PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE
HOMES
FEBRUARY 2018
O DECORATING O GARDENS O ANTIQUES & VINTAGE O RENOVATION
Original vintage
45 pages of stunning homes that blend old and new
SHOP FOR... UPHOLSTERY MIRRORS BATHROOMS CHANDELIERS
Wildlife
GARDENS How to attract animals, birds and beneficial insects
INTERIOR FINISHES
Give wall and ceiling plaster a health check
Beautiful wallpapers Decorate every room with the latest designs, from pastel prints to rich damasks
Illustration Sarah Overs Photograph David Lloyd
Editor’s Letter
ears ago, when I still lived at home and had outgrown my slightly tired pastel pink bedroom, my parents took me to the local decorating centre to browse through the wallpaper books. With my mum’s help I picked out a subtle sage green floral design, and later a new carpet and blinds. It was the first time I had really been involved in making decorating decisions and, back then, it was so easy to decide what I wanted pretty much on the spot. Fast forward to today, and things aren’t quite so simple. I rarely choose elements like colour and pattern in isolation, and have to source at least 10 samples just to feel like I can start to put a look together. Even when I think I’ve settled on a paint colour, fabric or wallpaper, there’s a very good chance I will have a last-minute epiphany and go in an entirely different direction. (My husband still hasn’t let me forget the time I had a change of heart while he was queuing up at the till, paint pots in hand.) I believe my indecisiveness stems from my second attempt at bedroom design, which happened not long after we had first moved in together. We wanted to go bold, but as soon as our dramatic feature wallpaper and complementary plum paint went up I regretted it, and continued regretting it until we eventually moved out. It just wasn’t right for that space, and didn’t reflect how we wanted the room to feel. So, these days I am much more thoughtful about my decorating choices, and happily, the end result of all this deliberating is usually better for having taken the time. Sometimes, though, I wish I could be more spontaneous – decorating should be fun, after all! To help you with your own interior design dilemmas, for this issue style editor Pippa Blenkinsop has sought out the best new wallpaper designs from across the colour spectrum, covering trends from Arts and Crafts to geometrics and simple stripes. There’s around 40 suppliers featured, so it’s an excellent starting point for finding your own perfect print (page 24). And to complement your new walls, Emily Hawkes has rounded up the latest upholstery designs that are perfect for a period home (page 95), so you can sit back and relax on a new plush velvet sofa or buttonback armchair to admire the fruits of your labour. Elsewhere this month, we look forward to spring and offer advice on creating a wildlifefriendly garden (page 124). Like many people, I’m not a huge lover of creepy crawlies (I have a recurring nightmare about spiders), but I do recognise what an important role they play in nature, and I enjoy spotting birds and other animals in the garden. With just a few carefully chosen plants, you can help creatures great and small flourish, and reap the benefits that they have on your outside space. I do hope you enjoy the issue. Melanie Griffiths Editor, Period Living Period Living 3
PERIODLIVING 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 MARKETING AND SUBSCRIPTIONS Head of Marketing Melanie Kay 01527 834452 Group Marketing Manager Eve Mulvaney 01527 834445 Group Marketing Manager Anjuman Tariq 01527 834493 Interim Marketing Manager Helen Troth 01527 834483 Marketing Executive Vicki Lees 01527 834409 Marketing Executive Alicia Maragh 01527 834402 ADVERTISING Print & Digital Sales Director Jackie Sanders 01527 834426 Print & Digital Sales Manager Rebecca Vincze 01527 834415 Key Account Manager Debra Greer 01527 834415 Key Account Manager Lucinda Clarke 01527 834404 Key Account Manager Helen Fox 01527 834491 Account Manager Elena Gill 01527 834494 Classified Sales Manager Emma Farrington 020 7970 4421 / 01527 834445 PRINT AND DIGITAL PRODUCTION Head of Production Mark Constance Advertising Production Manager Jo Crosby Digital Editions Controller Jason Hudson Production Manager Frances Twentyman Digital Production Executive Nicholas Robertson Production Assistant Aimee Bradley-Davies
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DISCLAIMER All contents Š 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 FRPSDQ\ QXPEHU LV UHJLVWHUHG LQ (QJODQG DQG :DOHV 5HJLVWHUHG RIÀFH 4XD\ +RXVH 7KH $PEXU\ %DWK %$ 8$ $OO 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. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in WKLV SXEOLFDWLRQ DUH QRW XQGHU RXU FRQWURO :H DUH QRW UHVSRQVLEOH IRU WKHLU FRQWHQWV RU DQ\ RWKHU FKDQJHV RU XSGDWHV WR WKHP 7KLV PDJD]LQH LV IXOO\ LQGHSHQGHQW DQG QRW DIÀOLDWHG LQ DQ\ ZD\ ZLWK WKH FRPSDQLHV PHQWLRQHG KHUHLQ If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions. ISSN 0958-1987
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CONTENTS Cover Photograph Andrea Papini/ House of Pictures
53
Decorating & shopping
11 17 19 21 22 24
February journal We round up the latest interiors offerings, news and exhibitions Victorian gothic Venture to the dark side with these moody, decorative pieces New romantic Indulge your valentine with a pretty love token for the home ON THE COVER Circular mirrors From florid gold designs to hand crafted wooden frames, shop our pick of round mirrors ON THE COVER
Chandeliers Bring statement sparkle to your ceiling with a classic design ON THE COVER Passion for print We round up the latest wallpapers for all palettes
123
Retro chintz Combine clashing floral prints for a feminine, playful look
Features
32 37 134 139 162
Grand Tour souvenirs Antiques Roadshow expert Marc Allum takes a look at the gems collected by aristocrats on historic cultural quests Made in Britain We travel to Norfolk to discover a modern take on the ancient craft of ironmongery Heritage weekend... Cirencester Discover where to stay, visit, eat and shop in and around the ‘capital of the Cotswolds’ The grand tour... Venice We explore the historic highlights of the floating city Victorian valentines A showcase of love tokens for old fashioned romantics
53 Period Living 7
42
21
54 63 76 86
Homes
115
The perfect vintage Be inspired by the flamboyant and feminine interiors of this listed Somerset cottage
117
Escape to the country Yasmin and Gavin Lavelle turned a listed Cornish farmhouse into the perfect family home
95 103 107
ON THE COVER Home health check Property expert Roger Hunt advises on caring for the interior plasterwork of period homes
Gardens ON THE COVER
Beautiful in blue The Lagerqvists’ Swedish villa if full of inspiration for using this popular and versatile shade History in the making Ann Ellway has reconnected with her childhood by filling her Georgian gem with antiques Light work The Rees family’s Arts and Crafts house is an inspiring mix of old and new
121 123 124 128
Advice & inspiration
128
The reclaimer The New & Reclaimed Flooring Company shares the benefits of buying old wooden flooring
Garden journal A round up of the latest products for your garden Rustic charm Garden shopping inspired by weathered textures ON THE COVER Closer to nature Advice on creating a wildlife friendly garden, from design ideas to planting
Silver sensation This Sussex garden is filled with clever ideas for creating interest all year round
ON THE COVER
Upholstery focus From loose cushioned classics to sleek modern designs, we round up the latest looks for seating House journal New products and expert advice for updating a period property
Regulars
75 100
ON THE COVER
Bathroom design We share tips on how to give the smallest room the wow factor
19 54
145
Next month A preview of the March issue Subscribe Subscribe for just £34.99 and get a free PL Vintage Home Style book Stockists Where to find all the suppliers featured in this issue
162 22
j
FEBRUARY
l
Our pick of the latest interiors offerings to prepare your home for spring, including new fabrics, furnishings and finishing touches
Ferroluce Cubo pendant, £286
BRIGHT IDEA Introducing the Ferroluce Cubo – striking lighting that blends industrial and artisan style. Reminiscent of vintage studio lights, but crafted in clay, the pendants will add a fun pop of colour over a kitchen island, and the table lamp will brighten up a dull corner. Available in a range of striking hues at Moonbeam Lighting. Ferroluce Cubo table lamp, £197
FOLLOW US ON TWITTER @PeriodLivingMag for daily news and inspiration
Feature Pippa Blenkinsop
VINTAGE BLOOMS Just in time for a spring update, Sanderson has launched its Vintage cushion collection, celebrating its iconic archive florals. Dating back to the last century, the popular Vintage Rose & Peony, Stapleton Park, Chelsea, and Kashmir Paisley designs have all been revived in fresh colourways for the modern home. £49 each.
A new angle Gone are the days of sideboards being overlooked. New from Jonathan Adler, the Harlequin console teams painted glass with polished brass for a striking focal point, £3,950. Period Living 11
SLEEPING BEAUTY
PAPER TRAIL This month sees the return of the Works on Paper fair, the UK’s specialist event for art on paper. Expect specialist art dealers offering a wide range of inspiring drawings, watercolours, original prints, posters and photographs, from Victorian watercolours to 20th century posters. 1 4 February at The Royal Geological Society, London; entry £20.
Clockwise from left: Tea Time linen in Smoke; In Full Flight in Teal; Hand Printed Stripe in Clay/Lemon; By the Sea in Teal; Branching Out in Scree, all £52 per m at Vanessa Arbuthnott
EYE ON DESIGN Fabric designer Vanessa Arbuthnott talks about the inspiration behind her latest Artist’s Collection What was the inspiration behind the new range? This collection was a collaborative family effort. I had a fall, which left me with two broken arms and made it impossible to hold a pencil, so I enlisted the help of my husband Nick and daughters Rose and Flora. I didn’t give a brief as I wanted them to feel passionate about their designs. I then curated their sketches, translated and scaled them into workable patterns for furnishings, and chose colour palettes to pull the fabrics together. Can you talk us through the designs? Rose draws freely and easily with strong, bold marks, and never conventionally.
The vases, teapots, cups and saucers are all true to her drawings; there is nothing timid about Tea Time! By the Sea is inspired by Nick’s childhood holidays. It was an interesting journey – we enjoyed taking a detailed drawing, standing back from it, and working hard to make it bold enough to be used for a curtain or blind. Flora’s three prints are fresh and delightful; I maintain that good design should give a sense of delight. For Branching Out and In Full Flight she cut her shapes with a craft knife, making the lines of the birds and foliage free flowing and gentle. Finally, her Hand Printed Stripe came from a simple cut potato, which creates a beautiful organic look when seen on a curtain length.
Image (top right) Henri Matisse (1869–1954) Nice Travail et Joie Lithograph. H99xW66cm, £1,200, to be exhibited by Barclay Samson Vintage Posters
Inspired by 1930s Paris, this Shantung bed with Claverton deep headboard, hand-crafted in Yorkshire by Harrison Spinks, oozes romantic luxury – particularly dressed with delicate blush pink. Founded in 1840, the company continues to use time-honoured techniques. Headboard in Linseed Garlic fabric, £499; mattress and divan set, £2,999.
News
Countr y
ts in pr
Introducing Valleys to Headlands, the new-season collection of tableware and kitchen textiles from the National Trust. Depicting painterly vistas capturing the beautiful countryside of Watersmeet valley, Devon and Glendurgan valley, Cornwall – both cared for by the charity – to illustrations of wildflowers, such as bluebells, primroses and red campions, the pieces are guaranteed to breathe fresh British air into your home. From £6 for a teatowel.
Period Living 13
ALL ABOARD Prepare to set sail on a journey of discovery as the V&A in London opens Ocean Liners: Speed & Style, an exhibition celebrating the cultural impact of sea vessels such as the Titanic and the Canberra. With exhibits from furniture to fashions, it runs from 3 February to 17 June; entry, £18.
Wax seal, £32
Set of six vintage stamps, £5 Modern Calligraphy: A step-by-step guide, £12.99
GUESS WHO?
French Art Deco dressing table c.1920, £1,250, The Old Cinema
Hepburn floor lamp, £2,533, Besselink & Jones
Artfully deceive your Valentine this month with a beautifully written love letter. With a passion for the art of correspondence, Lucy Edmonds opened specialist modern calligraphy shop Quill London in 2012, offering all you need to script and craft a romantic epistle. Find pens, inks and wax stamps, to stylish stationary and step-by-step books, or take part in a calligraphy workshop.
MINI TREND: ART DECO Create a decadent interior inspired by the V&A’s Ocean Liner exhibition.
Modern calligraphy starter kit, £12
TALENT SPOT ‘To blur the boundaries between the functional and the sculptural while making people smile’ is the aim of ceramicist Abigail Leach when making her colourful creations. Starting with a lump of earthenware terracotta clay, Abigail hand builds a variety of domestic pieces, including cups, jugs and teapots, before decorating them with bespoke porcelain slips in a fun array of signature spots and stripes. Fascinated by contrasting textures, she then applies clear glazes to the slips to make them really pop, but chooses to leave the terracotta with a rustic, raw finish. When it comes to picking her palette, she says: ‘I think I can trace the origin of most of the colours back to memories of my granddad’s house.’ A part time ceramics teacher, she loves discovering new ideas and ways of working, and finds her students an endless source of inspiration. (abigailleachceramics.co.uk). 14 Period Living
Handmade earthenware terracotta mugs, £25 each
Image (top left) Empress of Britain colour lithograph poster for Canadian Pacific Railways, J.R. Tooby, 1920-31. Museum no. E.2215-1931. © Victoria and Albert Museum, London
Art Deco wallpaper in Black and Gold, £40 per roll, Graham & Brown
Tokyo Design Studio Arare teapot in Black, £30, John Lewis Skull Decanter, £18.95, Not on the High Street Wildon Home Antiquity black rug, £279.99, Wayfair
Eyes linen cocktail napkins, £48 for set of four, Jonathan Adler
Abigail Ahern/ Edition bird lamp, £95, Debenhams Black Toast placemats, £29.75, Emma Bridgewater Grantham umbrella stand, £145, Sophie Conran
Eichholtz Hollis marble centre table, £2,490, Sweetpea & Willow Beware of the Wear Trap bone china mug, £25, Historic Royal Palaces
R O T V IC
C I H T O G N IA
d noir an o g , s na esign ictoria V pired d s n n o i n e spi roqu e latest s to ba h l t l u h t k i s nd rn w avens a rker tu a d a e From r rs tak interio r u o y let Arthouse pewter Venetian mirror, £120, Wallpaper Direct
Seattle pendant lamp, £154, Noxu Home
Mr Black Cold Drip coffee liqueur, £39.95, Harvey Nichols
Sassy Boo Majestic four-poster black bed, £1,630, The French Bedroom Company
Shanxi butterfly screen, £1,745, Shimu Carmela velvet duffle bag, £37, Accessorize
Feature Emily Hawkes
Black butterflies display dome, £89, Rockett St George
Flower Lady scented candle, £28, Chase & Wonder
Versace Home Ganimede silk cushion, £230, Amara Feather wool-mix throw, £172, Audenza
Period Living 17
Shopping
Marble heart cheeseboard, £18, Marquis & Dawe
Lip Scribble trinket dish, £9.50, Oliver Bonas
Silver Fox mug, £19.95, Emma Bridgewater
Muuto elevated vase in Rose, £89, Amara Dash & Albert Spot cotton rug in Coral, from £51, Kensington Design
Love Birds stoneware salt and pepper shakers, £25, Liberty London
Kentwell large sofa in Romo Linara Confetti fabric, £1,982, Sofas & Stuff
Pin point Oxford pink and white bedlinen, £159 for double, Lexington Company Pink Peony arrangement, £8, Sainsbury’s Home
NEW
C I T N A M O R
ing combin y b h t s mon irkines es this u i q r o s ’ s s e e ntin acc tle Vale r home t i u l o a y h h Amethyst flower wit s wit t motif tle love wine glass, £17, t r i a l e a h d s and Joanna Wood Sprea , floral s e u h h s u l b French love seat, £625, The French Bedroom Company
Feature Sophie Warren-Smith and Emily Hawkes
Ceramic hanging pot in Stem Rose, £30, Orla Kiely
Culinary Concepts Amore heart toast rack, £39.95, John Lewis
Hearts pink standard mug, £11, Sophie Allport
Delia throw in blush, £29, Perch & Parrow
Isabella cushion, £30, Barker & Stonehouse
Pink Marc de Champagne mini truffles, from £8.50 for 44g, Prestat
Period Living 19
Shopping
Quatrefoil round metal mirror, £415, Puji
Lene Bjerre Amina aluminium mirror with silver finish, £399, Houseology
Gold Feather metal mirror, £82, Shabby Store
Arcadia large statement stained wood mirror, £225, Oka
Fancy Floris Venetian glass mirror, £180, The French Bedroom Company
Trailing Leaves metal mirror, £169, Marks & Spencer
Solis spiked iron sunburst mirror, £62, Audenza
Handcarved hardwood Bird’s Nest mirror, £198, Anthropologie
Aurelie ridged silver mirror, £242, Sweetpea & Willow
Knightshayes gold sunburst mirror, £225, The Chandelier & Mirror Company
Bryony carved wood mirror with antique white finish, £75, Artisanti
Handcrafted round bone inlay mirror, £85, Monsoon
GO FULL CIRCLE Whether you desire a luxurious gilded finish or an intricate metalwork design, we’ve gathered the best round wall mirrors. All you need to do is choose the fairest of them all…
Period Living 21
DIAMONDS IN THE SKY
Top row: Abberley crystal droplets chandelier with shades, from £2,345, Christopher Wray; Marcle crystal chandelier, £440, Fritz Fryer; Raphael chandelier, £939, Furniture Village; round crystal chandelier, £499, Artisanti Middle row: Florentine wrought-iron chandelier, £679, Besselink & Jones; silver and glass drop chandelier, £565, Barker & Stonehouse; Beatrice chandelier, £259, Marks & Spencer; Annabelle carved mango wood chandelier, £195, Feather & Black Bottom row: Poppy five-light chandelier, £180, John Lewis; Ombre Blossom tassel chandelier, £40, Debenhams; Clotille large tassled chandelier, £1,019, Out There Interiors; Quartz chandelier, £865, Sweetpea & Willow 22 Period Living
Feature Sophie Warren-Smith and Emily Hawkes
For a truly striking addition to your space, we light the way with our pick of stunning chandeliers, from glistening classic styles to on-trend tassels and metallics
PASSION FOR PRINT Be inspired to inject pattern into your period home with our round up of the latest wallpaper designs. This season, maximalist, whimsical, botanical, ethnic, and Arts and Crafts prints are all shining through, alongside consistent surface-design staples like stripes, florals and geometrics. Whether you’re looking to make a bold statement or a delicate backdrop, our edit of prints covers the whole colour spectrum.
