PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE
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Old meets new
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SEPTEMBER 2018
A N T I Q U E S
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R E N OVAT I O N
RESTORE AND REPAIR ORIGINAL TIMBER WINDOWS
48 pages of beautiful period homes and gardens filled with creative ideas
SHOP FOR... RANGE COOKERS OUTDOOR LIGHTING ARMCHAIRS EXOTIC PAINT SHADES
Victorian drama Recreate a 19th-century interior with the key pieces to invest in
Illustration Sarah Overs Photograph David Lloyd
Editor’s Letter
ictorian terraced houses are a familiar sight in Britain. Thanks to the rapid industrial and economic expansion of the 19th century, our nation experienced a boom in housebuilding, and rows of two-up two-downs were thrown up across every town and city. While each of these homes is in its own way unique on the inside, the street-scenes can appear pretty homogeneous. Terraces in prime locations demand eye-watering prices in today’s competitive housing market, yet while some were built bigger and better than others, they were originally intended for less affluent members of society. That is not to say that the Victorians took no pride in their architecture, as many terraces possess gorgeous period features, such as sash bay windows, mouldings and brick detailing, that make them so desirable today. One thing almost all Victorian terraces have in common, though, is a lack of space. Over the years, many have had a bathroom shoehorned in upstairs and a kitchen extension to the rear; increasingly people are filling in the ‘side return’, too, to make this a more usable, family-friendly room. But maximising space requires a certain amount of design ingenuity. Step in Rococo Davis, the owner of this month’s stunning cover house (page 38), which she has creatively updated to make the most of every inch. Central to this was a modest two-metre extension, and removal of a wall between the kitchen and dining room to create one large, open-plan space that works perfectly for her young family. The new clean-lined, elegant kitchen diner is filled with light, and Rococo has expertly mixed antiques and vintage alongside more contemporary furnishings for an eclectic look that shows how the house has evolved over the years. The industrialisation and burgeoning mass-production of the Victorian era brought many benefits, but it also had its critics, who believed the soul was disappearing out of not just the goods being produced, but from society itself. In order to be healthy, people needed to take pride in the things they made and to work with their hands. This ideology gave birth to the Arts and Crafts movement, which is one of my favourite design eras. For this issue, I sought out our nation’s finest stately homes, museums and gardens where you can get lost in the intricate beauty of Arts and Crafts design (page 154) and discover more about iconic figures such as William Morris and Philip Webb. Elsewhere this issue, Antiques Roadshow expert Marc Allum explores the history of interiors throughout the entire 19th century, from elegant Regency to late Victorian, and reveals how to furnish a home using key pieces (page 88). It’s a fascinating read and will hopefully inspire you to seek out a little bit of the past for your own home, whatever century it was originally built in. Enjoy! Melanie Griffiths Editor, Period Living Period Living 3
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Contents 68
154
133
11 Cover
Photograph Malcolm Menzies
Decorating & shopping
11 20 23 24 26 49 77
September journal We round up the latest interiors offerings, news and exhibitions Indian summer paints Use our palette of the moment to inspire an interior refresh ON THE COVER
Beyond the sea Embrace coastal cool with nautical-themed homeware In the hot seat The latest armchair designs, from striking silhouettes to bold prints
Features
32 88
Taste of the tropics Mix hot hues, parrots, palms and pineapples for a quirky, exotic look Mid-century modern Give your home a retro-inspired refresh with these striking pieces
ON THE COVER
The 19th-century interior Antiques Roadshow expert Marc Allum charts the interior developments of the period
94
ON THE COVER
Decorating maximalism Take inspiration from the ‘more is more’ look of the moment and combine powerful prints, punchy colours and rich textures
Made in Britain Geoffrey Preston welcomes us to his Devon workshop to sample the heritage craft of plasterwork
147 154 178
11
On the antiques trail We journey to Tetbury to seek out its wealth of antiques shops Recipes Have a tasty start to the weekend with these brunch ideas Discover design A look at the best Arts and Crafts properties, museums and gardens to visit across the UK London design As the capital prepares for its month of design shows, we look back at the famous Great Exhibition of 1851
24 Period Living 7
77 138
131
38 51 60 49
68 78
86
105 109
8 Period Living
114
Natural evolution Interior designer Rococo Davis is always on the look out for fresh ideas for her late Victorian terrace
121
ON THE COVER
The marks of time This 16th-century Grade II-listed home has been lovingly restored to preserve its unique character American cool Brenda and Matthew Craig modernised a tired Georgian flat and decorated it with US and French influences A lesson in style The Greens took a gamble when they bought this old schoolhouse, but the results are stunning Taking the long view A French cottage filled with brocante finds makes a dream retreat for the Crawford family
122
House journal New products and expert advice for updating a period property
127 131 133 138
ON THE COVER Outdoor lighting Keep the party going after dark with our pick of new designs ON THE COVER Range cookers We bring you the latest designs, technologies and styles available
Garden journal The latest products for your garden and horticultural advice Garden shopping Outdoor buys for young explorers Garden advice Curate the perfect route through your garden with expert advice on designing paths and walkways Waves of planting This New Forest garden is inspired by its beautiful riverside setting ON THE COVER
Regulars
86
Show preview We preview SPAB’s Old House Show, plus exclusive offers ON THE COVER Renovation Property expert Roger Hunt advises on how to care for and repair timber windows
Destination reclamation We rummage for treasure at Yew Tree Barn salvage yard
Gardens
Advice & inspiration
99
127
Homes
51
161
Subscribe Get six issues for just £20 plus a free Annie Sloan detail brushes set and Chalk Paint Workbook, together worth almost £30 Stockists Where to find all the suppliers featured in this issue
ournal J Get ready for September with the latest interiors news, events and names to watch Feature Pippa Blenkinsop
s al or
Scandi f l
Let the garden inspire you to blur the boundaries between outside and in with the new In Bloom wallpapers from Swedish brand BorĂĽstapeter. PL loves this Carnation Garden Mural with its distinct Scandinavian feel, ÂŁ335 per roll at Brewers.
Period Living 11
News
Timeless appeal NATURAL SELECTION Organic soap company Folk Soap has introduced two new scents to its collection: Lemon & Bergamot and Juniper Berry. Made by hand in the heart of the Cotswolds using natural ingredients, the soaps are perfect for bringing an uplifting burst of summer fragrance to the bathroom. Delightfully packaged in paper designed by Susie Hetherington, £5.95 each, they make perfect gifts.
Looking to create a calm yet cosy look that will stand the test of time? Try the new Radley slip-cover sofa from Collins & Hayes. With deep, loose cushions and a chunky frame, it fuses comfort and classic style – perfect for townhouse to country cottage. This neutral Linara Aspen cotton cover, £2,496, is a versatile option, or choose from 360 Colour Collective Romo fabrics.
ANTIQUE OF THE MONTH
Images (butterfly pansy, millefiori and rose paperweights) all courtesy of Miller’s Collectables Price Guide 2019-2020 plus Pook & Pook; Woolley & Wallis; Fieldings and Peter Wilson. (Baccarat overlay) Fileman Antiques
In her column celebrating collectibles, antiques expert Judith Miller looks at the small but beautiful glass paperweight
From top: Paul Ysart design, with a pink and white butterfly inside a cane border on a striated green ground, £200– £250; an early Baccarat pansy paperweight, £600–£700
Paperweights probably originated in Venice, where examples were made from circa 1843 by the glass maker Pierro Bigagha. The technique, little changed over the years, involves placing tiny sliced sections (set-ups) of coloured canes on a decorative ground in a mould; this is then covered with a dome of clear glass, which acts as a magnifying lens. Some paperweights incorporate lamp-work in the form of fruit, flowers or insects. Most are circular with a high dome, but faceted weights were also produced. Paperweights were not an immediate success in Venice, but the technique was taken by itinerant glassworkers to France, where three glassworks – Baccarat, Saint-Louis and Clichy – were to become world famous for their magnificent weights. Baccarat, arguably the greatest producer, made paperweights between c.1845 and c.1849. The company specialised in bright ‘carpet’ grounds, made by placing set-ups of tiny canes of glass arranged in an arrowhead floret design interspersed with those forming the silhouette of a flower, or an animal. Saint-Louis produced paperweights from the 1840s made of clear, heavy lead glass with high domes. Single flowers proliferated, such as pansies, fuchsias and geraniums on ground of swirling white or pink latticinio, more rarely on a mottled jasper ground. Fruit, vegetable, animal and human designs were also made, and faceted paperweights were another speciality. Unlike Baccarat and Saint-Louis, which used lead glass, Clichy used a glass that made the design seem more defined. The clear, light glass weights are almost perfectly globular with flat, very slightly concave bases with narrow rims. In the 1850s there was a decline in the fashion for paperweights in France, and the USA became the main centre of production. Good quality weights were made, but they never rivalled the French firms. Interest in British paperweights is comparatively recent. The firm of Bacchus (est. c.1816; later George Bacchus & Sons), in Birmingham, briefly produced paperweights from 1848. Some of the finest 20th-century paperweights are those made by Paul Ysart in Perth, which include traditional millefiori patterns.
From top: A Baccarat millefiori double overlay weight, circa 1850, £3,000, Fileman Antiques; a 19th-cenutry Saint-Louis garland butterfly paperweight, £800–£900; late-19thcentury Clichy paperweight, set with millefiori canes, £1,100–£1,400; an American Millville red crimp rose footed paperweight by Emil Larsen, £700–£800
Reader offer PL readers can purchase Judith Miller’s Antiques Encyclopedia (£45, Mitchell Beazley) for the special price of £30, plus free UK P&P. To order your copy, please call 01903 828503 quoting Encyclopedia MB688.*
Period Living 13
News
Bright idea Fusing old with new, colour with pattern, and opaque with translucent, the new Siren wall lamp from Curiousa & Curiousa is perfect for lovers of quirky design. Created by layering hand-blown glass with carefully selected fine bone china plates and bowls, Siren is an illuminating twist on the decorative wall plate display. Available in two sizes, from £490, position one as a single light, or a few in an eclectic arrangement. Choose from Curiousa’s selection of tableware or supply your own and mix with any of the 22 glass colours for a bespoke piece.
TALENT SPOT
PRINT JOURNEY The father of the Arts and Crafts movement, William Morris is famed for his quintessentially British prints of flora and fauna, but diaries from his Icelandic expeditions of the 1870s reveal that he felt equally at home in the dramatic mountainous landscape of the north. Spurred on by his zest for adventure, the Morris & Co design team took inspiration from the diaries and set out on their own journey to create a new collection. A range of fabrics and wallpapers, the Pure Morris North and Kindred designs see classic Morris prints refreshed in colours and textures inspired by the Icelandic scenery. Printed fabrics, from £65 per m, and embroideries, from £125 per m.
Emerging talent Alice Funge first turned her hand to ceramics during her degree course in Design Craft at De Montfort university, and little did she know they were going to be a recipe for success. A keen baker as well as ceramist, when it came to developing her degree show collection she had no problem finding inspiration, developing a range of beautiful measuring jugs, mixing bowls and recipe jugs with a baking theme. Hand-thrown white stoneware with coloured slips, finished with transferred recipes, the resulting pieces are a lovely fusion of craftsmanship and creativity. ‘Using my late grandma’s handwriting for the scone recipe gives the collection a personal touch,’ says Alice. ‘I also chose to let the colour spill over the side of the bowl to reflect the drip that’s left after pouring mixture.’ Her culinary-inspired creations received First Class status, and also captured the imagination of the National Trust at the New Designers show 2017, where Alice was selected from 3,000 graduates as the Winner of the National Trust Associate Award. As part of the prize, she received valuable mentoring on how to bring her work to market, along with the opportunity to launch an exclusive collection for the charity. Designed specially for the Trust, the ceramics feature details from its fruit scone recipe across three pieces; the perfect gift for a star baker from a star maker.
Recipe jug, £28; large mixing bowl, £35, both available at the National Trust
Period Living 15
News
EYE ON DESIGN Fabric designer Molly Mahon shares the inspiration behind her latest collection
What inspired the new Jaipur collection?
Clockwise from top: Pattee linen in pink; Luna in blue and pink; Marigold linen in yellow; Oak linen in green, all £162 per m
My Jaipur collection fuses influences from across the globe, from British country houses to the colours and patterns of India. I first travelled to Jaipur in 2014 to learn from the experts of the block-printing craft – the same families have been printing there using techniques unchanged for generations. I’ll never forget my first visit, it was such a delicious awakening of the senses. I love how everything in India is decorated: the buildings, bridges, even the beautiful women in their saris. It reminded me of Charleston House near to my home in Sussex, where every surface is painted.
FLORAL FANCY Enjoy summer blooms all year round with these pretty vintagestyle botanical wall hangings from Sophie Conran’s latest collection, £78 for a set of two.
Describe your creative process. It’s a wonderful fusion of the ancient craft of block printing with contemporary design. I develop my designs in the studio, then they are sent to Jaipur where they are carved into teak to create the blocks and then handprinted onto fabric in a variety of natural and water-based inks.
What’s your best piece of interior design advice? Embrace colour! India’s rich palette has given me so much colour confidence. I always used to print in just one shade, and held back on using pink, but now I love to use lots of colour. If you’re unsure, start small with a few cushions or a lampshade. It will make your home more welcoming and put a smile on your face.
W
oven won rs de
For its latest furniture collection, Rose & Grey has looked to the past for inspiration. Reminiscent of the straw-backed Orkney chair that first emerged in the 1800s, but with a nod to sleek Scandi designs, these Malmo teak and ramie bench, £950, and chair, £550, offer a refreshing mix of old and new.
Period Living 17
ry
Modern l ux Introducing u Palazzo, the latest home
collection from John Lewis designed to turn heads. Teaming opulent materials such as glass, lustrous metallics and sumptuous velvets, with striking silhouettes and a mid-century palette of mustard, olive and pastel pink, the collection oozes glamour with a retro twist. Statement furnishings such as the Belgrave sofa, £1,899, and Meghan armchair, £749, are paired with sculptural pieces, including the Sputnik coffee table, £499, and Marlo floor lamp, £195. Decorative silk-effect cushions, £40, complete the look.
Craft revival
DON’T MISS...
Set in the grounds of one of the Cotswolds’ most beautiful Arts and Crafts homes (see page 154 for more), Crafts Alive: The Gloucestershire Guild at Rodmarton Manor, is a five-day event featuring a packed programme of events. Bringing the Arts and Crafts values of quality craftsmanship, good design and honest materials into the modern day, the event features the work of 30 artisans, from textiles and glass to silverware and furniture, along with a garden sculpture trail, craft demonstrations and workshops, theatre performances and house talks. Runs from 5–9 September, entry £8.
From top: Burning Evening, acrylic on wood, Angie Rooke; porcelain ware by Boop Design; Sing Song, painted aluminium mesh sculpture, Lucy Large
Be inspired by the work of nearly 300 artists across about 200 venues at the Somerset Open Studios. See creatives working in their own environment and find out first-hand about their processes. 15–30 September, entry free 18 Period Living
TREND WATCH
Indian summer From hot pinks and flaming oranges to cool mints and zesty limes, be inspired to add a burst of colour to your interiors and decorate with a vibrant paint palette reminiscent of a journey to India
20 Period Living
Styling Pippa Blenkinsop Photograph Kasia Fiszer
Paints from left: Vintage Mint, £44 for 2.5ltrs of Perfect matt emulsion, Designers Guild; Burnham Red, £38 for 2.5ltrs of matt emulsion, Neptune; Purple Pout, £27.56 for 2.5ltrs of Mixing Flat Matt, Dulux; Giverny, £19.95 for 1ltr of Chalk Paint, Annie Sloan; Valspar Sweet Orange, £25.20 for 2.5ltrs of Premium Blend v700 Wall and Ceiling matt emulsion, B&Q; Lotus Pink, £44 for 2.5ltrs of Perfect matt emulsion, Designers Guild; Sunflower, £61.76 for 5ltrs of eco-friendly wall paint, Lakeland Paints; Gustavian, £18.95 for 1ltr of Vintage paint, Grand Illusions; Secret Escape, £14 for 1.25ltrs of Feature Wall matt emulsion, Crown; Matcha Tea, £38 for 2.5ltrs of matt emulsion, Graham & Brown; Paradise Pink, £20.50 for 0.94ltrs, Regal Select Flat range, Benjamin Moore; Electric Blue, £12 for 2.5ltrs of matt emulsion, B&Q; Charlotte’s Locks, £45 for 2.5ltrs of Estate matt emulsion, Farrow & Ball; Fruit Salad, £40 for 2.5ltrs of Claypaint, Earthborn; Amethyst, £12 for 2.5ltrs of matt emulsion, Homebase; Marigold, £43.50 for 2.5ltrs of Absolute matt emulsion, Little Greene. Indian printing blocks from Scaramanga, The Arty Crafty Place and Malvern Flea Market Period Living 21
Shopping
Sea-Ferns cotton fabric in Marine, £25 per m, Iliv
Atelier Craft wool rug in blue, from £299 for W140x L200cm, Woven
Large natural wooden seagull, £15, Gisela Graham
Klevering lobster plate, £27.50, Printer + Tailor
Marinette Saint Tropez Palma cushion in Coral, £42, Amara
Isla regular footstool in Electric Blue cotton matt velvet, £410, Sofa.com
Galley Grade stoneware mug in French Navy, £9.95, Joules
Berkshire reclaimed wood boat bookcase, £385, Barker & Stonehouse
Geminus roll-top bath in blue paint finish, from £1,614, The Albion Bath Company
Seville Grey Blue angora and lambswool throw, £89.95, Bronte by Moon
Feature Sophie Warren-Smith
Joanne Short vintage-style seaside travel poster of Portscatho, Cornwall, £26, John Dyer Gallery
Beyond the sea Invoke the spirit of the ocean in your home with driftwood and rope accessories, rustic furniture and a coastal colour palette Anchor ceramic jug, £10.95, Coastal Home
Chamborde cream painted chair, £84.99, MY Furniture
Blue and black distressed painted wardrobe, £1,245, Shimu
Fandango table lamp in blue clear blown glass, from £170, Pooky
Natural rope napkin rings, set of four, £9.50, Modern Country Style Interiors
Poppy medium sofa in Harbour Navy cotton, £1,339, Lovely Sofas
Black stripe cotton hammock, £70, Nisi Living
Dema industrial pendant lamp in blue, £180, Out There Interiors
Driftwood wall art, £18, The Contemporary Home
Flat cotton rope bowl, £23, Made+Good
Period Living 23
–h ere ar e
de s i
Clockwise from top: Minnie armchair in Zoe Glencross Pink Grapefruit Slade Stripe, £1,200, Sofa.com Eastergate chair in Paula Grey and Green Floral velvet, £685, Mood Collections Amelie cane and yellow velvet armchair, £599, Atkin & Thyme Bella armchair in Genoa Plum Clever velvet, £556, Lovely Sofas Petite Marguerite chair in Osborne & Little Tulipan Ivory, £979, Sofa Workshop Melvin armchair in Dark Teal velvet, £299, Cult Furniture Como armchair, £1,800 plus fabric, Artisanna London Meghan chair in Harriet Rose velvet, £749, John Lewis Amelia armchair in Emma Dove linen, £750, Neptune Langridge armchair in Barley linen cotton, £717, Willow & Hall Isabelle chair in Ashley Rose Sage, £1,184, Parker Knoll Harris Tweed Skittle armchair in Skye Overcast Speckle, £1,199, Tetrad 24 Period Living
Feature Sophie Warren-Smith
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IN THE HOT SEAT
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pla rite ou fav
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Shopping
TO THE
MAX
Where minimalism champions stripped-back design, the philosophy behind maximalism is that less really isn’t more; in fact, the busier the better. The aesthetic of excess, maximalism has found favour among interior brands and designers in recent times, but the principle is nothing new. From lavishly painted medieval churches and baroque palaces where every surface was embellished to flaunt wealth and taste, to the flower power and bohemian chic of the 1960s and ’70s, extravagance has oscillated throughout design history. Where proportions allow, combining powerful colours, clashing ornate prints and rich textures can really make a statement, while in a small cottage bustling dressers laden with collectibles, gallery walls, and vintage prints can create the whimsical effect. With its profusion of colour, summer is a brilliant time to seek inspiration for a maximalist look, and the interiors world is bursting with prints to choose from.
