exhibitions Parma violet Introduce this year’s hottest shade into your period home Decorative plates Our pick of the prettiest dishes to serve or display

29 32

ON THE COVER

Table lamps Set the mood with the latest lights to suit all tastes

135

ON THE COVER

Spring greens Fresh ideas for using invigorating yet calming verdant shades

140

ON THE COVER

Spring cottage Create a rural idyll with pastel pieces and natural prints

162

Antique vases Antiques Roadshow expert Marc Allum charts the history of the humble vase from Ancient Greek design to Arts and Crafts ON THE COVER

Made in Britain Upholsterer Liz Rose invites us into her magical country studio to sample her traditional craft Veggie adventures Maria Elia shares creative ideas for cooking with vegetables Heritage weekend... Cheltenham Discover where to eat, sleep and shop in this Regency gem Home sweet home A look at the history behind Bournville, the model village developed for Cadbury workers

61 Period Living 7

100

Homes

38 49

62 70

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80

A marriage of styles Set within a Grade II listed manor house, this lovely apartment is a perfect mix of his and hers style Safe as houses Interior designer Amanda Hamilton and her husband John Thornhill turned a historic stonemason’s cottage into a practical family home The heart of the city The Buchanans’ elegant Georgian apartment is brimming with antiques and traditional charm

95 32

109

Home health check Property expert Roger Hunt advises on metal windows The reclaimer Sophie Miller, co-founder at Skinflint, shares her advice for buying reclaimed lighting

ON THE COVER

All change Awash with colour and quirky features, this converted railway station makes the perfect home for the Amigo family

Gardens

113

ON THE COVER

ON THE COVER Holidaying at home A marvel in monochrome, the interiors of this German cottage are full of ideas for decorating with antiques and muted shades

Advice & inspiration

91

105

ON THE COVER Window and door design Preserve your home’s period character by choosing the correct style of fenestration

117 119 126

House journal New products and expert advice for updating a period property

Garden journal A round up of the latest products for your garden Country club Garden shopping inspired by rural Britain in springtime ON THE COVER Cutting gardens Gardening expert Leigh Clapp shares advice for growing your own flowers for display

Woodland wonders An ancient bluebell wood is just one of the beautiful highlights in this glorious garden of rooms

Regulars Bedroom design Be inspired to create a stylish and restful sanctury with the latest furniture and bedlinen ON THE COVER

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49 113

Subscribe Subscribe to Period Living for £39 and get a free Teapigs gift set Stockists Where to find all the suppliers featured in this issue

APRIL The latest interiors offerings for a period home, from prints bursting with natural charm to handmade treasures

3 OF THE BEST EASTER EGGS

Almost too pretty to eat, here’s our pick of this year’s chocolate goodies

Limited-edition Spring Bloom egg, £30, Bettys

Hand-decorated white chocolate egg, £40, Fortnum & Mason

Dairy-free chocolate rose egg, £15, Daylesford Organic

TEA BREAK

Feature Pippa Blenkinsop

Ceramicist Emma Bridgewater has added two new sweet pea mugs to her bounty of botanical designs, which also include these blue parrot tulip and cornflower versions.

Perfect collectibles, the floral favourites cost from £14.95.

ARTIST’S IMPRESSION

Herald the approach of warmer weather and spring vitality with a vibrant interior update. An immersive painterly paradise of soaring foliage fronds dotted with tropical birds, this new two-part Giardino Segreto wall panel is a visual treat guaranteed to lift the spirits. £195 per panel from Designers Guild.

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Immerse yourself in the exotic with Harlequin’s latest Zapara collection, named after an indigenous people native to the Amazon rainforest along the border of Ecuador and Peru. Featuring 29 fabrics and 29 wallpapers, the range is bursting with tropical flowers and foliage, bound with a jewel palette. PL loves this exuberant Amaryllis design, a profusion of orchids, irises, pussy willows and ferns printed onto a silky cotton satin for added opulence, £45 per m.

TREASURE CHEST Combining on trend moody botanicals with a digital découpage effect, these beautiful vintage-style painted drawers are ideal for breathing life into a bland bedroom. The statement piece is £420 at Grand Illusions.

TALENT SPOT ‘It all starts with a cover,’ says artist Alison Stockmarr of her beautiful book assemblages. ‘The patina of the cloth – or leather if you’re lucky - along with the typography are what really inspire me.’ Add to that an evocative title, and an idea for another picture book is born.

Celebrating the nostalgic in a digital age, her pieces seek to create ‘3D narratives of a bygone age’.

Working as a fashion designer for many years, Alison later turned to collaged textile art and more recently to paper collage, yet an underlying fascination with texture and layering borne from her fashion days can still be traced.

Once selected, Alison cuts into the books to create apertures, opening up new fictional worlds that often centre around a significant line or quote within the pages. From here, she proceeds to layer carefully chosen paper ephemera in and around the frame to build up a whimsical narrative. ‘I use photographs, postcards, wrapping paper, old magazines – anything really, but they need to have a certain quality,’ she says. Limited prints of original pieces are available from £70 for A4 and £180 for A2, with bespoke pieces available on request. (alisonstockmarr.com) 12 Period Living

News

NATURAL SELECTION Handmade in the UK from 100 per cent natural ingredients, Nathalie Bond’s scented soy candles and organic soaps are kind to both body and planet.

Soap blocks, £6; soy candles, from £9.50 for 60ml; and liquid soaps, from £14

SPRING CRAFTS Rather than buying new Easter decorations, why not reach for your paintbrushes and celebrate the humble egg by adorning it with beautiful watercolour illustrations? Whether dotted around the dinner table or hung on foraged branches, they’re guaranteed to bring a pretty personal touch to celebrations. Kestle zinc plates, £8 for four, and glass dimple tumblers, £4 each, Rowen & Wren.

THE ART OF WILDLIFE Take a magical journey through the British countryside with artist Helen Ahpornsiri’s stunning new book A Year in the Wild, which captures seasonal delights through beautiful pressed flower collages. From spring meadow hares to winter’s hibernating hedgehogs, every illustration is painstakingly created with handforaged, pressed and arranged petals and leaves. £12.99 at Amazon.

DON’T MISS…

This month, the Cotswolds Art and Antiques Dealers’ Association Fair (CADA) returns to Blenheim Palace, where it will celebrate 40 years of the organisation.

Marking the occasion with an ‘all things red’ theme, expect to see dealers in the very best of furniture, artwork, textiles, jewellery, ceramics and more, including English pottery expert John Howard, who’ll be exhibiting these beautiful Staffordshire roosters. 19 – 22 April; visit cadafair.com for free tickets.

A favourite fair for dealers, collectors and antiques enthusiasts alike, Antiques for Everyone returns to Birmingham’s NEC from 5-8 April.

Admission is £16 per person, or show this page at the entrance to receive 2-for-1 entry

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Calmi ng co

Introducing the Ellis Paint Collection – a carefully curated palette of 18 neutral shades that provide a restful base for a timeless scheme. Developed by interior designer Cassandra Ellis in tune with her simple-useful-beautiful philosophy, the colours are deeply rooted in the natural world. From £59 for 2.5ltrs of flat emulsion.

MY VINTAGE WORLD Jonathon Holder of Welsh Vernacular Antiques shares his love for primitive furniture

What defines Welsh vernacular style?

The term simply means something that has been made by local craftsmen using local materials and techniques typical of the region.

The design brief of ‘function first’ resulted in humble, practical pieces with beautiful simplicity. That said, the

idiosyncrasies and traditions of each area has lead to great design variation.

Strong tables of oak and elm, stick chairs of ash, and dairy furniture of sycamore are particularly sought after.

What appeals to you about the genre?

I love the fact that they were everyday items used by our Welsh ancestors. My wife Yvonne and I moved into our late 18th-century Welsh cottage when we were just 18 and became fascinated with its history and how it might have been furnished. We visited museums and talked with local historians, and from there started collecting original pieces.

As a young apprentice at the time, our first purchases were modest, but as our budget grew we fell in love with stick chairs and primitive designs. By that time I was a trained Welsh harp maker with the skills to bring tired pieces back to life.

What tips do you have for collecting?

The best place to buy is from a specialist dealer. Often there are hidden restoration costs when buying from an online auction. Smaller stick chairs start at around £800, with older and more rare pieces, such as the comb back, fetching up to £6,000. A simple stool can be as little as £70 a great way to start.

From left: Welsh Vernacular Antiques co-owners Jonathon and Yvonne; primitive 19th-century hoop back chair with sycamore seat; the showroom in Ceredigion; a rare Cardiganshire primitive oak stick chair with thick slab seat and single piece yolk arm

Shopping Wild Orchid Regal Select Flat emulsion, £20.50 for 0.94ltrs, Benjamin Moore

Lavender crystal tumbler, £42, Joanna Wood

Bitossi Home Amsterdam pizza plate, £14, Amara

Classic radiator in Radiant Orchid, from £426, Bisque

Le Creuset classic salt mill in Cassis, £21, John Lewis

Zymurgorium Sweet Violet gin liqueur, £27, Harvey Nichols Handmade printed doll silk cushion, £28, Audenza at Not on the High Street Mulberry Abbey grained leather bucket bag in Lilac, £625, Selfridges

PA R

T E L O I V A M

Tier on tier shutters in Lavender, from £299 per m2, Shutterly Fabulous

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Hanging Bubble glass lamp in Purple, £89, Out There Interiors

Dell Anna sideboard in Distressed Violet, £2,496, Oficina Inglesa

Feature Emily Hawkes and Sophie Warren-Smith

Revival Uno radio in Purple Haze, £159.99, Roberts Radio Arizona Mid-century velvet cocktail chair, £189, Cult Living

Bloom 1 print by Julia Barstow, £53, Artwow

Eyes valet tray in Purple Gold, £68, Jonathan Adler Zira jute rug in Heather, £199, Modern Rugs

Period Living 17

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Period Living 19

Kangxi lamp, £295, Oka

Gold cuboid table lamp, £109, The French Bedroom Company

Elana table lamp, £102, with cotton shade, £39, both Där Lighting

Blue desk lamp, £18, Sainsbury’s Home

Rabbit table lamp, £102, Audenza

LIGHT AND SHADES

Cosmo table lamp in Blue, £80, Debenhams

Borbala bamboo table lamp, £95, Out There Interiors

Morom modern desk lamp in black, £249, Out & Out Original

Maiden table lamp, £125, The White Company

Azores green dimpled table lamp, £118.80, David Hunt Lighting

Glass shade marble table lamp, £78, Oliver Bonas

Gold bulb lamp with shade, £222, Oh What’s This

Cass swing arm table lamp, £59, Marks & Spencer

20 Period Living

Ceri aqua table lamp, £119, Furniture Village

George table lamp, £115, with straight empire shade in Moss, £90, both Pooky

Converted laboratory bottle lamp, £325, Fritz Fryer

Feature Sophie Warren-Smith

Butterfly ceramic square canton table lamp, £867, Besselink & Jones

Practical doesn’t need to mean plain, so whether classic or eclectic, bring your own style to the table with one of these statement lamps

As the broad stems of spring bulbs start to raise their heads and the trees come into leaf, we’re reminded that verdant shades are inextricably bound with natural beauty, imbued with an enduring appeal perfectly suited to period homes. At once invigorating, rejuvenating, peaceful and thought provoking, there’s a green for every room and mood, from fresh apple shades ideal for lively kitchens, to deep emeralds for statement dining rooms and delicate mints for restful bedrooms. Hues at the blue end of the spectrum are a great complement to the honeyed wooden beams and stone floors found in country cottages, while yellow-greens such as citrine and olive lend themselves to a mid-century look.

Green is also the natural partner to the botanical prints so popular among fabric and wallpaper designers through the ages. Today they’re enjoying a renaissance with a limitless choice of luscious, revitalising designs to inspire a spring home refresh.

22 Period Living

Feature Pippa Blenkinsop Clockwise from top left: Hand-printed Flora wallpaper, £282 per roll; hand-printed Flower Pots wallpaper, £330 per roll; hand-printed Tansy wallpaper, £282 per roll; Marrow digital print wide-width wallpaper, £114 per m and hand-printed Angelica wallpaper, £282 per roll, all designed and printed by Marthe Armitage Prints in custom colours, available to order from Hamilton Weston Wallpapers

SPRING GREENS

Decorating

Energising yet calming, forest shades are perfect for everyday spaces such as kitchens. Painted timber cabinets are an excellent choice, as they can be colour matched to your favourite shade and easily refreshed with a lick of paint if tastes change. This classic Shaker-style Henley Kitchen from Neptune is handpainted in its Sage paint and costs from ÂŁ14,000

As the garden awakens from its winter slumber, now is the time to refresh your summerhouse. Spruce up tired furniture with vintage paint effects and add cheery accessories for an uplifting space in which to create, read or simply relax. On wall: Barton Wood Bluebell jacquard throw, £35. On sideboard: Ceramic vases, from £10; Niwari mango wood candlestick, £14. On chair: Petrol throw, £45; cushions, from £25. Glendurgan Valley Floor mug, £8. On outside stool: Kiera plum glass vase, £8; apple green carafe, £18; tumblers, £6 each, all National Trust.

National Trust Flatford summerhouse, from £4,599, Crane Garden Buildings

Decorating Inspired by the rugged, wild coastline of the North East, Sanderson’s latest Embleton Bay collection is laced with delicate greens for an uplifting, tranquil scheme. Textured weaves and embroideries are teamed with complementary wallpapers and printed fabrics featuring handpainted grasses and wild flowers spotted on coastal wanderings, along with sweeping rural vistas.

Farne Grasses wallpaper, £66 per roll. Sofa in Curlew linen/cotton mix, £72 per m. Throw made in Arden linen, £45 per m. Cushions (from left): Dune and Vibeke cotton-mix fabrics, both £40 per m; Sea Houses cotton, £48 per m; Thistle Garden linen/cotton fabric, £58 per m and Deben linen-mix fabric, £41 per m

For a relaxed take on the verdant theme swap vibrant, leafy hues for fabrics and papers in softer notes of sage, lichen and sea foam.

Team with creams, greys and gentle duck eggs as well as rustic natural materials for plenty of texture and depth Period Living 25

If you’re cautious about committing to a single hue, opt for walls in a versatile neutral and introduce colour in the form of accessories and soft textiles, which can be easily updated. With its invigorating spectrum of zesty hues perfect for spring, Clarissa Hulse’s Grassflower linen adds instant zing to a pared-back bedroom, £95 for a double set

Styling Pippa Blenkinsop Photograph Kasia Fiszer

Decorating

Clockwise from top left: Fern Glade Culla cotton-mix fabric in Linen, £18 per m; Alora cotton in Palm, £16, both Studio G; Brera Moda linen in Antique Jade and Emerald, £75 per m, Designers Guild. Alora cotton in Apple, as before. Harris fabric in Pear, £43 per m, Clarke & Clarke. The Allotment wallpaper in Fennel, £49 per roll, Sanderson. Hansa terracotta pinch pots, £3 each, Rowen & Wren. Da Terra Geronimo dinner plate, £18, and side plate (below), £16, Unique & Unity. Paint brush, Harris. Paint on eggs (clockwise from left): TG Green, £44 for 2.5ltrs of Perfect matt emulsion, Designers Guild. Verde and Olive, £18.95, for 1ltr of Vintage paint, Grand Illusions. Warwick Green, £39.42 for 5ltrs of matt paint, Lakeland Paints. Leaf linen/cotton fabric in Moss, £142 per m, Molly Mahon. Alora cotton in Leaf and Moss, as before. Clay cotton/linen fabric in Samphire, £45 per m, Blendworth. Green Leaf linen teatowel, £11.95, Sam Wilson. Barni terracotta pot, £9, Rowen & Wren. Snowdrop painting, £28, Bodkin Creates at Folksy. Thyme linen napkin, £8.10, Broste. Pratham stripe napkin, £11.95, Birdie Fortescue. Mister Toad, £38 for 2.5ltrs of Claypaint, Earthborn. Green eggs: Earthborn’s Mister Toad and Riverbank, as before. Painting, as before. Green Stripe linen teatowel, £11.95, Sam Wilson. Green bottle, stylist’s own. Cabbage dish, £19, Amara. Cotton pile velvet in Moss, £58 per m, Vanessa Arbuthnott. Needle felted nest brooch, £22, Bodkin Creates. Wren tile, £3.50, Ascott Gardens. Albany fabric in Citron, £29 per m, Clarke & Clarke. For old books, try Oxfam Period Living 27

Antiques

From left to right: Ancient Greek vase; hexagonal bottle-shaped porcelain vase with court scenes, flowers, fruits and butterflies, from Canton, China, Qing dynasty, 19th century; Japanese vase from the Meiji period

THE V ASE A POTTED HISTORY Antiques Roadshow specialist Marc Allum tracks the origins and craftsmanship of vases through time

Images Getty Images

W

hen is a vase not a vase? It’s not a frequently asked question but it is one, once mooted, that gives you ample food for thought. It’s also a question that centres around why objects are fashioned in the first place and what function they really serve. The word ‘vase’ is used to describe all manner of vessels glass, ceramic, stone, metal or a mixture of mediums; a general ‘catch all’ word for something that might be used to hold a flower arrangement or exists purely for decorative purposes. Interestingly, people often find it quite hard to accept that objects don’t serve a particular function and that their job is quite simply to look pretty. It’s a conversation I’ve often had on my table at Antiques Roadshow. Yet conversely, as with many objects, a vase can disguise a wealth of meaning

in its production history, design and decoration.