Chiswick Grove wallpaper in Sage, £66 per roll, Sanderson 24 Period Living
Walled Garden wallpaper in Chartreuse, £22 per m, Rapture & Wright
Imogen Heath Vista Multi mural, from £65 per m2, Surface View
Bamboo Garden wallpaper in Emerald, £129 per roll, Linwood
Ivy wallpaper in Deep Green, £81 per roll, Barneby Gates
Feature Pippa Blenkinsop
New from Galerie Wallcoverings, this beautiful Blomstermåla paper captures two of this season’s hottest trends, leafy green and Scandinavian design, yet also has a distinct Arts and Crafts feel. An ornate yet subtle repeat, it was created by Swedish designer Hanna Wendelbo. £54.95 per roll
Wallpaper
Curb the trend for minimalism and embrace the big, blousy and blue for a bold statement. Experimenting with scale, Farrow & Ball designers have created a new series of diverse botanical prints, from delicate trails to oversized blooms, such as this beautiful Helleborus design, £112 per roll ³
Indigo wallpaper in Blue, £50 per roll, Graham & Brown
Georgie Girl wallpaper in Blue, £85 per roll, Charlotte Gaisford
Matthew Williamson Water Lily wallpaper in Azure Blue, £70 per roll, Osborne & Little
William Yeoward Felixton wallpaper in Denim, £65 per roll, Wallpaper Direct
Monroe wallpaper in Night Flower, £92 per roll, Little Greene Period Living 25
A classic print that first emerged in 18th-century homes, damask is the focus of Zoffany’s latest wallpaper collection, refreshed in rich, contemporary hues. Team this vibrant Pomegranate in Tiger’s Eye, £88 per roll, with charcoal to bring a twist to a traditional townhouse
Little Trees wallpaper in Sherbet, £69 per roll, Missprint 26 Period Living
Chrysanthemum wallpaper, £140 per roll, Lorna Syson
Snakeshead wallpaper in Gold/Linen, £95 per roll, Morris & Co
Moordale wallpaper in Mustard, £50 per roll, Mini Moderns
Azurea wallpaper in Dwarven, £65 per roll, Harlequin
Wallpaper
Hallways and landings can often be overlooked, so why not brighten them up with a statement print? Created in the 1940s by Swedish designer Dagmar Lodén, this graphic botanical captures humble hedgerow plants like dandelions and thistles. £76 per roll, pictured in red ³
Farnworth Stripe wallpaper in Pale Cranberry, £34 per roll, Laura Ashley
Celia Birtwell Beasties wallpaper in Lipstick, £55 per roll, Blendworth
Mirage Diamond wallpaper, £120 per roll, Debbie McKeegan
Tulips wallpaper in Indian Red, £165 per roll, Ottoline
Hugo Dalton Chart wallpaper in Plum Brandy, £215 per roll, Paper & Paint Library Period Living 27
Bringing heritage print into the 21st century, Little Greene has worked with artists and historians to create a beautiful collection of wallpapers based on fragile samples from the English Heritage and Manchester Whitworth Gallery archives. Pictured in Pink Plaster, this Wrest Trail design is £85 per roll
Lake August Bun wallpaper in Spring, £160 per roll, Lorfords 28 Period Living
William Stripe wallpaper in Light Pink, £76 per roll, Sandberg
Fiore wallpaper in Pink, from £29.95 per roll, Galerie Wallcoverings
Webb’s Wonder wallpaper in Raspberry, £23 per m, Rapture & Wright
A Shade Wilder Flamingo Beach wallpaper in Orchid, £72 per roll, Wallpaper Direct
Wallpaper
Embrace the wild and wonderful with Clarke & Clarke’s new Animalia wallpaper collection, featuring artwork by award-winning designer Emma J Shipley. Covered in fantastical feathered friends, with plumage brought to life in pinks and purples, this Audubon design, £49 per roll, is a real design statement ³
Icons Prism 112/7025 wallpaper, £99 per roll, Cole & Son
Pussywillow wallpaper in Pale Iris, £24 per roll, Laura Ashley
Limerence wallpaper in Quartz Pink, £185 for four 3m lengths, House of Hackney
Hunting Toile wallpaper in Plum, £120 per roll, Debbie McKeegan
Jane Churchill Sula wallpaper in Amethyst/Gold, £67 per roll, John Lewis Period Living 29
The pattern-rich Arts and Crafts era continues to be a popular source of inspiration for interior brands. A new paper from Morris & Co’s Collector range, this Wandle design was first created in 1884 and has been revived in fresh colourways for the modern home. Pictured in Grey/Stone, £95 per roll
Emilie wallpaper in Silver, £65 per roll, Designers Guild 30 Period Living
Suketchi Starlit wallpaper in Moonstone, £58 per m, George Spencer
Pavone in Charcoal/ Natural, £39 per roll, Clarke & Clarke
Acton wallpaper in Charcoal, £49.50 per roll, Ian Mankin
Verdi black flock wallpaper, £105 per roll, 1838 Wallcoverings
Grand Tour souvenirs
In essence, it was a rite of passage for most aristocratic, well heeled or artistic people; an essential part of one’s education and experience. Its origins lie in the 16th century but interestingly, and according to the Concise Oxford Dictionary of Art Terms (2. ed), the term Grand Tour was first used in print slightly later, in 1670, in a book called The Voyage of Italy by Richard Lassels. Lassels travelled to Italy numerous times, and his book suggested all ‘young lords’ travel through 32 Period Living
As part of my desire to emulate these early tourists I decided, on one occasion, to rent an apartment on the Spanish Steps in Rome. It was one of those magical experiences fuelled by a passion to follow in the footsteps of famous Grand Tourists. The front door was the same one used by Keats, who lived in the apartment below, and I couldn’t help lingering over the well worn handle as I imagined one of England’s most famous poets opening it. It was in that same apartment that he died of tuberculosis in 1821. Naturally, my aim in staying there was to try and capture some of that romanticism and atmosphere so dramatically experienced by people such as Keats, Byron and Shelley. At home I had amassed a comprehensive array of ‘Grand Tour souvenirs’, the antique bronze, plaster and stone equivalents of our modern day holiday souvenirs, and I was determined to set off on my own ‘Grand Tour’ and seek out the real examples! A tour around the Vatican galleries ticks off treasure after treasure, including the famous Apollo Belvedere, a Roman copy of a Greek 4th/3rd century original and possibly one of the most famous statues of antiquity. A fine 19th century bronze example approximately 12 inches tall would sell for around £300 £400 at auction. With the advent of photography, 19th century tourists would also buy nicely bound collections of images depicting many of these classic antiquities. These can be readily purchased at auction and a lovely vellum bound album will cost around £200 £300. ³
rc Allum
What is the Grand Tour?
Taking a tour
Images and Ma
L
ife is about experience. Travel, in my view, is one of the most enriching aspects of that experience and one that I have found over the decades is inextricably linked to objects, works of art and places particularly places with a rich, ancient history. My personal journeys have often been inspired by chance acquisitions, and my earliest forays into the historical legacy of the Grand Tour mainly stemmed from one early auction purchase a carved stone model of the sarcophagus of Lucius Cornelius Scipio Barbatus, consul to Rome in 298 B.C. Now located in the Vatican, this ‘coffin’ is particularly famous because, like many outstanding antiquities, its place in history was very much due to the appreciation of determined travellers. Before the days of the internet, my main reference source for the ancient world and its treasures was the Oxford Classical Dictionary, and it made one thing clear I had to go and see the sarcophagus! As a result, and as a younger man, the notion of the Grand Tour subsequently became important to my perception of art and history.
France and Italy to understand the social, political and economic realities of the world. The Grand Tour reached its zenith in the discovery rich period of the 18th and early 19th centuries. The wealth of the ancient world and the Renaissance meant that Italy was naturally the hub, with destinations such as Rome and the newly emerging sites of Pompeii and Herculaneum foremost on itineraries. Further travels might include Greece, North Africa and Egypt, the Turkish Empire and the Holy Land, with a preliminary circuit featuring the capitals of Northern Europe. Some of these tours could last for years, with wealthy tourists acquiring many works of art along the way.
Images Getty
Antiques Roadshow specialist Marc Allum traces the origins of travelling and collecting pieces from Europe and beyond
Antiques
left: Map Clockwise from ; 19th33 16 , of Europe the Apollo centur y print of 9th-1 rly ea ; re de Belve plaster centur y box of 00–£300; gems worth £2 el of the od m e on st carved of Lucius sarcophagus io Barbatus, Cornelius Scip in 298 e m Ro to consul Temples, B.C; models of an Forum, m Ro e th as such Vesta and the Temple of (front) – e pl the cork tem ction au d an op all sh just a few m fro purchases 300; a –£ pounds to £200 Wedgwood ry tu en -c th rare 18 m an vase copied fro in Lord e pl am ex t en anci ctions, lle co ’s Hamilton Museum; sh iti now in the Br ck rra s at the military ba entury -c th 19 a Pompeii; obelisk s as gl d se es pr Company; by Greener & Grand Tour of e Marc’s tabl ud cl ing the antiquities, in azza di Pi ; se Albini va panish ‘S Spagna with a della at lin ca (S s’ Step , and ti) on M i Trinita de ti church on M i the Trinita de , nd 1903 in the backgrou of ullstein ty er op Vintage pr John Keats bild; portrait of
Of course, like any major city where there are plenty of tourists, there are also lots of cheap souvenirs. In London, it’s typically Big Ben, in Paris, it’s the Eiffel Tower and wherever you are, be it in Rome, Florence, Pisa or Athens, there are plenty of resin, glitter-encrusted representations of the Colosseum, David, the Leaning Tower or the Parthenon. These are the modern equivalents of the more ‘upmarket’ souvenir productions of the 18th and 19th centuries. It was a major industry, with famous bronze foundries such as Sommer or Chiurazzi producing catalogues of their products, which included copies of items in the museum in Naples, such as the ‘Dancing Faun’ from Pompeii. These classic souvenirs are, in effect, the decorator’s choice: an age-old indication of a learned and intellectual arbiter of taste and, as a result, never out of fashion.
If you’ve experienced the aura of buildings like the Pantheon or visited the Roman Forum, then you’ll understand why people were and still are so fascinated by these wonders They lend an air of grandeur to any home and are always reminiscent of the stately country houses of the British aristocracy who combed the continent sourcing marbles, bronzes, paintings and the like. So, too, our national museums stand testament to the determination of many aristocratic collectors, such as Sir William Hamilton, Charles Townley and Thomas Bruce, the 7th Earl of Elgin. Agents would secure valuable works and these in turn found their way into many of our institutions, in part due to the philanthropy of many aristocrats and collectors, but often from a commercial point of view, too. Many collectors were often preyed upon by dishonest art dealers and self-styled antiquarians, who supplied copies and forgeries to some unwary but wealthy buyers. Other ‘archaeologists’ used more contentious methods, the Elgin Marbles being a constantly rumbling source of controversy. However, the influence of these objects was also paramount in shaping our national appreciation of art and history, and this was heavily reflected in architectural styles and the manufacture of objects, ceramics, paintings and textiles. The excavations at Pompeii and Herculaneum inspired the most famous architects in history including Robert Adam, who designed Syon House, Osterley Park and Harewood House, all masterly executed in elegant neoclassical grandeur. The house of Sir John Soane in Lincoln’s Inn Fields is magnificent and brimming with antiquities and Grand Tour items. Few country houses of the 18th century would have been without a representation of a famous piece of statuary from antiquity in the gardens or entrance hall; the Uffizi Boar was a firm favourite. 34 Period Living
On the market If you’ve experienced the aura of buildings like the Pantheon or visited the Roman Forum, then you’ll understand why people were and still are so fascinated by these wonders. As a result, architectural renditions and desktop models are not uncommon. It’s said that many of the marble souvenirs were made of the pavements of Rome; just how true this is I’m not sure, but for a superb large-scale 19th-century representation of the Roman Forum in Italian ‘Marmo Rosso Antico’ (red marble), expect to pay £20,000-£30,000. Good cork models, mainly from southern Italy, can make enormous amounts, too. If your budget is smaller, a more common box of plaster casts of antique gems or intaglios will start at around £100-£200. Small bronzes of well-known subjects may cost upwards of £100; the Spinario, the Dying Gaul and Narcissus are such figures. Many were also made in serpentine, or Ranocchia, as it’s called in Italy. Other productions, such as the famous Warwick Vase, now in the Burrell Collection in Glasgow, are also popular. For Scipio’s ‘coffin’ you can purchase a lava stone, or even better, a marble representation at auction, for between £300 and £600. Prints abound, too, but some by masters such as Piranesi can cost in the thousands. If it’s simply the look you’re after, there are also plenty of less expensive reproductions on the internet, although some lack the artistic integrity of their ancient counterparts. Auction houses provide a good hunting ground for original 19th century pieces. The boom in Grand Tour souvenirs, which was at its height in the mid to late 1990s, has subsided a little and the mid range market has remained steady for purchasers. So, if your desire to portray a learned aristocratic collector of antiquities is roused, why not follow in the footsteps of a Grand Tourist and search out the 18th century graffiti in the ruins of Pompeii or marvel at the original Roman bronze doors as you walk into the Pantheon in Rome? It’s easy to understand how generations have been inspired to seek out and accumulate the myriad of artefacts and souvenirs that are surprisingly accessible to collectors today, and it’s easy to get hooked, too!