Feature Pippa Blenkinsop
Clarke & Clarke’s latest Oriental Garden collection features a mix of geometrics, large-scale florals and tight repeat prints in jewel tones perfect for a maximalist look. Left curtain in Bhutan in Emerald; right curtain in Pagoda in Summer; sofa in Lotus in Summer; Cushions in Lotus, Sensu in Jad and Bhutan, all £25 per m
26 Period Living
Decorating
Ripe with juicy oranges and lemons, this new Amalfi wallpaper is guaranteed to add a burst of summer to your walls. For a quirky twist, combine with velvet and glamorous metallic accessories, because what could better convey the aesthetic of excess than a gold coffee pot? Pictured in white, the wallpaper is ÂŁ50 per roll at Graham & Brown
Period Living 27
Above: Named after the village of Porto Venere in Italy’s north-western Ligurian coast, this new wallpaper from Osborne & Little captures the area’s colourful patchwork of painted buildings, with their shuttered windows and terracotta-tiled roofs that hug the hillside. Priced £85 per roll, the design offers a riot of warmth and pattern perfect for a feature wall Right: If you are cautious about using print wall to wall, showcase it through upholstery, and easy-to-update cushions and accessories instead. For a bohemian twist on an elegant living room, try teaming a vibrant backdrop with a sofa in Anna Spiro’s Kahuna Solid Light Blue fabric, £144.50 per m at The Fabric Collective. Finish with a footstool and cushions in mix-and-match artisan prints from across the globe, including Suzani embroideries from Uzbekistan and Indian paisley prints 28 Period Living
Decorating
Period Living 29
Walls painted in the grey lilac Autumn Moor shade by Designers Guild make a complementary backdrop for its latest fabrics designed in collaboration with John Derian in this beautiful summer bedroom. Wonderfully vibrant and kitsch, this Varieties de Gloxinia Violet cotton/satin fabric and matching cushion (right) capture the colours of a summer sunset, from yellow through violet, in a floral design. £44 for 2.5ltrs of Perfect Matt emulsion; fabric, £65 per m; cushion, £95, Designers Guild
30 Period Living
Styling Pippa Blenkinsop Photograph Kasia Fiszer
Decorating
Clockwise from top left: For a similar vintage book, try Oxfam. Luna block-printed linen in pink, £162 per m, Molly Mahon. Block-printed napkin, £9, Burford Garden Company. Varieties de Gloxinia Violet cotton/satin fabric, £65 per m, Designers Guild. Pronto Colore dinner plate in orange, £16.95, Kahla. Wallflower 8½” plate, £17.95, Emma Bridgewater. Paints: Tropical Sunset, £25.20 for 2.5ltrs of Premium Blend v700 Walls & Ceilings, Valspar; and Lotus Pink, £44 for 2.5ltrs of Perfect Matt emulsion, Designers Guild. Shibori linen in Sweetpea/ Tangerine, £52 per m, Vanessa Arbuthnott. Velvets: Palais in Violet, £51.50 per m; and Alvar in Sunset, £20 per m, both Clarke & Clarke. Amalfi wallpaper in White, £50 per roll, Graham & Brown. Captain Thomas Browns Shells Sepia soft cotton, £65 per m, Designers Guild. Large grass placement, £9, Montes & Clark. Pronto Colore breakfast plate in orange, £12.50, Kahla. Glass plate, £8, Burford Garden Company. Splatter side plate, £8, Brassica Mercantile. Paints: Fuschia, £31.55 for 2.5ltrs of Albany Vinyl Silk emulsion, Designer Paint; and Apricot Macaron, £25.20 for 2.5ltrs of Premium Blend v700 Walls & Ceilings, Valspar Period Living 31
THE G M N I O T
LD
FI T
U Combining geometric patterns with natural motifs, the decorative plasterwork of Geoffrey Preston creates breathtakingly beautiful architectural features Words AndrĂŠa Childs Photographs Kasia Fiszer
This page: A ceiling rose created for a private house in Henley-on-Thames Opposite, clockwise from top left: Geoffrey plans his designs to scale in sketchbooks before drawing out full-size versions; the original moulding for his new series of limited-edition floral panels, based on French 18th-century porcelain paintings; calipers are used to measure the dimensions of a design, ready for plaster leaf mouldings to be applied; another design for the new series of panels
32 Period Living
Made in Britain
Period Living 33
T
he route to Geoffrey Preston’s workshop in Ide, Devon, winds down a singletrack country lane, surrounded with verdant hedgerows and glimpses into sheep-dotted fields beyond. It’s a rural commute by bicycle from his home in nearby Exeter, and one that’s totally in-keeping with his nature-inspired designs. Geoffrey is one of the UK’s leading architectural sculptors, specialising in decorative plasterwork. His work adorns the ceilings and walls of private homes and stately buildings across the UK – even the lobby of the London nightclub Annabel’s, where a winged unicorn made by Geoffrey and his team prances above the partygoers. ‘I worry that someone will jump on its back and it will come crashing to the floor,’ Geoffrey says with a smile, only half joking. ‘Fortunately, my usual work is a little less full-on.’ His current project is the restoration – ‘more like total rebuilding’ – of an 18th-century ceiling in a London gallery. Working from a single 1960s photograph of the original design, before most of it collapsed to the floor below, it’s a job that combines sleight of hand with the vision to reimagine how the ceiling looked before time and gravity took their toll. ‘Actually, it’s unusual for me to be involved in a restoration project these days,’ Geoffrey says. ‘I trained as a sculptor and most of my focus is on creating original designs. If I’d continued as an artist, my pieces would be shown in galleries. Working on commissions allows me to build relationships with my clients and make something that will be loved and seen every day in their own homes.’
Geoffrey studied sculpture at Hornsey College of Art in the 1970s. ‘It was an interesting time; we were on the threshold of conceptual art and my work was very abstract,’ he recalls. In order to find regular employment, he then trained as a stonemason and carver, becoming involved in stone conservation projects in the 1980s. ‘That took me back to a more traditional approach, influenced by the buildings I was working on, which in turn led to establishing my own conservation companies and jobs, including the restoration of the 18thcentury ceilings at Uppark House in West Sussex, which had been destroyed by fire,’ Geoffrey adds. It was at Uppark that he discovered ➤
‘I’m inspired by the plasterwork of the 1750s and 1760s, by Bavarian rococo and interwar baroque’
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Above: Jenny Lawrence (left), Geoffrey and their assistant Louisa Shorney take a break outside the studio in Devon Opposite, clockwise from top left: Geoffrey works on a ceiling panel; a plaster motif lies next to the silicone mould it is cast from; Geoffrey uses a metal tool to refine the surface of a plaster moulding; Jenny pours plaster into a silicone mould, which will become part of a fan-shaped centrepiece of the ceiling design
Made in Britain
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a passion for plasterwork and where he met his wife Jenny Lawrence, who now works alongside him in the studio. ‘Jenny was in charge of the joinery at Uppark. We didn’t hit it off at first but a year later, in 1995, we moved to the US and stayed for four years, helping to restore Ca’ d’Zan, the State Art Museum of Florida, which was originally a mansion built by the founder of the worldfamous Ringling Circus.’ On their return, the couple swapped the showmanship and razzledazzle of the Sunshine State for a relatively slower pace – Geoffrey establishing his workshop in Exeter and Jenny working as a financial administrator at the Tate and, later, a London theatre company, coming home to Devon at the weekends. ‘A friend lent me a studio space for free for the first two years and I began with a bit of humble making for prestigious plasterwork companies,’ remembers Geoffrey. ‘I designed panels for the Rivoli Bar at the Ritz Hotel in London and was asked by Stanley Falconer, director of Colefax & Fowler, to work on private commissions. There were times when I was in the doldrums, but that gave me space to be creative and develop my own style. I’m inspired by the plasterwork of the 1750s and 1760s, by Bavarian rococo and interwar baroque, which have huge freedom and flow in their natural forms. But I’m also indebted to wood artists, including Clare Leighton, Agnes Miller Parker and Charles Tunnicliffe – his Mereside Chronicle is a book I constantly go back to for inspiration.’ Look at Geoffrey’s designs and you’ll see that, despite the appearance of symmetry, no panel is the same. His work combines geometric patterns with lifelike motifs taken from the British countryside - a barn owl peeking from behind oak leaves; swallows swooping across the plaster; or a pike appearing to emerge from the surface of the plaster to snap at a scroll-turned-
fishing line. ‘I want to reinterpret the forms of the past to create something new and original,’ Geoffrey explains. ‘Modelling is essentially like drawing or writing; over the years I’ve developed my signature style.’ Two years ago, Geoffrey, Jenny and assistants Kate Montagne and Louisa Shorney moved to the current farmyard studio, a small barn divided into a kitchen, large central workspace and a separate drawing area. ‘We’re very collegiate; we work from 8.30am to 6pm, with breaks for tea and lunch that we eat around the table together,’ Geoffrey says. A computer is used only for emails and admin, as every part of a project is conceived and created by hand – from Geoffrey’s pencil drawings to his clay models, the silicone moulds made by Jenny, Kate and Louise, and the final plasterwork cast from them. ‘Mould-making is an incredible skill; without the team’s talents, I wouldn’t be able to realise half my concepts,’ Geoffrey says. As well as plasterwork, Geoffrey will also realise some projects in stucco – a type of plaster with a putty consistency that is modelled directly on to the ceiling or wall surface. ‘One of the joys of our work is that every piece is unique but that also makes it time consuming and costly to produce,’ Geoffrey says. ‘For a ceiling, I’ll spend four to six weeks drawing the design, which then takes around four months to mould and cast. We complete only three or four projects each year.’ His latest initiative aims to bridge the gap between bespoke and off the shelf. It’s a series of limitededition, cast-to-order floral panels, inspired by French 18th-century porcelain painting. Part artwork, part permanent fixture, the panels are the perfect pairing of Geoffrey’s artist past and his architectural present. And, perhaps, a template for the future. Visit geoffreypreston.co.uk for more inspiration
‘One of the joys of our work is that every piece is unique, but that also makes it time-consuming and costly to produce’
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Above left: A new silicone mould is removed from its clay template by Geoffrey and Jenny. The negative mould will be cleaned then filled with plaster to create a cast of the original flower design Above right: A second cast of a ceiling centrepiece, this plaque depicts the marriage of Bacchus and Ariadne and is based on a painting by the Italian painter Tintoretto
Extending just two metres into the garden, and removing a cupboard and some boxed-in pipework, has improved the flow of the kitchen. Rococo designed the simple painted units topped with marble, preferring to add colour with furnishings and accessories; try Alchemy Kitchens for similar cabinets. The Naomi Paul pendant lights were Rococo’s biggest extravagance for the kitchen, but she considers lighting to be an essential element of good design. Using antiques, such as the dining table, alongside more contemporary furnishings is key to her style. For similar chairs and bar stools, try Cult Furniture
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Victorian Terrace Update
NATUR AL EVOLUTION Rococo Davis is the first to admit that she bent some of her own interior design rules when transforming her home, conceding the look evolved gradually rather than being planned, but the finished effect is fabulous Words Karen Darlow Styling Pippa Blenkinsop Photographs Malcolm Menzies
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THE STORY
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Owners Rococo, an interior designer (rococolondoninteriors.com), and Gavin Davis, director of corporate communications at Sky, live here with their six-month-old daughter Mimi and working cocker spaniel Edie Property A late-Victorian terraced house with four bedrooms, in Battersea, south-west London What they did The couple removed a wall between the living room and dining room to create one large open-plan space. They levelled the floors to remove a step and added a small kitchen extension. They fitted a new bathroom and a shower room on the top floor
here is an elegant roll-top bath in a bathroom in Battersea that has clocked up more miles than many a family saloon. Rococo, an interior designer, spotted the well-travelled cast-iron tub in a reclamation yard in Norfolk. ‘You could hardly miss it – the sides had been painted a vibrant pink – but I knew it would be perfect for our new house,’ she says. The trouble was, the couple’s house purchase was still a few weeks off completion, so in the meantime husband Gavin resigned himself to driving the bath to and from his work, the tailgate sagging under the load. Happily the sale went through without a hitch and after a brief spell in Rococo’s brother’s garden, the bath on wheels made it onto terra firma, as the bathroom was the first room in the house to be given a new look. Rococo’s instincts were right and the roll-top looks the part in this smart, late-Victorian terraced home. ‘It’s the perfect illustration of my philosophy that if you find something you love, you should go with it, and worry about the detail later – there’s always a way to make it work, even if at times it might seem a bit unconventional,’ she says. Gavin and Rococo were sold on the house from their first viewing. ‘It was in an area we loved; in fact, we were living just up the road and we could see that it had lots of potential, even though the layout wasn’t terribly practical,’ says Rococo. With that in mind, after the bathroom, Rococo turned her attention to the main living space. With a deep bay window, original fireplace and high ceilings typical of Victorian townhouses, the reception room at the front of the house had the key ingredients for a stylish period look. Behind it and a step down was a small, dark dining room. ‘The main living areas seemed to be full of unexpected changes of level, and dark pockets of unused space,’ explains Rococo, ‘so we tackled them one at a time, to create a brighter, more spacious feel. It didn’t take much, but our small alterations have made a huge difference.’ By removing the dividing wall and levelling out the step from the front reception room
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to the dining room at the back of the house, Rococo created a spacious new living room. Although the antique sofa didn’t do the rounds in Gavin’s car, it too made an unorthodox entrance to the house – through the bay window, with the help of Rococo’s brother Henry. ‘He was an absolute hero. He took out the windows to get the sofa in for us, and it is here to stay now,’ says Rococo. With the sofa in place and the new-look living room completed, the couple gave themselves a breather and a bit of thinking time before tackling the next big job. That’s not to say nothing else changed in the meantime. ‘This house is constantly changing. I love decorating, so it’s not unusual for me to paint a room more than once a year,’ says Rococo. ‘And I’m always picking up treasures to add into the mix; nothing is too “matchy matchy”.’ She’s equally happy sourcing antiques and decorative items for her interior design clients as she is for her own home – although for clients she works to a mood board, picking furnishings to order. ‘There was no mood board here, it was much more fluid; the house just evolved naturally and continues to do so.’ So what of the last big project? ‘Well, actually it wasn’t so big,’ says Rococo. ‘We just added around two metres to the kitchen and reconfigured the space to make it work better for us.’ The previous owners had completed a side-return extension to the kitchen, but the only way into the room was through the old dining room and down a couple of steps. Rococo had a cupboard removed to allow for a new door to the kitchen from the hall, and the result is a much more useable space. Furnished with a stylish blend of elegant antiques and clever contemporary buys, the kitchen is like the rest of the house in essence – a bright, practical, comfortable place to spend time. ‘I love our house. All the things I’ve collected over the years have found a space here and have come together to create a familiar, happy home for us,’ says Rococo. ‘I know I’ll keep adding to it and making changes, but it’s fulfilled the potential we saw from the moment we first walked in.’