This in turn can be politically inspired or skill based, with examples of superlatively executed items emphasising a tour de force in terms of their craftsmanship and technical execution, or interpretative reasons as to the form of their decoration, such as commemorative vases.

Historically, the vase is an ancient concept. It’s a ubiquitous object of varying form found globally and across all cultures and epochs. And, of course, is epitomised by the idea of the highly stylised and painted Greek vase, which incidentally is often not a vase at all but a container for wine, oils and unguents. Many Greek ‘vase’ shapes, such as the lekythos, have subsequently found their way into a timeless design aesthetic, constantly reinvented throughout history. I have in my own collection an 18th-century Wedgwood black basalt vase based on a lebes gamikos, or ritual Greek vase, copied from an original ancient design from the collection of Sir William Hamilton. It is an object that bridges history in more ways than one and is a perfect illustration ³ Period Living 29

Above: These ‘Yo-Yo’ vases

by Clarice Cliff date from around 1930.

Amassed by oilman Sevi Guatelli, they represent the finest single owner collection of Clarice Cliff ceramics to come on to the market Above right: Grace, hand-cut, painted and gilded vase design from 1880. Painted

by Jan Janecký as a limited edition of 50 pieces, this is an original shape and painted decoration that Ludwig Moser developed artistically in this period

30 Period Living

of historically perpetuated influence and style.

A few vases have very specific uses: a celery vase, for instance, or a delft tulip vase immediately springs to mind with its unusual form of multiple trumpets in which the bulbs are placed. In fact, I’ve conducted thousands of valuations over the decades and many have taken place in houses of some stature. Experience has shown that interesting objects sometimes reside in the oddest places, and I have always been intrigued by the flower arranging room or ‘vase’ room that you sometimes find in older properties.

It’s in such circumstances that I have sourced quite a few gems, including bulb vases, hyacinth vases, fanciful Italian majolica vases and Art Deco examples.

It’s not surprising that the vase has become a vehicle for designers and artists alike. Several immediately spring to mind but none more so than Clarice Cliff.

Although I’m not a fan of her products it’s not difficult to see how her playful use of bold, garish designs, unusual ceramic shapes and bright colours captured the imagination of the public and, subsequently, the wallets of serious collectors. Her Bizarre and Fantasque ranges offered a variety of patterns and designs that have come to epitomise the Jazz Age. Personally, I find the challenging creations of the 19th century designer Christopher Dresser far more intriguing. His use of different cultural and historic influences, particularly in his ceramic works, borrowed from ancient South America, Persia and the Orient, have given us a variety of vases of astounding diversity and design integrity, ranging from those with a basic art pottery philosophy to complicated Aesthetic period pieces. Other designs in glass and, most famously, metal, were also ground breaking both in their philosophy and their manufacture, although his metalware tends to be more function specific, such as letter racks and teapots. But like many ‘art potters’, Dresser rooted his interest in history and design to explore the technical aspects of pushing production boundaries and materials.

Just as we strove to unlock the mysteries of Chinese porcelain in the 18th century and to subsequently mimic the beauty and complexity

of Chinese vases and ceramics from their many dynasties, we too have favoured the very best examples of such oriental masterpieces only to see this come full-circle and inadvertently fuel the current ‘buy-back’ by newly wealthy Chinese collectors. Who would have thought that I would be handling Chinese porcelain vases that are now valued in the millions?

Modern artists and potters continue to explore and exploit the idea of the vase as a medium for conveying ground-breaking designs and more complicated messages – Bernard Leach, Lucie Rie and Hans Coper, to name but a few. But it is Grayson Perry who arguably has taken the notion of the vase to a new height – as a method of conveying strong statements on politics and social issues. His wit and socially relevant observations seem right for the current mood. Matching Pair, a large duo of vases based on publically canvassed notions of what ‘leave’ or ‘remain’ meant to them, are a perfect illustration of how a national issue such as Brexit can be manifested in something both as simple and yet complicated as a

Above: Barovier Art Glass, Murano, Italy 1916-1918 Right: Smoked glass vase with enamel decorations, c.1890, by Émile Gallé, France

Images Getty Images; (Grace guilded vase) Moser

Antiques

vessel. One of my greatest regrets is not buying one of his early vases.

Conversely, our everyday conception of what a vase is used for arranging flowers went through a mini revolution in the 1930s, largely brought about by Constance Spry. As a floral designer in the 1920s, she challenged the conventional wisdom of flower arrangers and experimented with materials that would often be discarded, such as grasses and even vegetables. Out went the stiff wire supported arrangements of the establishment and in came mixtures of kale and red roses. Her window arrangements in central London were renowned for stopping the traffic. Consequently her fame preceded her and her client base extended to the upper echelons of society; she even arranged some of the flowers for the Queen’s Coronation. The point, however, is that she designed her own range of trademark Fulham Pottery twin handled vases.

These have become collectable and regularly change hands in excess of £100 each.

With few boundaries to dictate the reasons why a vase might be either metal or ceramic, save its durability and its ability to hold water, the variety of possible designs is endless.

The famous art potters Moorcroft, renowned for their intricate tubelined pieces and often ethereal looking designs, were driven by the skill and inventiveness of William and Walter Moorcroft, particularly in the 1920s, 30s and 40s.

Their relationship with Liberty, the trend setting London store, gave them financial stability and a premium showcase for their now highly collectable vases and other ceramics.

Art Nouveau designs in plated pewter by the famous German manufacturer WMF explore the sinuous complexity of the period, often with glass liners. Archibald Knox’s designs, again for Liberty, also used pewter and silver, often with enamel appliques to effortlessly blend the styles of Arts and Crafts and Art Nouveau in a very British and somewhat Celtic transition of taste. Whereas the designs of WMF have tended to become less fashionable with a commensurate fall in prices, the Knox designs have maintained a good position in the market place. A pair of distinctive Tudric pewter ‘Bomb’ vases will likely cost you around £300 400 at auction.

In reality, the concept of collecting ‘vases’ is a complicated one, mainly due to the sheer enormity of the field, yet many collectors specialise in a genre and perhaps a particular maker, such as Wedgwood. However, one thing is certain: most of us will have more than one.

Clockwise from left: Decorated ceramic blue vase, by Christopher Dresser, Minton manufacture, England, 19th century; Murrine vase made by the Toso brothers, Italy, 1910; White oriental blossom vase; William de Morgan, 18391917; copper lustre vase at Standen, West Sussex

From left: Constance Spry in her flower shop, June 1947; Dame Lucie Rie, 1988; Bernard Leach with a retrospective of his work; Artist Grayson Perry and his vase entitled ‘Bad Portraits of Establishment Figures’, 2012 Period Living 31

A CUT ABOVE

From a rural barn on the East Sussex coast, designer Liz Rose is using the traditional craft of upholstery to create beautifully bespoke chairs Words Ali Heath | Photographs Alun Callender

Made in Britain

Liz shares her studio space with husband Simon, who has a passion for film, hence the velvet cinema seats

rustic moss-clad barn, tucked away in a leafy corner of upholsterer Liz Rose’s quiet East Sussex garden, artfully disguises the drama of what lies within. Giant, ruby-red Dorothy shoes, retrieved from a local carnival float, hang theatrically from internal beams, along with colourful pom-poms, a shimmering disco ball, lavish silk-lined walls and opulent velvet cinema seats. Not your usual upholstery studio, but then this is no ordinary creative. In the far corner of this inspirational space, Liz brings to life her designs by combining the ancient craft of upholstery with a passion for contemporary fabrics.

Having studied French and Italian at university, Liz enjoyed an exciting career in London and abroad, working in product development for Habitat, with direct responsibility for the development of the VIP for Kids range, working with leading designers and celebrities. With a young family, the draw of the coast became more appealing, and she moved first to Brighton and then to Lewes, where the family now live. ‘I loved the cutting-edge nature

‘It’s not unusual to find layer after layer of old fabric, before you reach the bare bones. I love this sense of provenance’ of my work, but had an overwhelming desire to use my hands and do something for myself,’ says Liz. ‘I took an upholstery course at Sussex Downs College and filled the corporate creative void with the excitement of learning a new skill. I loved the transition of being creative in my own way, with no constraints, and continued the course for several years, working on pieces at home and sourcing chair frames from nearby Ardingly Antiques Fair. It was important to me to perfect my craft, in my own time.’

When Liz made the move to her present family home in Lewes in 2013, a neighbour and friend, graphic designer Suzie Johanson, was establishing a complementary new business in surface design.

The pair motivated each other and Liz sparked an idea. ‘Suzie worked with me on the fabric for my first collection, and we produced a digital run of bespoke fabrics for a trio of cocktail chairs,’ says Liz. This first collaboration marked Liz’s formal launch of Elizabeth Rose and her first public foray.

‘I wanted to create bespoke chairs, one-off designs, created by me and never to be repeated. My point of difference is the various collaborations that I have enjoyed, with a wide group of contemporary 34 Period Living

UK fabric designers, including Rachel Parker, Eva Bespoke, Georgia Bosson, Lou Taylor, Emma Jeffs of N&N Wares, Rosie Moss, Hello Marine, Studio Johanson, Holly Berry and Rebecca Hoyes. Each collection involves a new collaboration and is totally unique – I have remained very strict about not taking on straight upholstery projects.

‘My time in the week is spent quite diversely: a mix of idea generation, chair sourcing and developing new collaborative relationships with designers and galleries, balanced alongside quiet studio days, stripping back old chairs and reupholstering,’ she explains. ‘The process is fluid and not prescriptive, which I love. Pieces evolve naturally; every element is consciously considered – form, pattern, finish – and this takes time to develop. The chair has to reflect the quality of fabric being designed, and sourcing the right antique frames is a labour of love. This year I am also planning to work with a furniture maker to develop my own unique frame, which I am excited about.’

Days spent in the studio, located next to the family home, are a welcome escape. ‘Radio 4 keeps me company and the solitary time gives me the head space I need to be creative,’ says Liz. ‘There are all sorts of nostalgic pieces in the studio: my husband Simon’s passion is film, and he converted the barn for us to both have space to follow our obsessions.’

The life of each resurrected chair begins with the stripping back of fabric. ‘It is amazing what you can find hidden away as a chair is deconstructed – coins, sweets, notes, all sorts of interesting treasure. Often chairs have simply been re-covered by past owners, and it is not unusual to find layer after layer of old fabric, before you reach the bare bones,’ she says. ‘I love this sense of provenance – the fabrics unearthed are a great marker of history.’

The tools of the trade are simple yet vital: a mallet, hammer, pliers and tacklifter, with a two-pronged end – perfect for lifting out staples and hardened tacks; a web stretcher for attaching webbing to the bottom of a chair; a trusted Singer sewing machine, used for piping and cushioning; and the essential kit of pins, needles and thread.

‘Once stripped back, the chair is rebuilt: ginger coir fibre made from the husk of a coconut for the seat padding and main body of the chair, then a thick layer of cotton wadding, followed by a final top layer of 100 per cent wool, fire-retardant interliner, which adds extra protection, comfort and warmth,’ says Liz. The majority of Liz’s work is handstitched. ‘I treat the chair like a mannequin to control the process. It is relaxing, therapeutic and rewarding seeing the piece come together. My inspiration is based on classic Mid-century design and I am a professed perfectionist, which has its drawbacks although the need for precision, attention to detail and control constantly drives me to do better,’ says ³

Clockwise from top left: Liz’s essential kit of needles, thread and pins; the ‘Black and White’ Paul Nash covered chair created

by Liz for the Eric Ravillious exhibition at the Towner Art Gallery; new layers of fabric being cut by hand; webbing and upholstery twine; the branding for Elizabeth Rose was designed by neighbour Suzie Johanson; a deconstructed chair being brought back to life; Liz’s treasured Singer sewing machine is a basic model that’s been upgraded by a local Peacehaven mechanic; inspirational samples of Amelia Graham fabric; the bench produced by Liz in Enid Marx, Eric Ravillious and Paul Nash fabrics; the studio sits in the garden of Liz’s East Sussex country home, opposite a chicken coup and abundant flower and vegetable beds; the charming entrance to Liz’s studio Period Living 35

Left: Liz’s work desk area is home to her simple collection of upholstery tools and is surrounded by lots of visual stimulus for past and future projects Above: Working on the base layers. ‘It’s important to ensure they are all perfect before adding new fabrics,’ says Liz

Liz. ‘I love that with my own hands I can design and create a substantial piece of furniture; a vital part of every home. I have always been drawn to textiles and it feels a natural thing for me to be doing.’

In 2017, Liz was invited to collaborate with Eastbourne Towner Art Gallery, on their threemonth Eric Ravillious Exhibition. ‘The exhibition explored all the various mediums of Ravillious’ vast portfolio of work, plus that of other local artists – Enid Marx and Paul Nash among others, and their influences over each other,’ says Liz. ‘I felt very privileged to be invited to develop and produce two chairs and a bench for the exhibition, choosing designs from an archived Curwen Press book of pattern papers.’ Working with Hatley Print, together with the Towner, they turned the chosen designs into fabric repeats ready for upholstery.

The Ercol bench, covered in a Paul Nash design, remains a permanent gallery feature. ‘I love that every collection features a new fabric designer.

Each piece has to be special and different.’

Over the past six months Liz has also developed the embellishment and embroidery side of her 36 Period Living

chair projects. ‘Some of the curved-back chairs I have sourced lend themselves perfectly to three-dimensional pleats, frills, stitching and adornment. It is wonderful to add the extra layers of luxury on to certain collections.’

This year, Liz is collaborating with artist and photographer Philippa Stanton, well known on Instagram as 5ftinf. ‘Philippa often incorporates treasures and finds into her photography and we are working on a montage, which Philippa will photograph,’ says Liz. ‘It will then be worked into a fabric repeat and printed onto rich, decadent velvet. Once the chair has been upholstered, some of the actual montage treasures will be sewn onto the finished design.

‘I love the creative energy that comes with each collaboration - it pushes the boundaries of our traditional craft to a new contemporary level.

Each chair definitely feels like a piece of art.’

To find out more about Liz’s upholstery work or to commission specific projects, log onto studioelizabethrose.com or call 07748 784497.

A MARRIAGE OF STYLES

When Jo Davison and Alistair Haxton got married and set up home in Jo’s Georgian apartment in South Yorkshire, two sets of belongings had to become one Words Tony Greenway | Styling Katie Day | Photographs Jeremy Phillips

This image: The couple’s home is set in a Georgian manor house that was converted into apartments more than 35 years ago Right: Both Jo and Alistair are tall, so the kitchen units were handmade to their height by Croft Interiors, with worktops from The Marble Man. The reclaimed pine table and chairs were made by joiner Alan Casey. With dogs Leo (pictured) and Harry around, the flooring needed to be practical, so the old boards have been waxed. The walls and ceiling are painted in Hague Blue by Farrow & Ball

38 Period Living

Manor House Apartment

cée Jo Davison iving with her -up son in a Georgian near Sheffield, ell in love ’t been y make their tant to give up the apartment, which was set in a converted 1790s manor house and run as a co-operative, with all the residents sharing the land, building and maintenance. ‘Thankfully, Alistair fell in love with the apartment, too,’ says Jo. ‘I adore it here but we would have moved if he hadn’t taken to it – you can’t be part of a co-operative in an old building if your heart’s not in it.’ Alistair, who had been living in a terraced house in Sheffield, is a director of an architecture practice and specialises in renovating heritage buildings, so he had lots of experience with period properties.

Jo found herself wondering how Alistair’s possessions would fit alongside her own and whether their decorating tastes would be compatible.

She needn’t have worried. ‘The first thing we did was gather all the possessions that he loved and sit them side by side with mine,’ says Jo. ‘Some things just didn’t go together, so they had to be hidden away in cupboards. Although maybe slightly more of his stuff is hidden away than mine!’

Slowly, however, the couple worked out which items complemented each other and those they would have to discard. They discovered they made a great team as they created and compromised on a new look for the interior décor. ‘Alistair is very receptive to some of my more off-the-wall thoughts,’ says Jo. ‘But then, as an architect, it’s his job to listen to people’s ideas and try to make them work. So when it came to redecorating and restyling, he professionally managed me!’

For example, the big difference in the sitting room is the colour on the walls, which Jo had originally painted soft yellow. Alistair convinced her that black would be a better and bolder option.

‘You know 50 shades of grey?’ says Jo. ‘Well, I’ve discovered there must be 50 shades of black, too.

40 Period Living

We had patch tests of different types of black all over the walls before deciding on Farrow & Ball’s Pitch Black.’ Alistair adds: ‘Dark colours can scare people because they think they’ll make the room seem smaller. In fact, the exact opposite happens: if the wall is dark, it fades back.’