Where to buy Most good auction houses will have related items in their general fine art sales or works of art sections. Piraneseum – piraneseum.com Craig Carrington – craigcarrington.com Ebay – for original and reproduction items
Made in Britain
FORGING A BOND From a country estate on the Norfolk coast, a quartet of artist blacksmiths is combining traditional techniques with modern technology to create beautiful contemporary ironwork Words Hazel Dolan | Photographs Jeremy Phillips
Period Living 37
H
ead bowed and intent, screened by her mask and gloves, Helen Spedding is calmly guiding her plasma cutter, its searing heat tracing tiny, delicate curves and spirals on steel. Each minute, controlled movement releases a focussed beam of ionised particles, separating metal from air to reveal an intricate pattern of stylised leaves and petals on steel. At its tip, the temperature is four times that of the surface of the sun. Helen is as cool as a breeze. Around her and open to the rafters is the white-walled space of Holkham Forge, built in the mid-19th century and served by generations of estate blacksmiths, the cobbled floor still visible in patches, the focus still the twin hearths of the forge fire. Now racks of steel, ready to be worked, line one side, broad tables are set for drawing and crafting, and it is home to four good friends, a collective of artist-metalworkers: Helen and her husband James, their co-founder Roger Foyster and most recent recruit, ex-motor mechanic Rob Stewart-Baldrey. What Helen does, they all agree, is exceptional. Her background is in fine art and sculpture, but that barely explains her command of the plasma cutter and the lace-like designs she creates. ‘It is almost impossible to do,’ James points out. ‘Helen is literally the only person I know who can get that level of detail, and who has got hand-eye co-ordination sufficiently developed in order to be able to cut out such tiny things with precision.’ Her beautiful metal lampshades and decorative pieces are just one part of the forge’s output. All manner of work, from the tiniest steel acorns to mighty country house gates, is produced here,
Clockwise from top left: Helen carves intricate patterns into metal using the plasma cutter; the Grade II*listed 19th-century estate in the distinctive yellow Holkham brick, with Welsh slate roofing; a row of horseshoes is a legacy from the blacksmiths’ previous premises, a farrier’s forge at Burnham Deepdale; the blacksmiths’ fire uses sieved and washed coke; Helen guides rake and tongs in the fire as she forges and tapers a stem from a tiny steel acorn; the Peter Wright anvil has a distinctive narrow waist and a long and pointed bick or horn; all the tools of the trade for blacksmiths; a rail of tongs skirts the huge water and coke vats in front of the forge fire; ‘The size and light atmosphere makes scale and variety of work so much easier,’ says Rob; nameplate designed by Roger 38 Period Living
antique ironwork is restored and replicated, contemporary art and bespoke commissions made. In essence, says James, the craft of manhandling metal is simple: you get it hot and hit it. The outcome is only limited by imagination. All four of the Holkham Forge set share a love of organic forms – often inspired by their East Anglian landscape – an interest in collaborating, and also a common link, having crossed paths with a generous and skilled Norfolk blacksmith, Dave Capes, who launched all manner of careers from his smithy. James’ own background is in IT. He began as a hobbyist, swapping website design for time in Dave’s workshop. When he was made redundant from his university job, he and Helen pitched their VW camper in Dave’s yard to learn all they could, then, with his blessing, set off in traditional journeyman style to spend time with blacksmiths along the North East coast, in Ireland and Scotland, which proved to be an extraordinary education. ‘It is fascinating,’ he says. ‘It’s like seeing an object from a dozen different perspectives. Everyone basically does the same thing – they make things for people – but how they do it, how they interact with people, how their workshop is set up, what process they go through – all of that has been evolved over a period of time. What you learn is not necessarily techniques, it’s more of the wholeness of being a blacksmith and what that entails, and how different people have chosen to exploit different parts of it and focus their business in different ways.’ They were in the Outer Hebrides when Dave called them back for his silver wedding anniversary party and urged them to set up in an old farrier’s forge in north Norfolk. Nine years ago they moved on to Holkham, where the last of the estate ³
Made in Britain
Period Living 39
blacksmiths had retired, and the forge, vacant for 18 months, was ready for a new direction. It was the tail end of 2008 when they launched their practice, a rocky time for any business to take on bigger premises, but with the custom base they had already built up and a growing profile for innovative work, they weathered the storm. Their way of working aims to bridge ancient and modern. ‘We have probably half a dozen different ways of heating up the metal,’ says James. ‘We have got the coke fire, oxy propane, so torches for spot heating using hoses and burners on the end of pipes, a gas forge which uses propane to heat up smaller items, a larger gas forge for longer, bigger things, and an induction heater. All of those are just an extension of the number of chisels and hammers we have got. It’s all about tools for the job.’ A blacksmith’s skill is in understanding how metal will respond to heat and knowing instinctively how to manipulate it. ‘You don’t necessarily need to be strong,’ James points out. ‘You just need to be clever, because if you can get it hot in the right place, then it will bend where you want it to without a massive amount of pressure. If you need more pressure, then have a tool which can give you more muscle, whether it is a press or a hammer.’ Roughly 90 per cent of their current work is commissioned, with many returning customers. ‘One of the things I learned from travelling around,’ James says, ‘is that generally speaking you need commissions to pay your way. Either you need to be really good at making lots of things very cheaply to sell into retail outlets, or you really like doing fairs at the weekend as well as working during the week. The value of larger commissions is key to trying to iron out some of the ups and downs.’ Few of their clients will come with a design idea. Most have a problem they need to solve: a
Clockwise from top left: New entrance gate to the walled garden of a Norfolk Arts and Crafts vicarage; ‘I don’t think there is any denying that the workshop gives you a sense of history,’ says James; a detailed rose showcases the delicacy of the blacksmiths’ work; the fire bulls are a recent commission, made to match an original antique pair from Spain; dedicated practice sees Helen create fine lace-like structures from thin metal sheets; Roger traces a design of clematis leaves for a garden arch that will form the centrepiece of their stand at craft fairs; both plasma-cut leaf and heartshaped panels take on an individual mottled colour, texture and patina 40 Period Living
ON THE WEB To discover more British designer-maker talent, visit periodliving.co.uk
space to fill or something to fix. ‘We visit and get inspiration from their garden or their house for design ideas,’ says James. ‘We try to understand what they do and don’t like, tweak designs based on their feedback, and probably make test pieces to show, because it’s difficult to represent with lines exactly what we are going to make. ‘Their stamp is all over it in the sense that they have approved the design, suggested alternatives and we’ve made modifications based on their feedback. I think they feel that sense of buying into it, because it’s something they have had a hand in from the beginning.’ The Holkham Forge team have no fears for the future of their trade. Ever since the 1960s resurgence in blacksmithing, interest has remained strong. ‘The number of people with the skills and experience must mean that there is an appreciation of the handmade in the face of automation and homogeneity,’ James says. ‘We fit into the grand picture if you can’t buy it off the shelf and you need it to be made, then that is where people like us come in, whether it is for reproducing old metalwork from period houses or making new things to fit in unusual shapes, wherever you need someone to make something specific for you.’ Their philosophy is to be open to new opportunities whenever they present themselves. ‘There is not a lot of strategic planning in the sense that there isn’t a five-year or ten-year plan we work towards,’ he says. ‘Perhaps there should be, but generally it happens as it happens, and one thing leads to another.’ For more details about Holkham Forge or to commission work from the collective, call 07881 632257 or visit holkhamforge.co.uk
Made in Britain
Period Living 41
The pretty two-bedroom home was originally two weavers’ cottages, built in around 1750 from Somerset’s distinctive golden Hamstone. Hana painted the front door in Farrow & Ball’s Lichen
THE PERFECT VINTAGE This quirky 18th-century cottage became a comfortable family home for Hana Reynolds and her husband Hincks Words Faith Eckersall | Photographs Colin Poole
42 Period Living
Stone Cottage Update The front door opens straight into the dining room, where Hana has used William Morris’ Willow wallpaper to disguise the wonky walls and added zing with yellow Vitra Eames DSR chairs from John Lewis. The rug is from La Redoute, and for similar bare-bulb pendant lights, try Olive & the Fox
THE STORY Owners Hana Reynolds, an upholsterer (hanaandgeorge.co.uk), and Mark Hincks, a sales director, live here with their two-year-old son Hector and their pug George Property A two-bedroom, semidetached Grade II-listed weaver’s cottage in Somerset, built in around 1750 from Hamstone What they did The couple replastered and rewired, put in a new kitchen, and updated the bathroom
s rule of house buying is simple. y homes,’ she says. ‘The first time e was from the car and I knew it he house we ended up living in. I ing when I walk up the path now.’ incks ‘no one calls him Mark,’ the type of house they wanted d their search in 2013. ‘Something never lived in a new house, and uld do some work on,’ she adds. The location was less important than the type of property, so they searched in Wiltshire, Dorset and Somerset. ‘My mother had moved here nine years ago, so we knew the area,’ says Hana. When Hana and Hincks found the property, originally two weavers’ cottages that had been long since knocked into one, they knew their househunting was over. At the front was a pair of large, square reception rooms, leading to a kitchen at the back and replicated upstairs with two front-facing bedrooms and a bathroom off the landing to the rear. ‘A lady called Molly lived here and the house had a lovely, warm feel to it,’ says Hana. ‘We later found out that its original name was ‘Be Sociable’ it was carved above the doorway, and I think that sentiment has been ingrained here; it’s the kind of house that captures you.’ Indeed, the couple were so taken with the property that they were prepared to overlook its many quirks, preferring to work with them rather than against them. They decided not to extend or make dramatic alterations. ‘I liked the layout and it would have been more hassle to change things because of the listing,’ says Hana. So they had the property rewired, put in a damp proof course and fitted a new kitchen and bathroom. Their first purchase was a baby blue electric Aga. ‘I’ve always liked that colour because it goes with anything, and I knew I could get a Smeg fridge to match,’ says Hana. However, when it came to the rest of the kitchen they encountered one of their home’s major eccentricities. ‘I didn’t want a fitted kitchen so we hired a carpenter, and although 44 Period Living
everything looks straight now, the wall behind the Aga is so bowed,’ says Hana. ‘The template for the worktops shows it’s nearly 30cm out in places.’ The couple have also retained the home’s characterful feel in the upstairs bathroom. ‘The cast-iron tub had been here for around 80 years and we knew a previous owner had it re-enamelled so that’s what we did,’ she says. ‘I wanted to keep it because it’s part of the house and I love the way you can see into the garden while you’re lying in it.’ Hana decided the bathroom was large enough for her to decorate it ‘like a proper room’ with panelling and a chair to sit on so she or Hincks can keep an eye on Hector in the bath. They fitted a shower in an old cupboard space under the eaves and created a splashback from vintage-style tiles. Hana’s upholstery business and love of all things vintage can be traced back to her childhood. ‘We always had old sofas, which would go and then come back reupholstered a different colour, and I continued that in my career and here,’ she says. Working from her garden studio with pug George at her side – ‘I named the company after us!’ – she has reupholstered a succession of Victorian and Edwardian chairs, sofas and footstools, using some of her vast collection of vintage – and mainly floral – fabrics. ‘I’m a bit of a vintage rummager,’ she confesses. ‘It drives Hincks mad, but I think he’s come round to it.’ He must have done, because curtains and cushions burst with the soft, elegant colours of aged Sanderson and GP & J Baker fabrics against a mainly neutral background, although Hana’s favourite colour, yellow, can be seen in flashes, in the dining room and Hector’s bedroom. ‘I’m a real wallpaper person but most rooms here can’t take it because the walls are so uneven,’ she says. ‘The only places I could paper were the stairwell and dining room.’ The walls played tricks again when it came to the finishing touches. ‘We found our bedroom still had its old horsehair plaster, so putting up pictures was a nightmare – you can’t hammer in a nail in some places, so the house kind of picks where the picture will go, not you,’ she says. Hanging curtains became difficult, too, which is why, in some rooms, the rails are suspended from the supporting beams and not a wall-mounted bar. None of this bothers Hana. ‘When you live in old houses like this that’s the beauty; they dictate where everything should go because they don’t always like modern things,’ she says. ‘But I don’t mind because, really, I think this house has almost spoilt us with its loveliness.’
Above left: The stunning Odyssey console in the dining room alcove is from Graham & Green. Hana loves its 20th-century vibe and silky Sheesham wood surface. The Isle of Skye print is a reminder of the couple’s first holiday together – for similar, try Travel Posters Online. The typewriter was found at Bridport Vintage Market Above: Hana enjoys mixing styles and eras in her dining room, pairing this Georgian-style sideboard with a 1910 vintage map of Somerset she bought for Hincks. The walls are a combination of painted tongue-and-groove and William Morris wallpaper. The floral lampshade cost just £2 from a charity shop Left: This trio of panels started life as a screen before Hana decided they would look better in individual frames and hung on the walls in her living room. The Victorian armchairs are from Hana & George, re-covered in a grey wool fabric from Moon, and vintage Sanderson linen union
Period Living 45
A rich purple velvet sofa from Sofa.com complements the bright antique rug in the living room and creates a cosy sitting space round the Hamstone fireplace and wood-burning stove; Charnwood’s Country 6 is a similar option. Behind the sofa is a section of an antique screen that Hana bought from a nearby auction. The armchair is from Hana & George, and Hana made the sofa’s floral tapestry cushion
46 Period Living
Stone Cottage Update
Period Living 47
Stone Cottage Update
A local carpenter built the kitchen to Hana’s design, with the electric, baby-blue Aga as its focal point. The colours in the vintage fireplace tiles, used as a splashback, complement the slate flooring. Try the Victorian Fireplace Store for similar tiles, and Sheila Maid for a clothes airier. The units are painted in Farrow & Ball’s Charleston Gray
Above: Hector’s nursery is filled with vintage finds, such as a chair upholstered by Hana in Mark Herald’s Harvest Hare fabric. Practical painted boards are covered with a fluffy rug – the Polar rug at The Rug Seller is a similar design. Hana’s grandma made the blanket and the elephant rattan basket is from Zara Home. For a similar walnut Art Deco wardrobe, try Pamono Right: Hana has indulged her love of vintage in the main bedroom with retro
voile curtains and a blind she made from GP & J Baker fabric. The Victorian chair is from Hana & George; the cushion came from M&S and was a gift Below: Arranging the WC and sink under the highest part of the ceiling allows Hana and Hincks to use the lower side for storage. For a similar cast-iron bath, try Drummonds. The mirror was a gift from Hana’s mother – Dunelm’s white Ormolu design is similar. The chair is by Hana & George
Stone Cottage Update
Hana reupholstered the vintage French bed in Clarke & Clarke’s Sutton ticking fabric in Duck Egg Blue. The pink fabric on the wall is one of her earliest vintage purchases, which Hincks had framed for her. Hana made the duvet cover, and the small cushions are from The White Company
Period Living 51
Hand-woven Alacati cotton rug, £1,139, Oka
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Clear tealight holder, £2, George Home
Joules Cambridge Accent chair in Mushroom cotton, £699, DFS
Kew Orchid
pap er w Kew Shop 10, t, £ gh ei
Feature Pippa Blenkinsop
RHS collection Plate 127 art print by Pierre Joseph Celestin Redouté, from £15 unframed, King & Mcgaw
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Chinese lacquered tray, £35, Raj Tent Club
ome Burleigh H ibis oH h cu So s
Shopping Jonete traditional lampshade in 1950s barkcloth, £85, Folly & Glee
Large cushion in Vintage Summer Flowers fabric, £55, Phillips & Cheers
Z T N I H C O ETR
mix esigns, d e i r e ok nois ate chi inine lo c i m r e t f n , i s to itsch for a k c bloom s i l g a l r a t o l s o yle f From n age-st t n i v h tc and ma French four-door sideboard, £1,275, Out There Interiors
Peony porcelain table lamp base, £90, Där Lighting
Paisley Midi sofa in Dusky Pink Oscar velvet, £2,600, Darlings of Chelsea
Chinoiserie Canary wallpaper, £50 per roll, Graham & Brown
ESCAPE TO THE COUNTRY Yasmin and Gavin Lavelle have restored and extended a listed farmhouse in a picturesque setting on the edge of Bodmin Moor Words Debbie Jeffery | Photographs Unique Home Stays The three-storey farmhouse stands on the outskirts of the picture-postcard village of Blisland, on the edge of Bodmin Moor, and was built from local granite and Delabole slate, with two barns incorporated into the layout at a later date and an Amdega timber conservatory
built to the rear. ‘When we bought the house an elderly lady contacted me from California,’ says Yasmin. ‘She wanted to share with us the detailed and fascinating history of the house and its owners since 1540, as the property had been in her family for 300 years’
ing family holidays in nwall left such an impression asmin and Gavin Lavelle and r children, that they decided earch for a property of their own in the area. After many months’ hunting home, they found Arcalia, ld farmhouse in 14 acres of f rural north Cornwall. ‘As we drove through the granite gateposts my excitement grew,’ says Yasmin. ‘We were blown away by the house, and its stunning location and beautiful views. The property needed some work, but the magic of the place was clear to see.’ The three-storey slate-hung farmhouse has many period features indicative of its long history, from the stone mounting block in the front courtyard to the large granite slabs up to the front door, which continue into the hallway and kitchen where the original fireplace is flanked by two granite pillars and topped with a timber lintel. Over the years the living space had been extended into the two adjoining barns, but these were unheated, and one was almost uninhabitable, so it soon became clear that Yasmin and Gavin had quite a programme of renovations ahead of them. They spent two years working with Truro-based CSA Architects and English Heritage, planning how best to preserve and update the historic building. ‘As the property is listed we had to use reclaimed Delabole slate and locally sourced granite with an approved lime-based mortar to ensure a seamless match to the existing house,’ says Yasmin. ‘The listed building officer was involved throughout to ensure the integrity of the house wasn’t compromised.’ 56 Period Living
The couple appointed building contractors Gilbert & Goode, who have experience with listed buildings in the area. They sourced the materials, and proved to be meticulous and hard working. ‘We owned the house for a couple of years before we made any changes, and living here helped us to properly understand the building,’ says Yasmin. The family’s belongings were put into storage and the empty house was then carefully restored. Fortunately, the original slate roof and existing single-glazed timber windows could be retained. The house was rewired and a new boiler installed, with a combination of radiators and underfloor heating. The granite flagstones in the kitchen could not be disturbed to lay plumbing, so instead an Aga heats the room, providing a comfortable background warmth. At one end of the building a single-storey junk room and lean-to conservatory were replaced by a two-storey extension on the same footprint. Clad in reclaimed granite, and with a slate roof to match the original house, it contains a breakfast room with folding glass doors, plus a boot room, utility, shower and WC. The old barns have been insulated and underfloor heating installed to create a living room, gallery, children’s lounge and snug. The timber conservatory has also been restored. ‘With the renovations finished, we have the best times here with family and friends,’ says Yasmin, who designed the interiors herself for a warm, cosy feel. ‘My favourite room is the kitchen, and the views are breathtaking, particularly in the conservatory where you feel fully immersed in the garden. It’s a magical place to be.’