Victorian Terrace Update
Left: A large hob and two ovens by Neff give plenty of scope for entertaining. The Metro wall tiles, laid in an unusual diagonal design, are from Topps Tiles. The Italian fish plates were a honeymoon buy Above: Rococo wanted the kitchen to be family friendly, and Edie gives it her seal of approval. The rug was a bargain from Bath market, the fabric on the banquette seating is from Lewis & Wood, and the painting is by Jeremy Kost, sourced by CS&P. Flowers by Battersea Flower Station Period Living 41
One of the first jobs in the living room was to open up the original fireplace. Rococo sourced the Moroccan tiles from Ebay – they had been used on the film set for The Bourne Identity. The fender is from a reclamation yard. The four bird prints are from Molly & Maud’s Place and the bergère chair was another Ebay find
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Victorian Terrace Update
The sofa is a family piece, and had to be brought in through the window. The lamps are from a sale of items from The Lanesborough hotel, with shades in a Fermoie fabric. On the floor is a handmade Moroccan Beni Ourain rug, and the vase is from Wicklewood. For a similar map triptych, try ArtPrints4all at Etsy
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Victorian Terrace Update In the bar and drinks area of the living room, the club chair is from The French House, the rug is from The Decorative Antiques Fair, Battersea, the cushion cover was made from a remnant of fabric, and the lamp is from an antiques market. The walls are painted in Farrow & Ball’s Calke Green
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Above: The traditionally styled study, with its antique desk, mid-century chair, and one of Gavin’s cherished racing prints, a gift from Rococo’s father. For a similar colour, try Paint & Paper Library’s Blue Gum Above right: Rococo found this unusual chair in a market. It’s the perfect fit for this space on the landing and with the floating picture frames from Habitat, allows the stylish Robert Kime wallpaper to shine. Print by Fiona Gurlay, sourced by CS&P Right: Rococo’s store room, packed with handmade cushions and lampshades. The wallpaper is Sanderson’s Finches design
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Victorian Terrace Update
Above: The master bedroom, where the headboard is covered in a fabric from Soane and the table lamp, a reclamation yard find, is topped with a shade from Samarkand Design. The wall light is from Soho Home. Walls are painted in Little Greene’s Bone China Blue Above right: The well-travelled bath – home at last with a Burlington radiator and towels from Monogrammed Linen Shop. The blind fabric is Scrolling Fern Frond, Azure on Ivory linen by Soane Fabrics. For similar tiles, try Victorian Tiles London. The bathroom was fitted by Lethbridge London Right: Rococo spotted this chair in a market, and bought the mahogany tallboy at auction. The photos are scenes from the Amalfi Coast
Shopping Larkhill wallpaper in Ferns/Original Green, £98 per roll, GP & J Baker
Madura silk cushion cover, £44, Oka
Vintage peacock chair, £650, Violet Grey Fleming gold leaf round mirror, from £125, Neptune
Resin perching parrot, green, £58, Out There Interiors
Gold palm tree candlestick, £29, Idyll Home Rodbourn printed velvet in Paradise Blue, £100 per m, Blendworth Green ceramic slim neck vase, £45, Shimu
TASTE OF THE TROPICS
Deco cocktail glass in Antique Rose, £6, Curious Egg
Gilt edge toucan ring plate, £14.50, Fenella Smith
Source your own hothouse-inspired pieces to recreate this on-trend look – think exotic prints, natural textures and gilded accessories
Pineapple resin bookends, £15, B&Q Lydbury magnifying glass, £26, Artisanti
Leather club chair, £1,250, Cox & Cox
Pink Ladies decorative glass lamp base, £365, and gathered silk shade in ivory, from £65, Rosanna Lonsdale
Feature Sophie Warren-Smith
Chelsea Collection teapot, £57, Sara Miller London
Balmoral three-door threedrawer chestnut sideboard, £1,200, Laura Ashley
Bloomingville Fisherman’s bamboo pendant lamp, £155, Beaumonde Maha rattan tray, £48, Kalinko
Vintage palm tree illustrations, £59.50 for set of two, The Farthing Period Living 49
Elizabethan Townhouse
THE MARKS OF TIME An eclectic mix of antiques and family treasures, plus some interesting discoveries, provide the finishing touches for Jane Way’s painstaking renovation of this historic townhouse Words and styling Karen Darlow | Photographs Malcolm Menzies
The living room fireplace opening was hidden behind a 1930s design. Jane’s great-grandmother stitched the crewel work runner above. The two blue chairs were bought from a French brocante and the vintage rugs are from Marlborough market
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Clockwise from top left: Jane’s handsome house, with its steps and railings, is at the heart of the town. The oak front door was covered in bitumen, but cleaning it revealed the initials A, WP and the date, 1719. ‘I covered the steps with wooden planks to protect them during the renovation – I love seeing the dips in them where so many feet have trod,’ says Jane; she
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believes this hallway, with its original flagstones, was once an alleyway through to the back of the house. The rug is an auction find and the painting of a wine taster is by Josef Wale; Jane and Maya in the tranquil garden, which was created by removing six tonnes of earth; variations in the roofline and window styles reveal the additions made to the house over the years
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ow many feet have climbed up the three worn steps to the door of this historic home over the centuries? That’s what Jane Way found herself wondering as she approached the timber-frame townhouse for the first time. ‘I’d spent three months hunting for a renovation project, and when I found this solid home I knew it was exactly what I’d been looking for,’ she says. The house appealed to Jane because, although nothing had been looked after properly and it was a bit cobbled together, all the features were there. ‘A lot of old houses you look at nowadays have been “vandalised”,’ she says, ‘but this had all the original hinges and door furniture, the floors were intact under the carpets, and the beautiful beams were there, even though covered in thick black gloss. So I knew it hadn’t been ruined and I could look past all the horrors. You need to be quite brave and imaginative to take on something like this.’ Jane was brave enough not to get a formal survey. ‘I didn’t see the point with a house this age – I got a “walk and talk” survey instead,’ she explains. ‘The surveyor spent about an hour and a half walking round the house taking notes and photographs.’ And his verdict? ‘That it was an extremely sound house for its age. It just needed a lot of TLC,’ adds Jane. In August 2012, when the sale went through, that’s what she started to provide. Jane enlisted an architect who specialised in listed buildings, to advise her on how to restore and update the house while at the same time bringing it closer to how it would have originally looked.
THE STORY Owner Jane Way lives here with her Staffordshire bull terrier Maya. Jane runs Old Home Interiors (oldhomeinteriors.co.uk), offering assistance for people restoring or furnishing period properties Property A Grade II-listed townhouse in Marlborough, Wiltshire, built in the 1580s or 1590s, with Georgian additions at the back What she did Jane restored the whole house. It was rewired, replumbed and central heating installed. The kitchen was updated, a new bathroom fitted and Jane decorated throughout
Elizabethan Townhouse Working with just one builder, and calling in specialists as required – to remove the gloss from the beams, for instance – Jane tackled the house room by room. It took 10 months for the building work and essentials, then a year to decorate. ‘I could have had the whole thing finished in six months with a team of builders, but working quickly like that it could have been ruined,’ explains Jane. She wanted to make sure that everything was done in a careful, considered way. ‘I called in a roofer first to make sure everything was watertight, the builder then stripped out the central heating, the baths and the kitchen, and the electricians got going. ‘I moved in after a month and lived in one of the rooms on the top floor, sleeping on an air bed,’ recalls Jane. ‘We left just one cold tap working, and one toilet. The only power point we had was in the cellar, so there were wires trailing up the stairs. It was lethal and very basic, and I had to be keen to do it, but I was on a tight budget and saved a lot of money that way.’ What kept Jane going through all the hardships was her clear vision of how it would look when it was finished. ‘I was brought up in old houses, surrounded by antiques,’ she says. ‘As soon as I walk into a house or a room I can visualise how it should look and all the colours that will work.’ That’s not to say there weren’t a few unexpected twists along the way. The finish for the living room walls didn’t go quite to plan. Jane wanted damask wallpaper above the panelling but that proved too expensive, so she developed her own paint technique. ‘I knew what I wanted, but I just didn’t know how to get there,’ she says. She started by painting it all cream to match the panelling, adding a solid blue layer on top to complement the two French chairs then sponging it off, so the cream came through in a pretty cloud-like effect. ‘I wondered whether to leave it like that, but that wasn’t the picture I had in my head,’ adds Jane. ‘I wanted some bronze to complement the brick floor I’d uncovered, and a slight sheen like damask.’ She applied some copper powder and glaze left over from when she used to restore antique china, then scrubbed the wall with fine wire wool. ‘By happy coincidence this gave me exactly the look I was after, but it took a whole week to do,’ she says. ‘One of the best compliments I’ve had is that it looks like it’s been there for years, which is exactly what I was aiming for.’ Yet, as she starts to think about moving on to her next project and putting the old townhouse up for sale, Jane is the first to admit that this home isn’t ‘perfect’. Some of the floors are uneven, walls bow ever so slightly in places, and one or two paintings are hung on the slant to compensate for a ceiling that would defy a spirit level. But these features are worn by the house like a badge of honour; they are the idiosyncrasies that make up its character, and together with the initials A, WP and the date 1719, roughly carved into the old oak door, and the worn stone steps, are the marks of time celebrated in Jane’s sensitive renovation. Period Living 53
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Elizabethan Townhouse
Left: Jane chose an unfitted look for the kitchen, feeling it suited the house and the small space far better than rows of uniform wall and floor units. The only fixed piece is the sink cabinet, made bespoke by a local carpenter. The retro Gorenje fridge suits the scheme Below: Looking as though it’s been there for years, a reconditioned Aga cooker was fitted by Jane along with a reclaimed 18th-century beam of pit-sawn oak Opposite: The dresser was an Ebay bargain. ‘People don’t go in for floral designs so much, but it looks perfect with my pink flowered tea set from France,’ says Jane. On the floor are some 17th-century pantiles from a farmhouse in Lincolnshire, another lucky Ebay find. Flowers from Primrose Lane
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Left: Jane painstakingly created the paint finish for the living room walls to give it an aged effect. The London scene is by the contemporary artist Peter Brown. Below it is a carving in walnut, a gift from Jane’s daughter-in-law Nino, and an adorable Victorian squirrel complete with amethyst acorn – too good for its intended purpose as a doorstop. For a similar radiator cover, try Jali Below: Packed with Jane’s favourite pieces of china, the corner cupboard in the living room is a Georgian antique and belonged to Jane’s parents. The chair is one of a pair Jane found in a French brocante, possibly German or Dutch Art Deco Right: The panelling in the dining room was covered with thick brown paint that had to be removed using a poultice. Jane then had the damaged cornice replicated. The dresser came from Jane’s great-grandparents, along with the grandmother clock (smaller than a grandfather clock). The chandelier and Georgian chairs and table came from an antiques shop. Curtains are made in Voyage’s Lucilla, from Just Fabrics. On the table are two treasures: a tablecloth worked by Jane’s great-grandmother and, just seen, a commemorative tray from SH Ward in Sheffield, a brewery once owned by Jane’s mother’s family
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Elizabethan Townhouse
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Above: The bathroom has a lady’s boudoir theme, with an open fire, and a Lewis & Wood wallpaper depicting 18th-century seduction scenes. Jane salvaged the tiles from the kitchen Left: A thunderbox in oak hides a modern WC. The Wedgwood basin was bought on Ebay, set on a console found at auction, with a marble top to match the bath splashback. Jane added the panelling; Lakeland Paints’ Cupola is a similar colour. The wallpaper is another Lewis & Wood design Above left: In Jane’s bedroom under the eaves is a canvas-lined antique leather trunk that she found at Ludlow market. For a similar toile de Jouy bedspread, try Scotts of Stow Far left: The cupboards and chest of drawers came from a charity furniture shop. Stowed on top are the tools of Jane’s former trade as a milliner – she was taught by the Queen Mother’s hat maker. The cane-seated rocking chair is a family heirloom
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AMERICAN COOL
Working her own particular blend of transatlantic magic on a tired old Edinburgh flat, US-born Brenda Craig has transformed it into a stylish ‘lock up and leave’ apartment for herself and her husband Matthew Wells Words Mairi MacDonald/Gap Interiors | Photographs Douglas Gibb/Gap Interiors
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Georgian Apartment
Above: A smart antique dining table bought at a Lyon & Turnbull auction has been teamed with modern chairs from John Lewis and an elegant Caboche pendant light from Holloways of Ludlow to give a more contemporary edge. The coloured glassware is by Lindean Mill Glass, the runner is from The Conran Shop and the napkins are old French linen; Beyond France sells similar. The rug is an antique from an Istanbul market; try RL Rose for similar Opposite: Open plan to the dining space, the living room is light and airy with floor-to-ceiling windows and a great view of the treetops in the communal garden below. Most of the furniture is from America, but leather pouffes can be found at Footstools & More, and wooden stools at Jimmy’s Retro Furniture Period Living 61
B Find the latest range cookers on the market, page 122
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eing able to see past dark ochre walls, brown stained woodwork and dated bathroom suites, is a gift that American businesswoman Brenda Craig and her property developer husband Matthew Wells clearly have in abundance. ‘I just love finding a really tired old house and turning it into a lovely home again. This is my hobby, my passion,’ says Brenda. Fortunately for Brenda, Matthew feels the same way. Having met on a flight from Paris to Edinburgh five years ago when Brenda was coming to Scotland to house hunt, the couple have been united by their love of old homes in need of repair. ‘We renovated our first place together in eight weeks, ready for our wedding party with 200 guests,’ recalls Brenda. Although that flat was in a great location, it was not what the couple wanted for the long term. A ground floor and basement apartment, it had a garden and four bedrooms. ‘It was too big and the garden took a lot of maintenance. Plus, we worried about security as it was on the ground floor.’ With Brenda regularly away on business and the couple looking for a second home in France, the priority was for a property that could be left for weeks at a time without supervision or attention. A ‘lock up and leave’ as Brenda calls it. They must have looked at over 20 properties before coming across a very tired, outdated flat in a Georgian tenement in Edinburgh’s New Town. Set on the third floor, above a Michelin-starred restaurant, the property had been owned and lived in by a professional couple for more than 30 years. ‘It has the most unprepossessing entrance, a narrow tenement staircase and then, surprise! Open the door and there is a large, light-filled space that spans the whole floor of the building,’ says Brenda. Not put off by the bright yellow kitchen and worn bathroom suites, the couple were charmed by the large original sash windows, working shutters, a half barrel ceiling in the living room, marble fireplaces and elegant cornicing. ‘Aside from redecoration, it was also in need of more serious work, including the levelling of the floors, rewiring and replumbing,’ explains Brenda. Fortunately for the couple, Matthew’s property
development company hires a string of tradespeople who could do the work as soon as the couple had planning consent. ‘Matthew was in the army for 20 years and is very organised so I left him to co-ordinate the builders while I concentrated on designing the bathrooms, the kitchen and storage.’ To create a truly contemporary home, Brenda and Matthew decided to sacrifice one of the double bedrooms to create another bathroom, thus giving all three double bedrooms luxury en suites. One also serves as the family bathroom/laundry and is accessible from the hall. The wall of the dark kitchen was knocked through and opened up into the dining room beyond to create a large, light space. Copies of the original architraving and panelling were made and fitted around the new opening. Radiators were removed and have been replaced with underfloor heating throughout, and new engineered flooring was fitted to replace the uneven, old floorboards. ‘We wanted a comfortable, modern home to live in, but there is no getting away from the fact that we are in a Georgian building built in the late 1700s. It would be a travesty to remove all its original features, so instead we wanted to work with them and draw attention to them,’ says Brenda. She has chosen the same off-white colour for most of the walls, ceilings and woodwork throughout the apartment to create a calm, uncluttered feel. Doors are painted in gloss white, with eggshell used for the rest of the woodwork. There are no curtains, and instead the shutters have been restored to working order in each room. To hide clutter, Brenda has designed a series of built-for-purpose wardrobes, including a study with a specially designed pull-out desk for Matthew. ‘I design what I want using magazines for inspiration and then I ask Matthew’s carpenter to make it. He is brilliantly talented,’ says Brenda. Although her polished approach to interiors is obviously influenced by her American roots, Brenda has also more recently lived in Paris. ‘I love the French ability to give a room great style with only neutral colours on the wall, a couple of pieces of elegant furniture, a painting or two and a few key accessories,’ she says. Her interpretation of clear and uncluttered French style translates well in this elegant Georgian property. Together, she and Matthew have transformed a tired worn-out flat into a modern, luxurious home.