Both Jo and Alistair love the period look. Some of the items they chose for the apartment are genuine antiques; others are character pieces from junk shops. ‘We like to browse wherever we are,’ says Jo. ‘We’ve been to jumble sales in France and picked up some amazing finds for five Euros.’

Loading the car up with antiques from the continent might be easy enough, but buying furniture further afield proved more problematic.

‘We bought our sitting room coffee table in India,’ says Jo. ‘We were told that it would only cost a nominal sum to ship it back, but there was import duty, shipping tax and a range of other costs to consider. We ended up spending more than £500 on top of the price we paid for it, just to get it home.’

The couple agree that the best thing about the apartment is its wonderful Georgian proportions.

‘We love the high ceilings and big windows,’ says Jo. ‘Small pieces look ridiculous here, so we have to buy big. We also have lots of large mirrors dotted around which reflect the light well.’

Jo and Alistair aren’t planning on moving any time soon, although Jo admits that the lack of a separate dining room can be an issue occasionally.

However, anyone who lives in a period property will have their pet peeves. ‘Old buildings have their idiosyncrasies – like the floors, which are at weird angles because the joists have sagged over the years,’ says Alistair. ‘In the bathroom, the floor tiles had cracked because it wasn’t totally level.

When we had it retiled it took the tiler over a week just to level the floor, so we were without a bathroom for nearly a fortnight. Fortunately, we have a good neighbour who let us use his.’

What they have learned to do, though, is make the most of what they have. ‘When you live in a old building, “perfection” doesn’t exist,’ says Jo. ‘So you have to love it – warts and all. And we do.’

THE STORY Owners Journalist Jo Davison and architecture boss Alistair Haxton live here with their dogs, Leo the bearded collie and Harry, a bearded collie cross Property A three-bedroom apartment in South Yorkshire, situated in a Grade II-listed manor house, built in the 1790s.

The building is set in 24 acres of land, shared with other apartment owners What they did The couple reconfigured the kitchen and updated the décor with bolder colours throughout. They had to level the bathroom floor before retiling it

Manor House Apartment

Above left: The painting is by Alistair’s former father-in-law, Doncaster artist Geoffrey Plant.

To make the worktop, Alistair salvaged floorboards from an architecture project he was involved in at a Victorian factory.

The candelabra and green glass jug are from a Paris fleamarket Above right: The shelf above the worktop is an antique spice rack Left: Jo and Alistair take Leo for a walk in the grounds. The apartments are set in 24 acres of land, shared with the other apartment owners

Period Living 41

Jo is a self-confessed fabric hoarder and had the blind material – which she’d seen at a stately home – in her collection. The shelf is an old bookcase from the newspaper office where Jo used to work as a journalist.

Alistair repainted it and added coving.

The chandelier was bought on Ebay

Manor House Apartment

44 Period Living

Left and above: Jo created a room within a room – an oasis of comfort, with coir matting from Aizlewoods covering the place where the floorboards had to be replaced with hardboard. Alistair made and painted the cream panelling, and Jo retouched the gilding on the Victorian fireplace. The walls are painted in Pitch Black, by Farrow & Ball, and the blinds are made in a peacock print toile de Jouy sourced by local firm Fabric Design. Jo found the generously sized sofas at Turveys and the coffee table was shipped back from a holiday in India.

The footstool is an Ebay find, reupholstered in material leftover from the blinds Below: The camphor sea chest came from Hemswell Antique Centre, and the pretty mirror and secondhand Liberty crystal wall sconces are Ebay finds

Left: The bed in the guest room was from a neighbour and the vintage chintz fabric is from Chapel Decorative Interiors. The walls are painted in Craig & Rose’s Wild Primrose. One of Jo’s best buys is the Edwardian walnut wardrobe, which came from an antiques auction. The throw is from TK Maxx Right: Jo bought the antique French bed and coronet for the master bedroom from Chapel Decorative Interiors, and found the window chest in a secondhand shop. The bedside cabinets were made by Alan Casey and the lamps are from Bhs. Jo made the cushions from a piece of gold organza bought at the duty-free shop at Dubai airport.

The blind was made out of some gold silk the couple found on honeymoon in Vietnam. For a similar curtain fabric, try James Hare’s Silk Circles Glaze. The walls are painted in Craig & Rose’s Swedish Blue Below left: The ornate mirror over the sink was bought at auction. The sink is from Effingham DIY and the tiles are from Laura Ashley Below right: A French chandelier from Chapel Decorative Interiors is the perfect finishing touch for the glamorous bathroom. Alistair made and fitted the panelling and dado rail. The walls above are painted in Peignoir by Farrow & Ball, a colour which changes from pink to grey in the light. The mirror is from House of Fraser

Manor House Apartment

Cottage Renovation The former stonemason’s cottage has been thoughtfully renovated and extended. The front door is painted in Farrow & Ball’s Down Pipe

SAFE AS HOUSES Amanda Hamilton and John Thornhill increased the space in their Victorian cottage to create a charming family home, paying careful attention to preserving its historic integrity Words Janet McMeekin | Photographs Jeremy Phillips Period Living 49

Hamilton and her nd John Thornhill itised the rich tage of their historic nemason’s cottage when they embarked on its creative remodelling. ‘John and I were mindful of enhancing rather than detracting from the character of our home,’ says Amanda.

Back in 2007, mother-of-three Amanda was thrilled when she saw this cottage, right next to the River Ecclesbourne, in the pretty Derbyshire village of Duffield. ‘On my first viewing, I could see why other people had been put off,’ she recalls. ‘The three-storey cottage didn’t have a proper kitchen and the décor wasn’t to everyone’s taste.’ But interior designer Amanda realised this was a terrific opportunity to breathe new life into the property.

‘The cottage was very attractive, built of local limestone and in a great location in the heart of the village,’ she adds. ‘It was structurally sound and had a wealth of period features, including original quarry tiles, beams, a huge inglenook fireplace and a unique stone outhouse – the village lock-up where drunks would have been kept overnight.

The property had a lovely feel, and good bones.’

Once Amanda and her three daughters had moved in, she began lightening and brightening their dreary surroundings. ‘Scrubbing the Aga revealed its rich blue colour, while painting every wall white made a huge difference.’ She replaced all the carpets and the fittings in the en suite, and made curtains and blinds for every room.

‘Since very little of our furniture would fit up the spiral staircase, I had to bide my time and get bedroom furniture made,’ she says. ‘Initially, Charlotte and Emily slept on mattresses in their beamed bedroom, but they took it all in their stride and referred to it as their “tree house”. And despite the challenges and stresses, the project was an adventure and very rewarding.’

Amanda designed some Shaker-style cabinets for the kitchen units and the whole cottage began to feel much more homely. However, as the girls got older and Amanda met, and in 2010, married John, their characterful abode began to feel a little 50 Period Living

cramped. Reluctant to move, the couple instead drew up plans to extend. ‘We could see that turning a temporary garage into a dining and garden room would work well,’ says Amanda. ‘And having earmarked the lock-up as a family room, we reconfigured the rest of the downstairs layout to add a laundry and cloakroom.’

Although the cottage isn’t listed, it is in a Conservation Area and right beside a river, so getting planning permission took time. ‘We didn’t mind waiting: we wanted to do our lovely cottage justice,’ Amanda adds. ‘We went to great trouble to enhance its natural beauty.’

Permission was eventually granted and building work started in June 2014. The lock-up was carefully dismantled and the stones numbered before being transported to a local stonemason to be cut. They were then reused to build two outside walls for the new family room. ‘The stonemason made such a great job of cutting the stones that, when the walls were rebuilt, they looked as if they’d been there since 1840,’ says Amanda.

For the other two walls of the lock up and the new garden/dining room, Amanda and John took their inspiration from New England style properties, and the weatherboarding is perfectly in keeping with the delightful riverside setting.

‘It adds a lovely new dimension to the cottage, marrying it all together seamlessly,’ says Amanda.

As the project progressed, John tackled a host of jobs, including building a new veranda outside the laundry room, while Amanda turned her attention to the interior design. ‘I chose a neutral palette, opting for greys to give a relaxed country feel, adding interest with soft furnishings and accessories, many chosen from the ranges I sell.’

Despite the inevitable upheaval of living in the cottage while the six month project progressed, the couple are delighted. ‘The extra space has made a huge difference,’ says Amanda. ‘We’re so pleased with our labour of love cottage, and if the original stonemason who once lived here walked in today, I hope he’d be pleased to see how it’s evolved.’

THE STORY Owners Amanda Hamilton, an interior designer, who runs Amanda Hamilton Interior Design, and her husband John Thornhill, who owns a construction company, live here with Amanda’s daughters, Charlotte, 23, Emily, 21, Olivia, 16, and their Jack Russell cross, Pepper Property A detached cottage in Duffield, Derbyshire, with four bedrooms, built in 1840 What they did The couple rewired and redecorated throughout the property, replaced some windows, fitted new kitchen cabinets, and converted the garage and outhouse into a dining room and family room

Cottage Renovation Left: Amanda and John enjoy the spring sunshine. Behind them, the old village lock-up has been weatherboarded and painted in Down Pipe, with windows and doors in Bone, both Farrow & Ball Below left: An awning and stable door lead to the enlarged laundry room. The doormat and pendant lights, from Garden Trading, are available through Amanda Hamilton Interior Design

Amanda painted the ceiling and beams to brighten the living room and bought a new wood-burner from Clearview Stoves. The tongue-and-groove panelling has been painted in Bone by Farrow & Ball.

Amanda made the Roman blinds and curtain in Vanessa Arbuthnott’s Cow Parsley fabric. The cream sofa is from Laura Ashley

Cottage Renovation

Above: The kitchen, with its original quarry tile flooring, was designed by Amanda, then the bespoke units were made by a local carpenter and painted Right: The new laundry room works well for this active family. Amanda made the curtain to disguise the washing machine and tumble dryer. The storage baskets are from Ikea and Garden Trading, and the sink is also from Ikea

54 Period Living

Cottage Renovation A butcher’s block provides additional worktop space in this cleverly designed kitchen. The tongue-andgroove panelling has been painted in Mouse’s Back

by Farrow & Ball

Period Living 55

The couple have used the full height of the former garage to create a spacious dining/ garden room with tongue-and-groove panelling that echoes the exterior weatherboarding.

Amanda bought the chairs on Ebay. The cushions are from Amanda Hamilton Interior Design, while the Grand Paris pendant lights are from Garden Trading

56 Period Living

Cottage Renovation

Left: Charlotte and Emily’s bedroom is now a much brighter space, with built-in beds and pretty accessories. For a similar clock, try Maisons du Monde Below: Youngest daughter Olivia’s bedroom, with its striking canopy, has a feminine look.

‘Spraying an old brown rattan chair white has worked a treat,’ says Amanda.

The lamp is from Laura Ashley and the floral bedding is from Ikea

Below: ‘I always wanted a white bedroom, and I love it – it’s made this a very relaxing room,’ says Amanda. The tongue-and-groove panelling

on the furniture and walls mirrors the design of the remodelled ground floor spaces. The bedlinen is from The White Company

Shopping Hedgerow giclée print, £35, Brie Harrison

Corran lampshade, £70, Bluebellgray

Pink jug, £7.99, Homesense

Genoa small extending dining table, £929, Willis & Gambier

Daphne fresh hand-tied bouquet, £55, Bloom & Wild

Garden birds peg bag, £11, Sophie Allport

Pansy teapot, £59.95, Emma Bridgewater

E G A T T O C G N I R SP Colour Pop Sunshine egg cup and spoon, £10, Sophie Conran

Watersmeet Wildflower Trail cake forks, £12, National Trust Shop

des tel sha s a p y t pret ritain mixing y b rural B e f o m o a h n fau our ora and e into y l f f i l e h w t e en rate Breath t celeb a h t s t rin with p

Bluebell two-seater sofa in Petal Chelsea linen, £1,840, Sofa.com

Feature Pippa Blenkinsop

Earl Grey Tea soap, £5, The Future Kept

Natterbox chairs in Good Yellow, £230 for a pair, Loaf

Bembridge Market rattan basket, £42, Garden Trading Rooted floral side plate, £2, George Home

Running Hare Scene linen cushion, £41.95, Sam Wilson Lambswool wave weave throw in Teal, £190, Rouge

Period Living 61

Overlooking the back garden is an elegant drawing room, with a footstool and a pair of armchairs, covered in a Kate Forman fabric sourced from Elaine Phillips Antiques. The small buttoned terracotta ottoman is by Nicky Haslam for Oka, and the swords above the double doors belonged to Nicola’s father – one dates back to the Civil War. The tapestry was from Nicola’s mother-in-law

City Centre Update

THE HEART OF THE CITY An eclectic mix of French style in a Georgian apartment in Edinburgh has resulted in an elegant home for Nicola Buchanan and her husband David Words Alison Gibb | Photographs Douglas Gibb

THE STORY Owners Nicola Buchanan, a part-time administrator in a cookery school, lives here with her husband David, a project manager in IT The property A four-bedroom apartment in a listed Georgian property built for single families in two stages, between 1765 and 1850, with servants’ quarters in the basements, in Edinburgh’s New Town What they did The couple renovated and decorated throughout, and opened up the entrance hall

ought up their in the Yorkshire ide, Nicola and chanan were keen to their Scottish ots. ‘We wanted to went househunting rried,’ Nicola oject and the operty in the heart of the city’s New Town, we knew it was the one.’

Described as a ‘double upper’, the apartment incorporated the top floor and attic bedrooms.

It was in terrible condition and had been used as institutional accommodation for many years. It was a rabbit warren of small rooms, full of fire extinguishers and signs, and there were fire doors with heavy door closers everywhere. The Buchanans could see that it would take a lot of work to restore it to an elegant four bedroom family home, but the location was perfect.

The couple enlisted a firm of local builders who had been recommended as specialists in restoring Georgian properties. ‘It was quickly obvious that they shared our vision and we knew that we could trust them to provide a top-quality result.’ They weren’t afraid to add quirky touches either, suggesting an old tin sink from Marrakech for the downstairs cloakroom, which Nicola loves.

Previously divided up by heavy fire doors, the entrance hall is now open through double doors to a peaceful drawing room overlooking gardens at the back while the dining room and kitchen overlook the sunny street at the front of the building.

A renovated staircase leads up to four bedrooms and a new family bathroom. The décor was plain and uninteresting when they first moved in, but Nicola has injected colour and character. Dark hardwood flooring has been laid downstairs, while the upstairs rooms all have the same neutral carpet.

Aiming for a ‘Parisian apartment’ look, Nicola has opted for furnishings that suggest faded grandeur, with the rooftop views adding to the chic sense of style and history. She has played with scale in the public rooms, choosing larger pieces for impact. ‘Upsizing is usefully deceptive,’ she explains. ‘It’s essential in a big space and can be 64 Period Living

fun in a smaller space, as it can make a small home seem more spacious and generous. A huge mirror will take your eye upwards and distract the viewer from the relatively small corners of a property.’

She confidently mixes styles as well as scale: ‘I have mixed old and new, Africa and India; not stuck to any style in particular in fact, I am committed to mixing,’ she laughs. Nicola is influenced by the informality of designers such as Kit Kemp and Robert Kime. Rustic pieces sit happily beside valuable antiques and family heirlooms.

Despite its open plan layout, the Buchanans’ home is still cosy. Nicola uses furniture and fabrics as room dividers and for acoustic effect. ‘Georgian interiors, with their high ceilings and large rooms, can seem bare and echoey if you are not willing to be brave about filling them,’ she says.

Nicola frames anything of interest: pages from magazines, holiday souvenirs, anything that tells a story. ‘I use McTague of Harrogate for framing, and they understand exactly what I want every time,’ she says. An enthusiastic shopper and scourer of antiques shops, she loves to collect inspiring things and she often has things specially made. ‘But for anything I buy, I know exactly where it is going to go; I am not completely impulsive.’

She has had to be selective, though, carefully editing things she has collected over the years.

The move to Edinburgh was a downsize from their family home in Yorkshire. ‘Living here can be a bit like living in a ship,’ says Nicola. ‘I have only kept things I treasure and everything has to have a purpose and a place. The house is very ordered, so we never feel too crowded.’

The finished apartment is exactly what they wanted and coupled with the busy city lifestyle, and regular visits from their adult children, it all adds up to a highly enjoyable chapter for Nicola and David. ‘I still visit my friends in Yorkshire as well, where we spent so many happy years,’ says Nicola.

‘Harrogate by train is easy from Edinburgh I love the dual existence, it’s great fun.’ And there are other benefits, too: ‘I was fed up with driving, but living here, I walk everywhere. We have keys to a communal garden, so there is no lawnmowing; plus a fabulous view of the fireworks at festival time and Hogmanay. We really could not be happier.’