Above, left to right: On one side of the old farmhouse the couple built a new wood store; homeowner Yasmin; garden chairs are positioned in a peaceful spot to make the most of the stunning landscape Above right: The new breakfast room in the extension enjoys wide views to the west through bi-fold doors from Marnick Builders. Noce tumbled travertine flooring, from Floors of Stone, is a good choice for the new underfloor heating Right: The Amdega conservatory, added by the previous owners, was recently restored and reglazed to create an extra space to relax, entertain and enjoy the garden all year round
Extended Farmhouse
THE STORY Owners Yasmin Lavelle, who used to work in the City, and her husband Gavin, CEO of a software company, have owned this holiday home since 2010 and like to spend time here with their children Georgia, 16, Felix, 14 and Maddie, 12 Property A five-bedroom farmhouse on the edge of Cornwall’s Bodmin Moor, with 14 acres of grounds. The Grade II-listed property dates back to the 17th century. Arcalia is available for holiday rental with Unique Home Stays (uniquehomestays.com) What they did The house has been carefully restored and extended to add a breakfast room, utility, boot-room and WC, with a master bedroom suite above. The couple added an outdoor pool and pool-house
Period Living 57
Left: Original granite flagstones in the entrance hall have been restored. Yasmin found the large console table and rug in a local antiques shop. The mirror is from Oka Below: The perfect farmhouse kitchen, where the original flagstones have also been retained and a new Aga fills the ancient fireplace. A Quooker boiling water tap on the island brings the appliances right up to date. The bespoke painted cabinets are from Landmark Kitchens, the stools are from Neptune, and the pendant lights are from Jim Lawrence
Extended Farmhouse
Above: Just off the kitchen is a cosy living room with a Jotul wood-burner from Kernow Fires, a sofa from Dwell, and an ottoman from Laura Ashley Left: A gallery links the living room to one of the converted farmbuildings. The armchair is from Laura Ashley, and the bookcase and rug are from a local antiques shop. For a similar lantern, try ZaZa Homes
Period Living 59
Below and right: The new master suite on the first floor includes an adjoining bathroom and dressing room. For a similar bed, try Loaf. The sanitaryware and wall tiles were sourced from Wadebridge Bathrooms; for a similar bath, try Soak.com. The Oxford Castano wood-effect bathroom floor tiles are from Porcelanosa Below right: One of the guest bedrooms in the loft. The Cotswold Company’s Burford Painted bed is a similar design, and Ian Snow sells a range of floral pouffes
Extended Farmhouse
Period Living 61
Swedish Villa
BEAUTIFUL INBLUE From the moody colours of the deep sea to the muted tones of a winter sky, with every stunning shade of blue in between, Kristin and Jonas Lagerqvist have filled their Swedish home with their favourite colour Words Emma Persson Lagerberg/House of Pictures | Photographs Andrea Papini/House of Pictures
Floral wallpaper in the hallway frames the entrance to the living room. The antique Thonet bentwood rocking chair and coffee table are auction buys from Bukowskis, the lighting is from More Furniture in Varberg, and the rug is by Chhatwal & Jonsson from Studio Pompone. For a similar sofa, try Loaf’s Slowcoach, and for a geometric rug try La Redoute. Lakeland Paints’ Clay Blue is a similar shade for the walls
y, warm, and ecorated in every aginable shade blue. This is the ome of blogger, ecorator and in a nutshell. But many more things r husband Jonas’ he oldest areas of Varberg, on Sweden’s west coast, the property has a surprisingly well-documented history. The land on which it was built, next to a former mill and close to the town square and church, was originally bought in 1926 by a Mr CA Freckman for 4,000 Swedish Krona (approximately £350). He then enlisted architect Thorwald Söderberg, who designed the station in Varberg, to draw up the plans for the house that the Lagerqvists now call their home. ‘We still have the original plans and Freckman’s estate inventory, along with a handwritten contract that records the building cost as 21,500 Swedish Krona (about £1,900),’ says Kristin. ‘We’ve also discovered that there was once a barn on the land that belonged to the local coffinmaker – handy for the nearby church.’ Over the years, the building has housed a bakery and baker’s shop, and later also an antiques dealer, clothing store and advertising agency. But this town centre house, not far from the station and the sea, had also been Jonas’ dream home for many years. ‘He had always said that if ever it came up for sale, he would go and have a look. I was very happy in our former house, though, and wasn’t especially keen to move. I just saw all the work ahead of us and I didn’t want to leave my garden, either. But over a bottle of wine on a balcony in Florence, Jonas mentioned the house again,’ recalls Kristin. ‘It was about to go on the market so we had to view it. We knew the people who lived there and they wanted to sell to a family with young children who would enjoy the house as much as they had.’ Back in Varberg, Kristin and Jonas went straight over to see the house. ‘I didn’t take much persuading, and as I was putting on my 64 Period Living
shoes at the end of our viewing, I couldn’t help myself saying out loud “we want it!”,’ adds Kristin. ‘Jonas told me to shush, and the owners smiled at my eagerness!’ The house had been well looked after and it didn’t take much work from Kristin and Jonas to turn it into a home that suited them - they just added the multiple shades of blue. ‘Blue has always been my favourite colour,’ says Kristin. ‘There is something so reassuring and comforting about it, with all the different tones of the sky and the sea.’ The new blue paint and wallpaper in all the rooms makes an unusual backdrop to the couple’s furniture and possessions, most of them vintage finds, heirlooms, artworks, and plenty of plants. Kristin inherited the crystal chandelier in the office from her grandmother – along with the fine porcelain she uses every day in the kitchen. ‘This is a house to live in, and we are relaxed about clutter,’ smiles Kristin. ‘It’s good to be surrounded by beautiful objects, but the most important things are our family and the everyday life that we live here. We wanted there to be plenty of social spaces to play and hang out in, but also some quieter rooms to be alone in – I think we have found a good mix that works really well.’
THE STORY Owners Kristin Lagerqvist, an interior designer, blogger and photographer (kristinlagerqvist.com), lives here with her husband Jonas, who works in finance, and their children Simon, 17, Otto, 10, and Igor, six, and Siv the cat Property A villa built in the 1920s, in Varberg on Sweden’s west coast What they did The couple didn’t have to do any structural work to the home, which had been well looked after. They simply updated all the décor in their favourite colour and furnished it with antiques and fleamarket finds
Right: Luckily for Kristin and Jonas, the kitchen had been renovated before they moved in so all they had to do was add one of their favourite William Morris wallpapers and their characterful mismatched dining furniture. Kristin saw and admired a brass Bumling lamp (for similar, try Scandinavian Design Center) at her friends’ house and, to her delight, they found this one in the garage for her to take home
Swedish Villa
Left: The kitchen is spacious, bright and classically decorated with grey cabinets and brass fittings. For a similar design, try Harvey Jones, and try Topps Tiles for white Metro tiles Below left: Kristin uses her grandmother Mildred’s porcelain every day Below: In the dining area, a small cabinet stores tablelinen and extra crockery. The striking print above it is by award-winning local photographic artist Lisa Love Right: A large entrance hall greets visitors to the house. The walls are papered with Designers Guild’s Seraphina print, which continues to the floor above. Two cupboards provide storage for the family’s coats and shoes. For similar polished marble floor tiles, try Stonestore
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Swedish Villa
Above left: A gallery wall in the living room works well against the blue paint Above: The blue Bitossi pottery collection and cabinet have been in the family for many years. The cabinet holds all the family boardgames, and the painting on top is from Kristin’s childhood home Right: Three of the main rooms are linked, and painted or wallpapered in complementary shades of blue. A large concrete dining table can accommodate the family and a few extra guests. The sliding door between the dining room and living room is painted in a darker shade; Johnstone’s Oxford Blue is similar. Some of the framed photos on the dining room walls are Kristin’s own Left: Kristin uses this pretty dresser to store and display her favourite china; it’s from Studio Pompone in Varberg
Swedish Villa
Left: An antique desk in the couple’s office Below and right: The office is, of course, decorated in Kristin and Jonas’ favourite colour, with Dancing Crane wallpaper by Emma von Brömssen for Engblad & Co (available from Scandinavian Design Center). The Chesterfield, desk and dresser were all found in antiques stores, and the unusual chandelier was inherited from Kristina’s grandmother. For a similar rattan coffee table, try Oka
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Swedish Villa
Above and left: A rare departure from blue in the main bedroom, with bedding from Merci in Paris and cushion covers from Emma von Brömssen. The wallpaper is from Boråstapeter’s linen collection, with a kimono from Rabens Saloner hanging on a dragonfly-shaped brass hook Right: Youngest son Igor’s bedroom is decorated with Ithaque wallpaper from Nobilis. The canopies, bunting and rock star speakers are from Mokkasin
Swedish Villa
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O
HISTORY IN THE MAKING Ann Ellway drew on childhood memories to create a completely new look for her renovated Georgian farmhouse Words Heather Dixon | Photographs Colin Poole
Georgian Home Renovation
The kitchen dresser, drop-leaf table and chairs all came with the house and create a relaxed, country style that complements Ann’s collection of antique kitchnenalia, including 100 pieces of Wedgwood crockery bought for just £100. She replaced an old oven with a cooker from Rangemaster, added a tiled splashback, and painted the dresser in Johnstone’s Amador and the walls white. The old servants’ stairs in the corner lead up to a bedroom
THE STORY Owner Ann Ellway, a retired radiographer, lives here. She has two grown-up daughters, Kate and Ruth Property A detached, four-bedroom Georgian farmhouse in Yorkshire. Parts of the property date back to the 17th century, and it has six acres of land including one acre of garden What she did Ann and her late husband Peter renovated the house, replacing windows and updating the electrics and plumbing. They tried to reinstate some of its character, as many of the original features had been stripped out
simple piece of beadwork inspired a completely new look for Ann Ellway’s lways loved antiques, a bungalow that was . ‘When we moved d it suited older things. Over the years, I’ve filled the entire place with antiques – it was a very gradual process.’ Ann’s passion for anything with ‘a story to tell’ is shared by her elder daughter, Kate, who runs an antiques business. Together they spend hours searching shops, fairs and auction rooms for irresistible pieces for their homes - and for Kate’s business – and it’s not unknown for them to swap things or buy for each other in the process. ‘In a way I am connecting to my past,’ says Ann. ‘When I was 16 my family inherited a home packed with antiques, and my Gran’s house was also full of lovely old treasures, so surrounding myself with similar things takes me back to my roots.’ Ann and her late husband, Peter, had always dreamed of moving into a bigger house where they could keep lots of animals, and where Peter would have space to indulge his hobby of building and restoring cars, bikes, racing dinghies, and even a small plane that he flew when he had time. When Ann and Peter bought the house in the 1990s it still contained fittings from the ’60s and ’70s and was in need of modernisation, but they had no concerns about taking it on. Peter had built their bungalow and his practical approach came in handy when they started to strip the house back to a shell. ‘We lived in it as we renovated it with the help of a builder friend,’ explains Ann. ‘He came to see it before we bought it and said “don’t touch it”, but we bought it anyway! A lot of the original features had been taken out, so we reinstated its character 78 Period Living
where we could and brought it up to date taking an ad hoc approach – there was no grand plan.’ The couple fitted new windows, as the old sashes were rotten and couldn’t be saved, and some new wiring and plumbing. The walls were taken back to bare brick and new floors laid over existing Victorian terracotta floor tiles, which were badly damaged. ‘These houses had no foundations: they were built on bare earth, yet they are incredibly solid,’ says Ann. ‘The only real structural work we did was to build a supporting wall in the cellar, which had been blocked up. We wanted to make it safe so we could use it.’ The walls were replastered with Limelite – specifically for old buildings – and original beams that had been covered up were exposed and painted. ‘The bungalow had been very modern and we brought the furniture with us, so it had a different look then to the way it looks now,’ she recalls. ‘It started with a piece of beadwork and a light fitting I found at an antiques fair and put up in the bedroom. Gradually we began replacing the G-Plan furniture with older things to suit the house.’ Ann rarely goes shopping with specific items in mind. She would rather spend hours browsing until she finds something that really appeals to her – whether it’s a miniature poetry book with a tiny inscription inside the cover, a piece of tapestry, a plump eiderdown or a large piece of furniture. Ann is happy to mix old and new and admits she’s not a purist: ‘I buy what I like and I don’t spend a fortune. For example, I bought 100 pieces of Wedgwood crockery for £100. I love discovering things that have provenance and history – things that have been treasured by someone who lived more than 100 years ago. It’s fascinating to think about what kind of life they might have led.’ Nothing goes to waste. Ann is always finding new uses for things: she stacks up old suitcases one on top of the other to create extra storage for out-of-season clothes or bedding; recycles pretty curtain fabrics; fills her bookshelves with literary treasures; and puts antique sewing paraphernalia to practical use. Every so often the kitchen cupboards are updated with a fresh coat of paint, and her treasure trove of kitchenalia – including wooden potato mashers, old crockery, weighing scales and storage jars – is used on a daily basis. ‘I don’t believe in buying things and then hiding them away in a cupboard,’ says Ann. ‘Everything is useful or lovely to look at. I get great pleasure from creating a new use for old things and respecting something that was once someone else’s treasured possession. In a way, it brings life full circle.’
Above: Ann has gradually landscaped the garden over the years. It was originally rough farmland that surrounded the house. Ann and her late husband Peter loved the elegant proportions and balance of the Georgian property Left: Ann, in the kitchen with some of her favourite finds Below: Ann’s daughter Kate deals in antiques and found this elegant console table and chair. The radiator cover is new – try Jali for similar – and the runner was bought at a car boot sale
Georgian Home Renovation In the living room, Ann has mixed old and new to great effect, with sofas from Sofa.com and a fire surround from a reclamation yard near Batley. The cushions, fireguard and kneeler all came from an antiques shop, while the ornate dresser was bought at the John Walsh auction house. ‘You can pick up dark furniture, especially some of the larger pieces, for not a lot of money because they are too big for modern houses,’ says Ann. The beautiful writing desk was left to Ann by a close friend and fits perfectly in the square Georgian window
Georgian Home Renovation
Above: The landing, with original dark floorboards and windows, lends itself to antique furniture, such as this sewing table from David Riley Antiques and ornate Pre-Raphelite chair, from Newark Antiques Fair Right: The furniture in the guest room is from Tennants Auctioneers Below: In the main bedroom, the bed is dressed with an antique bedspread and silk cushions sourced by daughter Kate. The curtains are made from Woburn fabric, bought years ago. The mirror was originally gilt but Ann painted it white to complement the room
Above: The small window by the sink was moved to allow for an en suite shower room on the other side of the wall. The washstand and towel rail came from Doncaster Antiques Fair while the round mirror, inherited from Peter’s mother, completes the combination of period furniture and more recent accessories Right: Tongue-and-groove panelling, fitted by Peter, is painted in Johnstone’s Amador and teamed with white walls to create a tranquil atmosphere in the family bathroom. The tones in the practical vinyl flooring are picked out in the mirror frame, which was bought at a car boot sale. Most of the sanitaryware is from Victoria Plum, and the shutters are from Delta Blinds
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LIGHT WORK After three years abroad, Lucy Rees was determined to make her mark on this Victorian Arts and Crafts house, where she can surround herself with family and friends Words and styling Kate Jacobs | Photographs James Balston
Arts and Crafts House Lucy opted for wooden Shaker-style kitchen cabinets by Devol in the dramatic shade of Pantry Blue as the space is big enough to handle a bold colour. Two trios of industrial lighting, one over the kitchen island, from De Hasse, and another over the table, sourced on Ebay, help to define the double-height space. The farmhouse table was an Ebay find, as were the bench, dining chairs and vintage leather club chairs next to the windows
fore embarking on major novations, most people take ir time and live with the e, to get a feel for what will That had been Lucy Rees’s e carefully masterminded urn to the UK from Germany. found herself camping on a se with just one weekend to thing from the purpose of each room to its flooring, paint and curtains, ‘I’m a natural procrastinator so it was hard making snap decisions,’ she recalls. ‘But luckily it all worked out.’ As the family approached the end of David’s three-year stint in Frankfurt for work, their thoughts turned to finding a more permanent home. They opted for leafy Chislehurst because it’s a short train journey to the City for David but also perfect for family walks and bike rides in the woods. While Lucy was viewing a smaller property on this beautiful wooded lane, the estate agent mentioned another house, which the owner planned to sell eventually. Lucy managed to arrange a viewing and was smitten: ‘It was a great size, without being ostentatious, and I fell for the panelling, fireplaces and high ceilings.’ She was willing to wait, but the owners, whose children had left for university, decided that the house needed another family and everything fell into place. The previous owners had sensitively restored the whole house, which had been bomb-damaged during the war and then divided into two houses. So Lucy was pleased to think she was facing a mostly cosmetic job, although she realises now that she was a little naive about the scale of the undertaking. ‘I thought it was just a case of doing the kitchen and making everything look pretty, but it’s never that simple,’ she laughs. After buying the house, Lucy stayed in Germany because of her children’s schooling. So when the kids headed off to a school camp she grabbed the chance to race to England for four short days. She used her time wisely and booked in a raft of expert helpers. Nutwood Flooring offered invaluable advice when the existing floorboards proved too patched and scrappy to save and advised her to 88 Period Living
get all the kitchen utilities in place before laying the hallway’s engineered oak floors. ‘If I hadn’t known that it might have been disastrous!’ she says. A visiting Farrow & Ball consultant helped her to achieve a palette of mostly muted shades to complement each room. ‘I’ve always stuck to white before, and I felt a bit daunted about choosing the right colours for this place.’ Returning to Germany for the summer, she monitored the renovations via phone and Skype, with her mother and a friend representing her ‘on the ground’, although the delegation process didn’t always work out. ‘My Mum wasn’t convinced by the dramatic dark blue paint in the dining room and nearly persuaded us to halt the decorating, but we stuck to our guns!’ she smiles. Lucy and the children arrived for the autumn term at a new school, with David joining them in Kent in November. ‘It was dusty and cold while all the work was happening, so we had to rely on the real fires for warmth.’ She pulled out all the stops to have everything ready for David’s arrival. ‘The only downside to that was that he couldn’t see what all the fuss had been about,’ she adds. Lucy knew that the small kitchen wasn’t right for modern family life and decided that the vast double-height former billiards room with its minstrel’s gallery would be the perfect place to cook, eat and relax. She timed the project to take place between hosting big family celebrations at Christmas and the following Easter. ‘My style is a mixture of old and new, something with soul and history but also a modern twist.’ Having chosen the Shaker-style cabinets, she opted for a dark blue finish that would have impact in such a large space. Lucy’s favoured mix of rustic, natural and modern is also seen in her furniture, sourced through antiques fairs and online auctions. The simple, industrial-style lighting gives each room an edgier element. Husband David’s more minimalist tendencies help to keep her in check. Now the work is done, Lucy is enjoying being back in the UK and having regular visits from extended family. ‘It’s a great house for entertaining – there’s plenty of room for relaxed gatherings,’ she says. ‘Because Germany was temporary I couldn’t really indulge my passion for interiors, so it has been lovely to put my stamp on this place.’