Georgian Apartment
THE STORY Owners Brenda Craig, a business solutions director for an international energy company, and Matthew Wells, a property developer, live here with their dog Buster Property A three-bedroom, three-bathroom Georgian flat in Edinburgh’s New Town What they did The couple levelled the floors, rewired and replumbed the apartment throughout. They reconfigured the layout to add a bathroom and opened up the kitchen and dining space
Above and left: Neptune’s classic Suffolk kitchen cabinetry is finished in the company’s Dove Grey paint and topped with a Caesarstone worktop. The focal point is the new Aga Rangemaster cooker, with mirrored splashback, custom made in fire-retardant toughened glass by Mirror Works. Brenda brought the American pot filler over from the States; try Sink World for similar. The Caravaggio opal glass pendant lights above the island are from Holloways of Ludlow
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This image: The large, light-filled drawing room doubles as Brenda’s office when she works from home. Her desk is a French antique and Cult Furniture does a similar Eames-style chair. The fun duck feet and feather lamp is from Porta Romana, as are the small Pioche wall lamps in French Brass Opposite: Brenda bought the antique sofa in an auction at Ramsay Cornish and covered it in Linara fabric in Clay by Romo, while on the white sofa a lambswool throw bought in Oslo adds an extra layer of luxury. The large ottoman was made to Brenda’s design in grey mohair; Footstools & More offers similar options. The walls, ceilings and woodwork are all painted in Farrow & Ball’s Wimborne White
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Georgian Apartment
‘It would be a travesty to remove all of the original features. We wanted to work with them and draw attention to them’
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Above: Buster relaxes in the hallway. To add to the sense of space, a full-length antique French mirror from On Reflection has been placed at one end of the hall. The narrow sideboard, bought at auction from Lyon & Turnbull, is perfect for a hall. The lanterns were custom made by Lonsdale and Dutch; similar lighting can be found at Style & Light Right: A throw by Georg Jensen adds a contemporary edge to the luxurious guest bedroom. Philippe Starck Archimoon Soft Reading Lamps with shelves act as bedside tables. The bedlinen is from Zara Home, and for a similar headboard, try Loaf
Left: The bed in the master bedroom was sourced by interior designer Bryce McKenzie, along with the Porta Romana lamps on the dressing table. The Ghost Buster side tables are from Heal’s and the marble horse’s head was made by a friend in Paris. Laura Thomas linens are topped with an Anthropologie throw Below: The bath and sink are from Fired Earth, with taps by Lefroy Brooks. The floor and side of the bath are tiled in marble, also Fired Earth. A mirrored floor cabinet from John Lewis is teamed with wall units with lights from Keuco
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A LESSON IN STYLE Katy and David Green restored an old schoolhouse to its former glory, turning it into a spacious family home in the process Words Katie Treggiden | Photographs Bruce Hemming
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Converted Schoolhouse
Katy and David had the exterior sandblasted and repointed. New windows, fascias, tiles and roofing were installed and an external door removed, to take the property back to its original design. The newly landscaped garden provides an outdoor space for the family to enjoy in the warmer months – Katy and daughter Gladys are already growing vegetables and raising chickens together Period Living 69
Above: A DFS armchair, sourced on Ebay, sits alongside vintage Ercol Pebble tables and a Moroccan pouffe in the living room. A Lush lamp and cushion from California add colour. Katy and David restored the original floor. For a similar radiator, try Period House Store Right: In a cosy seating area in the kitchen, Katy and Dizzy put their feet up on an Ercol daybed, found on Ebay. The Kodak lights were sourced at the Salvo Fair Below: In a nod to the building’s heritage, an old school gym ladder rests against custom bookshelves. Katy spotted the Ingmar Relling Siesta Sling Lounge chairs at a vintage fair but didn’t buy them, and then tracked these down on Ebay two years later. They fit together to make a two- or three-seater sofa. The Ercol trolley was another Ebay find and the coffee table was a gift from Katy’s mum
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Converted Schoolhouse THE STORY Owners Geotechnical engineer Katy Green, and her arborist husband David, live here with their daughter Gladys, two, a baby on the way, and Dizzy the Dalmatian Property A converted 1893 schoolhouse with four bedrooms, in Camborne, west Cornwall What they did Stripped the property back to its bare bones and created a beautiful family home inside
L ON THE WEB For more period homes, visit realhomes.com/ period-living
ooking back, it seems a bit reckless how Katy Green and her husband David bought an old school that had been converted into offices, at auction, without planning permission, having sold their previous house and without anything to move into. They spotted the property in the local newspaper, went to have a look, and headed to the auction. ‘David was wearing a bobble hat and nodding as he bid so the bobble was just nodding away!’ laughs Katy. ‘It was “going once, going twice” at £112,000, and we thought we had it. Then a new bidder chipped in, so it ended up going for £150,000 “to the man in the bobble hat!”’ An immediate deposit was required, and a few frantic calls to the bank secured a loan and the house. But what they bought was a far cry from either the original school or the lovely home they now live in. Outside, there were three prefabricated huts spanning 100 feet, 12 telephone lines and a 22-space car park. Inside, the space had been carved up with stud walls and false ceilings hiding the original architecture. Despite all that, Katy immediately saw its potential. ‘It had an institutional feel, which I actually really liked, and I liked its weird scale too – from the front it’s this cute little house, but once you get inside it reveals its full size.’ They secured planning permission, but because it was a ‘change of use’ they couldn’t get building regulations sign-off – or a mortgage – until the end of the project. A bridging loan from family saved the day. Once funds were in place, the couple ripped everything out – right back to the original stone walls. ‘Anything we could do ourselves we did,’ says Katy, whose hands-on approach extended to living in those prefabricated huts on site throughout the 18-month build – without a shower and with only camping stoves to cook on. They commissioned a timber frame for inside the external walls, insulating between the two, so today, the Aga is all that is needed to keep the whole house warm, even in winter. They had all the windows replaced and the joists at the back of the building cut, raising the floor level to add height to two new bedrooms in the
basement. Downstairs, a damp-course membrane and concrete floor were added, while masons punched windows into the stone walls of the basement, adding granite lintels to match those used elsewhere. ‘It was a big, scary job,’ says Katy. At the same time, they were reroofing – replacing the modern cement tiles with traditional slate, and reclaimed ridged tiles that Katy sourced for the top. ‘I enjoy hunting things down, but finding a 12-metre run of reclaimed ridged tiles is really hard,’ she admits. They sandblasted and repointed all the stonework, replaced the fascias and removed a modern door from the front of the storm porch. Inside, they lowered the ceilings in the lounge and master bedroom but kept the full 14-foot height in the main living space. ‘I love a big living/ dining space, so I really wanted to keep it,’ says Katy. A bedroom and bathroom up a few stairs, and the two bedrooms tucked into the basement, complete the space. They then sanded the original floors in the bedrooms and living room, pulling out staples one by one. ‘It was a labour of love,’ says Katy, who opted for herringbone parquet in the main space. They had just finished plastering when disaster struck. ‘The ceiling suddenly cracked,’ says Katy. ‘We had to take the whole lot down. I did have a little cry at that moment.’ The light at the end of the tunnel soon appeared, though. ‘The kitchen was one of the last things to go in, and the day they fitted the Aga just felt really lovely,’ she says. Katy scoured the country’s reclamation yards and online auction sites throughout the build to find furniture and accessories to suit her industrial mid-century style, and elements of the internal architecture were built around her finds. ‘I bought a school bench shoe rack for the entrance hall and that dictated the width of the bookcase on the other side,’ she says, ‘and the door frames were made to fit the secondhand doors I found. I love those details.’ Most of the interior came together instinctively as Katy collected things she liked, taking care to keep the look simple. ‘We limited the colour palette to white and wood, with the odd accent of grey or red,’ she explains. Once the interior was complete, the couple’s thoughts turned to the garden. ‘We’d spent 18 months renovating the house, surrounded by a sea of tarmac, so we couldn’t wait to get rid of it,’ says Katy. ‘A JCB-driver friend dug up the car park, but that just meant we were surrounded by a sea of mud, which was slightly soul-destroying.’ The slow evolution of the garden, which now includes a sun terrace, raised vegetable beds and a family of chickens, is what finally makes the project feel complete: ‘Each year things are growing and that makes it feel like home,’ says Katy. So was it worth all the risk and hard work? ‘Had I known then what I know now, I might have been a bit less gung-ho,’ she laughs. ‘But I’m glad we did it. It is a warm space where we can get a whole bunch of friends together. We’re really happy here.’ Period Living 71
An Aga range works perfectly with the feel of this room – and heats the whole house almost year-round due to the extra-thick insulation. The kitchen is bespoke and was fitted by a friend of the family. Katy sourced the herringbone flooring from an overseas supplier – for similar try Havwoods. Benz dining chairs found on Ebay surround a hand-me-down kitchen table, providing a perfect place for the family to dine together or spend time with friends. The pendant lights came from a Rover factory – Katy found them at the Salvo Fair. A butler’s sink by Shaw sits under the large windows, while a red Smeg fridge adds a pop of colour
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Converted Schoolhouse
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Above: Katy and David’s open shelving is a vintage storage unit taken out of local linen shop Manchester House. Having closed off an extra doorway that was not needed, Katy has used an antique flag to screen the resulting alcove to create a wardrobe. Artworks and accessories sourced on Ebay and simple Jigsaw bedding complete the look. For a similar bed, try Wharfside Right: The old school lockers were found on Ebay and provide a handy storage solution in Gladys’ room. The bed is from Ikea and the prints on the wall are by Esther Connon – an artist friend of Katy’s mum. The little green chair came from a mid-century antiques fair
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Converted Schoolhouse Left: An antique skeleton may seem an unusual accessory for a bathroom, but Katy couldn’t resist ‘Cyril’ when she saw him at Otto’s Antiques in Exeter. Linen Me towels hang on antique towel rails, found at auction. The bath came from an old friend; Katy had it sandblasted and painted, adding salvaged feet. The medicine cabinet and red clock were found on Ebay. For a similar bath, try Classical Baths UK Below: Katy’s love of Art Deco style is reflected in the light fittings and ‘his and hers’ sinks, found at an antiques auction. Custom-cut mirrors fit the theme, as do the white Metro tiles, enhanced by black moulded tiles from Original Style. Fired Earth floor tiles complete the look. For similar Hollywood-style vanity lights try Easy Lighting. For similar Metro tiles, try Topps Tiles
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Shopping
Dandelion mobile wallpaper in Mist Green/White, £64 per roll, Miss Print
Caysie natural rattan sofa with grey cushions, £620, Out There Interiors
The Mechanic wall clock in chrome, £140, Newgate Clocks
Metal and wood tapered shelf unit, £255, The Farthing Raw Cotton herringbone flooring, £85.34 per m2, Ted Todd
Noah sideboard in rosewood and grey, £699, Swoon Editions Shalstone dressing table, £699, Ercol for John Lewis Petra glass pendant shade in Sunny Orange, £29, Made
Mid-century modern
Feathers linen union fabric in Iron Ore, £96 per m, Rapture & Wright
Classic radiator in red, £426, Bisque
Create an eclectic, retro interior with bright pops of colour, vintage furniture and patterned pieces
Vintage Shanxi elm wood chest of drawers, £825, Rouge
Multi patchwork tiles, £80 per m2, Bert & May
Bright Ceramicist small teardrop vase in Citron, £14, West Elm
Feature Sophie Warren-Smith
Union Jack lambswool throw, £150, Bronte by Moon Type 75 mini desk lamp in Sky Blue, from £115, Heal’s Irina black and orange embroidered cushion, £55, Habitat
South Bank stamp A4 art print, from £20 unframed, Betsy Benn
Berlin armchair in Burnt Yellow vintage velvet, £695, Loaf
TAKING THE LONG VIEW Mandi and Murdoch Crawford took a leisurely approach to restoring and enlarging the cottage that they found in a pretty French village Words Celia Rufey | Photographs Jody Stewart
Above: A door leads from the living area into the south-facing courtyard. The shutters are painted in a local colour called Lavender Blue; for similar, try Boathouse from Mylands. Right: The open-sided garden room looks out across the planting that Mandi designed, towards the swimming pool. For similar chairs, try Bridgman, and for a similar metal chandelier, try Susie Watson Designs 78 Period Living
French Cottage Renovation
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M
andi and Murdoch Crawford have enviable foresight and a gift for unhurried planning that has paid dividends. Both came into play from the moment, in 2000, when they decided to buy a holiday house in France. They fixed on an area north of the popular Loire region for a typically practical reason: it was as far as they could reach in one day from their home in Derbyshire. ‘We came over and gave ourselves three days to find a property,’ Mandi says. ‘We were looking for a house in a village where we could walk to a boulangerie each morning for bread, and also become part of the local community.’ By day three they had not found a house and were sitting in an estate agent’s office when the picture of a cottage came up on his screensaver. It had the simple, rustic character they wanted, beautiful fireplaces, a lovely garden and was in a village, just two kilometres from an ancient oak forest. ‘The agent insisted it was too small with only two rooms and a kitchen, all on the ground floor. We were determined to see it but he clearly thought we were wasting his time,’ says Mandi. ‘When he left after the viewing, we climbed over the fence and, although we had no building experience, we could see that two bedrooms and a bathroom could be added in the loft. So we went back to the agent and shocked him by making an offer.’ The Crawfords began work right away so that they could visit with their then teenage children. As they could not be on site all the time, they instructed a project manager suggested by the local bank. He employed and directed local artisans, holding a weekly meeting with Mandi and Murdoch to chart progress, and if the couple were unable to attend the meeting, he sent them the minutes to keep them up-to-date with progress. Mandi, however, made sure she was on site when the time came to work on the design of the new kitchen with a local cabinetmaker. ‘Although the living area is open plan, I wanted the kitchen sink section to be hidden from view for people sitting at the dining table,’ she explains. ‘I also designed the kitchen island with a generous two-metre-long work surface so that Murdoch and I can both work at it together when we are preparing meals.’
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THE STORY Owners Mandi Crawford, who deals in French period artefacts (thethreefrenchhens.co.uk), and her husband Murdoch, a director of a packaging group. The couple have a grown-up daughter, Lauren, and son Alisdair Property An 18th-century cottage, which originally had just one bedroom, in a village north of the Loire region What they did The couple extended the cottage, first by converting the loft, and then by integrating a log store at the side to create a three-bedroom house that accommodates the whole family
From the moment they saw the cottage, the Crawfords loved its original features – the beams, the fireplaces and the stone floors – and these have been integrated into every change they have made. Furnishings have a local bias as well. Almost every piece of furniture and many decorative pieces have been sourced at nearby brocantes. Among the smaller pieces are the clocks above the kitchen sink. ‘None of them works but I just love their faces,’ Mandi says. She is such a compulsive brocante rummager that she has equipped herself with a special long-handled basket on wheels that she calls her brocante basket. Within a year of buying the cottage, the loft conversion was completed and Mandi and Murdoch found they were spending more and more time in France. They had plans for further improvements to the cottage, too. In 2007 they decided to turn a dilapidated log barn at the side of the property into a bedroom and open-plan bathroom for themselves, with an office for Murdoch above, reached by an outside staircase. This freed up the original bedroom to create a living room. The final stage of development came about in 2011 when the Crawfords had a garden room built on the other side of the cottage. This last addition created a sheltered courtyard enclosed by buildings on three sides. A year later, when their children had finished their education, Mandi and Murdoch moved from Derbyshire to Kent, where Mandi grew up. The move has considerably reduced their travelling time to France and they now spend up to eight months each year in the cottage. They have even added a swimming pool in the garden. For Mandi, time in the cottage has also meant more opportunities to make friends in the village and to visit brocantes. This pursuit gained a new perspective when Mandi met up with an old school friend and the two of them decided to set up sales of French brocante. Joined by a third Francophile friend as The Three French Hens, they now have three sales a year in Kent. ‘I used to pile things I’d bought for the sales in the back of the car; now I fill a van,’ says Mandi. It has taken them 18 years to revive the fortunes of the tiny cottage through careful restoration and extensions, with absolutely no signs of over-hasty decisions later regretted, or mistakes that have had to be rectified. Allowing the project to proceed at its own pace turned out to be the perfect recipe for success, both for the family and the cottage.