City Centre Update

Left: Nicola and David use the original painted wooden shutters in the drawing room rather than curtains, ‘It could not be cosier with the fire lit on a winter’s evening,’ says Nicola. The painting is a reproduction from Angel & Boho, held up with a showy ribbon – ‘just a scrap of silk,’ Nicola explains. The walls are painted in String and the woodwork in Matchstick, both Farrow & Ball. Nicola

also painted the fireplace, which was black originally, to give a French country look Below left: The apartment is on the top two floors of a listed Georgian property in Edinburgh’s New Town Below right: Nicola has placed matching antique armchairs either side of the fireplace. Nicola’s mother made the pink-trimmed cushions. For a similar fender, try Original Club Fenders

The table is an old family piece and the rug, which originally furnished a ship, was an auction buy. The antique bow-front sideboard came from their previous home and the tall china lamps are from an antiques shop, as is the huge mirror.

Next to the window sits a buttoned linen armchair from Swoon Editions

City Centre Update

Minimalist Leicht kitchen cabinets are teamed with an island unit and stools from Habitat.

Walls are painted in London Stone and woodwork in Matchstick, both Farrow & Ball. Oka plates highlight the blinds made

by Remus Interiors in a Pierre Frey print. The pendant lamps are by Berland’s, and the clock is from Ikea

The Buchanans renovated the staircase up to the attic bedrooms – the extra floor is what makes this a ‘double upper’ apartment

City Centre Update

Above: Nicola added shuttered mirrors from Time & Tide in the master bedroom to create a Mediterranean feel. The bed is from And So To Bed, with a headboard and valance by Remus Interiors, and bedding from The White Company. The faux fur throw is by Blaeberry Oak, a company set up by Nicola’s daughter, available at Made From Scotland. The bedside lamps are painted in Annie Sloan’s Scandinavian Pink chalk paint, topped with shades from Oka Left: Off-white walls in the guest room allow the pretty floral Colefax & Fowler print headboards and curtains to take a starring role.

The lamp is from John Lewis, the bedspreads are from The White Company, and the mirror and bedside table are junk shop finds.

Nicola has again used scraps of silk to hang two framed prints from Laura Ashley

Period Living 69

Ruth and pet Alfie outside the old station house, which still bears the hallmarks of its former life. The paved patio is where the platform once was and the cast-iron brackets along the back of the building supported a canopy to shelter passengers. Vintage adverts add authenticity

ALL CHANGE This former railway station has been transformed into a beautiful family home for Ruth Amigo and Ben North Words Sophie Warren-Smith | Styling Suzie Attaway | Photographs Olly Gordon

Converted Railway Station

The couple use the original waiting room as their main family living space.

It has a double-height ceiling and the original tongue-and-groove panelling all round. Ruth chose a corner sofa from Sofa.com with space for all the family, and added floral cushions and throws for extra comfort. The rug and footstool are also from Sofa.com, and the light shades are from John Lewis

THE STORY Owners Ruth Amigo lives here with her husband Ben North, a company MD, and their three children, Isabella, 12, Theo, six, and Clara, four, plus their Parson Jack Russell Alfie and four chickens. Ruth juggles being a full-time mum with managing the house as a photoshoot location. See her Instagram: @playing_houses Property An old train station in Hampshire, built in the late 1800s and closed 50 years ago. A first-floor extension was added around 25 years ago. The house isn’t listed but is cited as a public interest building What they did Ruth and Ben removed Artex from the bedrooms, bathrooms and hallway, sanded the downstairs floors and decorated throughout. A new platform surface was laid with reclaimed bricks, block paving and slate

and Ben had always loved old station house where ’s parents had lived for a ade. Three years ago, after eir third child was born and they had outgrown their small farm cottage o buy it from them. he family moved in, while o a new home they’d had he station property. ‘We already knew the house very well, and we just wanted to put our own stamp on it,’ says Ruth.

‘It was in good condition and everything we’ve done to it is purely aesthetic. We used all our old furniture, which fitted well, and we are very lucky that we were left some lovely pieces’.

The hallway was the first space the couple tackled. A lighter area next to the front door runs up through the stairwell, now painted white, while in a darker, narrow passage the couple had built-in shelves fitted for their books. ‘We bought a big storage bench from Frome market, our favourite place to find things for the house, and finished it off with two enormous pendant lights from Factorylux,’ says Ruth. The floor is original and flows throughout the house.

‘The living room, with an original well that was apparently unearthed when the station was 72 Period Living

first converted in the 1980s, was easy to tackle as we used all the furnishings from our previous house,’ says Ruth. ‘We only had to have a few more curtains made from the same fabric to cover all the extra windows. We then painted the room in Farrow & Ball’s Tallow, a warm colour that goes beautifully with the fabric.’

The ‘waiting room’ is the family’s favourite space. They wanted to make it feel cosy and comfortable as they spend a lot of time there.‘It gets very cold as it’s got lots of single-glazed sash windows, an exposed ceiling and cellar underneath, but Ben’s parents installed a wood-burning stove that heats the room very quickly,’ says Ruth.

The pine kitchen is more than 20 years old, but Ruth had it painted to give it a new look.

‘We moved some of the units around, installed some drawers, turned a few wall units into open shelves, and replaced the old worktops with granite,’ she explains. ‘We had to replace some of the original floorboards as they were in quite a bad state, but now it’s all finished we love it, and we all eat together every night.’

Upstairs, the children’s bedrooms still have their original fireplaces and the furnishings are in keeping with the home’s quirky vintage style. The walls are brightened with posters from exhibitions and even framed sheets of wrapping paper.

Ruth and Ben’s bedroom was the last room they tackled. ‘It has some big fitted wardrobes, which I painted to match the blue walls so they blend with the rest of the scheme,’ says Ruth.

The en suite was updated by repositioning the existing bathroom fittings and adding new tiles.

The family have now lived in the house for three years, and couldn’t be happier. Knowing the house so well before they moved in helped them to plan what they wanted to do, as Ruth explains: ‘It’s important to know and live in the space before doing anything to it. We have reused most of the furniture that was left in the house and from our previous home, although we moved things into different rooms once we finished decorating.’

The updates are ongoing, as the couple recently converted a small annexe into an office where Ben can work from home. Ruth also manages the property as a photo and film location house, so next on the list is a fresh new look for the main bathroom. Eventually she would like to lower the sides of the well in the living room so it sits at floor level. For now, though, the family are content to enjoy the space just as it is.

Converted Railway Station

Above: A strip of lawn has been planted where the train tracks were Below: The pretty second living room was originally the gents’ WC. Now, with glazed doors onto the garden and a very much more feminine look, it is a comfortable space to read or watch TV. The sofa and footstool are from Sofa.com,

the furnishing fabrics are from Clarke & Clarke and other pieces are from local auctions Right: Like so many around the UK, the station had a water tower and water cranes to keep its engines in steam. It also had a well, now dry but still very much a feature. Ruth plans to make it floor level eventually

Period Living 73

The kitchen was the original ticket office and the dining room was the trainworkers’ sitting room. Ben’s parents converted the two rooms into one large space when they were living here, and the open-plan layout is ideal for family life. The couple decided to keep the existing kitchen units, but Ruth gave them a new look with a lick of Farrow & Ball’s Pavilion Gray and granite worktops

Converted Railway Station

With its bold mix of primary colours, the dining space is perfect for relaxed meals. The Anthony Burrill poster over the mantelpiece sums up their family values. Ben bought the plastic damask-style rug in Israel, the old factory enamel lampshades are from Ebay, and the white dresser holds Ruth and Ben’s collection of Sophie Conran and Cornishware pottery

Ruth wanted to make a feature of the hallway, so had some bookshelves fitted, painting them and the walls around them in Farrow & Ball’s Stiffkey Blue. It has created a distinct zoned area that opens up into the airier, light living space

Left: The master bedroom and en suite are above the living room in an addition to the property, built around 25 years ago.

Ruth painted the walls in Little Greene’s Bone China Blue. The bed is from M&S, the bedspread is from Zara Home and the bedside lamps are from Pooky Below left: The charming patchwork quilt in Clara’s room used to be Ruth’s when she was a child.

The walls and ceiling are painted in Tallow, and the window in Green Smoke, both by Farrow & Ball Below right: Ruth decorated Theo’s room with Cath Kidston wall stickers and a print of a front cover from one of the original French Tintin comics. For similar bedding, try The Great Little Trading Company, and for a similar rug, try La Redoute. The bedside lamp is from Habitat. Pale Seaspray is a similar blue to that used for the fireplace, and Twine is a similar shade for the walls, both Laura Ashley

Your essential collection of cosy and charming period homes Filled with 16 unique case studies, from rustic former farmworkers’ dwellings to quirky houses with a modern edge, this book encompasses the wide spectrum of the wonderful cottages in England

ON SALE NOW

Ordering is easy. Go online at:

www.myfavouritemagazines.co.uk Or get it from selected supermarkets & newsagents

HOLIDAYING AT HOME

Christine Fröhlich and her partner Rainer Kollender renovated a weekend home for themselves in northern Germany and loved it so much they decided to move there full time Words Nora De Lon/House of Pictures | Styling Miriam Hannemann/House of Pictures Photographs André Reuter/House of Pictures

Christine and Rainer’s cottage was built in 1885, and the couple added an extension in 2010 to provide a gallery living room with a mezzanine guest bedroom. The new addition has been built using reclaimed bricks and has a thatched roof, so blends seamlessly with the original part of the home

THE STORY Owners Christine Fröhlich, who owns three holiday apartments, and her partner Rainer Kollender, an art director, live here with cats Rosie and Bolle Property A four-bedroom house in Brodersby, Schleswig-Holstein, near Germany’s Baltic coast, dating from 1885 What they did The couple extended the house and completely renovated it.

Floors, windows, electrics, plumbing, bathrooms and kitchen were all updated

years’ working at a n agency in Hamburg, tine needed a break the bustle of the city.

‘My partner Rainer our holidays at the d the time, we rented the peace and f their breaks in 2007, they happened to drive past an old house that was up for sale. It was love at first sight: ‘I didn’t even need to look round – I wanted to buy it immediately,’ Christine recalls. ‘We originally intended it to be a weekend hideaway, since it was only a one-and-a-half-hour drive from Hamburg.’

The house was built in 1885 and had belonged to an old blacksmith, who spent his final years here.

Although there was lots to do, Christine and Rainer saw the potential of this special home.

Inside, the house needed a complete makeover and the couple couldn’t wait to get started, with the help of Christine’s father, a talented craftsman.

The electrics hadn’t been touched since the 1970s and had to be completely replaced, along with the water pipes. The couple also decided to install underfloor heating and replaced the old radiators with modern ones. As for the décor, which had been an overwhelming combination of orange and yellow, Christine toned it down, choosing nuances of white and light grey for walls and furnishings.

The couple improved the flow of the house by knocking down the wall between the kitchen and living room. ‘I love to chat to my guests while I’m cooking; I need the company,’ says Christine.

82 Period Living

Next, the rotten windows were replaced with new ones sourced in Denmark, and the hayloft was transformed into a sleeping gallery. The kitchen flooring, all 1980s bright orange terracotta, has been updated with cement tiles Christine bought at auction that had originally been in an old villa.

‘We had to remove the mortar from every single tile – quite an undertaking, but so worth it.’

Little by little, and with careful attention to every detail, the cottage was transformed. The highlight is the thatched roof, which was still in good shape – although there was a bit of a surprise waiting for the new owners: ‘I lay in the bathtub, gazing though the window, when I suddenly saw little ducklings falling from the roof! It turns out a duck comes here each spring to hatch her eggs on the roof. And as soon as the ducklings are old enough, they jump from the roof and into the garden pond,’ Christine laughs.

The couple’s original plan to stay in the house just for the weekends was soon abandoned: ‘We loved it here so much that we decided to buy and renovate three other houses in the neighbourhood, and we now let them as holiday homes,’ says Christine. She has since given up her job in the city and now manages the holiday lets full time. ‘It was the best thing that ever happened to me,’ she adds.

The couple soon realised the house was too small to fit the needs of a full-time home, so in 2010 they added an extension. Thanks to Christine and Rainer’s careful sourcing of reclaimed materials, the extension and the original house blend together seamlessly. The extension includes a spacious open-plan living room and an extra mezzanine sleeping gallery.

But living here was never just about the house itself. For Christine and Rainer, who are both real nature lovers, the whole setting is just as important: surrounded by fields that touch the horizon, and no other houses as far as the eye can see. The couple love to sit underneath the old trees enjoying the tranquility. ‘In summer, the garden is our second living room. We eat every meal out here, making the most of the warm weather and longer days,’ says Christine, who carries the wooden dining table outside to accomodate their friends. Looking into this haven of a garden, it’s easy to imagine Christine, Rainer and their guests chatting till sundown.

Left: The kitchen combines modern appliances, such as a Smeg oven and an integrated dishwasher, with vintage styling. A decorative zinc panel from France, originally placed above shutters, has been used to hide the spotlights Above: The living room in the old part of the house, where a sofa from Maisons du Monde

and a table from Stadthaus Einrichtung are at home alongside fleamarket shutters and an old Chippendale table Below: The couple built alcove shelving to display some of their treasures and cut the legs off a dining table, which displays more of Christine’s finds. The Biedermeier painting behind the sofa is her favourite

German Country Home This image: Open to the rafters, the extension features a smart fire surround in Belgian sandstone and reclaimed bricks. The wide floorboards are Douglas fir. Leading to the mezzanine bedroom, the stairs are made of timber from an old ship that ran aground nearby. An ornate birdcage is a fitting flourish for the fireplace. For a similar stove, try Stovax

Opposite, top: The white Gustavian-style table was bought at auction and the candlesticks from an antiques market. A porcelain chandelier from Belgium gives the room a glamorous vintage focal point Opposite, bottom: The Tulip chairs are originals, bought at auction and updated with grey cushions. The 19th-century dining table extends to seat 18 people

This image: Tucked under the eaves is this cosy bedroom with a toile bedspread and delicate tray table. The unusual candlestick is French and, like the table, was a lucky fleamarket find Below left: Christine renovated a cherry wood

Art Nouveau chair and it now fits perfectly with the other white furniture Below right: The bathroom features a Devon & Devon cast-iron bathtub with claw feet. For similar floor tiles, try Fired Earth, and for similar wall tiles, try Original Style

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Free Teapigs gift set when you subscribe This month, when you subscribe to Period Living for just £39 you will also receive a Dachshund mug and Darjeeling Earl Grey tea gift pack*, worth £11.50 ABOUT YOUR FREE GIFT Made from fine bone china, this charming Dachshund mug features an exclusive illustration that makes it the perfect complement to Teapigs’ award-winning Darjeeling Earl Grey tea temples.

The exotic, floral tones of Darjeeling tea are balanced with the zesty citrus taste of bergamot for a truly elegant cuppa. *Vintage teapot in picture not included

HOj S ur

al

Disc latest prod rove your period home and pick up top tips from leading industry experts

SOAK IN STYLE

Add a fabulous focal point to your bathroom with the timeless Balthazar standalone tub, £4,399 from Clearwater Baths. Made from Clearstone, a stone/resin mix with a flawless gloss surface that retains the heat, the bath has a stainlesssteel outer to recreate the feel of a traditional roll top. Complete the traditional feel with a freestanding bath filler.

Light glamour

CLASSIC CHROME

Feature Karen Bray

For a contemporary twist on old school style, Burlington’s new chrome cistern features engraved lettering to bring a touch of finesse to your scheme. Available to pair with low, medium and high-level WCs, with a real wood or white seat, this standard high-level WC with chrome lever cistern costs £1,078.

Bring a touch of sophisticated femininty to your interior with an embossed glass pendant in Blush (middle) from Cox & Cox. With a tapered edge and brushed silver top, each pendant has a textured pattern that will cast the light beautifully across your living space. Group with the fluted glass pendant in Clear (top) and Smoke (bottom) for an eclectic look.

Priced £100 each.

Visit the Spring Homes & Garden Fair in the grounds of Sudeley Castle in Winchcombe from 19– 22 April, where you’ll find over 150 exhibitors selling furniture, decorative accessories and gifts, as well as a fabulous food hall. The fair supports charity Maggie’s Centre, and tickets cost £5 online, £9 on the door; under 16s free. Visit ukgrandsales.co.uk Period Living 91

FORM AND FUNCTION

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

It’s important to get the basics right when you are planning your interiors, and nothing anchors a scheme and sets the mood for a space better than a rich wooden floor. With the aim of authentically recreating the natural grain effect found in real timber with its highly textured, embossed designs, Amtico’s Form collection, from £50 per m2, is an attractive and cost-effective alternative to the real thing. Shown here is the Barrel Oak Trestle design in a Stripwood laying pattern, which works beautifully in this hallway.

Italian taste Bring an authentic experience of Italian cooking into your home with Bertazzoni’s bold 100cm electric induction XG range cooker in Orange from its Professional Series. With an 11-function main oven, digital programmer, auxiliary oven and third oven with adjustable grill, it also has an induction top with five heating zones.

From £5,389 at John Lewis.

ON THE BLOCK...

Designed to meet the demands of modern life without compromising on style, the Genoa butcher’s block, £749 from Willis & Gambier, is a wonderfully versatile addition to your kitchen. Crafted from solid birch and painted in a soft Oyster Grey, this rustic-inspired piece is topped with a solid beech top and features a utensils drawer and slatted shelf for extra kitchen storage.

92 Period Living

Q

How can I repair cracked and loose lime plaster in my Edwardian house?