THE STORY Owners Lucy Rees lives here with husband David, who heads the European division of a global services company, and their 10-year-old twins, daughter Morgan and son Joshua Property A detached five-bedroom Victorian house in the Arts and Crafts style, built in 1887 in Chislehurst, Kent What they did Lucy had the kitchen moved from what is now the study to the larger billiard room to make it the new heart of the home. She has added new flooring and redecorated throughout
Arts and Crafts House
Above: Built in 1887, Lucy and David’s home was bomb-damaged during the war and subsequently divided into two houses Right: Glass-fronted wall cabinets from Devol are the perfect place for Lucy’s mix-and-match tableware. The floor in this room is the original oak parquet, restored by Nutwood Flooring Below right: The white worktops are Carrara quartz from Marbles Ltd, chosen as the material is more stain resilient than real marble. The basin and taps are from Devol. Lucy’s collection of vintage kitchenalia is artfully displayed on simple open shelving Below: Lucy at the oak-topped kitchen island where she does most of her food prep. The bar stools are also from Devol
Period Living 89
Left: This alcove at the end of the hall, with its charming mullioned windows, is where Lucy relaxes while on the telephone. The classic grey Flynn armchair is from Made, while the vintage sewing machine table is an antiques fair buy Below left: The dining room is reserved for larger gatherings so the couple felt that they could afford to go for a bold colour in here, opting for Farrow & Ball’s Stiffkey Blue, which provides a nice contrast with the deep tones of the 12-seater table and chairs – an Ebay bargain. The fireplace is original to the house Below: Converted into a garage during the 1950s, the music room was reinstated by the home’s previous owners and returned to its original purpose complete with grand piano. The floor lamp is a vintage Bullfinch roadworks light, while the trio of glass pendant lights are from Olive & the Fox Right: The contemporary modular Mortimer sofa in dark grey, from Made, the industrial-style coffee table (try Loaf for similar), and statement pendant shades from Olive & the Fox, create a contrast with the living room’s many period features, such as the sumptuous wooden panelling and parquet floor
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Arts and Crafts House
Arts and Crafts House
Above: Lucy has created a pretty vintage look for daughter Morgan’s room with rose prints and bunting. The duvet covers are from Ikea and the pendant light shade was found on Ebay. The painted metal twin beds – perfect for sleepovers – are from Feather & Black Left: A tranquil mood in the luxurious guest bedroom, with lots of serene white and tactile textures on the bed. The Oken bedside tray table is from Habitat while the decorative stars on the windowsill came from an antiques fair Opposite: The previous owners had recently installed the bathroom and so Lucy has simply updated it with a new colour scheme: Farrow & Ball Pavillion Gray walls, bold pink accessories, and black paint for the radiator and roll-top bath
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Upholstery
BEST SEAT IN THE HOUSE
From snug sofas and plush three-seaters to buttonback armchairs in sumptuous fabrics, put your feet up with our selection of the latest upholstery designs Feature Emily Hawkes
A design that once graced the courts of Queen Elizabeth I, this Ambassador extra-large sofa offers fully sprung comfort and timeless beauty, featuring period details such as hinged arms and beech finials, combined with chrome castors. Shown here in Manuel Canovas Bengale fabric in Saphir, it costs ÂŁ4,241 from Delcor
Above: The perfect complement to coastal, country or urban interiors, this Pablo loose-cover three-seater sofa, £2,239 from Barker & Stonehouse, takes inspiration from the Med, with its pure linen covers creating a relaxed feel. The double-layer seat cushion offers sublime comfort in a selection of vintage pastel and earthy shades, shown here in Grey, Old Rose, Gold Leaf and Fig. The matching Pablo armchair, shown in Granite, Old Rose, Fig and Khaki, costs £1,649 Above right: If you have an existing sofa you’d like to reupholster, go bespoke and choose a furniture
fabric like Aldgate Taupe by Moon, £74.95 per m. This Distinction sofa was a vintage frame salvaged and reupholstered by Leeds upholsterer Emily Farncombe. Cushions are covered in Sloane Square Teal by Moon, £74.95 per m; Mohair Burnt Gold cushions, £49.95 each, Bronte by Moon Right: Bring a touch of boutique style to your home with the Midcentury-inspired Carnaby chair from Duresta. With slender sweeping arms and elegant brass tipped legs, it’s classically tailored in British woven cotton velvet, shown here in Harrow Navy, priced £1,249 from Duresta
From left: Emily chair in Como Silk Velvet in Teal, £2,795 plus fabric, Beaumont & Fletcher; Club chair in Kravet Kate Spade fabric in Fauna Blush, £,1,238, Delcor; Carnaby footstool in Blue Velvet, £149, Atkin & Thyme; Buffet plain stool in Tile Multi Velvet, from £533, Tetrad 96 Period Living
Upholstery
Left: This Broadwick three-seater sofa in House Brushed Cotton Taupe is generous yet streamlined; bolsters add a Regency feel, while the single-seat cushion and smooth curves make it perfect for contemporary spaces. £2,225 at Sofa Workshop Above: Make a sophisticated statement with the Isabelle twoseater sofa from Parker
Knoll. Its elegant shape is given a twist upholstered in Bombay Teal, £1,974 Below: Inject some ranch-inspired texture with this buttoned linen Mindi Wood three-seater sofa, with contrasting goat hide cushions, £2,499. Team with the Diamond Mindi armchair, £799, and cream Mindi occasional chair, £629, all from Libra’s Homestead collection ³
Above left: Add a playful element to your interior with Jonathan Adler’s Ether settee. Decadent yet comfy, its ethereal cloud silhouette features Bergamo Snow velvet upholstery with gleaming stiletto legs, £3,950 Above: For a fresh spring look, channel Marks & Spencer’s Living Green trend with this Aragon two-seater sofa in Green. Upholstered in lightweight linen, it costs from £1,399, making it ideal for layering with throws and cushions Left: A relaxed take on the classic Chesterfield, the New England Hampton four-seater pillow-back sofa from Furniture Village is handcrafted in leather
and features studded scroll arms. With extraroomy, deeper seats, it comes with four scatter cushions, £3,065 Below left: The Kittisford sofa in Vintage Grey House Linen is a stylish nod to the 1920s, its curved beauty and deep-diamond detailing offering elements of vintage design reinvented for modern living. £1,247 from Willow & Hall Below: For an on-trend blue hue, go for the Croft Findon three-seater design in Sophie Mist. Its fusion fibre seat filling and a feather and fibre back makes for a wonderfully comfy sofa, £1,779 at John Lewis
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Subscribe for 34 99 just £ . and get a free book This month, you’ll receive a copy of Vintage Home Style, worth £7.99, when you subscribe to Period Living ABOUT YOUR FREE GIFT If you have a passion for all things antique and vintage, then Vintage Home Style is your complete sourcebook, providing inspiration for creating a beautiful, characterful interior. Filled with 16 unique case studies, from Georgian townhouses to rustic country cottages, this book encompasses the wide spectrum of the wonderful properties in Britain and Ireland, all lovingly restored by their owners to their former glory.
HOUSE j ur al Discover the latest products to improve your period home and pick up top tips from leading industry experts
DECODUO The Art Deco-inspired Thames vanity from Drummonds is a combination of a beautiful hand-poured china clay basin, a finely detailed brass frame, and marble that has been cut and finished by hand. With a choice of either a single or double vanity, six metallic finishes and three different marble options, you can create a bespoke piece that will provide a stunning focal point in your bathroom. Shown here in a single version with an Antique Brass finish and Black Marquina marble, it costs £5,642, with a Coll lever threehole basin mixer in Antique Brass, from £1,170.
AGED APPEAL A striking and unusual porcelain tile reminiscent of aged copper, Verdigris porcelain from Mandarin Stone is suitable for both walls and floors, and comes in a range of sizes, including extra-large 9mm-thick ‘slabs’. The finish of the tiles, which replicates the blue-green patina formed on copper by oxidation, will create an eye-catching feature in your home. Measuring W30xL60cm, they cost from £53.93 per m2.
Reclaimed character The Revival range from luxury wood furniture brand Willis & Gambier celebrates bringing unique charm back into the home with a collection of timeless classics and authentic reproductions. The range offers individual designs that will transform your interior with practical features and effortless character, such as this Monument reclaimed cabinet, £1,719, that would look perfectly at home as a standalone piece in a farmhouse kitchen.
Feature Karen Bray
ORGANICUNDERFOOT A wonderfully natural choice for your home, this Sisal Colossus flooring, shown here in Mink, is strong and versatile, and available in a wide range of designs and colours. Derived from the leaf fibre of the Agave sisalana plant traditionally used to make rope, the leaves are crushed, washed and dried before the fibres are extracted and spun into a yarn, then woven into an array of designs. Suitable for most rooms apart from high moisture areas such as bathrooms and kitchens, sisal can be fully fitted like a carpet or made into a rug. Priced £45 per m2 from Sisal & Seagrass.
OPAL GLOW
Douglas Kent, technical and research director at the Society for the Protection of Ancient Buildings, answers your renovation queries
Vintage metallics Add warmth to your decorating scheme and heat your towels at the same time with the latest metallic finish towel warmers from Vogue UK. With a mellow aged patina, the finish of this Vintage design in Antique Bronze creates a uniformly distressed effect with subtle notes of copper, priced £1,014.
If you are maintaining, renovating or conserving your listed home – or looking to buy one – then don’t miss the expert exhibitors on hand to answer all your queries at The Listed Property Show at Olympia London, from 24– 25 February. Tickets cost £10 in advance; visit lpoc.co.uk. SEEING RED Paint brand Benjamin Moore has revealed a warm, enveloping shade of red, Caliente, as its highly anticipated Colour of the Year 2018. The vibrant and charismatic colour is a bold yet soothing shade that oozes confidence. The seductive hue would make a striking impression in any room in your home, from a powerful statement in an entrance hall to creating the ideal ambience in a dining room. Prices start from £20.50 for 0.94ltrs of Regal Select Flat paint.
KITCHEN CREDENTIALS The epitome of classic design, the new Woburn made-to-order kitchen collection from Caple features beautifully painted Shakerstyle doors with a solid ash frame and veneered ash centre panel. Available in a sophisticated colour palette, its combination of modern and contemporary elements will cater for each person’s individual requirements, plus you can choose a bottle rail and plate rack insert to add homely appeal. Pictured in Alabaster and Gravel, the Woburn is priced from around £12,100 or £330 for a 60cm high-line base unit.
Q
We have evidence of woodworm – what should we do? Because dry timber is immune to attack, your first priority is to eliminate all causes of dampness and promote drying to reduce the wood moisture content to below 15 per cent for instance, by controlling condensation. Major damage could require sympathetic timber repairs, but avoid automatic wholesale replacement. Secondary measures may be needed, especially where infestation is extensive, timber lacks durability or it is tricky to cut moisture levels adequately. Action could involve targeted chemical treatment but never as a substitute for promoting drying, or general precaution for outbreaks merely to obtain a guarantee. Alternatively, heat treatments for entire buildings are now available, and traps using pheromones or ultraviolet light can also help reduce furniture beetle or death watch beetle populations, without preservatives. If seeking advice, go to an independent chartered surveyor or consultant, not a remedial treatment contractor.
Q
Our Victorian back door is warped – any tips to overcome this? You can counteract this by fitting an extra hinge, repositioning an existing hinge or using a simple barrel bolt to pull the distortion into line. Alternatively, the stop on the frame can perhaps be carefully trimmed or relocated. If further measures are needed, a door can be laid flat and straightened by applying an even load for several days or weeks, or straightened using a wire and turnbuckle arrangement.
* 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
With its sensuous curved glass, soft diffused light and elegant touch of brass, this Opal ceiling lamp by House Doctor DK is a fabulous choice as a centrepiece pendant in a dining or living room. The gold effect braided cable can be adjusted as required, with the ceiling rose in a brass finish to match the light. Also available as a double version, it costs £129.95 at Ovo Home.
ASK THE EXPERT
Bathroom Design
MAKING A SPLASH
From revamping a modest space to relocating the whole suite, you can get a luxury look in the bathroom, whatever your budget
Even small bathrooms can have a roll-top bath with Albion’s Tubby Too, which is lovely and deep to compensate for its modest footprint. Supplied on cast-iron legs, it can be placed close to a wall or in the middle of a room, and can be finished in almost any colour. Prices start from £2,061
T
he bathroom should be so much more than a place to perform daily ablutions. In recent years, there has been a move away from clinical all-white suites towards characterful mix-and-match schemes, reflecting the growing desire to create an inviting sanctuary, and it is a look that particularly suits period homes. Opt for natural materials such as wood and stone, beautiful glazed wall tiles in rich, inviting colours, freestanding furniture, and luxurious metallic finishes and brassware. Whatever the size of your bathroom or en suite, and however much you have to spend, functionality should always remain at the heart of your design. Check your plumbing and electrics are up to the task, that fittings will be easy to keep clean, and that there will be adequate space to move around.
How should I tackle the design? Creating your own scheme is fine if you know what you want and have a good understanding of the process, although a professional will likely spot issues and solutions that you might miss. Begin by drawing up a scale floorplan for your proposed bathroom and use it to try out different layout options for baths, shower enclosures, basins and so on. Ensure you use the correct dimensions in the product specification – some manufacturers offer free design tools on their websites.
What will it cost? Prices will vary according to the amount of work needed and the quality of the fixtures and fittings. Updating an existing bathroom without altering the plumbing layout will cost £1,500-£2,500 for a basic, off-the-shelf suite; £2,500-£5,000 for a good mid-range design; and £5,000-£15,000 for a luxury scheme. These costs will increase by £1,000-£2,000 if you’re building a new bathroom as part of an extension, conversion or remodel.
Tips for updating on a budget O Avoid altering the plumbing layout - relocating
fittings will involve extra work and expense. O Instead of automatically getting rid of everything
in the old suite, see if you can revamp any of the exisiting fittings by udating them with fresh enamel, a lick of paint, new handles or brassware. O Get the look of a cast-iron bath with a quality acrylic roll-top tub, which costs as little as a few hundred pounds. O A pedestal basin or wash-stand, which has legs, is usually less expensive than a vanity unit or cabinet and makes a striking standalone piece. O Create alcove shelves to add characterful storage. O You can mix and match similar sanitaryware from different brands to get the best prices, but do check the colours very closely, as not all whites are the same. 108 Period Living
O If you can’t afford to update your plumbing, give
your shower a more powerful feel by changing the shower head for a larger, more aerated model. O Invest in luxury tiles for a small splashback area instead of the whole wall, and either paint the rest or fit tongue-and-groove panelling.
Do I need to update the plumbing? If you are planning to upgrade to a large tub or more powerful shower, it will be necessary to take domestic hot water capacity, as well as water pressure, into account. Modern mixer taps and showers require good water pressure of 3 bar and a plentiful supply of hot water. Gravity-fed systems (with a header tank) need a pump to achieve good pressure, as they provide 1 bar or less. A combi boiler must have an output of at least nine litres of hot water per minute for a good shower, and larger showerheads need up to 20 litres per minute at 3 bar of pressure. A mains pressure hot water cylinder is the best option to achieve this.
Electrics and lighting If any electrical work is needed, take the opportunity to install more light fittings and shaver sockets. Don’t forget little luxuries, too, such as an illuminated or heated mirror cabinet, a towel radiator with an electric element, and even surround-sound speakers. Bathroom lighting is an integral part of creating the right mood – bright and practical in the morning, and warm and relaxing in the evening. This needs to be addressed at the planning stages, so wall, in-cabinet and mirror lights can all be wired up with minimal disruption. All electrics, including the light fittings, must be compliant with Part P of the building regulations, which requires light fittings and sockets to be a safe distance from wet areas, which are zoned from 0 to 2 according to the risk of electric shock. Anything used in the bathroom must be IP rated; Zone 1 (inside the bath or shower enclosure) needs low-voltage IP67-rated lighting. The regulations also require ventilation in a bathroom, typically in the form of an extractor fan. Visit planningportal.co.uk for more details.
Can I create an extra bathroom out of a bedroom? This can be a good solution where there is currently a downstairs bathroom, or where there are enough bedrooms upstairs to allow for sacrificing one of them. As long as the distance from the hot water cylinder or boiler isn’t too great, it shouldn’t be a problem. It is possible to branch off new pipework from existing hot and cold plumbing runs or to add a new run from the cylinder or boiler. Try to site the WC where it can easily be connected to an existing internal or external soil stack.