French Cottage Renovation
Above: The table and chairs in the dining area of the open-plan living room are the only new items Mandi bought in France, as she needed a square table to fit the space. The decorative ironwork daybed under the window is typical of the pieces Mandi picks out at local brocantes, along with the bright gingham remnants that she turns into cushion covers. All of the tall windows on the ground floor are along one side of the room – and face south – making this a very well-lit and cheery space Left: A large kitchen island brings the rustic country kitchen up to date and provides useful extra preparation space. The rough-cast plastered walls are painted in Old White by Farrow & Ball, and the shelf above the sink displays Mandi’s collection of old clocks
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The magnificent living room fireplace includes the original arch opening to an enormous bread oven. Mandi and Murdoch have installed a woodburner alongside, with logs stored in an old boulangerie basket. The three firedog figures in the arch to the bread oven were brocante finds, and the artwork on the wall behind the sofa was produced by Mandi’s niece during a two-week holiday in the cottage
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French Cottage Renovation
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French Cottage Renovation
Left: Mandi bought the antique bed and light fittings for daughter Lauren’s attic bedroom from a brocante held at a local convent, and used a rose stencil to decorate the wall behind the bedhead. ‘Whenever Lauren comes to stay, I leave out a pretty vintage nightie for her,’ says Mandi Above: Mandi’s workstation on the landing, with vintage suitcases to store her craftwork essentials Right: The headboard and monogrammed pillowcases for Alisdair’s bed are from local brocantes. Books are stacked under the arm of the supporting beam Above right: The open-plan bedroom and bathroom in the old log store features a reclaimed bath, and terracotta tiles typical of the region
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86 Period Living
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9 The1 CENTURY YOUR ANTIQUE HOME
From Regency elegance to industrial Victorian, Antiques Roadshow specialist Marc Allum discusses the style and interiors of this century of two halves
F
ew would disagree that the 19th century is a stylistically diverse and complicated century to unpick. In Britain, particularly, there is a highly defined transition from the 18th century through to the Victorian period, which is epitomised by an elegant and refined epoch. This period is formally denoted by the Prince Regent, who ruled by proxy between 1811 and 1820 and on the death of his father, George III, became King George IV. He, in turn, was succeeded by his son, William IV. This entire period, from the late 18th century until 1837, when Victoria succeeded to the throne, is therefore often referred to as the Regency era. It is, undoubtedly, a period in British history that broadly epitomises elegant architectural styles, refined fashions, fascinating literary developments and political advances. It is also an age of burgeoning
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British power and domination around the globe, military success and an increasingly efficient maritime machine that made our navy the envy of foreign powers. Of course, Trafalgar, Waterloo, Nelson and the Duke of Wellington characterise this heavily romanticised part of British history. Yet, despite that heroic impression, the arrival of Victoria to the throne feels rather like a historical full-stop – one that was to herald a new age and a huge change in the way monarchs ruled and were perceived by the people. Despite the countless military campaigns fought in subjugating the inhabitants of the Empire, it was the Victorian belief that peace was for the good of all, and Victoria was keen to dissociate herself from the constant foreign wars and excess of her uncles. Her reign was therefore imbued with civic pride and approachability, symbolised by a long rule of almost 64 years, in which she presided over an empire that encompassed almost a quarter of the ➤
Photographs (clockwise from this page) © Morris & Co, The Royal Borough of Kensington & Chelsea/Justin Barton, Geffrye Museum, London/Jayne Lloyd, National Trust Images/Andreas von Einsiedel
TH
Antiques Clockwise from opposite: Dating from 1875, Acanthus, available from Morris & Co, is an iconic fabric design by William Morris, a founding father of the Arts and Crafts movement (see page 154 for the key places to see Arts and Crafts design); the 19th-century home of Punch cartoonist Edward Linley Sambourne was preserved by his descendants; the 1880 room at No.14 of the Geffrye Almshouses reflects how cheaper interior items became more readily available with the Industrial Revolution (geffrye-musuem.org.uk); the dining room of Standen House in Sussex (NT), which is filled with Arts and Crafts design and furniture; Victorian country house Knightshayes Court in Devon showcases some of the exuberant style of designer William Burges (nationaltrust.org.uk)
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Antiques
Photographs (clockwise from top) © National Trust Images/Andreas von Einsiedel; The Ironbridge Gorge Museums; National Trust Images/James Dobson
world’s population, although not without its fair share of dissention. These influences were a major factor in defining all facets of style and design. ROMANTIC REGENCY Personally, my perception of 19th-century style always returns to a Regency ‘default’. My romantic notions of heroic naval battles, elegant uniforms, bicorn hats and duelling pistols couples nicely with the simple elegance of architectural and material styles influenced by Egyptian designs, Classical art, Eastern mystery and vernacular traits, too. It’s a period that has much to offer, from the airy tranquillity of classic Regency townhouses, sometimes built on citywide plans by architects such as John Nash, to the orientally inspired confection of Brighton Pavilion and the rebellious, indigenously inspired gothic and revivalist creations, such as Eastnor Castle. It’s a period that still feels bespoke because the furniture and accessories lack the ‘industrial’ and mass-produced feel that much later Victorian furniture acquires. As a rule, the idea of planning a ‘Regency’ interior for your own home needn’t be that expensive. The current market allows for very reasonable buying at auction with bow-front chests of drawers, sideboards, sofa tables, Pembroke tables, dining chairs and breakfast tables, being both common enough and relatively low in demand to be bought for quite small amounts of money. On the other hand, it seems the merest hint of something different, such as ormolu Egyptian mounts, will push up the value immediately. The world of art and antiques has always been a place where the discerning look for what ultimately sets an item apart, yet the simple use of tactical and affordable ideas, such as chromium yellow, plaster pinks, early-19th-century portraits and some carefully placed Wedgwood Jasperware, can bring Regency style to life in a simple and effective way. CLASS DIVIDES I am a big fan of Victorian style, too. I’ve styled homes in many different epochs and once owned a Victorian house which I decorated in a ➤
Clockwise from top: The Red Drawing Room at Belton House, Lincolnshire (NT) retains the redecorated scheme of 1810, with Regency giltwood sofa and armchairs; one of the former homes to the Darby family, Rosehill House at Ironbridge gives a glimpse into an Industrialist’s life in 1850; the dining room at Hughenden Manor, Buckinghamshire (NT), home of prime minister Benjamin Disraeli between 1848 and 1881, was given a ‘gothic’ remodel in 1862; the north bedroom at Standen House with its late-Victorian furnishings (nationaltrust.org.uk)
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MASS PRODUCTION High Victorian style was very much defined by the up-and-coming middle classes. The transport revolution, fuelled by the railways, spawned street upon street of terraced houses and a rapid expansion of peripheral urban commuter land. With this major societal change came mass demand and efficient mass production techniques for all manner of household furniture and fittings. Often showcased in events such as The Great Exhibition of 1851, the prodigious output of Victorian England is still characterised by the huge amount of material that is still
Left, from top: Add some Jasperware for a touch of Regency style; 19th-century Rosewood dressing table by Maple & Co, Regency Antiques; a classic cast-iron, tiled Victorian fireplace, Architectural Forum; oil painting, c.1870, Thakeham Antiques
available. Much of it is bulky and lacklustre and therefore inexpensive, but much is also high quality, heralding from historically established makers and retailers such as Maple & Co. VICTORIAN LEGACY More stylised areas of Victorian design include movements such as Arts and Crafts, Aesthetic and Art Nouveau, and these genres borrow from a rich mix of historical influences and innovative, original and groundbreaking ideas. However, the essence of a Victorian domestic interior, like many epochs, focuses around the hearth, and a classic Victorian tiled cast-iron fireplace is almost essential to getting the look. These days we favour a mixture of the ultra-modern with some period features, yet the importance of the Victorian legacy has led to an understanding of how valuable much of the great 19th-century architecture really is. The Victorian Society campaigns tirelessly to save historic buildings of the era. It is important to realise that the colour and richness of many of our towns and cities was formed in a relatively short period – the 19th century – a period in which one of our greatest monarchs, Queen Victoria, ruled over a fifth of our globe.
WHERE TO SEE Blists Hill Victorian Town, Ironbridge Gorge – ironbridge.org.uk The Black Country Living Museum – bclm.co.uk 18 Stafford Terrace (Linley Sambourne House) - rbkc.gov.uk/subsites/ museums/18staffordterrace1.aspx The Victorian Society victoriansociety.org.uk
Left: Mahogany bow-fronted commode, circa 1820, Windsor House Antiques
Above: Regency sofa table, Windsor House Antiques Left: Victorian mahogany chaise longue, Origin Antiques 92 Period Living
Photographs (top) © Getty Images
pseudo-gothic style after the designer Augustus Welby Pugin. It was also true to the Victorian ethos of full, fussy interiors. As in all ages, class dictates the way people live, and the elegance of the Regency period was counterbalanced by the working classes who had no hint of grandeur in their homes. The highly romanticised ‘chocolate box’ watercolours of Victorian artists such as Helen Allingham RWS capture a notion that medieval country cottages were an idyll. I am a great fan of inglenooks and fireplaces populated by Staffordshire spaniels and cheap, mass-produced American mantel clocks, but life could be hard in these circumstances, despite the cosy cottage charm. It’s a look that is currently unfashionable but one that I find fascinating in its historical context and, again, one that’s also not expensive to replicate, particularly as much Victorian ‘country’ furniture is selling relatively cheaply at auction. Of course, the true path is to blend, mixing older items in order to give the true feeling of an interior that has evolved over time. Living museums are a valuable resource for experiencing these interiors and the Black Country Living Museum and Blists Hill Victorian Town are well worth a visit, as is Linley Sambourne House, the perfect Victorian abode of Punch illustrator Edward Linley Sambourne.
ON THE ANTIQUES TRAIL
T
he market town of Tetbury, set among rolling Cotswold hills, is regarded as one of the pivotal destinations for antiques buyers outside of London. With over 25 dealers, the town is synonymous with high-quality furniture and decorative finds. Local antiques dealer Lorfords has recently opened new extensive out-of-town antiques hangars but, for those in the know, the draw of Tetbury and its collection of specialist dealers and fabulous lifestyle independents, is something not to be bypassed.
History in a nutshell The early prosperity of the town is credited to Sir William de Braose, lord of the manor, at the start of the 13th century. He broke the customary feudal rights system in 1200, and granted Tetbury merchants the right to govern themselves. By 1623, the Berkeleys presided, who allowed locals to buy properties. A system of local government was established for 250 years, which gave unprecedented levels of independence. Today, the streets of this prestigious market town, lined with a plethora of Jacobean and Elizabethan former merchants’ houses and workers’ cottages, lend a nod to the town’s prosperity during the Middle Ages, when it thrived as a major wool and yarn trade centre. The 17thcentury Market Hall, built in 1665, remains an iconic landmark, and the honey-coloured, period buildings of Long Street are now synonymous with Tetbury’s thriving antiques scene. 94 Period Living
Antiques dealers insider’s guide A few of the fabulous specialists you will find – prepare to be mesmerised as the quality of dealers is exceptional.
Why Tetbury? ‘I moved from Bath so I could live above the shop. Tetbury has retained its original Cotswolds feel and offers a great day out.’ annefowler.co.uk
AMY PERRY
ANTIQBR
Amy’s new shop is light, bright and spacious, with a charming walled garden. Sourced in France and beyond, the unique pieces include foxed mirrors, antique linens, upholstered chairs, zinc tables, paintings and sparkling chandeliers. amyperryantiques.co.uk
Founded by Spanish couple, Cuca and Pep, who specialise in European antiques, art and design from the 18th century, and mid-20th-century design. The shop has a pared-back, monochrome feel and expect to find exquisite pieces from the likes of Pierre Jeanneret and Charlotte Perriand. Why Tetbury? ‘We moved from Spain with our young family in 2016 – attracted by the town and the quality of antiques dealers, and to be near our friends Jorge and David from Brownrigg.’ antiqbr.co.uk
ANNE FOWLER Trading since the 1970s, Anne specialises in interior design and garden items, with a focus on stone and metal, displayed among antique furniture, up to and including 20th-century finds. The atmospheric shop also sells original ‘Anne Fowler’ paintings, alongside handsilvered and antiqued mirrors for walls and frames. Favourite recent find? ‘Some giant Willy Guhl planters (a Swiss 20th-century designer) they are very ‘now’ and smart’.
BROWNRIGG An inspirational business with a newly remodelled 3000 sq ft antiques store, it was founded 20 years ago by Jorge Perez Martin and managed with partner, David Gibson. Brownrigg specialises in an eclectic mix of ➤
Feature Ali Heath Map illustration Sarah Overs
Visit historic Tetbury and immerse yourself among highly regarded antiques dealers and unique independents. The draw of this charming town may prove hard to resist
Antiques
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European decorative and country house antiques. ‘We are passionate about sourcing diverse antiques that appeal to different clients and budgets, creating unexpected looks, regardless of period or genre.’ Think impeccable taste, beautifully styled room sets and impressive one-off finds. Favourite recent find? ‘A stunning ‘crown’ centre table: the base was the decorative pierced top of a steamboat funnel - quirky in the extreme.’ brownrigg.co.uk
aesthetic, along with occasional touches of gilding and the odd chandelier or two. Favourite recent find? ‘The life-size plaster model of the Madonna of the Boats was an interesting find… if only for the comment, “brave buy, Emma; brave buy,” from another Tetbury dealer!’ Why Tetbury? ‘It’s full of small antiques businesses with passionate owners, not soulless high-street chains.’ leschallas-antiques.co.uk
THE DECORATOR SOURCE CATHERINE WATERS Catherine sells antiques that are simple, honest and interesting. The charming shop space is full of farmhouse tables, fruitpicking ladders, simple, pegged wooden benches, wrought-iron day beds, stoneware bowls, pestle and mortars, and industrial lights; with interesting art and antique textiles woven in. Favourite recent find? ‘A primitive 19th-century oil painting of a house; unfinished, with a couple of spectre-like figures in the foreground. It is only partly restored and I loved the rawness and provenance.’ Why Tetbury? ‘It’s the best place; so many independents, all with their own unique character.’ Instagram: catherinewatersantiques
CHLOE ‘I deal in 18th- and 19th-century decorative Swedish and French antiques and accessories, and am best known for my Swedish furniture and antique textiles.’ A new chic standalone store, it has recently moved from No 52 Antiques and Interiors. Current favourite finds? ‘Crested monogrammed glasses and a charming portrait of a girl on canvas - both Swedish, 1700s.’ chloeantiques.com
EMMA LESCHALLAS A purveyor of unusual, decorative antiques, specialising in a pared-back look, with deconstructed upholstery a key feature. Think modern rustic shop interiors with a time-worn 96 Period Living
Founded by Colin Gee more than 25 years ago, The Decorator Source specialises in antique and contemporary English and continental furniture from the 17th to the 20th centuries, including pieces from France, Italy and Scandinavia. Here you can find painted furniture, mirrors, antique prints and contemporary artworks, alongside restored lighting. Favourite recent find? A rare sugar chest from the US Federal period, with veneers, cross-banding and ‘rope twist’ legs for use in the best parlour.’ thedecoratorsource.co.uk
THE BEST OF THE REST INDEPENDENTS Art Galleries – Art Gallery (artgallery.co.uk) Bay Gallery (baygalleryhome.com) Café 53 - fresh homemade food, great coffee and cakes. Very cool interior and an outside garden oasis (cafe53.strikingly.com) Domestic Science – a vintage/lifestyle mini department store, set in a 10-room Georgian townhouse (domscihome.wordpress.com) Emily’s House London – based at Brownrigg, find Middle Eastern and African Beni Ourain rugs, boucherouites, tribal kilims and handmade vintage carpets (emilyshouselondon.com) French Grey – homeware, gifts (frenchgrey.co.uk) Hobbs House Bakery – best bread and Portuguese custard tarts for miles (hobbshousebakery.co.uk) Hotels - The Close Hotel (theclose-hotel.com) The Priory Inn (theprioryinn.co.uk) The Royal Oak (theroyaloaktetbury.co.uk) The Snooty Fox (snooty-fox.co.uk) House of Cheese - artisan British, French and European cheeses (houseofcheese.co.uk) Scentiments – florist (tetburyflorists.co.uk) The Highgrove Shop – organic food and branded homeware from the Prince of Wales Charitable Foundation (highgrovegardens.com) The Tetbury Tailor – traditional menswear shop (thetetburytailor.co.uk) Vinotopia – independent wine merchant (vinotopiawine.co.uk)
TWIG Su Daybell, owner of Twig, sources quality period furniture from the 17th, 18th and 19th centuries. ‘I search for pieces with an extra something, whether it be great colour, design, surface, proportion or craftsmanship. When the quality jumps out at me, that’s when I buy,’ Su says. She is also well known for her large-scale abstract paintings, handpainted wallpapers and lampshades. Think drama, scale, elegance and attention to detail. Favourite recent find? ‘A bold, 18th-century Italian walnut refectory table. A very strong piece with excellent colour and a wonderfully rich patina.’ Why Tetbury? ‘I feel that it is important to place yourself with some of the best dealers in the country. There is no other town in the country like it.’ twigoftetbury.co.uk
DIARY DATES The Cotswolds Decorative, Antiques and Art Fair 10-12 August, Westonbirt House (cooperevents.com) Westonbirt House and Garden 23 September. Guided tours of Westonbirt, now the girls’ school, on the hour from 1pm-4pm. Booking not required, £10 entry. The Tetbury Music Festival 4-7 October. The four-day event is held at The Close Hotel in Tetbury, featuring internationally acclaimed performers and new musicians (tetburymusicfestival.org.uk) The Woolsack Race – a unique, and very British, annual race that takes place on the last May Bank holiday every year in the town, and raises money for local causes. (tetburywoolsack.co.uk)
SHUTTER SHADES
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Revamp your windows with the new collection of hand-picked colours from California Shutters. The sophisticated palette features subtle greys and neutrals, including Timeless White and Pale Pebble, which will blend in with any decorating scheme, or darker shades such as Nordic Grey and Soft Black – perfect for making a statement. Available for the brand’s Smooth Hardwood shutters, made from high-quality basswood, the California Collection is suited to low-moisture areas such as bedrooms and living areas. Shown here in White Smoke, from £220 per m2.
Always wanted a traditional chandelier for your bathroom but didn’t think they were suitable for a moisturefilled environment? The new Empirestyle chandeliers from Gustavian carry the IP44 rating, which means they are approved as safe for use in a bathroom, so are just the thing for adding a touch of grandeur to your daily ablutions ritual. Available with a chrome or brass frame and cut crystal spear droplets, they are priced from £760.
HOUSE journal
Discover the latest products to improve your period home and pick up top tips from industry experts
INDUSTRIAL SIMPLICITY Make a statement in your bathroom with the stripped-back grid design of this Frahm fixed shower panel (800mm) by Drench, from £1,389 at CP Hart. The simple Crittall-inspired screen would work perfectly in a period property as the foundation for an industrial bathroom scheme, w and for a fresh twist on the factory trend, it could be paired with intricate soft floral patterns or organic natural textures such as wood. Frahm is manufactured with 8mm-thick toughened glass and a powder-coated finish in matt black.
Eclectic patterns Inspired by art and cultures from around the globe, the wall and floor tiles in Original Style’s new Mezzo range have a slightly aged surface and an air of European city chic. The nine exclusive patterns have a subtle palette of duck egg blue and grey on a warm beige base, which is limited so the designs can be combined into an elegant mélange as well as working beautifully as individual layouts. The glazed porcelain tiles measure W200xL200cm and cost £69.95 per m2. Period Living 99
ASK THE EXPERT
Instead of replacing tired wood floors, why not renovate them? Bona Inspiration is a new floor styling system designed to imbue wooden boards with beauty and character. The brand’s customised looks range from Nordic whites to liquorice black (shown in Grace Vivid) and can be more cost-effective than new pre-finished floors. A Bona contractor handles the dust-free sanding and renovation work, and uses Bona’s latest brushing and finishing techniques to create a unique surface. Prices are on application.
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A new collection of UK-made cabinet fittings is available at period ironmongery store Willow & Stone. Ideal for mixing and matching to add a personal finishing touch to any home, the Hex and Drum pull handle and cabinet knob, from £24 each, are extremely weighty and beautifully crafted from solid brass with various quality finishes applied, including distressed antique brass, polished brass, polished nickel and satin nickel.