Fill cracks using new lime plaster or, if narrow, an interior filler gauged with whiting (i.e. pulverised chalk). They may require widening first to create a good key and, where movement is expected, bridging using a non metallic mesh or brick mesh. The plaster should also be repaired beforehand if loose, but not if it’s merely springy.

* If you have a renovation question for Douglas Kent, email it to periodliving@futurenet.com. We do our best to answer all queries, but cannot guarantee a response

Q

Our Victorian terraced house has suspended timber floors downstairs laid directly over the ground.

How might we insulate them?

Suspended timber floors that are inaccessible from below or can’t be practically insulated on top can be thermally upgraded by lifting the boards temporarily to insert insulation in the form of batts, boards or loose fill. This is cradled using netting or a breather membrane stapled over and between the joists. Permeable insulation like sheep’s wool, hemp fibre, cellulose or woodfibre often works well with old buildings.

A space of at least 150mm must be maintained below insulation installed within a sub floor void that has air bricks in the external walls for ventilation. If the void is unventilated, cross ventilation may be needed before insulating.

You should lag subfloor cold or hot water pipes against frost damage and heat loss, and route any electrical cables outside the insulation to reduce the risk of fire. Gaps between boards or under skirtings can be draught proofed using slips of matching timber, papier mâché or beeswax, or with a breather membrane in the void below.

Bedrooms

AND SO TO BED

Above: Keep your choice of metal bedstead classic with iron and brass, or update it with on-trend copper, like this traditional French dormitory bed from My Furniture. This gleaming Martino design will work perfectly whether you love vintage style or a more contemporary look.

From £389.99 ³

Create a beautiful bedroom scheme that will suit your style and space with this selection of the latest designs, from elegant furniture and bedlinen to the frame itself Feature Andréa Childs Period Living 95

Below: For the ultimate in comfort, combine this Hazel deluxe mattress from Hypnos with your choice of divan and headboard for a beautifully bespoke bed.

From £900, it’s shown here with a shallow divan base upholstered in Linoso Lemon fabric, from £297, and Francesca headboard, from £489, all Hypnos

Above: Beds with divan drawers and ottomans with tip-up mattresses give you plenty of options if storage space is limited. A clever, sturdy design like this Illusion bed from Furl provides 1,000 cubic litres of storage hidden beneath the mattress, priced from £835

From left: Small butterfly cabinet, hand-painted with gold leaf on cream lacquer, £425, Shimu; Eclectic dressing table with lift-out drawer and flip-up mirror in Antique White, from £1,825, And so to Bed; Provencal classic white armoire, £1,240, The French Bedroom Company; London chest of drawers in Sea Street No.7 finish, £730, Kent & London 96 Period Living

Bedrooms Right: The half-size drawer at the head of this Avebury storage bed with Durrington Divan Base allows for access even when a bedside table is in place. With classic lines and beautifully hand-piped edges, it’s shown here in Duck Egg Textured Chenille fabric, £932 from Willow & Hall

Above: Rich fabrics and details such as button-backs and piping upgrade the bed from a place to sleep to a stunning focal point, with an extra level of comfort. Deep buttoning and stud detail give this Henrietta bed in Grey Textured Weave fabric a Savile Row swagger, £1,525 from Feather & Black Left: Grace your bedroom for years to come with a simple and refined design like this handmade Victoria wrought-iron double bed.

Featuring a sweeping brass top bar and brass knobs, it costs £999 from Wrought Iron & Brass Bed Co

Above: This upholstered Bennett divan from Rest Assured is available in 10 fabric options, with either ottoman, twoor four-drawer storage beneath. Shown here with the Bennett winged headboard in Jade wool-effect fabric, £369, this four-drawer base with Willowford latex pillow top mattress costs £1,329 ³ Period Living 97

Right: Soft linen and delicate botanicals lead the way in bedlinen trends.

The common denominator: a fresh palette of green, blue or grey tones.

A high thread count keeps this Hendon quilt cover in Alchemy looking smart, £139 for a double from Sheridan

Above: Marks & Spencer’s Living Greens trend combines fresh florals with a bug motif.

Bug print and Watercolour stripe bed set (just seen) cost £49.50 each

Left: For a more abstract take on florals, opt for this Kukkia print in jacquard weave fabric from Scion Living’s Pepino collection.

Double duvet, £65; Oxford pillowcase, £12; Standard pillowcase pair, £19, all Bedeck

Below: Perfect paired with blush pink and greys, bring a cool marble motif to your scheme with Harlequin’s Makrana print double duvet, £95 and Oxford pillowcase, £22 from Bedeck Right: Mix plains, stripes and florals for a fresh take on classic blue and white, like this Meadow chambray double bedlinen set, £34, and quilted bedspread, £40 at Sainsbury’s Home. Just seen is the Meadow Blue Ditsy printed bedlinen, £21

Above: This Elsie duvet and standard pillowcase set features a print inspired by the English countryside.

100 per cent cotton, it costs £45 for a double from Kaleidoscope

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PERFECTLY FR AMED A house’s windows and doors are its most important exterior features. We round up the best designs for a period property

1 Bay windows were hugely popular in the Victorian era. Due to advancements in glazing, larger panes of glass became available than in previous eras, meaning sash windows tended to be two-over-two or one-over-one. Totali’s traditional Accoya sliding sash windows start from £1,000.

2 Steel windows came into favour in the early 20th century and became recognised features of many Art Deco homes and industrial buildings. Today, you can buy both traditional and modern designs. Steel is hardwearing and secure, and allows for narrow frames that let in more light than many timber windows. This bespoke EB24 steel window with leaded lights has been colour matched to the originals. Installed prices start from £1,944 at Clement.

3 uPVC frames are not often recommended for period properties as the material is not authentic, the glazing bars tend to look too chunky, and the finish is artificial. However, if you want to go down that route for cost or maintenance purposes, there are some far better quality examples that are practically 100 Period Living

indistinguishable from new timber – some have even been approved for use on listed homes. These Genesis flush sash casement windows replicate the character of traditional timber frames. Available in a range of colours and woodgrains, and with a choice of traditional window furniture, prices are on application from Bison.

4 Sash windows were ubiquitous in the Georgian era, and comprised two vertically sliding ‘sashes’ made up of small panes in a six-over-six or eight-over-eight configuration.

These spiral-balanced hardwood sash windows are finished in microporous paint, along with the shutters, and have lowemissivity double-glazed units. Prices are on application from Scotts of Thrapston.

5 Arts and Crafts properties tended to have metal-frame windows. Traditional leading is difficult to recreate with double glazing, and so companies apply leaded detailing to get the look. These handcrafted aluminium windows by Met-therm successfully achieve a single-glazed look with efficient double glazing. Prices on application.

6 Leaded lights were the only real option prior to the introduction of sash windows in the 18th century. As glass was only available in small pieces, windows comprised a series of ‘lights’ held together in a leaded lattice framework. Although double glazing is much more efficient, in listed homes you often need to use single glazing for replacement windows. This traditional heavy moulded oak window with leaded lights is from Deacon & Sandys, priced on application.

7 Original wood windows can usually be repaired and draughtproofed. Where this is possible, it’s far preferable to replacement, which will detract from the house’s character.

Ventrolla offers a complete overhaul service, with prices starting from £500 per window.

8 Timber casements have a simple, unpretentious design that makes them ideal for country cottages. This bespoke traditional flush casement window is made from FSC redwood painted in Cornforth White estate eggshell, £24 for 750ml at Farrow & Ball. The cost of the window, via the Wood Window Alliance, is around £600.

Windows and Doors

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Period Living 101

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9 Complementing doors and windows in their material, style and, where appropriate, colour, is important for a cohesive look. These painted designs by Jack Brunsdon are made from solid wood and feature double-glazed units.

Prices on application.

10 Bi-fold doors are ideal for opening up your home to your garden. They run along a track and are hinged to fold open, meaning they have the flexibility of being partially or fully open.

The Sash Window Workshop’s design, made from accoya, is an attractive option for period homes. Around £8,760.

11 Four-panelled doors were popular in the Victorian era.

Made using accoya, with the option of stained or etched glass, this design by The Bespoke Front Door Company is priced on application.

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102 Period Living

12 Ledged-and-braced doors are perfect for rural homes.

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Built from solid French oak, Broadleaf’s arched Manoir design is internally ledged so that both faces of the door are the same. From £2,600.

13 Fanlights and sidelights maximise light inside. This four-panelled door with halfglazed sidelights and shaped fanlight is finished in Portland Stone with an antique brass knocker and high-security Winkhaus lock. From £4,200 at Westbury Joinery.

14 Stained glass is a lovely option for both Victorian and Edwardian homes. Made from sapele, this Grand Georgian front door costs from £3,200 for a solid-panel door at The Grand Victorian Door Company.

15 Feature glazing is ideal for a barn conversion. This bespoke design by Architectural Bronze Casements features bronze panels with horizontal transoms, clerestory panels and bronze doors. Prices on application.

Maintenance

HOME HEALTH CHECK:

Metal windows Traditional casements have been around for centuries, so to preserve them and keep them in working order, it’s important to give them some TLC Words Roger Hunt

M Illustration Sarah Overs

etal windows have been an important element in buildings since the 16th century, when simple wrought-iron frames and casements contained leaded lights.

By the 1920s, steel windows were fashionable, with their contemporary design a notable feature of Art Deco homes. They were sometimes designed in the form of curved ‘suntrap’ bays.

Stronger and potentially more durable than those made of wood, metal windows offer the advantage of slender profiles that help create light-filled interiors and are valuable architectural features. The disadvantage is the high thermal conductivity of traditional metal windows, which has often led them to be associated with cold interiors, condensation and, if not properly maintained, rust.

Warning signs

Material facts Early metal windows were made out of wrought iron by blacksmiths, and were expensive to produce. Steel is now the dominant material, with modern windows designed to be energy efficient and corrosion resistant.

WROUGHT IRON: Relatively durable, early wrought-iron frames and casements were usually made of flat sections, but this meant that they often provided little resistance to wind-driven rain.

CAST IRON: Used from the mid 18th century, cast iron was reasonably resistant to corrosion but it was brittle.

STEEL: In the 19th century, the introduction of mass-produced rolled steel enabled precise and more complex sections to be formed. This meant manufacturers, like dominant Crittall, could produce better-sealing casements.

Corrosion often occurs in localised areas where moisture collects, such as at the bottom of frames and casements. Distortion of the metal and a build-up of excessive paint can result in draughts and the unwelcome result of wind-driven rain. ³ Period Living 105

What to look for:

Hinges and catches

Signs of corrosion such as rust and pitted surfaces O Peeling paintwork O Missing, loose or damaged putty O Difficulty opening O Draughts O Distorted, cracked or broken sections O Damage caused by movement in surrounding masonry O Worn hinges and fittings O Cracked or broken glass

Worn or damaged hinges and fittings can cause gaps to develop between the window frame and the face of the opening window, resulting in draughts.

ACTION: O If hinges, latches, stays and bolts are stuck, ease with a little oil or WD-40.

O Contact a blacksmith or specialist metal window company for repairs or missing parts.

O

General care Even windows that seem to be beyond repair can often be overhauled. Wherever possible, retain original glass – it’s valuable and beautiful due to ‘imperfections’ that bring it to life.

ACTION: O Open windows and inspect inside and out, using a pointed knife or screwdriver to probe for corrosion.

O Check hinges and catches.

O Gently ease casements that are stuck.

O Contact a blacksmith or specialist metal window company to make repairs.

O Carry out new work on a like-for-like basis.

O Where original glass has to be removed, carefully scrape away putty and gently ease out the glass. In steel windows it’s often held in place by spring clips.

Draughtproofing Traditional metal windows were rarely weatherstripped to keep out rain and draughts so it’s essential to minimise gaps between the frame and the opening casement or fanlight.

ACTION: O Open the window and ensure surfaces are clean, dry and free from dust.

O Apply cling film around the edge of the opening section.

O With a sealant gun, run a thin silicone bead around the frame using either clear silicone or a matching colour.

O Squash the silicone to shape by closing the window onto it and allow the silicone to fully dry.

O Open the window and remove the cling film, which has acted as a bond-breaker.

O Trim back any excess silicone with a sharp knife.

O Or, where suitable, fix brush-seals or thin, soft rubber draught excluders to the opening edges.

O Consider secondary glazing, where a slimline pane of glazing is added to your windows.

Removing rust and paint layers Rust and accumulated layers of paint cause metal windows to distort, resulting in leaks and draughts and gradual deterioration, so maintenance is vital.

ACTION: O Clean off surface rust using wire brushes and abrasive paper.

O Apply chemical paint removers and scrape away paint.

O Use peel away poultice systems to remove multiple layers of paint.

O Remember that hot air guns are ineffective on metal as heat is conducted away.

O Unprotected metal windows will quickly accumulate surface rust so apply a rust inhibitor or priming coat as soon as practical.

Decorating Metal windows require regular maintenance and repainting to prevent deterioration. Surfaces must be well prepared, clean, dry and rust free.

ACTION: O With abrasive paper, provide a key for new paint. Clean away dust, grease and grime with a cloth damped with methylated spirit.

O Use an epoxy-based car body filler if needed.

O Re-putty glazing with linseed oil putty.

O Use a good quality single or two-pack paint system.

O If in doubt, seek specialist advice.

106 Period Living

Useful contacts British Artist Blacksmiths Association directory of members. baba.org.uk Clear view secondary glazing solutions.

Tel: 0114 294 5018; clearviewsg.co.uk Hammerite metal paints. Tel: 0333 222 7171; hammerite.co.uk MagneGlaze acrylic magnetic secondary glazing system. Tel: 0800 999 3349; magneglaze.co.uk Mitchell & Dickinson secondary glazing specialists. Tel: 01237 429826; mitchellanddickinson.co.uk PeelAway paint remover. Tel: 0117 960 0060; peelaway.co.uk Steel Window Association members repair, supply and install windows. Tel: 020 8543 2841; steel window association.co.uk Storm windows bespoke secondary glazing.

Tel: 01384 636365; stormwindows.co.uk TW Plastics DIY secondary glazing kits.

Tel: 0800 281 639; twplastics.co.uk

Advertorial

Replacing your timber windows Richard Dollar, managing director at The Sash Window Workshop, explains what to consider when replacing windows in your period home Retain the correct period style It is important to install windows that suit your period property. Replacement windows with the wrong material or style can drastically reduce the value of your home. A specialist traditional window company should be able to work with you to design and manufacture timber windows to meet your requirements.

Glazing options

Above: Threepart Accoya casement window frame, £2,520 Top right: Victorian timber windows and doors. Victorian bay sash windows start from £6,600 Above left: Two-over-two Accoya sash window, £2,160 Above right: Twopart six-overnine Accoya sash windows, £4,560

When choosing the type of glass, you need to consider what you are looking to achieve – for example, the thermal, acoustic, and aesthetic requirements. There are lots of different glass options to choose from, covering a wide range of applications. Don’t be misled into having a standard type of glass if there is something specialist that needs to be achieved.

For example, did you know that simply replacing single glazing for double glazing doesn’t necessarily reduce noise? Also remember that there are legal requirements that need to be met with regards to safety glass.

Planning permission If you live in a listed building or Conservation Area, you may require planning consent to replace your windows. If there is any doubt, speak to your local council. You will often be required to submit detailed technical drawings with your planning application.

The Sash Window Workshop can supply technical

drawings of proposed windows to support an application once an order has been confirmed.

Obtaining quotations Check whether the company manufactures its own windows and employs an installation team.

This helps ensure that the product and fitting is to a consistent, high standard.

There are many different types of timber with different durability, so be sure to check what timber is being quoted. The Sash Window Workshop recommends using Accoya, which is extremely durable, has a 50-year anti-rot guarantee, and requires minimum maintenance.

With over 20 years’ experience, The Sash Window Workshop has a wealth of experience replacing bespoke, timber windows in period homes across London and the South.

To obtain a free site survey and quotation, contact 01344 868668; sashwindow.com Period Living 107

The Reclaimer

Illuminating history Skinflint co-founder Sophie Miller explains the pros and cons of using reclaimed and restored vintage lighting Reclaiming the light…

Each piece of vintage lighting is original, and therefore has its own story. When you buy a vintage light, you’re not only purchasing a unique piece of history, but something with longevity. Lights that were manufactured between 1900 1970 were made before the concept of planned obsolescence became so ubiquitous, meaning they were built to last, and many have actually outlasted the buildings they were designed to illuminate. In a world of throwaway fashion, the purchase of a vintage light places no stress on our resources.

in Derby, Cockenzie power station in Scotland, and Pyestock, where Concorde’s engine was developed and tested.

What to look for…

Look out for well-known lighting brands such as Revo and Benjamin for enamel ceiling lights, Victor and Coughtrie for industrial lighting, and Mei Elec and Dugdills for machinist lights.

Glassware is a little harder to brand and date, but the most important thing is to buy a light you love. If you purchase from a reputable dealer you can be sure you are buying an authentic product.