Bathroom Design
Left: Basin unit in Quercia Miele with double ceramic basin, £2,050; Anahita bath, £10,200, Alternative Bathrooms Above: Rimini cast-iron bath on claw feet, £1,181. with Tradition bath taps, from £454, and Carlton pedestal basin, from £626, Aston Matthews Far left: Landmark Industrial slider rail shower kit in Urban Brass, £830.60, Samuel Heath
Middle left: Waldorf 1000 wall-mounted fine fireclay basin, £670, Crosswater Left: La Rochelle polished bateau bath, £2,995, The Cast Iron Bath Company Bottom left: Tyne bateau bath with copper finish, £5,820, Drummonds Below: Brooklyn wallmounted two-hole basin set in oil rubbed bronze finish in a scheme by Nia Morris Studio, £1,148, The Watermark Collection
Above left: Scandi Retro double-ended bath, £649; wall-mounted vanity unit and basin, £499, Alison Cork for Victorian Plumbing Above: Edwardian 120cm basin with chrome wash stand and plated brass fittings, £1,048, Burlington Far left: Brindley soaking tub, £999, Pure Bathroom Collection at Smiths Briten Left: Traditional single lever basin mixer in Nickel with white porcelain insert, from £411, Perrin & Rowe
Below left: St James Collection exposed shower combination with London handles in chrome, £1,300, Marflow Below middle: Canterbury bath, £1,900; Vermont washstand, £5,458, and mirror wall cabinet, from £1,223, Fired Earth Below: Stanneus bateau bath, £5,080; Gyrus basin, POA, William Holland Bottom right: Bespoke vanity in a project by Rebecca Hughes Interiors
Advertorial
BATHE IN LUXURY Famed for its stunning bathtubs, The Cast Iron Bath Company also offers a complete range of bathroom fittings for a seamless design
H
ow do you create the desired flow of design throughout your entire bathroom? The answer is to let The Cast Iron Bath Company do the hard work for you. Established as the go to experts in freestanding and bateau cast iron baths over the last 10 years, the team are keen to demonstrate the timeless design of the company’s complementary products in sanitaryware and brassware. Years of experience and time spent listening to the needs of its customers has enabled The Cast Iron Bath Company to refine its designs to meet the whole spectrum of customer requirements. There is a bath for any occasion, be it single ended, double ended, slipper, bateau or copper. The new single ended bath has been designed with comfort in mind, and is an opulent statement piece of generous proportions. ‘We took our range of bath and basin taps to market in late 2016, and have been overwhelmed by the positive feedback and sales volumes,’ says company founder Lee Hunwicks. ‘Many of our customers loved having the matching brand and design in the taps and baths. We have just launched our new shower sets and are introducing lever ranges for all of our brassware, and in early 2018 we will have a new range of sanitaryware available. ‘Every member of our team is an expert and we pride ourselves on our ability to advise our customers to help them make the decisions that result in the bathroom of their dreams. But don’t take our word for it we encourage everyone to come and try our baths in one of our showrooms.’ Find your nearest showroom by visiting castironbath.co.uk or calling 01723 585896.
Left: Exposed shower set with 8-inch rose and hand-held shower, available in a choice of chrome and polished nickel, from £467
The Reclaimer
Heritage underfoot Robert J Henry from The New & Reclaimed Flooring Company shares the beautiful results that can be achieved with a reclaimed wooden floor Wooden wonder…
What to look for…
The benefits of a reclaimed wooden floor lie in the quality of the material and the inherent beauty of an aged piece of wood. Older trees (100 years plus) were slower grown, therefore their grain structure is tighter and the timber more durable. They also exhibit a richer hue of subtle colour variations and a strong, unique character. The true beauty of a wooden floor lies in the finest of details; there is a mystery in reclaimed timbers, once part of previous generations and bygone eras. The ability to take these pieces out of their original context gives them new life, each becoming a work of art in their own right while preserving their historical charm. Investing in reclaimed wood flooring is also an environmentally friendly option, particularly as concerns over deforestation and sustainable wood resources continue to rise.
There are various grades of reclaimed wood, all from different time periods and backgrounds. It is important to consider wood infestation, chemical contamination and wood durability, as well as the quantity of timber available versus the expected delivery date. Unless reliable supplies are established for a particular reclaimed wood floor, where the grade and specifications have been considered, it is likely that every batch of wood will be completely different. There is a big difference between reclaimed timbers that are one year old, 10 years old, 100 years old or more than 300 years old. It has been known for resellers of reclaimed timbers to be unable to offer specific details, such as the age of the wood and the area it was reclaimed from, which can lead to confusion when specifying and comparing patina variations. The key challenge, therefore, is being confident that the product delivered is what was ordered. You should always ask the supplier how they grade the material, and what happens if you don’t like some of the boards that arrive, for example. It is about meeting expectations, while not forgetting that we are dealing with natural materials that are indeed antique, so there will always be variation; we sometimes need to give nature the freedom to do her thing.
Original and best… The one product that is always in demand is English Victorian pine, which is reclaimed from residential homes all over the UK. We also reclaim Victorian structural pine, sourced from industrial spaces such as old cotton mills these timbers vary between joists and millboards, so are slightly different when compared to original Victorian floorboards. Other favourites include 200 to 300 year old French reclaimed boards, which can come from humble country homes to châteaux. Re sawn French and European antique beams are also an excellent source material and provide a great canvas for creating many colours and patterns, such as parquet.
Feature Karen Bray
What to pay… Reclaimed timber flooring ranges from £49-£400 per m2, depending on the type, quality and finish of the product. However, I believe that the price a customer should pay has more to do with the customer experience and service they receive. It is always useful to ask where the flooring was manufactured or engineered, how environmentally friendly it is, what the sample-making and aftercare policy is, if they know of any certified installers to use, what finishing options are available, and why should you buy from that company..
Above: Robert J Henry waxes a floor; British Victorian structural pine boards, from £70 per m2, The New & Reclaimed Flooring Company Below: Antique French oak floorboards, around £167 per m2, BCA Matériaux Anciens; Canterbury oak boards, from £150 per m2, The Antique Oak Flooring Company; reclaimed pine floorboards, from £144 per m2, The British Wood Flooring Company
How to restore… If a floor needs restoration, my top tip would be not to over-sand it. Try a small corner of the floor first to gauge it, and you will then need to oil or wax it to protect from surface damage and footfall. There are lots of products on the market but not all will suit an antique reclaimed wood floor, so make sure you choose the right one for your wood type. A good oil or wax, properly applied, will protect your floor for years and prevent dirt, grease and water from penetrating. Wax is my preference for antique or patinated floors, as it will give an unrivalled depth. A major advantage is that it can be maintained and restored relatively easily and does not require a specialist to carry it out. A waxed floor will never require sanding and sealing and, over time, scuffs and dents will enhance the floor’s beauty. A reputable company or timber merchant will ensure the wood has been de-nailed, properly dried, treated for pests and generally cared for, but if you’re unsure about how to correctly treat your floor, always seek professional advice. Period Living 115
Maintenance HOME HEALTH CHECK:
Interior plaster Old plastered walls bring so much character to a period home, but to keep them in good condition it’s essential to be on the look out for early signs of damage Words Roger Hunt
O
riginal plaster finishes on internal walls and ceilings are worth treating with care. Unlike the smooth, lifeless and hard cementitious and gypsum plasters common today, old plasters tend to have a textural undulating quality, offer flexibility and, most important of all, allow the wall to breathe, enabling moisture to disperse. It’s also worth remembering that decorative wall paintings are sometimes found on early plaster layers, especially in pre Georgian houses. Plasterwork is easily repaired but, although plastering may look easy, it’s a highly skilled job so it’s always best to call in a plasterer with experience of old buildings. To find the most appropriate materials for the job, seek advice from specialist suppliers.
Warning signs Plaster suffers if subjected to prolonged dampness and cracks when movement occurs within the building. Over time, plaster may delaminate or become detached from the surface beneath. Rotten laths can result in plaster sagging or bowing.
Illustration Sarah Overs
Material facts Traditional plasters are relatively simple and are either applied direct to masonry or to a rigid base of laths, or sometimes water reeds, that are fixed to timber wall studs or, in the case of ceilings, to the underside of joists. To ‘key’ the plaster, it is squeezed through the gaps in-between the laths to form nibs that create a bond. PLASTER: Based on lime or clay, or a combination of the two, and usually mixed with sand, plaster is generally applied in one, two or three coats (layers) depending on the quality of the building. HAIR: Providing strength and reducing shrinkage and cracking, animal hairs are added to plaster during mixing as a binder. Today, modern synthetic fibres are often used. LATHS: Traditionally these were ‘riven’ – split along the grain – from chestnut, oak or Baltic fir, but later sawn softwood was employed which, although cheaper, was less durable.
What to look for: O Inappropriate modern plasters and finishes O Cracks and bulges O Loose plaster O Plaster that sounds hollow when tapped O Sagging ceilings O Underlying structural problems O Damp patches and staining
Cracks and bulges Some cracks and bulges in plaster may be superficial or localised; others result from failure of the masonry or timber beneath, or may indicate wider structural problems within the building. Action: O Rake out thin cracks and fill with a good filler. O Investigate bulges or anything larger than a hairline crack. O Monitor cracks over a period of time by marking and dating their end point on the wall. O Consult a structural engineer if in any doubt. O Make necessary repairs with appropriate traditional materials. ³ Period Living 117
O Apply warm water or proprietary wallpaper stripper with a sponge or brush. O Use a steam stripper to remove stubborn coatings, being careful not to allow steam to penetrate the plaster.
Damp and staining
Loose plaster Where an area of plaster has become detached from masonry it can sound hollow when tapped. If it has lost its key to laths, it may feel springy. In both cases the plaster might remain intact as haired lime plaster is generally strong and acts as a sheet, even if areas have parted company with the wall itself. Action: O Test plaster by tapping and prodding. O Attempt to secure the plaster using stainlesssteel screws and large washers. O Cut away defective plaster and investigate. O Where laths have failed, cut back to studs or joists and replace. O Use like-for-like materials to repair any damage.
Unlike modern plasters, lime plasters that have become wet generally dry out with their integrity intact so need not be removed. Where damp is present, salts may pose a problem. If these continue to come to the surface, plaster may have to be stripped. Action: O Always treat the cause of any damp problems, not the symptoms. O Ensure the wall has been allowed to dry out fully before applying plaster. O Where staining appears through a chimney breast it may be necessary to replaster. O If staining continues to persist, consider ‘dry lining’ by fixing battens to the wall and applying laths and lime plaster.
Traditional plaster coats Often referred to as a ‘scratch’ coat, the first plaster coat creates a reasonably flat surface and is ‘scratched’ in a diamond pattern to provide a key for the next coat. For good-quality work, a ‘floating coat’ or a ‘straightening coat’ is applied next and is worked until perfectly level. This in turn is scratched and then a thin ‘setting’ or ‘skimming coat’ is used to create a smooth surface.
Sagging or cracked ceilings Problems with ceilings frequently result from the plaster bond having failed, structural movement, failure of joists, damp problems and rotten or beetle-infested laths. Action: O Investigate from above if access is available from a loft or by carefully lifting floorboards. O Resolve structural issues to joists. O Always use screws for any fixings to avoid vibrations to fragile ceilings. O Where the bond with laths has failed, reinforce by pouring fresh plaster from above and strengthening with a jute scrim set into this and secured to the joists.
Stripping surfaces Wallpapers, paints and other finishes can spoil the appearance of plaster surfaces and may trap moisture. When removing, proceed with care and be aware that wallpaper may be acting as a support to defective plaster underneath. Action: O Always undertake a test first on a small unobtrusive area. O Gently use a scraper but avoid scoring through the surface into the plaster. 118 Period Living
Useful contacts Chalk Down Lime traditional materials. Tel: 01580 830092; chalkdownlime.co.uk Clayworks clay plaster wall finishes. Tel: 01326 341339; clay works.com Lime Centre natural lime materials. Tel: 01962 713636; thelimecentre.co.uk Lime Green lime specialist. Tel: 01952 728611; lime green.co.uk Mike Wye & Associates natural building specialist. Tel: 01409 281644; mikewye.co.uk Society for the Protection of Ancient Buildings (SPAB) information and courses. Tel: 020 7377 1644; spab.org.uk Traditional Lime Co range of lime products. Tel: 01242 525444; traditionallime.co.uk Ty-Mawr sustainable building materials. Tel: 01874 611350; lime.org.uk Womersleys advice and materials. Tel: 01924 400651; womersleys.co.uk
H i
e d
BOOKSHELF
Getting personal Made using quality oak, these hand crafted planters from The Oak & Rope Company can be personalised with an engraving of your choice. Left untreated outdoors, the oak will weather and turn silver over time. Prices start from £595.
The popular peony is championed is this new book, aptly named after the beautiful, colourrich bloom. Authors David C. Michener and Carol A. Adelman highlight the best varieties for your garden accompanied by stunning photography throughout. (£21.99, Timber Press.)
t ou
Attract an array of birds like marsh, blue and long-tailed tits into your garden with a terracotta birdball ceramic birdhouse from Green & Blue. Suspend from a tree with the steel wire and tree protector included to create a safe nesting place, £44 at Black by Design.
GARDEN jour a
Bolster your gardening gear and accessories with book and bird ideas, and bloom motifs
LEAFY PRINTS
Feature Michelle Guy
This latest range from the National Trust is inspired by the carving of a sprig of oak leaves on a beam in the hall at Alfriston Clergy. Kneeler, £20, thermometer, £15, and gardening gloves, £15.
Hello yellow
Time to potter
Watering jug, vase or ornament – take your pick on how to use this vibrant, beautifully hand-painted yellow garden watering jug, £13.50 from Ian Snow.
With a large storage shelf and three handy draws, the Aldsworth potting table, by Garden Trading, would be a practical addition to any potting shed, greenhouse or outhouse. Priced £300, it’s made from durable untreated spruce with a hard wearing zinc worktop. Period Living 121
Shopping
Silver-plated brass swan-neck indoor/outdoor wall light, £165, Pib
Cast-iron fire bowl, from £129.99, The Garden Furniture Centre
Bordeaux, from £5.95 for 100ml of chalk paint, Sarah Jayne Signature Chalk Paint
Personalised vintage set of garden markers, £21.99, Gettingpersonal.co.uk
Copper colour scissors with bound leather handle, £15, T&Shop
Indoor/outdoor Lexington rug in Camel and Red, from £105, Cuckooland
Brookpace large skeleton metal outdoor clock, £110, John Lewis
RUSTIC CHARM
Large wooden pail, £125, Shimu Gardening gauntlets in cream leather and English Rose linen, £25.95, Annabel James
Simple, plain, rough – these words are all synonymous with rustic design. But the mixed materials and colour palette of warm browns and muted pewters with hints of deeps reds, burnt oranges and sumptuous golds, will add something far from plain to your garden. Herald days of old with the understated beauty of these well-crafted buys.
Zinc galvanised, medium square planter, £345, Garden Requisites
Heritage cotton fabric in Fern, from £19.50 per m, ILIV
Vintage watering can, £40, Kikkerland
Tassar Patta Black Tree framed painting, on silk, £225, Shimu
Metal plant stand, £125, Modern Country Style Interiors Feature Michelle Guy
Handmade metal hanging birdhouse/ planter, £15, Ian Snow
Hand-etched aluminium planters, from £9.99, Waitrose Period Living 123
CLOSER TO NATURE
Keep things natural and turn your garden into a wildlife haven for the creatures that share your space Words and photographs Leigh Clapp
Gardens
eners have a vital role lay in securing the ure of our wildlife by dening organically, nking of the needs of s and animals, and by ests and their natural itish countryside and e causing natural e, putting increased pressure on our wildlife. We can help with a few simple changes of our own, even in small gardens, to make a patchwork of refuges across the country. Wildlife needs two fundamental things: habitat somewhere to breed and shelter; and sustenance somewhere to forage throughout the year. Get the balance right and your garden will flourish while creating a food chain that manages the eco-system of your garden. Keep in mind the benefits of natural pest control, for example birds and frogs will take care of slugs and snails, and ladybirds love to eat aphids, greenfly and blackfly. The RHS recommends preventing and reducing pests and diseases by ‘good cultivation, cultivar selection, garden hygiene, using biological controls, avoiding pesticides where possible, and accepting the presence of some pests that can provide larval food for pollinators.’ Did you know that fewer than one per cent of British insects are garden pests? All the more reason to embrace the mini-beasts. Wildlife-friendly is sometimes thought of as a messy garden, but this doesn’t need to be the case. Attracting an abundance of pollinators will ensure our garden plants and crops continue to flourish. Biodiversity is key. There is a rich diversity in our gardens, often with more pollinators than in our countryside, but there are lots of simple things we can do to encourage further visitors to our patches and create a green corridor for wildlife. Most gardeners already think about growing a diverse spread of plants encompassing groundcovers, climbers, trees and shrubs, as well as a floral mix of perennials and annuals, so it’s just a case of also considering their use for food and shelter. When selecting plants, spare a thought to including an array that will provide pollen or nectar over as long a season as possible, from early crocus and mahonia
to winter-flowering viburnum and ivy. Select open flowers rather than double or highly bred cultivars for the best pollen, and to make easier access for bees, butterflies and other pollinating insects that have the absolutely essential task of fertilisation. Grow a range of both native and introduced species, in mixed hedges, add trees that have both blossom and berries, and look closely at labels such as the RHS Perfect for Pollinators symbol. A note, though – if you are looking for plants for bees and pollinators, they should have been grown without synthetic pesticides. For assurance, it’s worth hunting out an organic nursery (see overleaf) and remember not to spray open flowers. Other easy steps include leaving some seedheads through winter before cutting down the borders completely in early spring, adding a log pile tucked out of sight, providing clean water in a birdbath or shallow dish, keeping a patch of grass long or planting a meadow of wafting flowers mingling with parchment grasses. A patch of nettles is a magnet for beneficial insects, in particular ladybirds for egg laying, and they are considered key to the survival of butterflies as a food source for many caterpillars such as peacock, tortoiseshell and comma. With careful harvesting you can also use nettles in the kitchen for medicinal tea or a hearty soup, as well an activator in the compost and liquid plant food. Increasing your garden’s plant diversity and encouraging more wildlife to stop by will make a more interesting and healthy haven for you, too. ³
10 easy tips for a wildlife-friendly garden Choose plants attractive to native wildlife O Grow a diversity of wild and cultivated plants O Plant single, broad flowers to attract bees O Allow some plants to go to seed O Cut shrubs on a rotational basis O Make space for mini-beasts to provide the whole food chain O Use organic methods for pest control O Include water, in a container, birdbath or a pond O Place a pile of logs in a quiet corner of the garden O Plant a perennial or annual meadow O
Period Living 125
GET THE BUZZ
TOP PLANTS FOR WILDLIFE
It is estimated that 80 per cent of the Western diet is dependant on bee pollination, so it is important that we do what we can to help the health and survival of our British bees: O The prime reason for the waning bee population is the parasitic varroa mite, but we can do our bit by adding pesticide-free nectar and pollen rich flowers. O Bees focus their pollen collecting near the hive, returning to the same source until it is depleted, so it is important to plan a succession of choices from early spring to late autumn, and even into winter. O Provide long-flowering, single open flowers, old-fashioned cottage plants and native choices for food, water to drink and habitats for shelter. O Bumblebees may nest in tussocks of grass or moss on a bank of long grass at the edge of your plot. Planting catmint and clover should encourage them into your garden. O White-tailed bumblebees now survive our milder winters so planting winter-flowering nectar rich plants will help them do even better. O Solitary bees are not at all aggressive; bumblebees and honeybees are unlikely to sting unless disturbed, so enjoy watching them and leave them to forage in your garden. O Replace some of your lawn with a meadow area or some British wildflowers. O Clumps of bee-friendly plants, planted in sunny positions are more attractive to bees than scattered or shady spots. O Honeybees like saucer-shaped flowers as they are easier to get into with their short tongues. O Different species of bumblebees have different lengths of tongue, which means they feed from different shaped flowers. O Large shrubs and trees are a vital food source as well. Five established winter-/early springflowering trees supply a similar amount of pollen and nectar as an acre of meadow.