Don’t miss the LAPADA Art & Antiques Fair in Berkeley Square, London, on 14-19 September. Exhibitors will present work from across the art, antiques, design and decorative arts world, including furniture, carpets, tapestries, antiquities and fine art, with a wide range of price points. Open 11am-7pm, tickets cost from £20. Mid-century classic Inspired by mid-century English furniture and old-fashioned gentlemen’s clothing shops, Devol has launched The Haberdasher’s Kitchen. The bespoke handmade design features curved oak frames, a natural stained finish, narrow framed glazed doors and drawers with dark painted interiors, tambour-style solid doors, turned legs, aged copper end panels, and aged brass pivot hinges reminiscent of steel-framed windows and doors. Prices start from £20,000. 100 Period Living
Douglas Kent, technical and research director at the Society for the Protection of Ancient Buildings, answers your renovation queries
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We’re repointing the joints in our old brick walls with lime mortar but are unsure of what profile to finish them with. What do you advise? It is usually better to match the existing pointing style, the main exception being where unsuitable repointing has taken place. Old pointing is frequently best observed in sheltered areas; for example, under eaves. Where you need to design a new mortar mix instead, this must be weaker than the bricks and take into account site exposure. If in doubt about the joint profile, a flush or nearly flush finish is often appropriate. The use of mortar samples and trial panels is advisable.
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How can I minimise the chance of condensation forming when fitting new loft insulation? There are a few things you can do to reduce the risk of condensation. First, it is important to keep a ventilation path at the eaves if there is conventional, non-breathable roofing underlay fitted under tiles or slates. You must prevent it coming directly into contact with the insulation. Restricting the entry of moist air into the loft is also key. Seal gaps in ceilings, such as around pipes and cables in bathrooms, and ensure loft hatches and lids to water tanks fit snugly. Prevent cold spots (‘thermal bridges’) developing by laying a consistent depth of insulation across ceilings. Remember to insulate the gaps between the last ceiling joists and outside walls or chimneys, turning the insulation up to a height of 225 mm. Particular attention is required where ceilings have sloping edges or steps in their levels.
Q
How might I deal with a decayed cill plate in a timber frame? Cill plates are the bottom, horizontal members of a timber frame that usually lie on masonry plinths. They can be exposed to high moisture levels so are commonly the part of a frame most vulnerable to rot. Partial or total renewal may be needed, sometimes bolting together face-to-face more than one thickness of new timber. Occasionally, where other solutions are limited, it can be sensible to raise the plinth height to minimise future deterioration. When rebuilding a plinth and a damp-proof course is felt justified, try not to insert this immediately under the cill plate but further down in the masonry.
Feature Karen Bray * 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
DARE TO GO DARK
Advertorial
BEAUTIFULLY CRAFTED Bring your period home to life and get ready for the colder months ahead, with the help of the stunning Penman Collection of fireplaces and stoves
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hether you are planning a big renovation this year, or refreshing the family living room, the Penman Collection offers a distinctive range of fireplaces, stoves and accessories that combines elegant design with high-quality materials and expert craftsmanship. A fireplace has the ability to transform any room, conveying a personal statement and becoming a natural focal point. It is a symbol of security, contentment and warmth. Taking inspiration from classical design themes infused with contemporary design principles, the Penman Collection offers a variety of beautifully crafted products designed and developed exclusively in the UK. The Penman Collection is built on over 65 years’ of experience in the fireplace industry, creating high-quality, stylish and functional products. Beautiful natural stone – thousands of years in creation, sourced from our quarries across the globe – is lovingly handcrafted using traditional methods to ensure years of enjoyment from your timeless fireplace. Every appliance in the Penman Collection has been expertly designed by a team of specialised designers and engineers, and produced with expert craftsmanship with quality materials. Whether it is cast iron or steel, each appliance is independently assessed and tested by an accredited association to ensure you will have years of satisfaction from your purchase. This season has seen the introduction of a number of new Ecodesign Ready, Stove Industry Approved (SIA) stoves to the collection. These stoves are designed to reduce PM emissions by burning wood more efficiently and completely.
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Ecodesign is the European-wide programme to lower emissions which is due to come into force for stoves in the UK in 2022. Managing director Andrew Mulligan says: ‘We pride ourselves on product development and innovation. The introduction of the latest stove technologies ensures we are not just providing efficient sources of heat but also future-proofing our environment for generations to come. ‘Our aim is to provide you with a product of true beauty that will perform perfectly and last for many years. We therefore would always recommend that consumers obtain expert advice on both the installation and choosing the right appliance. We work closely with a network of carefully selected approved retail partners throughout the UK. They are on hand to talk you through the process of purchasing an appliance. This includes walking you through the ranges available, technical requirements, design and installation, as well as providing aftersales care and service back up.’ For more details on the Penman Collection or to request a brochure, visit penmancollection.com email enquiries@penmancollection.com or call 01204 868550.
Left: The Aversa is built using solid oak with a hand-oiled finish. Pictured with the Apollo slide-control glass-fronted gas fire with ceramic coals, and granite hearth and back panel Middle: One of the cleanest wood-burning stoves on the market, the Barrington is approved for use in smoke control areas. Shown here with the Bordeaux mantel in Portuguese sandstone, graphite slate waterfall chamber and Portuguese sandstone hearth Right: The elegant Georgian-style Hadley mantel is carved from Agean limestone. Pictured with the Barrington stove in black with a porcelain slate brick bond chamber and Star-tiled hearth
Don’t miss the next issue of
PERIODLIVING OUT 30 AUGUST
Photographs Colin Poole, Leigh Clapp, Douglas Gibb, Matt Clayton, Kasia Fiszer and Brent Darby
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l Stunning real period homes and gardens Ideas for window treatments l Country-style decorating l Buying stoves and fireplaces
Show Preview
A NEW EVENT FOR OLD HOMES This September, head to London for The Old House Show, an exciting live exhibition from Britain’s most trusted period building experts, the Society for the Protection of Ancient Buildings (SPAB)
Photograph (Loyd Grossman) Will Pascall
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n partnership with Period Living, the Society for the Protection of Ancient Buildings (SPAB) is holding a brand new event – The Old House Show, a must-visit exhibition for period homeowners, craftspeople and those working with old buildings. The show is free to attend for SPAB members and non-members alike, and will take place at the Old Royal Naval College, a stunning UNESCO World Heritage Site, in Greenwich, London, between 7-8 September 2018. As well as featuring a range of carefully selected exhibitors, expert advice and two full days of presentations, the show will host live demonstrations of traditional crafts, including lime slaking, stone carving and letter cutting, brick repair, timber framing, blacksmithing, carpentry and stained glass techniques. In addition, Period Living readers will exclusively be able to take advantage of a free one-toone expert advice slot with SPAB technical director and magazine columnist Douglas Kent (see overleaf for details). The Society for the Protection of Ancient Buildings is the UK’s oldest building conservation charity. It gives period properties a future through its unique training schemes, courses, advice and research, which help people to put their expertise into practice. The Old House Show will bring together all aspects of the SPAB’s work, and is a rare opportunity to find everything you need to know about maintaining and renovating a period home all under one roof. Broadcaster, heritage champion and SPAB member Loyd Grossman will be speaking in his role as Chairman of the Heritage Alliance on the theme ‘Why Heritage Matters’ on 7 September. ‘Do we believe that historic buildings have the ability to inspire people and make them more creative, more entrepreneurial and more complete? The answer to all those questions for me – for all of us – has to be “yes”,’ he says. The SPAB’s director, Matthew Slocombe, adds: ‘In recent years people have placed greater emphasis on the handmade, on good design and on the authentic in manufacture and production. The SPAB Approach has always attached a value to the promotion of traditional crafts. We want visitors to The Old House Show to participate, learn and be inspired by all that our first large-scale exhibition has to offer.’ Register for the event in advance at spab.org.uk, and you will be entered into a prize draw for the chance to win a homeowner course. ➤
Top: The Old House Show is taking place between 7–8 September at the Old Royal Naval College in Greenwich, London, and is free to attend Above: Broadcaster and heritage champion Loyd Grossman will be giving the keynote speech Below: SPAB aims to inform and inspire period homeowners through training and expert advice
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SAVE % AT SPAB… AND WIN A NIGHT CHAMPING! Take out a SPAB individual or joint membership by 6 September 2018 using the promotional code PLOFFER2018, and you will receive a 20 per cent discount on your first year’s membership. You will also be entered into a prize draw to win a one-night stay for two at one of The Churches Conservation Trust’s most popular ‘Champing’ churches, St Katherine’s in Chiselhampton, plus a complimentary bottle of champagne. You can become a member of the SPAB at spab.org.uk. Champing is the simple concept of camping in ancient churches – a truly unique way to immerse yourself in centuries of history. The Churches Conservation Trust, the national charity protecting historic churches at risk, is behind this ingenious idea. Sitting in hedge-lined seclusion six miles south-east of the spires of Oxford, the simple Georgian beauty of St Katherine’s is full of light. With its charming box pews and a bare wooden floor-boarded gallery above, it’s little wonder that this simple church was a favourite of poet laureate and SPAB committee member (1952-77) Sir John Betjeman, who wrote a poem about it in 1952. Visit champing.co.uk for more.
Above: Passing down traditional crafts for future generations to put into practice Below: Live demonstrations at the show will include blacksmithing Below left: Champing is a unique and atmospheric experience that involves spending the night in an ancient church
TERMS AND CONDITIONS: Entrants must be 18 or over. Current Members of the Society for the Protection of Ancient Buildings (SPAB), employees or agencies of the SPAB or Future Publishing, or their family members, or anyone else connected with the prize draw may not enter the Prize Draw. Offer applies to fully priced Individual and Joint Memberships only and cannot be used in conjunction with any other offer. Offer expires 6 September 2018. The prize is a one-night stay for two people, plus one bottle of champagne, to be redeemed for a date during the 2019 Champing Season (26 March–30 September 2019) subject to availability. The winner will be drawn at random from new SPAB members joining online and quoting code PLOFFER2018. The winner will be announced by 31 October 2018.
HOW TO BOOK YOUR FREE ADVICE SLOT SPAB technical director and Period Living columnist Douglas Kent is offering exclusive one-to-one advice slots for PL readers on Saturday 8 September. To book your free slot, bring this page to the Advice Surgery welcome desk in the SPAB area at the Old House Show on the day. Appointments will be given on a firstcome-first-served basis and are likely to book up fast, so arrive early to avoid disappointment.
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Renovation
Timber windows Key components to the overall appearance and character of a home, original windows need to be restored with care Feature Roger Hunt, author of Old House Handbook othing sets the tone and character of a period home more than original timber windows, so giving them a new lease of life is well worthwhile. The proportions and features of windows help to define different architectural styles, while the details of their construction show off the craftsmanship of those who made them. Equally important is any surviving original glass. This will have ripples, bubbles and other imperfections that result from the manufacturing process, which gives original windows their inimitable character. The other irreplaceable feature is the timber the windows were made from. Although often softwood, this tends to be very dense and durable because, unlike today’s timber, it was slow grown and straight grained.
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Illustration Sarah Overs
Repairing and overhauling Timber windows are relatively easy for a good carpenter to repair and a competent DIYer may be able to do much of the work. If windows have to be removed, be aware of their weight and seek help if necessary. ROTTEN TIMBER: The most common areas for rot are window sills, the bottom of sash boxes and the lower sections of the window frame. Although short-term repairs can be made with two-part resin fillers, rotten timber is usually best cut out by a carpenter who can then joint in new sections of
well-seasoned timber of a similar type on a like-forlike basis. Always ensure exterior grade adhesive and stainless steel or brass screws are used. LOOSE JOINTS: Over the years, the joints holding a window together can become loose. The simplest repair is to fit a stainless steel angle bracket across the joint. Alternatively, carefully take the window apart and re-glue the joints, where necessary using woodworking sash cramps to pull them tight until the glue is dry. Joints were often secured with dowels and wedges, which may have to be reinserted or replaced. An important point to remember is that although, in theory, all the corners of a window should be at right angles, they are often out of square, so it is advisable to check the casement or sash in the frame before allowing the glue to dry. It is also vital to check that any glass that has been removed still fits. HINGES AND FITTINGS: Defective hinges, catches and stays can cause windows to stick, rattle and become insecure, so check that they are working correctly and, where necessary, realign, ease, repair and lubricate them. RE-CORDING SASHES: Worn or broken sash cords are relatively easy to replace. This is done from inside and involves removing the sashes. Always replace all the cords, and check that the sash pulleys are running freely. Rubbing a candle along the edge of the sashes before they are replaced will help them slide more easily. ➤ Period Living 109
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What to look for:
Ensure sash pulleys are running freely s s
Check for loose joints and repair with glue or angle brackets
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Sash cords are relatively easy to replace if worn or broken
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If windows still have the original glass, take care when making any repairs
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Window sills and bottoms of sash boxes are most prone to rot GLASS AND PUTTY: Where windows retain their original glass, take great care when making repairs to the timber. If a pane is cracked just on the corner, retain it wherever possible unless it is dangerous. Traditional linseed oil putty should be used when glazing. PAINTWORK: Paint provides vital protection for the timber, so it is important that all surfaces, including unseen edges, are painted to prevent moisture entering and potentially causing rot or swelling of the wood, which can cause windows to stick. Thorough preparation of surfaces is vital. This may include sanding down and removing all loose or flaking paint, or stripping paint layers using gel-type strippers. Never use heat guns to strip paint near glass as this can cause it to fracture. Always apply a good paint system. Natural linseed oil paint offers good protection and is available in a range of colours. Be careful, however, not to clog draught strips with paint as this prevents them working.
Maintenance checklist Open and close windows, checking for potential problems inside and out. l Test suspected rotten areas by prodding with a penknife or screwdriver. l Check hinges, catches and locks. l Replace broken or frayed sash cords. l Renew loose or damaged putty. l Clean the glass and wipe pollen, dirt and mildew from the timber. l Redecorate regularly before paint finishes fail.
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Old windows may be out of square, so always check in the frame before allowing glue to dry for any repairs
Fit for the future Upgrading windows to make them more thermally efficient by draughtproofing or fitting secondary glazing helps cut energy bills while also reducing street noise and dirt. Draughtproofing is best undertaken either by a good carpenter or one of the many specialist companies that overhaul windows. They will rebate inconspicuous draught strips into the edges of the windows as well as the meeting rails and parting beads of sashes, while also ensuring the window fits snugly within its frame. Secondary glazing comes in the form of discreet glass or plastic panels that are fitted to cover the inside of the window. These not only cut out draughts around the edges of the window but also reduce heat loss through the glass. Some systems can be opened, others consist of lift-out panels held in place with magnets so that they can be easily removed in the summer and stored away. When ordering a system, double check all measurements or, as old windows are often not square, take a template. The space between the secondary glazing and window must be ventilated to avoid condensation, so it is advisable not to draughtproof windows that are secondary glazed.
Useful contacts CLEARVIEW – secondary glazing solutions. Tel: 0114 294 5018; clearviewsg.co.uk MAGNEGLAZE – acrylic magnetic secondary glazing system. Tel: 0800 999 3349; magneglaze.co.uk MITCHELL & DICKINSON – secondary glazing systems. Tel: 01237 429826; mitchellanddickinson.co.uk ORICALCUM – Linseed paint products. Tel: 01423 500694; linseedpaint.com SASH REPAIRS – sash window renovation. Tel: 020 8965 4185; sashrepairs.co.uk THE SASH WINDOW WORKSHOP – timber window specialists. Tel: 01344 868668; sashwindow.com SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS (SPAB) – free briefing publication on doors and
windows. Tel: 020 7377 1644; spab.org.uk STORM WINDOWS – bespoke secondary glazing.
Tel: 01384 636365; stormwindows.co.uk SWEDISH LINSEED PAINT - linseed oil paint.
Tel: 01769 581765; swedishlinseedpaint.co.uk VENTROLLA - nationwide window renovation. Tel: 0800 378278; ventrolla.co.uk
Advertorial
ADDING CHARACTERWITH
WOOD WINDOWS You can’t beat the natural beauty of timber windows, and they are also one of the most durable, high quality options. The Wood Window Alliance explains the key considerations
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eriod architecture not only boosts the value of a house, but makes it easier to sell, too. The desire for heritage means that people are willing to pay an average of 11 per cent more for a house with well-maintained period features. According to British homeowners, wood trumps plastic when it comes to character. Yet, perhaps due to outdated beliefs around functionality and energy efficiency, almost half of those living in period properties have fitted PVCu window frames. Whether you are renewing existing features or replacing your current windows and doors, wood is a versatile material to work with and maintain. To help you make the decision, the Wood Window Alliance (WWA) has identified five key questions to ask yourself before investing:
HOW ENERGY EFFICIENT DO THEY NEED TO BE?
WWA members offer the most advanced energyefficiency wood windows in the UK. Higher levels can be achieved by adding triple-glazing, for which timber is ideal due to its strength. Otherwise a double-glazed unit, Argon filled, with warm-edge spacers and low-emissivity glass is an ideal option. WHAT IF I CARE ABOUT THE ENVIRONMENT?
Certified sustainable softwood is the best solution for the environment, as it is low in toxicity and has the lowest Global Warming Potential. HOW IMPORTANT IS PRICE VS QUALITY?
HOW MUCH MAINTENANCE CAN I PUT UP WITH?
Triple-glazed aluminium, hardwood, modified wood or aluminium-clad timber is high quality and can be more expensive than PVCu options, but you get what you pay for. Engineered softwood offers a good compromise between quality and affordability. The quality and engineering of wood windows in the UK has undergone a revolution in recent years, with huge developments in technology leading to an improvement in their performance and durability.
All windows need some maintenance. WWA factory-finished wood windows need a re-coat every 8-10 years – just a light sanding, then one or two top-coats; no stripping back. They can also be repainted when you change colour schemes.
All WWA members are FSC or PEFC Chain of Custody certified and meet strict performance, quality and sustainability criteria. Find a member near you at woodwindowalliance.com.
HOW LONG DO I WANT MY WINDOWS TO LAST?