Unique provenance…

At Skinflint we put as much effort into researching our lights’ previous narratives as we do into their restoration. The lights we stock come from a diverse range of locations across the UK, further afield to Europe and America, and we find them wherever they were used from derelict Victorian asylums to defunct factories; from Helipad landing lights to classic opaline glassware. We have salvaged lighting from iconic sites that were being redeveloped which is always bittersweet such as the Rolls Royce factories

Feature Karen Bray

What to pay…

Pricing reflects not only the age, heritage and craftsmanship of the original light, but the hard work that has gone into refurbishment. Expect to pay from around £200 for enamel pendant lights to £1,000+ for rare one-off finds.

What to avoid…

If you are thinking of trawling car-boot sales or looking in your grandparents’ shed for a vintage light, then I wouldn’t recommend it – unless you’re on exceptionally good terms with a skilled electrician! It will either prove to be a costly project, or (if you don’t do a professional job) a potentially dangerous one.

How to restore…

Reclaiming a vintage light means keeping the essence of the original light fitting intact, but also ensuring that you can rely on it to work perfectly, and safely, every day. We restore and use as many of the original components as we can, except the bulb holders, wiring and suspension chains.

You simply shouldn’t attempt to refurbish a vintage light yourself – working with electrics is a highly skilled profession, and you should definitely pass on any light you wish to restore to an expert.

Clockwise from top left: A selection of vintage lights, including a glass and Bakelite teardrop pendant, in the Skinflint studio; co-founders Sophie and Chris; a pair of Victorian brass gas wall lights with 1930s shades, converted to electric but needing rewiring, £90, The Old Yard; Holophane pendant, £150, Retrouvius; rare early production (c.1920s) Holophane industrial pendant downlights, £690 each, Trainspotters

WE’VE MOVED HOUSE The Period Living website is now part of

Realhomes.com

– the essential new portal for homes advice and inspiration

Visit Realhomes.com for…

O Thousands of beautiful ideas for your house and garden O Expert advice on repair and maintenance O The latest guides to choosing period home products

Easter tre at Four ideas to add a little s spring magic to your garden

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Rose gold pom pom tail bunny bunting, £4.99, Ginger Ray

Give mess the boot Rowen & Wren’s new garden collection exudes understated beauty, from the terracota coloured milulu grass Thena storage baskets, from £52, to the hand hewn Dutch garden tools. All are shown off splendidly in this rather lovely boot room. On the back wall, from left: Sneeboer Dutch hoe, £58; spade with steps, £96; fork, £96; and Libbi enamel mug, £12.

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Country Meadow Easter wreath, £30, The Contemporary Home

Welcome the arrival of spring with bright buys, expert advice and Easter goodie

Feature Michelle Guy Illustrations Sarah Overs

LIVING ART From olive green succulents to bold orange dahlias and purple coral, each one of these intricately designed ceramics from Yonder Living is handmade, so no two are the same. Wall mount a selection to create a stunning display.

From £14 each.

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Narcissus and eggs in a box, £20, Sainsbury’s Home

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PASTEL PLANTERS Add a dash of colour to your plant pot display with this pastel palette of crackle-glazed containers, £12 each from Mushroom London.

Easter bunny flowerpot, £10, Beaumonde

EXPERT TIPS… IT’S TIME TO WEED

A colourful mix of stripes, florals and geometric prints on cottons and sateens create Sunbeam Jackie’s wonderful one-off parasols, such as this Candy Floss design, part of the eclectic summer collection. Prices start from £2,150.

Take a seat The Balcony deck chair by Denys & Fielding is ideal if you’re tight on space or looking for a smaller foldaway chair to chase the sun with. Available in a variety of bold fabrics, such as this Cherry design, prices start from £185.

Visit Kew Gardens between 30 March and 15 April for some special Easterthemed activities with Peter Rabbit and his friends. Adults £17, children (4-16) £5, under 4s go free.

BOOKSHELF Walled Gardens by Escape to the Country’s Jules Hudson takes a tour of Britain to show off some of its most beautiful walled kitchen gardens. For centuries they provided food and flowers for our great houses, and this book provides a fascinating insight into these inspiring historical gems. £16.99, National Trust Books.

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CATCH THEM WHILE YOU CAN April, then, is the month that defines what sort of summer you will spend in your garden. Weeds start to grow with real vigour as the days lengthen, the sun shines brighter and the temperature rises. Indeed, many weeds will have commenced growth in the winter, and although they usually remain small at this time, the improving weather in spring means they have a perfect ‘head start’. So it pays to get out into the garden right at the start of the month and hoe weeds on sight before they get a chance to seed. Get in the habit of this and do it regularly from now on.

PREPARE TO MULCH Applying an organic mulch of composted material is also a useful way of reducing weed growth, although it is not an insurance policy in its own right. Before mulching around your plants, it is absolutely vital that you remove all of the weed growth and dig out any deep rooted or perennial types like docks or dandelions.

Mulch laid to around 5cm (2in.) will prevent weed seed germinating, and any that do on the mulch itself will be easy to pull out. Mulch also helps reduce moisture loss from the soil and as it breaks down, it will add vital organic matter to the soil.

Sadly there is no remedy when it comes to weeds. Ultimately, the key to success is to act early. Get them under control now and you will free up time this summer.

Beatrix Potter ™ © Frederick Warne & Co., 2018

A PLACE IN THE SHADE

Mick Lavelle, gardening expert, writer and senior lecturer in horticulture at Writtle University College, offers seasonal advice April is, for many gardeners, the most exciting month in the garden. It’s the month when we see almost everything that has been dormant through the winter months start to literally ‘spring’ back into growth. At the start of the month the winter colour that has given us hope in the darker months is bolstered by fresh growth and spring blooms, and by its end, the garden truly erupts into its summer glory.

Amid this excitement, though, it is all too easy to take your eye off the real business that of the war against those ‘pesky’ weeds that (given the opportunity) would spoil this botanical fiesta.

Shopping Rabbit melamine tray, £12, Laura Ashley Baa Baa cotton fabric in Denim, £25 per m, Iliv Frisky, Graysey and Longtail harvest mice cotton cushion, £45, Harebell Designs

by Rachael Wild

Benny bunny ceramic vase, £15.95, Graham & Green

Fallen Fruits Fox coir doormat, £23.50, Cotswold Trading

Butterfly and moth house, £22, National Trust

Vegetable brush, £5, Finch & Crane

COUNTRY CLUB

With Easter around the corner, let images of chicks, bunnies and lambs inspire you to embrace a rural feel.

Sowing seeds, cultivating crops, prepping beds and sorting out what winter left behind – this is a busy time of year for any keen gardener, and farmers to boot. So pull on your wellies, roll up your sleeves and get stuck in – it’s time to tackle your spring ‘to-do’ list with motivation from these country themed buys.

Feature Michelle Guy

Lay a Little Egg hen teatowel, £8, Sophie Allport

Deck wellies in Mustard, £35, Seasalt

Hare clock, £25.95, Annabel James

Vegetable patch mug, £8, The Contemporary Home

Fair trade apple basket, £20 for small, Olli Ella Laying down sheep garden ornament, £49.99, The Garden Furniture Company

Bird Spotting cushion seat pad with ties, £22, Pignut Period Living 117

Gardens

FRESHLY PICKED

Create a cutting garden full of easy-to-grow flowers, and you’ll soon be enjoying their colours and scents both inside and outside the home Words and photographs Leigh Clapp

The more you cut cut-and-come-again flowers such as nigella, the more the plants will set new flowers

here’s nothing nicer than filling the house with fresh flowers and greenery from the garden, but if you don’t want to spoil the display in your flower beds and borders, creating a separate cutting garden is the solution. Arranging flowers you have grown yourself or giving bunches to friends is a real pleasure. It’s good for the environment, cuts down ‘flower-miles’, and is easier on your purse.

Your little patch will also be a boon for wildlife, attracting insects on the hunt for nectar and pollen.

Now is a great time to prepare an area in your garden and begin the process. If using existing borders, plant in large groups so it doesn’t spoil the garden when you cut some of the blooms.

Choose flowers and foliage that are easy to grow, good value, produce plenty of blooms and look as good in the ground as they do in a vase. It is possible to have a year-round supply with spring, summer, autumn and winter choices. Use some old-fashioned varieties for blousy, scented arrangements that will fill your senses, and don’t forget the value and beauty of foliage as well. It may sound obvious, but grow flowers you love otherwise you won’t want to pick them.

Getting started Select a sunny, sheltered spot with well-drained fertile soil and prepare it carefully. A vegetable garden is a great place to grow flowers for cutting and will attract beneficial insects. Some people choose to grow in rows for ease of maintenance and access; others create blocks; or you could just add extra flowers and foliage around existing shrubs. You will need to reach the flowers easily to pick them, so ensure you include accessible paths.

Raised beds work well as you can easily reach the plants and they allow a good depth of soil. Remove all weeds, add in organic matter and rake the soil to a fine tilth. You may like to use a Mypex weed control mat to prepare a sterile weed-free seed bed.

Keep in mind the end result and select flowers you love, with a variety of shapes and textures, long, straight stems, some with scent, and even the colour scheme you want to complement inside.

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Growing from seed is the most economical choice, and if you stagger sowings you will have blooms through the year. Plan ahead to ensure a varied production – whether simple and architectural shapes or country style with oldfashioned scented favourites. It is best to grow a mix of hardy and half-hardy annuals and biennials, with perennials as the backbone to your supply.

Growing quantities of perennials, such as achillea, campanula, lobelia and thalictrum, from seed will give you flowers that increase in number each year.

Before the perennials occupy the space, fill it up with fast-growing annuals, such as poppies, stock, gypsophila, sunflowers and calendulas.

Plant flowers close together or put in supports ready to stop tall plants flopping over as they grow. Combine plants of similar heights, growing conditions and flowering times, including both focal flowers and fillers. For a year-round successional supply you could have options such as hellebores, spring bulbs, aquilegia, wallflowers, pinks, Sweet William, peonies, alstroemeria, sunflowers, dahlias, asters, chrysanthemums, kniphofias and daphne in winter. Include an abundant medley of self-replenishing, cut-andcome-again varieties, such as cosmos, zinnias, scabious and sweet peas, which will produce more flowers after cutting.

Always plant more foliage and fillers than you think you will need, as using plenty of greenery in your arrangements will make them look more natural and rustic. Suggestions include delicate ferns, strappy ornamental grasses, silvery eucalyptus, and include herbs for scent and texture, such as bronze fennel and rosemary. You may like to take inspiration from the garden border or field side and look at how flowers grow, keeping the images in mind when arranging for harmonious or wild effects. Why not also use your cutting garden to experiment with new plants and colours? Include some bold shapes, maybe spiky eryngiums, flamboyant gladioli, or wispy and romantic forms, such as lacy ammi varieties. If you find particular flowers and foliage plants thrive in your conditions, hunt out more varieties of the same. ³

Gardens

Above: Grow some herbs in containers to accompany the flowers and include paths for easy access, as here in the RHS Chelsea 2017 Anneka Rice Colour Cutting Garden designed

by Sarah Raven Left: Grow your selection in blocks and rows, and think of it as a harvesting garden

Period Living 121

PLANT PALETTE

Maintenance A cutting garden is for harvesting; so don’t expect it to look pristine at all times. Deadhead and cut flowers regularly and keep up the weeding and watering. When watering, don’t shower plants from overhead, but water carefully with a steady jet flow at the base of the plant. The best time to water is in the evening as it allows the plants to soak up what they need overnight. Mulching is valuable to retain moisture and supress weeds.

Many recommend a no-dig method, as the less you dig over the soil, the less weeds are disturbed.

Cutting actually encourages more flowers to grow, especially annuals that have a survival imperative to set seed. Let some of your flowers set seed and collect them to sow the following year, replenishing your own stock for free.

How to make your cut flowers last O Cut early morning before morning dew has dried, when their stems are filled with stored food.

Flowers gradually dehydrate as the day warms up.

O You can also cut flowers in the evening and put them into buckets of water to condition before arranging the following morning.

O Cut with a clean, sharp knife or shears. Invest in good quality equipment and maintain it well.

O Blunt tools will crush the stems, damage the parent plant as well as inhibit the cut flower from absorbing water.

O Remove leaves that will be under water.

O Condition the flowers by placing them straight into a bucket of lukewarm water as you cut and leave in a cool place for a few hours or overnight.

O Have two buckets – one for long-stemmed flowers, one for smaller flowers.

O Ensure your vase is clean, then recut stems at a 45-degree angle before arranging.

O Always use tepid water in your vases to avoid air bubbles in the stems, except for daffodils and tulips, which prefer cold.

O Different types of flowers are harvested at appropriate stages in their development. Flowers with multiple buds on each stem should have at least one bud showing colour and one bud starting to open before being cut. Flowers that grow on individual stems should be cut when open.

O Cut long stems about one inch from the bottom of the main stem.

O Change the water in the vase frequently and recut stems if flowers start to wilt.

O Keep out of direct sunlight.

O Keep away from fruit, which releases ethylene, a gas that causes flowers to age faster.

O Homemade flower preservative can be added to the water – 1 tsp sugar, 1 tsp bleach and 2 tsps lemon juice to approximately one litre of water.

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(Top row, l r) O PEONIES thrive in well drained soil in a sunny position. Integrate plenty of organic matter and don’t plant too deeply. Cut blooms when about three quarters open.

O DELPHINIUMS add height to an arrangement. They need full sun and fertile, well drained soil. After the first flush of blooms, cut the plant to the ground, mulch with compost, water well and you should get a second bloom in late summer to autumn.

O SWEET PEAS are the perfect cut and come again flowers, hard to beat for scent and their translucent beauty. Provide them with sun, rich well drained soil and some supports to scramble up.

(Second row, l r) O COSMOS is a classic cut flower, providing clouds of bloom from June to November, and these half hardy annuals are easy to grow.

They need full sun, moist but well drained chalky or neutral soil. Direct sow in early May. O SUNFLOWERS are a cheery choice and offer a range of sizes and colours. Simply sow the seed in spring once the frost has passed, where you want them to grow. They need sun and loose, well draining soil.

O LILIES come in a plethora of hues and are long lasting in the vase. Provide them with a sunny spot and rich fertile soil that is moist but free draining.

You can remove the anthers as soon as the flowers open as the pollen stains skin and clothing.

(Third row, l r) O ROSES are quintessential for beauty and scent, with varieties for sun and shade.

Incorporate compost or manure when planting and feed generously as they grow. The best time to cut roses as they start to unfurl is after 3pm, when they are highest in their food reserves. This will help them last longer in the vase.

O GLADIOLI make flamboyant cut flowers and last well in the vase. Plant the corms in the garden or in containers from May to July for a succession of blooms. They like rich, well drained soil, plenty of water, and feed while the flowers develop.

O DIANTHUS including pinks, carnations and Sweet William, add colour and scent. Regular cutting ensures a long flowering season. Sow in full sun or part shade in fertile, well drained soil. Water established plants only in dry spells.

(Bottom row, l r) O ALSTROEMERIA are great value, long flowering perennials from summer to autumn, and last up to three weeks in the vase. Plant in early summer in a sheltered spot, with plenty of organic matter and a good winter mulch.

O ZINNIAS are undemanding annuals and are available in a range of bright colours that will add a real zing to your arrangements. Sow directly into free draining fine soil after all danger of frosts has passed. They need plenty of sun and water well.

O ASTRANTIA is a delicate perennial that blends prettily with other blooms. They require moist, well-drained fertile soil in sun or light shade. A tip to increase their vase life is to sear the stems in boiling water straight after cutting. ³

Gardens

HELPFUL WEBSITES O SUTTONS suttons.co.uk/featured/cut-flowerwall-chart-and-growing-guide O PLANTS OF DISTINCTION plantsofdistinction.co.uk/ cutting-flowers O MR FOTHERGILL’S mr-fothergills.co.uk/FlowerSeed/Suitable-for-Cut-Flowers

GARDENS TO VISIT

Left and below: Flowers you grow yourself retain the natural charm, character and heady scent so often lost in mass-produced varieties. It’s very satisfying to pick flowers you’ve grown in the garden for the vase

EXPERT TIPS Vivien Hunt, head gardener at Godinton Garden in Kent, where the dedicated cutting garden includes a special collection of delphiniums, gives her advice: O Improve soil with well-rotted compost or manure.

O Plan for year-round cut flowers by planting bulbs, annuals, herbaceous perennials and shrubs.

O Grow cut-and-come-again flowers throughout the summer; cutting encourages more flowers.

O Sow some hardy annuals in autumn to produce earlier flowers than the annuals you sow in spring.

O Use lots of annuals as they have a long flowering season and add extra colour to borders – try zinnias, cosmos, rudbeckias, antirrhinums, and nicotiana.

O Mulch perennials in autumn and feed in spring – they need it if you keep cutting their flowers.

O Collect seeds rather than letting plants self-seed.

Vivien likes to try something new every year but has some regular favourites: O Tulip ‘Brown Sugar’ – has a great scent and combines well with other purple, red or pink tulips.

O Pheasant’s Eye Narcissus – strong scent and delicate flowers, which are longlasting in a vase.

O Rudbeckia occidentalis ‘Green Wizard’ – architectural herbaceous, flowers all summer.