(Top row, l r) SUNFLOWER Select single forms. Bees love them in summer and it’s a seed buffet for birds later in the season. Sow in a sunny protected spot in spring, early summer. FOXGLOVE Digitalis purpurea, our native form, is a biennial wildflower loved by bumblebees. They do best in light shade. Ideal in borders and woodland. TEASEL Architectural, spiky seedheads that last through winter. They provide food and shelter for a myriad of creatures, including bees and birds. Best in clay soil that doesn’t dry out in summer. (Second row, l r) ECHINOPS Herbaceous perennial that is a magnet for bees and other insects. Easy to grow in well drained soil. SEDUM Easy to grow succulent that provides nectar late in the season, and is a haven for bees, hoverflies and butterflies. Does best in full sun. HONEYSUCKLE Fragrant flowers on a vigorous vine great for nectar loving insects, and berries for birds. Full sun or part shade. (Third row, l r) PYRACANTHA An evergreen shrub with clusters of white flowers in spring and red, orange or yellow berries in autumn. Birds enjoy the berries and shelter it provides, and the nectar is enjoyed by bees and butterflies. MALUS, CRAB APPLE TREE Native and exotic varieties suit all sizes of gardens. Birds enjoy the autumn fruits and bees love the spring blossom. BERBERIS Easy care shrub for all but dry soils. Provides nectar for butterflies and moths, plus shelter for caterpillars, and thorns create a barrier for safe nesting sites. (Fourth row, l r) EUONYMUS, SPINDLE An easy to grow native tree, leaves are eaten by caterpillars and attract aphids and therefore their predators such as hoverflies and birds. Flowers provide rich nectar and pollen for insects; berries are poisonous to us but loved by finches. Sun to part shade, well drained soil. BUDDLEJA The nectar packed flowers in summer and autumn are a real butterfly magnet. Fast growing deciduous shrub. Grows in most soils, in sun to part shade. Prune hard in late winter. Choose a variety that won’t become invasive. ECHINACEA Prolific flowers adored by bees and butterflies. Once established they are very robust and long lived. They need fertile soil so add some compost when planting and choose a sunny spot.
ORGANIC NURSERIES O
ORGANIC GARDENING CATALOGUE
Official online catalogue of Garden Organic. Seeds, plants, bulbs, growing information and pest prevention. organiccatalogue.com O
EDULIS NURSERY
Eclectic mix of unusual plants and edibles. The Walled Garden, Pangbourne RG8 8HT. edulis.co.uk
HELPFUL WEBSITES
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BLUEBELL COTTAGE NURSERY AND GARDENS
Old-fashioned perennials. Dutton, Cheshire WA4 4HP. bluebellcottage.co.uk O
WALCOT ORGANIC NURSERY
Fruit trees by mail order or collection. Pershore WR10 2AL. walcotnursery.co.uk
RHS.ORG.UK - information on wildlife gardening, including a video of tips O RSPB.ORG.UK - creating a wildlife-friendly garden O WILDLIFETRUSTS.ORG - fact sheets full of ideas to go wild in your garden O O
WILDABOUTGARDENS.ORG.UK PICTORIALMEADOWS.CO.UK – award-winning seed
mixes provide colour for a sunny border
126 Period Living
SILVER SENSATION Jane Gates has created a garden with year-round interest that shimmers in the February frosts with ornamental grasses against bare trunks and clipped buxus, as the first bulbs carpet the ground Words and photographs Leigh Clapp
Gardens
Curving beds of ornamental grasses, euphorbias, cardoons and clumps of snowdrops follow the contours of the shingle paths
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etting the garden to look good year round is always difficult, but Jane Gates has managed it beautifully at her Sussex home, a 16th-century farmhouse with late-19th-century additions. An artistic eye and the clever use of repeated swathes of planting with curvaceous shapes combine to create interest through each season. Originally a graphic designer, Jane retrained as a garden designer and worked in London for eight years, before moving to Sussex in 2010 after her husband died. ‘The existing lake and field were big attractions, but I knew the blank canvas would be a challenge,’ she recalls. The garden had been neglected, apart from the lawns. ‘Banks of overgrown laurels screened the garden from the house, and there were a few rhododendrons, a clump of golden bamboo and various other sad specimens dotted around,’ adds Jane. Around the house was a jumbled mix of holly, pyracanthas, wisteria, clematis and roses, while at the east end of the plot were random plantings of cordylines and trachycarpus. ‘The lake was completely overgrown with no marginal planting,’ says Jane. Mature yew hedges on the boundary were a good feature, although they were in poor condition, and some fine trees, including a fothergilla, a Catalpa bignonioides, an Aesculus hippocastanum and three lovely Betula utilis var. jacquemontii in the grass in a small group, were among the highlights. ‘My first move was to tackle the area in front of the house,’ Jane explains. ‘I removed the grass and all the anti-burglar plants, leaving only the climbers. Then I reshaped the beds in curves and put down 10mm shingle, continued into the rest of the garden, and planted large box balls to provide structure with Libertia grandiflora running through.’ Planting was added in semi-shaded areas by the house for interest through the year, with hellebores, lily of the valley, scented daphnes, and inky black Ophiopogon planiscapus ‘Nigrescens’ followed by wisteria, roses and stipas, while succulents were added into the gravel. ‘As I’m a garden designer, you might have expected me to have done some drawings – I did a few but it was all in my head and evolved out of necessity and just by following the lay of the land and using what was there,’ she smiles. The huge bank of laurels was the next to go, which took ages even with a digger as they had layered themselves and were very dense. ‘Doing this revealed my oil tank and a shed, both of which were moved,’ Jane adds. The whole area was dug over and soil improver added, as it was heavy, untouched clay, and from then on cow manure, lime and homemade compost are added twice a
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year across the garden. ‘I’ve had invaluable help from my gardener, Adam Butler, with all the digging, relocating bamboo for screening on the boundaries, planting, lawns and he does wonderful edges, too,’ she says. Replacing the area of laurels was the next development, creating the bed that absolutely shines in the low February sun, with a stand of 11 stately Betula utilis var. jacquemontii underplanted with repeated buxus spheres and ribbons of Stipa arundinacea and tenuissima, Miscanthus sinensis and Carex comans ‘Frosted Curls’. Later in the season black and white tulips, including ‘Queen of the Night’ and ‘Black Parrot’, will pop up through the textures, followed by masses of Allium hollandicum ‘Purple Sensation’ and Allium christophii. This curvaceous entrance bed links to further organically shaped curving island beds that Jane describes as her ‘paisley shapes’, as the gravel path sweeps up between the three birch trees onto the lawns and leads you on. Jane has planted them with a continued rhythm of grasses, including Stipa gigantea, in a prairie style of planting, architectural artichokes and cardoons, dramatic Euphorbia characias ‘Humpty Dumpty’, tactile sedums, and later seasonal highlights – from alliums, through a rainbow of irises to clouds of Japanese anemones. A bed dedicated to winter planting was one of the first to be developed with vibrant cornus stems, scented mahonias, Viburnum x bodnantense and hamamelis, and then each year another bed was created. Unifying the design is a tufty fringe of Carex comans ‘Bronze Perfection’ as you are led up to a rustic summerhouse and casual seating area. Under the dappled shade of the mature trees, thousands of spring bulbs have been planted in swathes. In a wild area by the lake are massed carpets of snowdrops so Jane could lift, divide and replant ‘in the green’ across the main garden. Over the past seven years they have naturalised well, as have Cyclamen hederifolium and dainty narcissi around the bases of trees. ‘I planted a lot of snowdrops as they are the first hope of summer coming,’ she says. Clumps of these dainty little bulbs light up all the beds, peering out between the grasses or in tiny terracotta pots. Decorative details complete the scene, from architectural obelisks of stag horn oak collected from the wood, woven willow and grouped containers, to a whimsical heart traced in the lawn for her daughter’s party, now planted with Fritillaria meleagris. Just as the garden is reaching a level of maturity, Jane is moving on to a new property close by, where she will start from scratch to develop another garden and take on the challenges again to create another beautiful series of vignettes.
KEY FACTS CHARACTER OF GARDEN Prairie plantings and carpets of snowdrops and narcissi soften the more formal areas in this garden, while buxus and grasses provide structure and repeated rhythms with year-round appeal SIZE A one-acre garden, with an additional two-acre meadow and spring-fed lake ASPECT The main garden is south facing SOIL Heavy clay on chalk, now improved with manure and homemade compost OWNER Jane Gates, a retired garden designer, lives here with her standard poodle Blin
Top: A stand of Betula utilis var. jacquemontii is underplanted with Stipa arundinacea (pheasant’s tail grass) and spheres of buxus Above: Tiny containers of muscari, snowdrops, and hellebores are a lovely touch on the metal table Right: Fringing with Carex comans ‘Bronze Perfection’ adds definition to the stipas, miscanthus and birch
JANE’S TIPS O I love using grasses en masse
for year-round structure, cutting them back in late Feb/March before the new shoots appear. O Grasses like the pheasant’s tail Stipa arundinacea are good to hide the tulip foliage. O I don’t cut the carex, just take out the dead bits in early spring. They are amazing plants and so easy also to split and replant. O Formally clipped buxus works well for structure, repeated among the grasses. O Strappy foliage such as libertia, liriope, ophiopogon and hemerocallis is lovely for structure all year.
IN THE AREA Camelia Botnar Garden Centre Cowfold RH13 8NA. Home and garden products as part of a charity foundation that helps young people learn a skilled trade. The horticulture trainees produce top-quality plants. cbhomesgardens.com Nymans Garden Handcross, nr Haywards Heath RH17 6EB. Garden for yearround interest set around a romantic house and ruins. nationaltrust.org.uk/nymans High Beeches Garden Handcross, nr Haywards Heath, RH17 6HQ. A 27-acre woodland garden with spring bulbs, rhododendrons, azaleas and fine mature trees; open April to October. highbeeches.com Borde Hill Garden Haywards Heath RH16 1XP. Magnificent country garden with different areas, including woodland, an Italianate garden, dell and a David Austin rose garden; open from 20 March to 1 October. bordehill.co.uk
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Gardens
Opposite, top: Woven circles draw the eye up from the carpet of snowdrops Opposite, bottom: Hellebores, snowdrops and Ophiopogon planiscapus ‘Nigrescens’ are interspersed with pots of heather Right: Grouped containers change with the seasons, with hellebores and snowdrops, followed by tulips Below, clockwise from left: Charming woven hearts add to the bare tracery; surrounded by snowdrops, an old tree stump becomes a decorative feature; simply stunning – a single pot of snowdrops; hellebores are a great choice for container planting; Primula auricula varieties come in an array of colours
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Heritage weekend... CIRENCESTER Feature Emily Hawkes Above: Hints of honey-coloured Cotswold stone and the tower of Cirencester’s majestic church emerge amid the lush green spaces that punctuate the historic town
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legantly picturesque, yet still possessing the unpretentious charm of a traditional market town, Cirencester has a peaceful character that draws you in. Mentioned in the Domesday Book of 1086, and the second largest town after London in Roman times, known then as Corinium Dobunnorum, Cirencester prospered thanks to the medieval wool trade. This enabled the building of the spectacular cathedral-like Parish Church of St. John the Baptist, which remains at the very heart of the town today, its south porch and fan vaulting a lasting symbol of the town’s wealth and influence. Further historical treasures can be found at the Corinium museum, from the archaeology of the Cotswolds to a stunning mosaic collection and, a short walk from the centre, the now grassed-over Roman amphitheatre is one of the best preserved in Britain. Beautiful Victorian architecture, painted in pastels, flanks the central Market Square, while golden-hued Cotswold stone buildings inhabit the surrounding warren-like streets and quaint
courtyards. The Abbey Grounds, once home to an Augustinian monastery, is the perfect spot for a picnic, and if green space is what you crave, wander the 19th-century Cirencester Park, Earl Bathurst’s 3,000-acre estate. In summer, swim in the heated natural spring waters of the town’s open-air pool, built in 1869, and for outdoor activities aplenty, Cotswold Water Park just outside Cirencester offers 150 lakes set over 40 square miles, where you can row, paddle board, cycle or bird watch. A centre of excellence and the creative hub of Cotswold crafts, New Brewery Arts is home to a contemporary art gallery, craft shop and over a dozen resident artisans, from sculptors to glassblowers. Host to regular exhibitions and workshops, from creative writing to ceramics, this converted Victorian brewery offers the opportunity to watch craftspeople at work. Indeed, with its antique shops, boutiques and fashionable delis, Cirencester has bridged the gap between old and new, from creative industry to culinary excellence, resulting in an inviting destination whatever the season.