Windows have varying lifespans, averaging 25 to 30 years, but for a lifetime’s service of around 60 years, choose factory-finished softwood.
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From left: Stormsure oak window by Jeld-Wen; timber sash window by The Sash Window Workshop; Traditional range sliding sash windows by George Barnsdale; painted casement window by Mumford & Wood
WE’VE MOVED HOUSE The Period Living website is now part of
Realhomes.com – the essential new portal for homes advice and inspiration
Visit Realhomes.com for… l Thousands of beautiful ideas for your house and garden l Expert advice on repair and maintenance l The latest guides to choosing period home products Period Living 113
reclamatıon D E S T I N A T I O N
With a gem of salvage yard at its core, Yew Tree Barn has grown into a thriving family business and the perfect spot for treasure hunting
Words Karen Bray | Photographs Jeremy Phillips
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estled among rolling countryside on the southern edge of the Lake District, near the ancient village of Cartmel, is an Aladdin’s cave of salvaged decorative antiques, furniture and garden ornaments – all set within historic stone buildings. Yew Tree Barn, home to Wilson Reclamation Services (WRS), was established by owner Clive Wilson in 1986, and is now a sizable family-run business specialising in supplying reclaimed and salvaged materials for period properties. Yet, the barn offers much more than your usual reclamation showroom, featuring new handcrafted pieces and design-led gifts, resident artisans including a blacksmith and cabinetmaker, and Harry’s Café, which serves fresh local produce. These elements combine to create a fascinating and inspiring day out that the whole family can enjoy, as well as the perfect shopping destination for unique, eclectic finds. Clive started out specialising in oak beams and building materials in the original milking parlour of a large Westmorland barn on the site, until the burgeoning reclamation and salvage market in the 1980s offered the perfect career change opportunity. With a talent for finding unusual and interesting items, he ventured into architectural antiques, furniture, ironmongery, garden furniture and statuary. Over the years, Clive and his team have rescued valuable pieces of history from demolition, including whole church interiors and stained glass windows, giant doors from stately homes, a complete Victorian conservatory, and life-size stone sculptures of lions, wild boar and gargoyles. ➤
Reclamation
This image and opposite page: Established in 1986, Yew Tree Barn is a family reclamation business selling an extensive stock of salvaged building materials, decorative antiques and garden ornaments, as well as new artisan-made designs Above: Set in a series of converted historic buildings, the barn is located on the edge of the Lake District, near the village of Cartmel Above right: Founder Clive Wilson with his sons James (left) and Harry
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Above: The yard offers a range of interesting pieces rescued from churches, stately homes, and Georgian and Victorian properties due to be demolished. Here, a gothic arched door displays a wall planter and fountain head Above middle: A range of period windows are available for restoration projects or some creative repurposing Above right: The yard stocks unique stone statuary, both large and small
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‘Our aim is to rescue, restore and promote Britain’s architectural heritage,’ says Clive. ‘We are proud that WRS has been supplying period restoration and renovation projects with architectural gems for over 30 years now. Whether it’s an Edwardian cast-iron bath, a Georgian fire surround, a stone fountain, or a traditional red post box, there is always something new to see and you are sure to be inspired wandering around the yard.’ Over time the business grew. In 1993, Yew Tree Barn became one of the first reclamation yards to open a café, and various new staff members were employed to provide additional skills, knowledge and experience. Artisans established themselves in the barn, some of who remain, and various family members joined, including Clive’s wife Pamela, and sons Harry and James – all coming from different backgrounds and careers to combine talents in the family business. ‘Having been one of the first reclamation yards in the country, it was important for us to respond to the changing climate and grow the company,’ says James. ‘We’re in a wonderful location in a popular tourist area, so we wanted to create a destination for all visitors, not just the reclamation customer. The salvage side of the business was doing well, so in 2006 we opened a gallery, featuring work from local artisans to complement and support the other elements of Yew Tree Barn.’ Run by Clive’s wife Pamela, the gallery space offers a fantastic selection of homeware, including original artwork, sculpture, ceramics and textiles, as well as gifts, jewellery, books and cards. In this charming and relaxed space, complete with original beams and whitewashed walls, there are also select pieces of furniture and accessories that sit perfectly alongside antiques and salvage from the yard.
The original café was refurbished in 2013 and Harry’s Café Bar was set up, largely masterminded by youngest son Harry – hence the name! A new team now runs the café, under the guidance of head chef Adam Martin, who has created a fantastic seasonal menu using local suppliers. Adam also organises special evening events, which have proved extremely popular. Expanded again in 2016, the café has a relaxed atmosphere and an eclectic shabby chic style, where everything is for sale including the tables, chairs and accessories. Perhaps the most unique element of Yew Tree Barn, which attracts locals and tourists alike, is the resident artisans. ‘We provide accommodation and studio space for independent designermakers,’ explains James. ‘The barn is a great place in which to create and sell, and over the years we have had a variety of different artists and craftspeople working from here, many of whom have outgrown their space and gone on to set up their own studios, shops and galleries.’ The forge in the back barn is currently home to artisan blacksmith John Law, who uses reclaimed steel to make beautiful and useful objects inspired by the Arts and Crafts movement. Commissions for hand-forged decorative ironwork are also undertaken. ‘Many of my pieces are made from scrapyard-sourced steel, including wrought iron salvaged from old gates and railings, which is why being located so close to the salvage yard at Yew Tree Barn is ideal for me,’ says John. ‘My pieces show imperfections and wear from their former lives, and have a patina and character that cannot be replicated with modern mild steel.’ In the workshop you will find furniture maker and restorer Gary Eccles, who specialises in 17th to 19th-century pieces. He makes traditional furniture ➤
Reclamation
Clockwise from left: Weathered garden furniture and accessories add character to a garden; Clive restores an antique stove; cast-iron planter components, £35 for a set of four; ram’s head pokers by blacksmith John Law, £35 each; head inside the barn for a treasure trove of antique furniture and curios
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Far left: Expect to find quality Georgian and Victorian antique furniture items Below: Serving locally sourced produce, Harry’s Café Bar is the ideal place to stop for a drink or bite to eat to celebrate finding that one-off gem
Above and top right: Resident artisans Gary Eccles, a furniture maker and restorer, and blacksmith John Law, add another unique element to the business, while keeping local crafts alive
by hand in reclaimed, new and painted pine, oak elm and native woods. ‘In 2000 I had outgrown my original workshop and took up an offer of a larger workshop and showroom inside Yew Tree Barn,’ explains Gary. ‘Being part of the barn provides me with the potential to retail antique pieces as well as my own handmade items.’ With its seemingly endless ranges of quality goods and services, Yew Tree Barn is an antidote to run-of-the-mill high street stores and provides a beautiful historical backdrop in which to source local handmade items alongside an eclectic range of antique and salvaged finds. Whether you are passionate about sustainability, craftsmanship and unique character, enjoy spending time perusing unusual and interesting objects, are looking for traditional items to restore and refurbish a period property, or if you just fancy stopping in for a spot of lunch in a charming Lake District location, you will discover something to satisfy every inclination at this rural gem. Yew Tree Barn, Low Newton, Nr Cartmel LA11 6JP. Tel: 01539 531498; yewtreebarn.co.uk
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Clive’s tips for buying reclaimed l Ask if you can try a piece in situ before buying – we are usually happy for people to try a few different options in their home before committing to an expensive purchase. l Measure up fully before you come to view items – knowing which fire surround or piece of furniture fits your space will save a lot of time and disappointment, and it will also help for the yard to have a copy of your dimensions so they can source any items for you. l Don’t be afraid to haggle or ask for a best price – but don’t expect it to always work the same way as it does on television. Some owners will be more receptive to haggling than others. l There is no need to be too strict about period details – some of the most successful renovation and extension projects mix pieces from a variety of styles. Your house is probably a series of progressions that have evolved its style. l Try to reuse existing materials where possible – rather than throwing away small numbers of useful items, ask a salvage yard to help you find pieces to match.
Shopping Strom LED PIR outdoor wall light in steel, £60, John Lewis Chelsea outdoor wall lantern in nickel, £612, Broughtons
Putney outdoor wall light in antiqued brass, £154.50, Jim Lawrence
Dock solid brass wall light in antique brass, £96, David Hunt Lighting
Feature Sophie Warren-Smith
Ernest wall light in antique brass, £72, Där Lighting
Browning outdoor wall light, £155, Neptune
St Ives Mariner outdoor pendant in galvanised steel, £80, Garden Trading Tristan industrial chrome pendant light, £44.99, MY Furniture
SHINE A LIGHT Prolong alfresco summer evenings as long as possible, and illuminate the garden past dusk, with our choice of outdoor lighting
Bulkhead copper sconce wall light, £289, Industville
Nordlux Agger outdoor wall light in galvanised steel, £105, Houseology
Park Gate wall lantern in verdigris, £395, Christopher Wray
Industrial-style outdoor light in Charcoal, £115, Cox & Cox
Finsbury outdoor wall light, £44.50, The Farthing Pillar offset LED wall light, chrome plated, £669, Davey Lighting
Montparnasse bronze pendant, £225, Astro Lighting
Steve’s Posh Cousin bulkhead light in Forgotten Silver, £74.99, Dowsing & Reynolds
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W TOP OF THE RANGE
hat kitchen appliance could be more evocative than a traditional range cooker, as heavenly aromas of Sunday roasts or home-made bread and cakes drift out of it? Built to last and offering a timeless aesthetic, a range is the perfect centrepiece for a period home, yet the latest models also come packed with modern technology for enhanced functionality, convenience and energy efficiency.
Which type of cooker?
The ultimate heart of the kitchen, the classic range cooker is now available with as many hi-tech features as style and colour options
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The classic cast-iron range cooker was designed to be in use continually, with the ovens and hotplates set to a steady, gentle temperature, ready to cook, toast or boil on at all times. These ‘heat storage’ cookers give off a lot of warmth so also provide space heating for the kitchen, although in summer most owners turn them off and switch over to a smaller electric oven, to avoid overheating. In recent years, however, there has been a lot of innovation in the range cooker sector, and the latest heat storage designs offer far more control. While these cast-iron ranges cook food in the same way as traditional models, using radiant heat from all sides, it is not necessary to have them permanently on. You can also operate each part of the cooker independently, and heat-up times are much faster. It is possible to get the look of a heat storage cooker with one of the many cooking-only models that operate in the same way as a conventional oven. Stainless-steel, range-style cookers are another alternative, and offer a more modern, professional look that works well in many period homes. ➤
Range Cookers
Above left: Professional Series 110 11-function three-oven electric range cooker in Orange with induction hob, £4,619, Bertazzoni Above: Sandringham 100DFT dual-fuel range cooker with seven-burner hob, £999, Belling Below: Nexus SE 110 dual-fuel eight-function range cooker with griddle, £2,806, Rangemaster
Above: 100+ three-oven electric range cooker in Victoria Blue with cast-iron hot and simmer plates and touch controls, £7,695, Everhot Right: Aga Total Control electric three-oven range cooker in Dove with touch-screen panel and two hotplates, from £12,060 Below left: Classic Chaussin 140 dual-fuel range cooker in Rose Quartz, from £8,970, Lacanche Below middle: Slimline 500 EL electric two-oven range cooker with cast-iron hob, £4,495, Esse Below right: Rayburn 600 Series oil-fired range cooker in Pistachio, available as cooker only or combined heating and cooking, from £9,795
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Should I use it to heat my home? Some range cookers are designed to be used as the primary heat source in a house, operating the central heating and hot water from a built-in back boiler. Esse and Rayburn both offer models that work in such a way, with the Rayburn 600 series capable of heating up to 20 radiators. This is an option worth considering if you are off mains gas.
Which fuel is best? If you are on mains gas, the most obvious option is a dual-fuel model, with an instant, highly controllable gas hob and electric fan-assisted oven. But there is an option for every preference. Electric cookers are increasingly popular, and some can now mimic a traditional heat storage range and feel warm to the touch. Increasingly available are designs that include induction hobs. All-gas models are also available and are popular with keen bakers as a gas oven features different heat zones, allowing you to cook separate dishes at the same time. If you are determined to have gas but are off mains, you can choose a cooker that runs on LPG (liquefied petroleum gas). Alternative fuel options include oil, wood or solid fuel, which will require a flue to remove smoke and harmful gases.
Above: Victoria TR4110I fourcavity electric range cooker in Pastel Green with induction hob, from £2,639, Smeg Top right: Ascot 120 dual-fuel three-oven multi-function range cooker in Ametista, from £5,970, Steel Above right: Delphi 100cm two-oven nine-function dual-fuel range cooker in Gloss Red, £2,853, Britannia Living
designs. Heat storage models are more expensive to run – in the region of £12-20 per week – but can also provide the heating for your kitchen, eliminating the need for radiators in this space.
What size do I need? There is a size of range cooker to fit every kitchen, from slimline 60cm-wide designs for small spaces to luxurious 140cm-wide models – although most are 100cm or 110cm wide. It is important to compare the number of ovens, and the sizes of the cavities themselves, as this will make a big difference to overall cooking capacity.
Can I afford to buy one?
Which features should I look for?
It is possible to purchase an entry-level cooker for £1,000, which will have standard functionality and few professional-inspired features, but offers classic looks and reliable cooking. A high-end, multifunctional model will cost several thousand pounds. Classic cast-iron range cookers are expensive, usually costing between £5,000 and £10,000, but these are investment pieces designed to last for years, and can be restored in the future.
Many cookers have an impressive array of features, but think realistically about what you will use. A wok is great for cooking healthy stir-fries, while a griddle plate is a useful extra that can be fitted on top of the hob for an oil-free cooking surface. Bread-warming drawers are perfect for keen bakers as they allow you to prove dough perfectly. Meat probes enable you to check a roast is done, and rotisserie options are an indulgent extra if you like the idea of spit-roasting meat. On traditional heat storage models, slumber mode is ideal for slow cooking, or to give a gentle heat into the kitchen. To keep on top of cleaning the oven, look at pyrolytic designs that allow the cavity to be heated to a very high temperature to burn off any food residue into a fine ash that can be wiped away.
Are they expensive to run? Many cooking-only models won’t use much more energy than a standard oven. Look at the appliance’s energy rating, from A to G, to get an indication of how cost-effective it is to run. Newer hi-tech cookers are much more energy efficient than older 124 Period Living
Compact compost The vintage vibe of this slimline, sage green indoor compost bin, £16.99 from Kitchencraft’s Living Nostalgia range, ensures it will sit pretty on your kitchen worktop. Made from robust steel, it has a special charcoal filter that helps to keep nasty odours to a minimum.
SUMMER BRIGHTS As late-summer days begin to shorten, don’t head indoors: add some flickering fairy lights and the soft glow of lanterns to create a cosy corner after dark. Lights4fun.co.uk has a range of outdoor lighting that will inspire – 20 Lunar fairy lanterns, £16.99; three outdoor battery LED candles, £14.99; and 100 LED fairy lights, from £14.99.
GARDEN journal
BACK DOOR STORE Tidy away muddy wellies in this new Gothic boot store from The Posh Shed Company. Made from pressure-treated timber, the design features a beautiful cedar shingled roof. Prices start from £300.
Try your hand at some floral art and make the most of the last days of summer in the garden
MAKING A SPLASH Opened in 1979, The Old Cinema in Chiswick is a treasure trove of antique, vintage and retro finds. If it’s quirky and eccentric statement pieces you are after, then it won’t disappoint: this grand red lacquered metal umbrella stand, £320, from Italy c.1960, is a classic example of what you might find.
BOLD BOUQUETS Show off your favourite bouquet of garden flowers in a vibrantly coloured vase from Oliver Bonas. The handpainted Kinship range has an air of Matisse about it – fluid and strikingly designed in primary colours, the flower motifs are bold and bright. Priced from £30.
Feature Michelle Guy
Reclining beauty Handcrafted in Britain, this stylish Sorrento Sofa from Bennington Metal Furniture would offer a sumptuous seat in a garden room. A range of fabrics and metal finishes are available, as well as the option of a drop arm to create an elegant chaise longue design. Priced from £2,195 (incl fabric). Period Living 127
EXPERT TIPS… USING HOME-GROWN EDIBLE FLOWERS IN COOKING
flight n I
Rothay Manor owner Jenna Shail explains how head chef Dan McGeorge uses edible flowers from the kitchen garden in his imaginative menus If you are not keen on the idea of eating flowers, consider that they have been part of world cuisines for thousands of years – chrysanthemums were used to add flavour to dishes in ancient China.
The Haeckel Hummingbird collection by Jay features stunningly detailed illustrations from the famous book Art Forms in Nature (1899), by German-born biologist Ernst Haeckel. The eye-catching teatowel, £9, and wall clock, £30, available from Hurn & Hurn, depict the wonderfully ethereal species.
On 8 and 9 September, Hornby Castle in Lancaster is opening its beautiful gardens to the public. Enjoy the riverside walk and visit the walled nursery, too. Tickets £4. ON THE BOOKSHELF For any budding artists, The Watercolour Flower Painter’s A to Z, by Adelene Fletcher, is a wonderful, easy-to-follow step-by-step guide on how to capture the intricate details of 50 of the most popular species of flowers. £12.99 at Search Press.
SUBTLE BLEND Brighten up a windowsill with this delightful collection of ombre sea green plant pots by Sophie Conran for Burgon & Ball. Perfect for herbs and succulents, the set costs £19.95 from Annabel James.
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PLANTS FOR LIFE Low-maintenance, hardwearing, and animaland child-friendly – these are just some of the benefits of artificial plants. Nowadays they are so realistic you’d be forgiven for thinking they are real. Look out for Marks & Spencer’s new range of indoor artificial trees, available September, which includes this medium ficus tree, £69.