O Zinnia elegans ‘Queen Red Lime’ – dusky pink petals, graduating to lime with a dark red centre.

O Sweet pea ‘Charlie’s Angel’ – Spencer hybrid with strong scent and large soft-mauve blooms.

O Rosa ‘Darcey Bussell’ – repeat flowering cherry red rose with a good scent.

124 Period Living

O BLOOMING GREEN FLOWERS, Linton, Kent ME17 4AG. Cut flower grower where you can pick your own. Open Fridays, July to October. Grow your own cut flowers workshops. Booking essential.

Tel: 01622 298676; bloominggreenflowers.co.uk O WEST DEAN GARDENS, West Dean, West Sussex PO18 0RX. Walled kitchen garden with cut flower beds. Open February to December. Tel: 01243 818210; westdean.org.uk O GODINTON HOUSE AND GARDENS, Ashford, Kent TN23 3BP. Walled garden with beds dedicated to flowers. Join head gardener Viv Hunt for The Annual Garden Workshop, on growing annuals for cut flowers, pots and colour – 21 April, 9.30am – 12.30pm, £35. Tel: 01233 643854; godintonhouse.co.uk O EASTON WALLED GARDENS, Grantham, Lincolnshire NG33 5AP. ‘The pickery’ area of these historic gardens is devoted to cut flowers.

Tel: 01476 530063; visiteaston.co.uk O THE WALLED GARDEN AT MELLS, Rectory Garden, Mells, Somerset BA11 3PN. Cottage garden, seasonal flowers and plant nursery. Open March to October.

Tel: 01373 812597; thewalledgardenatmells.co.uk

WOODLAND WONDERS Peregrine and Deirdre Massey have spent 25 years transforming their terraced garden from a state of wilderness to a series of gracious outdoor rooms, unearthing some exciting discoveries as they went – including a walled garden and an ancient bluebell wood Words and photographs Leigh Clapp

Gardens

KEY FACTS CHARACTER OF GARDEN Landscaped country garden of interlocking areas, partly terraced, with impressive views of the Wealden landscape.

The garden has been developed over 25 years and contains a wide range of trees, shrubs and perennial plants SIZE Seven acres of cultivated garden, with 100 acres of woodland ASPECT The garden is south-facing SOIL Heavy Wealden clay that has been improved with regular mulching and addition of agricultural grit OWNER Peregrine and Deirdre Massey have lived here since 1994 PERIOD OF HOUSE 1902–4, by architect Robert Marchant, a one-time apprentice to Sir Edwin Lutyens. Boldshaves was one of Marchant’s earliest independent pieces of work and shows clear Lutyens influences OPEN Weekdays, April to October (2–6pm), and for the National Gardens Scheme. See boldshaves. co.uk and ngs.org.uk. Bed and breakfast available through the year and the property hosts the annual Wealden Literary Festival, 30 June – 1 July this year (wealden literaryfestival.co.uk). Boldshaves, Woodchurch TN26 3RA

128 Period Living

P

eregrine and Deirdre Massey have been redeveloping their picturesque gardens at Boldshaves, a small private estate near Woodchurch on the eastern fringe of the Kentish Weald, for almost 25 years.

Before the attractive Arts and Crafts-style house was built in 1902 at the top of the incline, the south-facing hillside had been cleared of trees in the 17th century for grazing sheep, leaving the surrounding ancient coppiced woodland to the north, east and west, as well as ‘shaves’ – narrow stands of trees as wind breaks – and when Major Bold owned the property in the 18th century, the area became known by his name: ‘Bold’s Shaves’. ‘When we arrived in 1994, there was no garden to speak of and we didn’t know there was a walled garden flanking the eastern façade of the house until we discovered it when clearing a thicket of undergrowth in our first winter,’ says Peregrine. ‘People always think taking over a wilderness must have been a nightmare, but I can think of no better starting point for creating a new garden; infinitely preferable to taking over someone else’s idea of perfection and studiously setting about maintaining it.’

With a spectacular 100-acre wild bluebell wood and stunning views, the stepped gardens are a delight to wander through. Extending out from the house, the partly terraced seven-acre garden stretches down a south-facing slope, looking ³

Above: Vibrant tulips are dotted among clumps of euphorbias and phormiums in the hottoned border Above right: A glossy-leafed Photinia x fraseri ‘Red Robin’ makes a shady canopy for a bench placed to take in the vista Right: Subtle colours of fresh greens and golds in the curving border by the barn

towards the Wealden landscape across vast green paddocks dotted with grazing sheep. ‘The bones of the garden you see today evolved over about a 15-year period, balanced between the demands of a growing family and an international career as a barrister and mediator,’ he explains. ‘But I think I always had an idea at the back of my mind of what I wanted the end result to be: a succession of interlinking compartments running down the hill to the south of the house, making good use of the views towards Shirley Moor in the distance, and seamlessly merging with the ancient woodland.’

A tour of the garden will take you through a series of loosely divided rooms as well as an atmospheric woodland walk. The formal areas in contrast with the natural setting make for a glorious landscape to explore, full of fresh greens, brightly coloured tulips, blossom on the bough and a sea of violet-blue. Fragrance fills the air and there’s a sense of renewal throughout the garden.

Visitors can explore the transformed walled garden where the sheltered microclimate supports southern hemisphere and semi-hardy plants, such as Ceanothus (Californian lilac), along with a camellia dell, herbaceous borders, a flame bed, an Italian garden, a garden to celebrate the Queen’s Diamond Jubilee, a vegetable garden, a wide variety of old-fashioned English roses and an Elizabethan herb garden. ‘One of our latest projects is to turn the borders adjoining the Diamond Jubilee Garden into a series of beds in the colours of the rainbow, running red, purple, blue, green, yellow and orange down the hill,’ Peregrine adds.

Lending structural formality are a pergola walk, lines of hedges, architectural foliage from phormiums, repeated clipped shrubs such as Photinia x fraseri ‘Red Robin’, and defined paths.

In April, highlight plants include delicate snowy white blossom on Amelanchier lamarckii, clouds of pink prunus, and the unusual ornamental shrub, Staphylea colchica, with its fragrant creamy flowers, and its even rarer relative S. holocarpa ‘Rosea’. Other unusual spring-flowering shrubs include Drimys aromatica (Tasmanian mountain pepper) and Cercis chinensis. ‘We also love the sight of the tree peonies coming into flower: they only last for a couple of weeks a year, and so are a huge indulgence unless you have the space, but what an exciting plant to grow,’ Peregrine enthuses. ‘Paeonia rockii (Rock’s tree peony) should be seen by every gardener, if only once in their lifetime!’

Bordering the garden is the extensive ancient woodland with meandering paths that wind through the carpets of woodland anemones followed by the magical bluebells. ‘As much as it has been fun developing the garden, we have derived at least as much enjoyment from managing 130 Period Living

The formal areas contrast with the natural setting and make a glorious landscape to explore, full of fresh greens, bright tulips, blossom and a sea of violet-blue and reclaiming the ancient woodland, which had been allowed to grow out unhealthily in the 20 years or so before we arrived here,’ Peregrine explains. ‘The woodland is principally down to oak standards with hornbeam, hazel, sweet chestnut and avian cherry underwood; and we have introduced a coppicing regime that enables us to put in place a cycle of renewal that should be fully sustainable into the future.’

All your senses will be stimulated; the unique fragrance of these iridescent nodding beauties fills the air, while the colour is incomparable to any other flower. ‘Listen to the nightingales, as they will now sing in the woodlands for the next month or so,’ he says. ‘They and the woodcock, which are with us in the winter months, are ground nesting birds, so we leave patches of bramble and other low growing vegetation for them. An over tidy wood would risk them moving elsewhere. The range of song that the nightingale can manage is truly remarkable, most audible after dusk when they have no competition from other birds, but certainly to be heard during the day as well, once you get your ear attuned to their various calls,’ says Peregrine as he strolls, soaking up the atmosphere.

It is a garden to be savoured, and opens through the year so you can catch the bluebells or call in at other times to see the progression of the seasons.

PEREGRINE’S TIPS O The answer lies in the soil – quite literally,

so look after yours. On clay keep it well covered with mulch so that it does not get waterlogged in winter or bake solid in summer.

O Prune roses in a mild spell in late January – and get it done before the spring rush is upon you. A lot of other flowering shrubs can also be attended to then.

O Don’t be tempted to sow seed too early in the season.

O Don’t forget the attraction of smell in the garden – all your senses need to be engaged.

O Don’t be too tidy in managed woodland: think of the needs of your wildlife. ³

Right: A small formal garden with a central dovecote is enclosed by yew hedging Below right: Prolific and drought-tolerant euphorbias are great value in the spring garden, repeated through the beds with their astringent lime foliage that softens the formality of the fountain courtyard

Gardens

CREATE YOUR OWN MINI BLUEBELL WOOD O Bluebells need sun in winter, then dappled shade,

and soil needs to be rich in rotted leaf-mould.

O Plant drifts of native bluebells, Hyacinthoides

non-scripta, under deciduous shrubs or trees.

They will naturalise to form a dense carpet.

O They do best under native beech or hornbeam and look wonderful under ornamental cherries.

O Plant some ferns (Dryopteris) with bluebells, to give a natural feel. They will unfurl at the same time.

O Make a mini path through them.

O Never take bluebells from the wild, as they are protected by law. Many nurseries now stock them, but do check they are labelled Hyacinthoides non-scripta and where they were sourced from.

O Plant bulbs in autumn, or ‘in the green’ in spring.

O If you have a bluebell wood nearby, don’t plant Spanish bluebells in your garden as they may invade the woodland and take over the native English version.

O For more information and to learn how to protect our native woods, take a look at Plant Life’s website (The Wild Plant Conservation Charity), plantlife.org.uk.

132 Period Living

O Add some other blue bulbs in the garden or in

containers. Try Muscari armeniacum, Scilla siberica, Chionodoxa forbesii, Anemone coronaria, Ipheion uniflorum and Iris reticulata.

O Expanses of blue give the illusion of more space.

IN THE AREA Sissinghurst Castle Garden, Sissinghurst, Kent TN17 2AB. Famous garden of rooms and a mecca for all garden lovers. Open through the year, see website for times. Tel: 01580 710700; nationaltrust. org.uk/sissinghurst-castle-garden Hole Park, Rolvenden, Kent TN17 4JA. Private home, parkland garden with bluebell wood in spring.

Open 1 April to 9 June, daily; 13 June – 31 October, Wednesdays and Thursdays; Sundays in October.

11am-6pm. Tel: 01580 241344; holepark.com The Salutation Hotel and Gardens, Sandwich, Kent CT13 9EW. Gardens of rooms designed by Sir Edwin Lutyens. Open year round. the-salutation.com Doddington Place Gardens, Doddington, nr Sittingbourne, Kent ME9 0BB. Private home with Edwardian gardens and parkland. Open 16 April – 30 September, Wednesdays and Sundays. 11am-5pm.

Tel: 01795 886101; doddingtonplacegardens.co.uk

Above: The edges of the ancient bluebell wood give way to views across the Wealden landscape and green fields of grazing sheep

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Above: Stickback Windsor chairs cost £394 each for a side chair and £523 for an armchair Below: Miles and Sam distress and sand an oak pedestal table

adventures

Veggie

Recipes

ROSEMARY PORCINI; SEE OVERLEAF FOR RECIPE

Make vegetables the star of the show, both on the palate and the plate, with Maria Elia’s delicious and contemporary vegetarian recipes ³

Rosemary porcini Porcini, for me, are the God of all mushrooms rich, heady, meaty, velvety and sensationally delicious. Once a year I try to book a trip to Italy where I can enjoy them at their best. Their season is summer to autumn and, although they are good dried, there is nothing quite like fresh ones. If you can’t get hold of porcinis, use a mix of farmed or wild mushrooms. Serve on griddled bread for a delicious light lunch or starter.

SERVES 4 O

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600g of porcini or mixed mushrooms 3 tbsps of extra virgin olive oil 1 garlic clove, finely chopped 2 sprigs of rosemary, picked, finely chopped

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4 sage leaves, finely chopped Sea salt and black pepper 1 tbsp of red wine vinegar, preferably Cabernet Sauvignon

1 Wipe the mushrooms clean with a damp cloth and cut into rough 0.5cm slices. (Try to keep the slices a similar size so that they will all cook evenly.)

2 Heat half the oil in a large frying pan and add half the mushrooms, or just enough to cover the base.

(Overcrowding the pan will cause the temperature to drop and the mushrooms will end up steaming rather than frying. That would be sacrilege!) Cook over a high heat for 3 minutes. Toss the pan, add half the garlic and herbs and a good pinch of salt and pepper, and cook for a further 2 minutes, until coloured and tender.

3 Set aside and repeat with the remaining mushrooms, garlic and herbs, finishing this second batch with a dash of red wine vinegar. Mix with the previously cooked mushrooms and serve.

Lemongrass and sweetcorn soup with crème fraîche Fresh, seasonal corn is best for this, but you can always use frozen or tinned if none is available.

Cauliflower and lemongrass is also a wonderful combination – simply cut a small cauliflower into florets and follow the recipe as below. Then try roasting some thinly sliced florets in a hot oven and adding to the remaining relish ingredients.

SERVES 4 FOR THE SOUP: O 3 corn cobs O 50g of butter O 1 small white onion, finely chopped O 3cm of fresh ginger, peeled and finely chopped

136 Period Living

1 red chilli, deseeded and finely chopped O 25g of plain flour O 1.5 litres of milk O 5 sticks of lemongrass, finely chopped O Salt and pepper O 4 tbsps of crème fraîche O

FOR SWEETCORN RELISH: 1 corn on the cob, leaves removed O 5 tbsps of olive oil O Salt and pepper O 1 red chilli, deseeded O

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and finely chopped 10g of chopped coriander 1 stick of lemongrass, finely chopped

1 Using a sharp knife, carefully cut the corn kernels for the soup from the three cobs. Set cobs and kernels aside.

2 Gently heat the butter. Add the onion, ginger and chilli and sauté until softened but not browned (about 5 minutes). Add the flour, stir and cook for one minute. Add the milk, lemongrass, corn and the cobs and stir, bringing to the boil. Reduce the heat and simmer for 20 minutes.

3 For the sweetcorn relish, roll the cob in a little of the olive oil, season with salt and pepper and cook on a pre-heated griddle pan or barbecue until tender. When cool enough to handle, remove the corn kernels from the cob, place in a bowl and mix with the remaining ingredients. Adjust the seasoning to taste.

4 Discard the corn cobs from the soup and blend the liquid in a food processor until smooth, then pass through a sieve and season. Serve with a swirl of crème fraîche and the sweetcorn relish.

Recipes

Chilli and rosemary aubergine parcels with smoky mash Aubergines are incredibly versatile. They lend themselves to so many diverse flavours and cooking styles whether they are fried, smoked, steamed, roasted, grilled, mashed or pickled.

SERVES 4 FOR THE AUBERGINE AND MOZZARELLA PARCELS: O 2 large aubergines O 6 tbsps of olive oil O Sea salt and pepper O 2 garlic cloves, crushed with 1 tsp of sea salt O 3 sprigs of rosemary O 2 tsps of fennel seeds, lightly toasted O 2 red chillies, deseeded and finely chopped O 500g of buffalo mozzarella

FOR THE SMOKY AUBERGINE MASH: O 2 medium aubergines O 900g of potatoes (such as Desirée or Maris Piper) O 100g of butter, diced O 100ml of hot double cream or milk O Sea salt and black pepper O 20 caper berries (optional)

1 To make the parcels, slice the aubergine lengthways into ½ 1cm slices (you need 8 slices in all), lightly brush both sides with a little olive oil and season with salt and pepper. Heat a griddle pan (or barbecue, weather permitting) over a medium heat and cook the aubergine in batches until golden and tender (about 2 minutes each side). Transfer to shallow dish.

2 Strip the leaves from the rosemary and finely chop, then add to the crushed garlic in a mortar and pestle, along with the fennel seeds and chillies and crush. Add the remaining olive oil and mix well.

Pour the marinade over the aubergines and mix

through. Leave to marinate for 30 minutes or overnight in the fridge.

3 Remove the aubergines from the marinade and lay them flat on a work surface. (Reserve the marinade for serving.) Tear the mozzarella into 8 pieces and place one on the end of each aubergine. Roll up to enclose – and if you have some rosemary left, secure the parcels with a sprig, for a professional touch!

Place on a baking tray and warm under a hot grill or oven until the cheese begins to melt.

4 To make the mash, prick the aubergines all over with a fork and char over a gas flame, griddle or barbecue, turning frequently, until blackened. If you have an electric cooker, roast the aubergine in a hot oven, although you won’t achieve the same smoky flavour. Place the aubergines in a colander and leave to cool. Cut in half lengthways and, using a spoon, scoop out and finely chop the flesh and place in a colander to drain away any bitter juices.

5 If you have a steamer, peel the potatoes and cut into 4cm pieces. Steam until cooked, for about 30 minutes. Shake any excess water from the potatoes and place in a pan or flat-bottomed bowl. (If you don’t own a steamer, place the potatoes in a large pan, cover with water, add a pinch of salt, bring to the boil and simmer until tender, about 25 minutes.