Photographs (Cirencester landscape, the Woolmarket, antiques signage, Corinium museum, market) © cotswolds.com; (The Fleece) © Hannah Webster; (The Old Brewhouse) © Martin Bennett; (The Wild Duck) © The Lucky Onion; (St. John the Baptist Parish Church) © iStock Illustration Sarah Overs
Known as the capital of the Cotswolds, this idyllic, quintessentially English market town has a rich Roman history and creative spirit
Out and About Clockwise, from below right: Pastel buildings overlook the market square; find antiques shops aplenty; the Wild Duck Inn’s Sunday roast; explore the Cotswolds’ Roman heritage at the Corinium museum; The Village Pub in Barnsley; St. John the Baptist Church is the heart of the town; sip from vintage china at Diversitea; the Woolmarket; enjoy a stay at The Fleece; the motif is strong at The Bull; the courtyard of The Old Brewhouse
Where to stay Stay right on the market square at The Fleece, a characterful 300-year-old coaching inn that has maintained its quirky original features after a recent refurbishment. Find traditional hospitality and a hearty breakfast, from £75 per night, bed & breakfast. 01285 658507; thefleececirencester.co.uk The Old Brewhouse is a charming townhouse B&B just outside the centre, offering a warm welcome, country-style rooms and a blooming courtyard garden to enjoy. From £95 per night. 01285 656099; theoldbrewhouse.com Further afield, The Bull in unspoilt Fairford occupies a former 15th-century monks’ chanting house. Stylish and intimate, this Grade II-listed inn offers much – from its beautifully appointed en suite bedrooms (with lovely locally made Wold Garden toiletries), to the rustic bar and restaurant furnished with an eclectic mix of reclaimed timbers, vintage pieces and copper accents. Post-dinner, enjoy a cosy drink in front of a stunning heritage flower mural and a crackling fire in the lounge. From £100 per night, including continental breakfast. 01285 712535; thebullhotelfairford.co.uk
Where to eat Whether you’re looking for coffee and cake (try Jack’s Café for a mouth-watering selection), delicious brunches from the open kitchen of Made by Bob, a buzzing deli and brasserie in the Corn Hall, or modern British cuisine tucked away at Jesse’s Bistro, Cirencester caters for all. For the simple pleasure of tea from a proper pot, stop in at family-run Diversitea for a variety of brews and freshly baked treats, all served on pretty vintage china. 01285 655855; diversiteacafe.co.uk. The Village Pub in nearby Barnsley is the picturepostcard country pub, serving Cotswolds craft ales and a menu showcasing traditional butcher’s cuts and homegrown veg. Try the bacon jam, and very chunky chips, from a comfy armchair after a day’s ramble. 01285 740421; thevillagepub.co.uk. And look past the creeping ivy and you’ll see the peeping clock of The Wild Duck at Ewen. This charming pub’s menu is rooted in British classics, from a pie and pint to a feast of a roast. 01285 770310; the luckyonion.com/property/the-wild-duck-inn. ³ Period Living 135
Where to shop
From top: For lovely gifts and accessories, swing by French Grey; the Jolly Nice Farmshop’s excellent burgers are made from home-produced rare breed meat; find British handcrafted homeware at the vibrant M.a.d.e
For lovers of a traditional market, Cirencester’s marketplace bustles with a Charter market every Monday and Friday, and a Farmers’ market every second and fourth Saturday. In the chic mall of the Corn Hall, find a home fashion and garden bazaar on weekdays, with an antiques and collectibles market on Fridays an original craftsman’s market and the Cotswold craft market runs on alternate Saturdays. For hidden gems in quiet corners, head to The Woolmarket, off Dyer Street, and the Stable Yard, off Black Jack Street the nooks and crannies are brilliant to browse. For a gorgeous selection of homeware, French and Gustavian style painted furniture and gift ideas, French Grey Interiors will tempt you in with its beautiful accessories, scented candles and natural soaps. Find decorative doorknobs as well as stylish scarves and jewellery. 01285 653900; frenchgreyinteriors.co.uk M.a.d.e. the Makers and Designers Emporium stocks quirky and colourful homeware and accessories sourced from more than 250 British designer makers and small independents. Owners Louise and Sheena share a love of unique, handcrafted wares, so find screen printed wall art, ceramics, cushions and organic clothing for children. 01285 658225; made gallery.com And for a fabulous foodie destination,with a café and locally crafted yurts outside, the Jolly Nice Farmshop near Stroud was once a petrol station, now stocking free range and pasture fed produce. Be sure to try the homemade ice cream and one of their delicious burgers. 01285 760868; jollynicefarmshop.com. For more information, visit cotswolds.com
One of the last country houses to be built and furnished according to Arts and Crafts ideals, Rodmarton is a grand example of how the movement shaped it, explains owner John Biddulph. Can you give a brief history of the property? Prior to 1909, the whole site at Rodmarton was a ‘greenfield’, with everything built between 1909 and 1929 using local craftsmanship, labour and materials, including furniture and fittings. Architect Ernest Barnsley and his brother Sidney, a furniture maker, had moved from London to Sapperton to follow the Arts and Crafts principles and set up workshops with Ernest Gimson, before carrying out the work for Claud and Margaret Biddulph. It was first conceived as a house for formal Edwardian country living, but the Biddulphs gradually became more involved in the community elements of the movement, their objective shifting to village life and encouraging crafts and employment, while their drawing room came to be used for craft practice. How is the house presented today? Original interiors and some of the finest examples of Cotswold Arts and Crafts furniture can be seen, including appliqué wall hangings made by the Rodmarton ladies in the 1920s 1930s, and ceramics and metalwork by local artists and blacksmiths. Practically all the contents of the chapel were made in the village from the quarried stone altar to the
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oak pews, with curtains made by the Women’s Guild of Handicraft. The garden still has Barnsley’s original layout; each area has a different character, and you’ll find a terrace with topiary, herbaceous borders and walled garden. What’s new for 2018? Snowdrops feature strongly at Rodmarton; there are at least 150 varieties, the main ones flowering in February. This year we are also reopening the walled garden, and extensive tree pruning has allowed more light into certain areas, to get an improved sense of the garden’s architectural structure. Rodmarton Manor garden reopens for snowdrops on 4, 11, 15 and 18 February 2018; the house from Easter Monday 2 April, 2-5pm, then Wednesdays, Saturdays and Bank Holidays, May to September, 2-5pm. For group bookings, visit the website. Admission (House and garden): adult £8, child £4. Tel: 01285 841442; rodmarton-manor.co.uk
Photograph (Rodmarton Manor, front exterior) © John Biddulph
Rodmarton Manor
Travel
The grand tour… VENICE This city of more than a hundred islands reflected in the silver threads of its canals, presents many faces to its visitors – pious art rubs shoulders with the dizzy excesses of Carnival, creating a colourful masquerade Words Karen Darlow
Photographs (top) SamLi; (centre) © Marco Bottigelli; (bottom) FotoVoyager; all ©Getty Images Illustration Sarah Overs
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nyone who has fallen in love with Venice will remember the first time they were introduced to this beguiling city, whether it was through art - Turner’s sublime 19th-century watercolours of the waterlocked jewel, or Canaletto’s careful 18th-century studies; literature – Henry James’ The Aspern Papers or Evelyn Waugh’s Brideshead Revisted; or cinema – Nicolas Roeg’s iconic 1973 thriller Don’t Look Now, referenced in the 2006 James Bond Casino Royale. In my case it was a Blue Peter report on the floating city that first sparked my fascination with this unique place and its multifaceted allure and many guises. Nothing can prepare the traveller arriving in Venice for the unmatched beauty that greets them as they approach the city by water – the only way to approach, of course. Because no matter how many times people tell you that everything in Venice happens by water, seeing the Venetians going about their business – refuse collectors, taxis, buses and fire engines, all arriving by boat– still leaves a lasting impression of a place that is entirely of another world. Arrive in Venice in early February (3-13 February 2018) and you’ll see Venice in Carnival mode. Dressed up in flamboyant costumes and cloaks, and hidden behind the traditional masks, Venetians and visitors continue a tradition that can be traced back to 1162, when an important military victory inspired the city’s inhabitants to enjoy days of celebrations. Carnival is also rooted in the Christian calendar, which required the hedonistic fling of partying and indulgence to come to an end on Shrove Tuesday (mardi gras) and give way to the austerity ³
Above: Venice’s sleepy backwaters offer something to delight at every turn Below: Tourists on Rialto
bridge at dusk watch a passing gondola Bottom: Faded grandeur is redefined in the Grand Canal’s imposing palazzi
Below: St Marks’ Square with the columns of San Marco and San Teodoro. The Campanile collapsed in 1902, and was rebuilt 10 years later. On a clear day, you can see the lagoon and as far as the Dolomites from the loggia
Photographs (this page, from top) Kosei Saito; RelaxFoto.de; John & Tina Reid;(opposite, from top) Apexphotos; Peter Zelei Images; JaCZhou 2015; all ©Getty Images
Top: This most stylish mode of transport comes at a price: a gondola ride starts at 80 Euros for 40 minutes Above: Mysterious, fun, sinister and colourful – the many faces of Venice Carnival masks
of Lent. The colours of Carnival truly bring Venice’s canals to life, and the Piazza San Marco, Palazzo Ducale, the church of the Santa Maria della Salute and the Rialto bridge never look so magnificent as they do in their Carnival finery, when the costumes and atmosphere take the city back to the excesses of the 18th century. Those must-see monuments are just a fraction of what makes Venice so special, and behind the grand colourwashed canal-front palaces are the many other faces of Venice. Take a tour on foot, making sure you have a copy of JG Links’ Venice for Pleasure in your hand. This excellent guide book, first published in 1966 and now in its ninth edition, will lead you through the narrow calli, campi, quiet squares and backwaters away from the tourist hotspots. Learn, as you go, all about the city’s rich history, art and architecture. Be sure to stroll through Cannaregio, the Jewish ghetto where the Jewish population were forced to live from the 16th to 18th centuries, packed into low-ceilinged buildings, up to seven storeys high. The area is now a good place to seek out relaxed restaurants, crafts and vintage goods and is home to the Muso Ebraico di Venezia, the Jewish museum, which showcases the fine work of the ghetto’s goldsmiths and textile manufacturers during their two centuries in the quarter. What do well-heeled feet do when they grow weary of Venice’s streets? Step into a gondola, of course. But with prices starting from 80 Euros for 40 minutes, you’d be wise to consider an alternative means of getting around. One way to get the essence of gondola without the cost, is to take a less decorative traghetto, a passenger ferry with two oarsmen, across one of seven ferry points on the Grand Canal. And in a place oft criticised for its overcrowded and overpriced locations, it’s worth remembering that many of the city’s artistic masterpieces are free to enjoy, or for a nominal entrance fee for the building’s upkeep. You might reasonably expect a lower admission charge at Venice’s Scuole Grandi, for the seven ‘great schools’ were not really schools, but confraternities – charitable, religious institutions for ordinary Venetians, and the first organisations to give a modicum of power to anyone other than Venetian nobility. The oldest, the Scuola Grande della Carità, was founded in 1260; the most recent, the Scuola Grande dei Carmini, was established in 1767. The scuole were designed by renowned architects and decorated with fine artworks and included grand halls and meeting rooms. Their roles included providing charity for poorer members and the supervision of hospitals. All the scuole have fascinating back
Travel stories, but the Scuola Grande di San Rocco, established in its current site in 1515, is the best preserved and is notable for its atmospheric masterpieces by Tintoretto. The artist worked at the Scuola for more than 20 years, but his introduction to San Rocco was far from conventional. In May 1564, the Scuola’s supervisory boards had invited sketches from Venice’s painting glitterati in a ‘competition’ to choose the artist to decorate the building’s ceiling. Tintoretto audaciously skipped the sketch stage and completed his painting of St Roch on the ceiling. The supervisory boards were indignant. They had asked for drawings and had not commissioned the work itself. Tintoretto told them this was his way of drawing, saying if they did not want to pay him for the work, he would donate it. On 22 June the Scuola accepted the gift, and the painting was allowed to remain. The painter continued to add to the Scuola’s masterpieces, adding further ceiling paintings free of charge, and then commissioned wall paintings. In the meantime, Tintoretto was accepted as a member of the Scuola and had neatly engineered himself a secure future as San Rocco’s painter in residence. Once you’ve had your fill of Tintoretto, you might like to check out the opposition and see the glorious work of Veronese, one of the artists Tintoretto pushed aside in the competition for San Rocco’s ceiling. Veronese’s jewel coloured paintings decorate the interiors of the 16th century church of San Sebastiano. Staying with the 16th century, but moving away from religious art into one of the city’s Renaissance palazzi, Palazzo Grimani still retains its original wall and ceiling frescoes, commissioned by Cardinal Givoanni Grimani. A visit will give a taste of life in a 16th century palazzo. No trip to Venice would be complete without a browse in an authentic mask shop, particularly at Carnival time. Alberto Sarria, whose workshop is in the San Polo district, claims that ‘Every object born from a passion is blessed with beauty and honesty’, and his shop is packed with honest, beautiful objects, rather like the city itself.
She looks a sea Cybele, fresh from ocean Rising with her tiara of proud towers At airy distance, with majestic motion A ruler of the waters and their powers In Childe Harold’s Pilgrimage, Bryon described his hero’s first impressions of Venice
Above: The extravagant roofline of St Mark’s Basilica, built in 829 to house the sacred relics of St Mark. The winged Lion of Venice came to symbolise the power of the city and its patron saint
Below: Inside, the Basilica is just as magnificent, with more than 8,000 square metres of exquisite golden mosaics Bottom: Sunset over the gondolas and the iconic Santa Maria Della Salute
Contact details BASILICA DI SAN MARCO - Open daily. Free entry to the Basilica, small charge for the Museum, Treasury and Pala d’Oro, San Marco, 328. basilicasanmarco.it CAMPANILE – Open daily from 9.30am3.45pm, later in summer months, Piazza San Marco. basilicasanmarco.it SCUOLA GRANDE DI SAN ROCCO – Open daily, except Christmas Day and New Year’s Day, 9.30am-5.30pm, Campo San Rocco. scuolagrandesanrocco.it MUSO EBRAICO DI VENEZIA - Open Mon-Sun, 10am-5.30pm, Campo del Ghetto Nuovo. museoebraico.it SAN SEBASTIANO - Open Mon-Sat, 10am-5pm, Campo San Sebastiano. chorusvenezia.org PALAZZO GRIMANI – Open Tues-Sat, 8.15am-7.15pm, Castello 4858, Ruga Giuffa, 30122. palazzogrimani.org ALBERTO SARRIA MASKS Ruga Rialto - San Polo, 777 30125. masksvenice.com
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Kensington Design 020 7938 2000 kensingtondesign.com Kernow Fires 01208 812527 kernowfires.co.uk Kew shop shop.kew.org Kikkerland kikkerland.com King & Mcgaw 01273 511942 kingandmcgaw.com Kristin Lagerqvist kristinlagerqvist.com
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La Redoute 0330 303 0199 laredoute.co.uk Lakeland Paints 01524 852371
lakelandpaints.co.uk Laura Ashley 0333 200 8009 lauraashley.com Lexington Company lexingtoncompany.com Liberty London 020 7734 1234 libertylondon.com Libra 01223 895800 thelibracompany.net Linwood 01425 461176linwoodfabric.com Lisa Love lisalove.se Little Greene 0161 230 0880 littlegreene.com Loaf 0845 468 0527 loaf.com Lorfords 020 3434 3133 lorfords.com Lorna Syson 020 8465 9819 lornasyson.co.uk
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M&S 0333 014 8555 marksandspencer.com Made 03442 571 888 made.com Mandarin Stone 01600 715444 mandarinstone.com Marbles Ltd 020 8313 3467 marblesltd.com Marflow 0121 358 1555 marflow.co.uk Mark Hearld at St Judes 01603 662951 stjudesfabrics.co.uk Marnick Builders marnick.co.uk Marquis & Dawe 01925 767611 marquisanddawe.co.uk Matthew Williamson at Osborne & Little osborneandlittle.com Merci merci-merci.com Mini Moderns minimoderns.com Missprint 01277 350581 missprint.co.uk Modern Country Style Interiors moderncountrystyleinteriors.co.uk Mokkasin mokkasin.com Monsoon 020 3372 3052 monsoon.co.uk Moon 01943 873181 moons.co.uk Moonbeam Lighting moonbeamlighting.co.uk More Furniture morefurniture.se Morris & Co 020 3457 5862 stylelibrary.com
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National Trust 0300 123 2025 nationaltrust.org.uk Neptune neptune.com The New & Reclaimed Flooring Co 020 7250 1108 reclaimedflooringco.com Newark Antique Fair iacf.co.uk Nia Morris Studio 01386 593192 niamorris.co.uk Nobilis nobilis.fr Not on the Highstreet notonthehighstreet.com Noxu Home 01202 560506 noxuhome.com Nutwood Flooring 01892 655065 nutwoodflooring-eastssussex.co.uk
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Sainsbury’s Home 0800 636 262 sainsburys.co.uk Samuel Heath 0121 766 4200 samuel-heath.co.uk Sandberg sandbergwallpaper.com Sanderson 020 3457 5862 stylelibrary.com Sarah Jayne Chalk Paint 01665 712623 sarahjaynepaints.com Scandinavian Design Center 020 3868 6562 scandinaviandesigncenter.com Shabby Store 01509 323102 shabbystore.co.uk Sheila Maid 01307 468589 sheilamaid.com Shimu 0800 088 6800 shimu.co.uk Sisal & Seagrass 020 8558 0887 sisalandseagrass.co.uk Smiths Briten 0845 634 4321 purebathroomcollection.co.uk Sofa.com 0345 400 2222 Sofas & Stuff 01798 300353 sofasandstuff.com Sofas by Saxon 01204 368413 sofasbysaxon.com Sofa Workshop 0808 163 6801 sofaworkshop.com Sophie Allport 01778 560256 sophieallport.com Sophie Conran 020 7603 1522 sophieconran.com Stonestore 0161 660 7192 stonesuperstore.co.uk Studio Pompone studiopompone.com Surface View 0118 922 1327 surfaceview.co.uk Sweetpea & Willow 0345 257 2627 sweetpeaandwillow.com
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Tennants Auctioneers 01969 623780 tennants.co.uk Tetrad 01772 792936 tetrad.co.uk The Watermark Collection 020 7740 7340 thewatermarkcollection.eu The White Company 020 3758 9222 thewhitecompany.com Timber Press timberpress.com Topps Tiles 0800 783 6262 toppstiles.co.uk Travel Posters Online travelpostersonline.com
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Zara Home zarahome.com ZaZa Homes 01392 433091 zazahomes.co.uk Zoffany Paint 020 3457 5862 stylelibrary.com
Period Living 145
The custom of sending love notes on 14 February goes back hundreds of years. The oldest surviving handmade cards date from the 1400s, but it was the 19th century’s cheap paper and printing processes that brought a glut of mass-produced, but exquisitely charming, Victorian valentine’s cards. Here are our favourites – sure to appeal to old-fashioned romantics…
162 Period Living
Images: (top row, l-r) Kean Collection, Time Life Pictures, Time life Pictures, David Pollack; (middle row, l-r) Time Life Pictures, Bettman, Time Life Pictures, Kean Collection; (bottom row, l-r) Time Life Pictures, Rykoff Collection, Hulton Deutsch, Fine Art; all © Getty Images
THE ART OF THE VICTORIAN VALENTINE
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