Drain well and return the potatoes to the pan, place over a low heat and leave for a minute or so to remove any excess water. Turn off the heat.)

6 Add the butter and, using a potato masher, mash until lump-free. Pour in the hot cream or milk and beat with a wooden spoon until soft and fluffy. Stir through the aubergine pulp, season with sea salt and pepper and serve the aubergine parcels on top, together with some rocket leaves, drizzled with the reserved marinade. Caper berries are lovely with this dish too (as shown). ³ Period Living 137

Roquefort and fig crème brûlée with a pecan salad This is a luxurious, creamy brûlée, topped with crushed, peppered pecan nuts, and is great as a light lunch or starter, or as an alternative cheese course, served with a glass of Sauternes. Serve with rustic grissini or toast, and with a pear and pecan salad.

As a variation, you could replace the Roquefort with a Stilton, substitute seedless grapes for the figs or even omit the fruit and use some sautéed leeks or diced roast beetroot instead.

SERVES 6 FOR THE CRÈME BRÛLÉE: O 500ml of double cream O 2 garlic cloves, halved O 5 egg yolks O 25g of caster sugar O 1 tsp of sea salt O Large pinch of white pepper O 200g of Roquefort cheese, crumbled O 4 dried figs, soaked in hot water for 10 minutes, drained and cut into small dice O 4 tbsps of demerara sugar O 12 grissini (breadsticks) O 25g of pecan nuts, roasted

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Cracked black pepper

FOR THE PEAR AND PECAN SALAD: O 1 pear, cored and sliced O 100g of mixed baby salad leaves O 25g of pecan nuts O 4 pickled green figs, quartered, or 2 fresh figs (optional) FOR THE DRESSING: 20ml of light olive oil O 20ml of extra virgin olive oil O 20ml of white wine or Chardonnay vinegar O

Preheat the oven to 150°C/300°F/Gas Mark 2.

1 Heat the cream and garlic in a pan. Whisk the egg yolks, sugar, salt and white pepper together until pale. Slowly whisk a little of the hot cream into the yolks, then add the remaining cream and strain through a sieve into a bowl. Stir in half the Roquefort cheese.

2 Divide the dried figs and the remaining Roquefort between 6 ramekins and fill each one with the

cream mixture. Place the ramekins in a baking tin lined with a teatowel and fill with enough hot water to reach halfway up the sides of the ramekins. Cook in the oven for about 40–50 minutes, or until set (depending on the size of the ramekins). Leave to cool and then chill in the fridge for at least 2 hours.

3 Top the brûlées with the demerara sugar and blast them with a blowtorch or under a very hot grill until caramelised. Skewer the brûlées immediately with a couple of grissini broken to different lengths, then mix the pecans with cracked black pepper and sprinkle over the top.

4 To make the salad, mix together the pears, mixed leaves, pecans and pickled figs (if using). Whisk the oils and vinegar together and use to dress the salad.

Serve with the Roquefort crème brûlées.

Note: If you don’t own a blowtorch, try heating a metal dessertspoon in a gas flame until it is red hot then, using the back of the spoon, carefully caramelise the sugar. The spoon will never be the same again, but your crème brûlées will look great!

Lemongrass, ginger and lime leaf chocolate tart This is such a decadent tart, combining rich dark chocolate spiced up with fragrant lemongrass, lime leaves and ginger. The lychees, filled with white chocolate and chopped lime leaves, add an element of surprise. Raspberries filled with this mix are equally delicious.

SERVES 6-8 FOR THE SWEET PASTRY CASE: O 200g of plain flour O 70g of caster sugar O 100g of chilled, unsalted butter, diced O 2 egg yolks O 2–3 tbsps of milk FOR THE TART: O 275g of dark chocolate, broken into small pieces O 275ml of double cream O 4 sticks of lemongrass, very finely chopped O 3 tsps of ground ginger O 3 kafir lime leaves, very finely chopped

O O O

Juice of 1 lime 6 egg yolks 1 precooked sweet pastry tart case

FOR THE LYCHEES: O 250g of white chocolate, broken into small pieces O 2 kafir lime leaves, finely chopped O 1 small can of lychees, drained O Cocoa powder, for dusting

1 To make the sweet pastry case, mix the flour and sugar together in a food processor. Add the butter and pulse until incorporated and the mix resembles fine breadcrumbs. With the motor running, add the egg yolks and enough milk to form a soft dough, adding more if necessary. If making by hand, rub the butter into the flour, add the sugar and then bring it together with the egg yolks and milk.

Remove the pastry and roll into a ball; wrap in

Photography Jonathan Gregson

Recipes

clingfilm and chill in the fridge for 20–30 minutes.

2 Preheat the oven to 180°C/350°F/Gas Mark 4.

Roll the pastry out between two sheets of baking paper (or on a lightly floured surface) until it is large enough to fill a dia.20cm tart case with a slight overhang. Remove the top sheet of the paper and invert the pastry into the tin, then remove the remaining paper and lightly press the dough into the tin, paying special attention to the edges. Cut away any overhanging edges, then rest in the fridge or freezer for 15 minutes (which will prevent the pastry from shrinking during cooking).

3 Line the pastry shell with paper, fill with baking beans or rice, place on a baking tray and cook for 10 minutes. Carefully remove the paper and beans and return to the oven for a further 5 minutes or until the base is dry to touch. Leave to cool in the tin.

4 To make the tart, place the chocolate, cream, lemongrass, ginger, lime leaves and lime juice in a heatproof bowl and heat over a pan of barely simmering water until the chocolate has melted.

Stir until the mixture is smooth. Remove the bowl from the heat and leave to cool.

5 Whisk the egg yolks into the chocolate mixture, one at a time. Pour the mixture into the prepared

pastry case and cook for 5 minutes, or until just set and shiny. Leave to cool, then refrigerate until about 1 hour before you are ready to serve (this is best served at room temperature).

6 To prepare the lychees, place the white chocolate and lime leaves in a heatproof bowl and heat over a pan of barely simmering water until the chocolate has melted. Remove from the heat and leave to cool until slightly thickened or piping will be difficult.

7 Spoon the mixture into a small piping bag, and squeeze into the centre of each lychee. Refrigerate until the chocolate has set. To assemble, dust the tart with cocoa powder and serve with the chocolate lychees.

Reader offer This is an edited extract from The Modern Vegetarian by Maria Elia (£16.99, Kyle Books). PL readers can buy it for the special price of £11.90, including UK P&P. To order, call 01903 828503 and quote reference Modern KY001.

Offer subject to availability; please allow 7 days for delivery.

Period Living 139

Heritage weekend...

CHELTENHAM

This vibrant Regency spa town is a cultural, cosmopolitan hub that still retains an air of refinement from its 18th-century heyday

Above, from left: The Neptune fountain on the Promenade is overlooked by the town’s grand municipal buildings; composer Gustav Holst was born in Cheltenham – his birthplace is open to the public as a museum; the dramatic Gothic architecture of Princess Hall at Cheltenham Ladies’ College

140 Period Living

esplendent with elegant terraces adorned with painted stucco façades and intricate ironwork balconies, Cheltenham had humble beginnings as a market town before gaining status as a fashionable spa resort.

Upon the uncovering of a natural spring in 1716 – thanks to the curious discovery of pigeons found pecking at salt crystals in a meadow – King George III arrived to treat his infirmities with the water’s supposed healing power in 1788, and Cheltenham Spa was born. Overlooking the sweeping lawns and ornamental lakes of Pittville Park, the Grade I-listed Pump Rooms, where you can still sample the waters, is the jewel of the town’s Regency architecture, complete with ballroom and bandstand. As for the pigeons, they live in infamy in the Coat of Arms.

The western gateway to – and a great base from which to tour – the Cotswolds, Cheltenham has an abundance of heritage features, which extend around the tree-lined avenue of the Promenade, holding pockets of treasures at every turn. Head

south towards Montpellier, where Acropolis-style stone caryatids look out over the independent boutiques and pavement cafés that give these parts such a continental feel, and continue up to The Suffolks for antiques shops and quaint restaurants, including a converted Art Deco cinema. The neoGothic school buildings of Cheltenham College and the Ladies’ College, built in the French-Gothic style with a stunning bronze dome, overlook some of the town’s most splendid parks. Imperial Gardens is host to Cheltenham’s renowned series of festivals – from Jazz to Science and Literature; take a dip in Sandford Park’s 1930s open-air lido, and head to the famous racecourse, where the annual Gold Cup is what Cheltenham is perhaps now best known for.

The Wilson Museum & Art Gallery, named after local-born Antarctic explorer Edward Wilson, offers exhibitions as well as Arts and Crafts collections, and from comedy to concerts, the much-loved Cheltenham Town Hall, as well as the Everyman Theatre, add to the many cultural offerings. All in all, the perfect destination for a heritage weekend.

Photographs (Neptune’s fountain, Holz statue, Princess Hall, Pittville Pump Rooms/ Park gate, Racing, Everyman Theatre) © Visit Cheltenham; (Montpellier) © Cotswold Tourism; (No.38 The Park) © The Lucky Onion Illustration Sarah Overs

Feature Emily Hawkes

Out and About Clockwise from left: The Pittville Pump Rooms radiate Regency refinement; book a stay at Crossways B&B; enjoy fine French food at Petit Coco; take in the famous atmosphere at the Gold Cup; stone caryatids overlook the streets of Montpellier; the grand entrance to the Pittville estate; the sitting room at The Bradley, one of the last complete historical houses in Cheltenham

Where to eat For alfresco café culture, whether you’re looking for a great little coffee house, charming tea room or Michelin-style cuisine, Cheltenham has it all.

Find a creative menu of wonderfully fresh, sustainably caught seafood at Purslane, run by husband and wife team Gareth and Helena. Named after the seashore-foraged succulent, find fine dining in a stylish, relaxed setting. 01242 321639; purslane-restaurant.co.uk. Classic Georgian on the outside, contemporary British on the inside, 131 The Promenade is a chic restaurant with rooms, offering traditional classics and inventive European dishes using the best locally sourced seasonal ingredients. Find leather chairs mixed with timber and zinc finishes and a flash of neon, before heading downstairs to Crazy Eights for a post-dinner cocktail. 01242 822939; no131.com.

And blink and you’ll miss Petit Coco, a basement French bistro providing big flavours from its intimate setting, complete with farmhouse décor and iron stove. 01242 257343; petitcoco.co.uk. ³

Where to stay For a home away from home, complete with an elegant yet cosy sitting room and an honesty bar, No.38 The Park is a beautifully styled Georgian townhouse overlooking Pittville Park. Filled with antique pieces and quirky touches, find roll-top tubs and contemporary British artwork in the bespoke bedrooms, and enjoy a breakfast spread including freshly baked sourdough under the rustic dining room’s atrium. You can book out the whole house exclusively, and No.38 also has a wedding licence. From £120 per night, including continental breakfast. 01242 822929; thelucky onion.com/property/no-38-the-park.

For the comfiest of stays with a period twist, receive a warm welcome at Crossways B&B, a perfectly located Grade II-listed find, £95 per night for an en-suite double. 01242 527683; crossways guesthouse.com. And for old-fashioned customer service, take in the Victorian splendour of The Bradley, a boutique B&B retaining all of its original charm. Added touches include sweet treats and Penhaligon’s toiletries in the bedrooms. From £125 per night. 01242 519077; thebradleyhotel.co.uk.

From above: Find a roll-top bath for two, among other chic furnishings at No.38 The Park; dine on the catch of the day in the airy neighbourhood setting of Purslane; the stunning frontage of the Grade II-listed Everyman Theatre

Period Living 141

Where to shop

Clockwise from top: Rechercher on Montpellier offers charming French homeware; visit Atelier 19 for intricate accessories; the familiar striped canopy of Kitchener; find handmade crafts at The Guild at 51

From high street to higher brow, find shops for all tastes. The pretty Regency area of The Suffolks offers a profusion of small specialist stores, markets – from crafts to street food – and unique restaurants in unusal venues. A vintage-inspired boutique, Atelier 19 showcases Jan Knibbs’ intricately embroidered bridal designs and accessories, alongside a curated, eclectic mix of curios, including French brocante finds. Atelier19cheltenham.com.

In the Montpellier district, swing by Kitchener while you can – a charming Cheltenham institution soon to close its doors after providing the best in kitchen and tableware since 1972, from humble home favourites to professional tools of the trade. And for a unique selection of home and garden pieces, from antique furniture, mirrors and lighting to original art and framed prints, Rechercher specialises in French décor, both old and new.

In town, find simple, understated pieces at local, family-owned clothing brand Olive. Combining heritage with modernity, each design is ethically considered, its range including pretty accessories and jewellery. Oliveclothing.com. The Guild at 51 showcases the work of members of the Gloucestershire Guild of Craftsmen. Find ceramics, textiles, leatherwork and basketry to buy, as well as books and cards from the region’s most talented designer makers.

Guildcrafts.org.uk/the guild at 51 cheltenham. And on the Bath Road, Luca and Penelope design and print their own cotton to create and sell everything from cushions to peg bags at the delightful Rosa Blue. 01242 521234; rosablue.com.

For more information, go to visitcheltenham.com

Visitor services manager Kim Gibbon shares the important role this Tudor castle has played in England’s history for over 1,000 years.

Can you give a brief history of the property?

Set against the backdrop of the Cotswolds hills, Sudeley Castle and Gardens boasts impressive royal connections. The castle was once home to Queen Katherine Parr, the last and surviving wife of King Henry VIII, and Henry himself, Anne Boleyn, Lady Jane Grey, Queen Elizabeth I and Richard III have all played a part in its story. King Charles I found refuge here during the Civil War, when his nephew Prince Rupert established headquarters at the castle. Following its ‘slighting’ on Cromwell’s orders at the end of the Civil War, Sudeley lay neglected and derelict for nearly 200 years, before being rescued in 1837 by Worcester glove makers, brothers John and William Dent, who began an ambitious restoration programme continued by their nephew, John Coucher Dent, when he inherited the castle in 1855.

How is it presented today?

It was Coucher Dent’s wife, Emma Brocklehurst, who threw herself enthusiastically into Sudeley’s restoration, at the same time forging strong links with the nearby town of Winchcombe. It is the results of Emma’s dedication that are so evident in the gardens and exhibitions at Sudeley today. As

142 Period Living

well as being the only private castle in England to have a queen buried within the grounds, Sudeley is now the home to Elizabeth, Lady Ashcombe and her son, daughter and their families, who are committed to its continued preservation and the ongoing restoration and regeneration of the gardens.

The castle rooms and exhibits contain many treasures, from ancient Roman times to the present day, while outside the castle is surrounded by a breathtaking 1,200-acre estate.

What’s new for this year?

2018 is set to be a momentous year, with a complete overhaul of Sudeley’s exhibitions, including two new self-guided tours, as well as the new bigger and better play fort – a highlight for visiting little lords and ladies.

Sudeley Castle & Gardens is open from 5 March to 21 December, 10am-5pm.* Admission: adult £16.50, child £7.50, family £43. Tel: 01242 604244; sudeleycastle.co.uk

Photographs (Rechercher) © Jon Craig Photos; (Atelier 19) © Visit Cheltenham; (Kitchener) © Cotswold Tourism; (The Guild at 51) © Miles Burden; (Sudeley) © Sudeley Castle and Gardens *4pm from 29 October, when prices are then reduced by 30%

Sudeley Castle and Gardens

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Period Living 145

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Above: Combining aluminiumframed bi-fold doors with a bespoke rooflight allows light to flood into this contemporary living room

Right: The new AP Infinium sliding door system, which has some of the slimmest frames and largest glazed panels on the market, is also energy efficient 146 Period Living

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A breath of fresh air – Bournville village homes in around 1905

Joining Easter egg halves at Cadbury’s chocolate factory in February 1932

HOMES SWEET HOMES It’s official: chocolate is good for you, or at least it was for the Victorian workers who moved out of Birmingham’s slums and into the country As the first bricks were laid for a new chocolate factory on meadowland just south of Birmingham, it was housing reformer George Cadbury’s plans for its immediate surroundings that were the most interesting thing. A whole village of spacious homes for workers – and not just those who worked for Cadbury’s – were central to the 1879 project, known as the Factory in a Garden.

Outside the factory gate were parks, a cricket pitch, schools, a library and well-built homes with gardens where workers could grow their own. George’s vision for social change soon began to make a difference, and the happy, healthy workforce and residents thrived. The 330-acre estate became a charitable trust in 1900, and just 20 years after the village’s foundation, the general death rate and infant mortality rate for Bournville was significantly lower than that for Birmingham as a whole. Sweet success indeed.

Fox Hill Close in 1921 – all the homes were light, airy and had good sanitation

162 Period Living

Early box making in the Bournville factory Feature Karen Darlow Photographs (clockwise from top right) Getty; Bournville Village Trust; Cadbury Archive, Mondeléz International (x2); Bournville Village Trust; Cadbury Archive, Mondeléz International (x4)

Workers operate the wooden box nailing machines, circa 1890

These first cottages were built for Cadbury’s key workers in 1879

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