FLORAL NOTES Dan is pictured here with our violas, which he uses in a new trout dish. Violas are a fantastic flower for enhancing a dish’s colour; they have quite a neutral taste so work really well with desserts, too. Nasturtium is another easy flower to incorporate in cooking, as it has a bold, peppery flavour, while from April to June there is usually an abundance of wild garlic flowers – use these to spice up any dish, especially a simple salad. PETAL POWER You can use blue borage flowers to lace lemonade, scatter bi-colour pansies on a garden-fresh salad, or sprinkle fiery red nasturtiums on soup. Lavender blooms accentuate sweet and savoury dishes with a sweet mingling of floral, fresh pine, and rosemary with citrus notes. English lavender varieties have the best culinary flavour – strip the flowers from the stalk before using. There are more than 100 types of edible garden flowers, so chances are that you are already growing a tasty bloom or two without realising it! (rothaymanor.co.uk)
Banwood ‘First Go!’ balance bike, £138, Bobby Rabbit Children’s garden toolkit in blue, £15.99, John Lewis
Birds balancing tree by Plan Toys, £12, Pure Panda Bonnie the Bunny children’s umbrella, £8.95, Rex London
Minnow wellington boots, £25, Regatta Great Outdoors
OPEN AIR
Children’s two-wheel wheelbarrow, £40, National Trust
ADVENTURERS
Ridley’s Hoopla, £19.95, Annabel James
Mini golf set, £26.95, Babipur
Building dens, riding bikes, mud-pie making, pond dipping, bird watching... The great outdoors is an abundant natural playground for children to explore. In an age when they are surrounded by technology and screens, the simplicity and beauty of nature will always offer them space to be imaginative, playful and inquisitive. We’ve pulled together a few things to encourage children to step into the Cowboys & Indians garden and enter a fabric bunting, £3, The Contemporary Home world of wonder
Wooden slide, £244.95, Scandiborn
Children’s large tent with houses, £95, Boutique Camping
Feature Michelle Guy
Game of boules, £22.99, Cotswold Trading
Aksent planter table, £149.99, Early Learning Centre Period Living 131
Gardens
LEADING THE WAY Whether straight and direct or meandering, encouraging a leisurely journey of discovery, paths can perfectly complement your garden Words and photographs Leigh Clapp
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A
s structural elements, paths offer the opportunity to combine practicality with aesthetics. Walkways are an essential link between spaces and can be as simple or elaborate as you wish; whether a straight, formal path to a focal point, or a leisurely, serpentine route of exploration. Consider the textures and look of the garden, as well as the style of your home, to ensure the paths will complement the scene you are creating. Look at the flow from inside to outside so that materials blend well across the garden. Walkways should be attractive, but also practical and easily maintained additions to your outside space. Take a walk through your garden and make note of the natural routes used to access gates, sheds, entertaining spaces, children’s play areas and other zones. These are where you need to place paths when designing your garden. You can also create pathways through existing plantings or meadows. Consider, too, how often walkways will be used – high-traffic areas need to be wider and made of more durable surfaces.
FORMAL WALKWAYS Where gardens, especially small ones, have a geometric layout and architecture, it is best to echo this with straight paths, framed with box hedging or repetitive forms. A wide, straight walkway leading to a feature such as a fountain or bench directs the eye while giving the garden a sense of proportion and linear perspective. To widen the vista, place plants or containers along the length to draw the eye side to side. In a garden of rooms, pathways can be used to link the spaces, often through arches and tunnels. Natural stone and gravel are classic choices, but brick designs and mosaics can work well, too.
GENTLE RAMBLES Meandering paths, designed for you to enjoy the journey as much as the destination, immediately lend a space a casual air. Natural-looking curves need enough space and repetition to feel authentic; once you’ve set an arc or curve, keep the curves consistent in scale to give a sense of uniformity. Setting a winding, serpentine journey through dense, effervescent planting works particularly well in a cottage garden. Use materials without a rigid geometry, such as gravel, reclaimed irregular bricks or stepping-stones, or in woodlands bark chips are a perfect choice. Allow plants to spill over the paths and ebb and flow with the seasons. Placing larger plants that protrude into the path will add a sense of depth and concealment along the way.
MATERIAL CHOICES STEP THIS WAY Stepping stones are easy to lay; first test out the spacing for comfortable walking. They can be placed across a lawn, set in gravel or bark, or even in a garden bed, for access. Dig the lawn or soil to allow for the thickness of the paver, plus a shallow depth of bedding sand. Make sure they are set perfectly in lawn so you can easily mow 134 Period Living
around them. To increase the impression of length, decrease the size of the steps as you progress. Material options include sawn timber, concrete slabs, stone pavers and mosaic designs. PERFECT PAVING Paving with stone or brick is the most common option for outdoor living areas and paths. Recycled bricks create lovely walkways with an instant aged and weathered look. Paving designs can be simple, as neutral foils to the planting, or dynamic with interlocking patterns. The design can vary along the path or be edged with a contrasting material; however, too much pattern can look busy and reduce the appearance of size, while linear designs will draw you along to the end point and pointing bricks in the same direction creates momentum. Consider the colour and texture of the different paving materials. For a unified look select options that match walls and patio areas. SERENE IN GREEN Mown paths in large areas of grass or meadow are the simplest solution. Wide lawn paths between mirror-image herbaceous borders are a classic choice for strolling along. DOWN TO EARTH Bark chips, crushed decorative aggregates, shingle and stone gravel paths don’t need defined edges so you can let nature take its course with encroaching plants. Practical and porous, they are cheaper and easier to lay than hard surfaces and more durable than grass or ground covers. Pebbles and gravel can be laid loose, so are ideal for small areas where paving would be difficult or impractical. To avoid gravel sinking into the ground, lay weed matting landscape fabric, cover with sand and water, compact down and cover with gravel. Many plants will grow happily among the gravel for pretty effect, and contribute to a relaxed feel. If you need to contain the path where it abuts borders, edge in brick, timber, or try reclaimed materials, such as half-buried upended glass bottles. ➤
Previous page: A tunnel of wisteria and laburnum has transformed this pathway Clockwise from above: A rustic timber pergola is smothered with muted yellow roses, while repeated plantings of salvia, Stachys byzantina and golden oregano guide the eye along this reclaimed brick path; timber stepping stones are a way to add interest to a gravel path, edged here with billowing hardy geraniums; grass walkways are an easy solution. This winding lawn path runs between the two borders; gravel paths dotted with container plants can soften the impact of brick garden walls
Gardens
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UP THE GARDEN PATH l Consider
Below: Terraced levels with flat expanses linked by steps gradually rise up this sloping garden and also give opportunity for plantings of perennials and grasses alongside the pathway for a long season of visual beauty
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the practical purposes of the path – do you need to get a wheelbarrow along it, or space for two people to walk side by side? l Long, thin paths accentuate a narrow garden, while one that sweeps from side to side will give the illusion that the space is wider. l Repetition of plants or topiary lends definition and draws the eye laterally. l A simple bend in a path or an arrangement of containers can soften the look. l Use paint or dry sand to mark the shape of your path then, after digging, hammer wooden stakes along both sides and run string between the stakes to give the exact line and level. l Loose materials, such as gravel and bark, are cheaper than brick or stone but will require regular attention and topping up. Gravel and aggregate starts from around £3.75 per m2. Costings for pavers vary greatly depending on materials, from reconstituted to natural stone, clay pavers, concrete designs or different types of bricks. Shop around and you may find cheaper seconds. l Soften the lines of paths with spillover plants, or trimmed low hedging. l Leave some unpaved squares and plant with herbs, such as thyme or camomile. l You can transform a dull path by using a mix of different materials for interest, but keep the overall look cohesive. l Stick to a controlled colour palette so nothing jars. l Decorative edging, such as ceramic tiles with rope topped patterns, is ideal for a Victorian property. l A path can prove a visual diversion by drawing the eye away from an unattractive area. l Use shallow steps as create a gradual descent to bridge different levels.
MAINTENANCE l Remove
leaves, moss and algae where they could become hazardous when wet. l Regularly scrub stone paving located under trees or in shade, to avoid it becoming slippery.
l Weed pathways regularly and remove self-seeding plants where you don’t want them. l Make sure access paths to the house are adequately and appropriately lit. l Keep regularly used walkways clear of overhanging or sharp plants. l Always use permeable paving materials to help prevent localised flooding.
PLANT PALETTE Top row, left to right: AJUGA forms dense foliage that is perfect for keeping weeds at bay. Deep blue flowers appear on spikes in spring and summer. Plant by slightly damp, shady paths, close together, and the individual plants will intertwine as they grow. SEDUM is a tough and beautiful perennial for fringing a path with interest through summer and autumn. This purple leafed variety is low growing, and needs to be placed in a well-drained, sunny spot with sandy to rocky soil. LAVENDER planted along the full length of a path will look and smell wonderful. Place in a sunny spot with good drainage in alkaline soil. It reaches a peak in its third year. Prune after flowering. Second row, left to right: ERIGERON will pop up through paving and along edges to soften pathways with its generous displays of cheerful, dainty daisy-like flowers. It grows happily in full sun with well-drained soil. GERANIUM varieties are invaluable for their ability to spread, suppress weeds, and offer profuse flowering over a long period. They are easy to grow in sunny to partly shaded spots. STACHYS BYZANTINA makes an attractive ground cover edging along paths. Its spreading nature has the advantage of forming a weed-suppressing carpet. It prefers full sun and deep, moist soil, but will tolerate dry conditions. Third row, left to right: LAMIUM is a prostrate spreading perennial that will form a silver, matte edge along a shady path. Needs moist but well-drained soil. Cut back after flowering to encourage fresh foliage. THYME requires full sun and offers a range of varieties for colour, scent and taste. Loved by bees, it will make a carpet along paths and in cracks. HAKONECHLOA is a neat, clump-forming grass with glowing foliage that is ideal for edging paths. Grow in moist, humus-rich, well-draining soil in sun or part shade. Fourth row, left to right: NEPETA on its own edging paths, or interwoven with lavender or contrasting perennials, is a lovely choice. It grows in full sun and well-drained soil. SANTOLINA, with its mounding silver foliage and button yellow flowers, is another good choice to line a path. This herbaceous perennial needs full sun and well-drained soil. HEATHER varieties are tough and have prolific bee-enticing flowers as well as evergreen ground cover. They grow in sun to part shade and prefer neutral to acidic soils.
Gardens Next Month
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WAVES OF PLANTING The transformation of this New Forest garden has created a space of sinuous movement, which echoes the riparian views of the Beaulieu river estuary beyond Words and photographs Leigh Clapp
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Gardens
The muted palette of sinuous Stipa gigantea with mauve, pink and cream perennials and seasonal annuals, such as blocks of cosmos, peaks in late summer to autumn, in a border that reflects the shape of the curving river Period Living 139
Left: One of Adrienne’s favourite plants for summer, agapanthus are valued for their showy blue blooms and unfussy nature Below: Hardy geraniums break up the terrace area and provide a pretty fringe to the paving
T
he light catches on the rippling, snaking mass of grasses and lavender in this New Forest garden, and the effect is mesmeric. Echoing the glimpses beyond of the Beaulieu estuary, waves of planting shimmer as they ebb and flow with the slightest breeze. The garden evolved as a collaboration between award-winning landscape designer Alison Wear and owner Adrienne Page. Extending out from a characterful 1920s cottage, nestled near the hamlet of Buckler’s Hard, the garden billows with a mix of beautiful herbaceous planting. ‘I moved to the property in 1998, attracted by the idea of being close to the Solent for sailing and the New Forest for walking and cycling, and as a boarding school girl in nearby Salisbury, I had visited Buckler’s Hard on coach trips on days off. I saw the house advertised in Country Life and something moved me to contemplate giving up London suburban life for something completely different,’ recalls Adrienne. ‘When we went to view the property we were delayed by a group of Highland cattle milling about in the roadway outside, munching on the hedge, and I thought this was enchanting. Since then, though, I have seen every other variety of cow, pony and donkey outside the house, but no Highland cattle. Perhaps they were especially laid on by the seller of the house to make us fall in love with the location?’ she laughs. The garden at that time was very natural, mostly lawn with boundary planting, roses and shrubs. ‘Then, in the summer of 2009, I attended a charity evening in which one of the lots in the silent ➤
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KEY FACTS Owners Adrienne Page and her partner Adam Speker Property A 1920s cottage in the New Forest, Hampshire Character A blend of traditional and contemporary, with ribbons of grasses and lavender echoing the garden’s riverside setting, and swathes of late-season perennials and taller ornamental grasses in the herbaceous borders Size Half an acre Aspect North facing Soil Light sand, quite gravelly and fast-draining, but with one boggy area
Right: The terrace provides the perfect spot for entertaining alfresco, with island beds of silver birch and grasses, along with container plants and seating, helping to soften the impact of hard landscaping around the pretty cottage
Gardens
Left: Adrienne enjoys a stroll with her Labrador, Bella, deadheading any spent blooms as she goes Above: Ruffled blooms of double cosmos glow in the sunlight Period Living 141
auction was two hours’ consultation with the Chelsea Gold Medal-winning landscape gardener, Alison Wear. I thought this was a great chance to have the garden reviewed by the sort of designer that I would never normally have had the courage to approach,’ Adrienne explains. The result of this meeting was a redesign transformation, tackled gradually in stages. The aim was to make better use of the half-acre sloping plot, creating a sense of division between planted and designated seating areas. From the terrace, adorned with containers and seating options, there flows a small chestnut wood decking area, perfectly positioned for dining with views out over the garden and to the estuary beyond. Planting on the side boundaries was extended and augmented with a pathway to walk through, while an avenue of Pyrus salicifolia ‘Pendula’ leads down to a focal point green oak pergola at the bottom of the garden. The most unique element of the garden design, however, is the clever use of grasses and lavender running like ribbons through the lower lawn, designed to reference the river estuary. Alison aptly described them as ‘serpentine wiggles’. Low-growing lime green Sesleria ‘Greenlee Hybrid’ (moor grass) encloses the bright purple Lavandula x intermedia ‘Grosso’, a classic French lavender with a vigorous habit and prolific flowering. Some turf was removed to create the effect and rather than disposing of it, this was then used to form three earthwork buttons, planted with lawn daisies, on the top lawn. Grasses across the garden, including Miscanthus sinensis and wafting stands of Stipa gigantea, link the planting. Colours from plants such as agapanthus, echinops and Verbena bonariensis augment the muted palette of fresh greens, with blues, whites and mauves, enlivened with some bright pink clouds of cosmos. ‘Among my best performing and most-loved plants are the 142 Period Living
perennials, such as perovskia, salvias, Geranium Rozanne, Japanese anemones, gaura, linaria and penstemons,’ says Adrienne. Completing the scene is a kitchen garden by the front of the house, hidden from the road by a willow screen smothered in clematis. Here, Adrienne has grown an abundance of vegetables, herbs and cut flowers in raised beds, and central to the area is a Primo oven, a favourite spot for her partner Adam Speker, who loves cooking outside. ‘At the time I involved Alison I was completely dependent upon her for ideas, but the process that she started, as well as her ongoing encouragement of me and enthusiasm, has given me increasing confidence in my own design and planting ideas,’ says Adrienne. ‘I acquired a greenhouse and a large cold frame to grow my own annuals, perennials and ornamental grasses from seed, before planting them throughout the borders designed by Alison.’ Adrienne’s interest in gardening, which began in childhood, has been nurtured by the process of making the garden, increasing her joy in getting stuck into planting and propagating, and prompting her to start subscribing to garden magazines and buying books on gardening. ‘I became particularly attracted by the work of the designers who combine ornamental grasses and perennials – the school of design to which Alison belongs. So I collect and avidly pore over books that feature the work of such celebrated designers as Piet Oudolf, Tom Stuart-Smith, Christopher Bradley-Hole and Dan Pearson.’ She clearly enjoys discovering new plant combinations and has an appreciation for longflowering, easy-care choices that allow the garden to peak from August onwards. The experience of such a journey is now to be repeated as Adrienne moves on to a new property, just up the road, where she will once again be enthusiastically developing her garden design vision. ➤
Above: A raised deck, made from locally sourced chestnut wood, is positioned to allow views across the hedge to the estuary beyond Right: The undulating ribbons of Lavandula x intermedia ‘Grosso’ with the astringent green Sesleria ‘Greenlee Hybrid’ create a sense of rippling waves of colour and texture
Gardens
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Above: Drawing the eye down to a pergola seating area, an avenue of Pyrus salicifolia ‘Pendula’ that is underplanted with lavender, creates a subtle blend of silvers, greys and purple Left: There is a delightful interwoven freedom of movement across the garden in the planting of perennials such as tufty Verbena bonariensis and drifts of fragrant Russian sage
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TIPS ON GARDEN DESIGN l Divide a large expanse of lawn into areas l Make best use of the ‘borrowed’ views of countryside beyond the garden l Use a planting colour palette across the garden l Plant en masse in blocks and shapes to create clear patterns l Use the spoil from landscaping to create contours in other areas l Include linking plants to give a harmony to the whole design l Position seating for alfresco dining and to take in particular views l Direct the vision to a focal point by using an avenue of trees
IN THE AREA Beaulieu, New Forest, Hants, SO42 7ZN. The garden and grounds of this palace house, abbey and motor museum, include Victorian kitchen and flower gardens and Alice in Wonderland themed topiary. Admission, £19.50 in advance; £24.75 on the day. Open daily. Tel: 01590 612345; beaulieu.co.uk Patrick’s Patch, Fairweather’s Garden Centre, Beaulieu, SO42 7YB. This model kitchen garden is maintained by volunteers and children. Open daily. Tel: 01590 612307; fairweathers.co.uk Fairweather’s Nursery, Hilltop, Beaulieu, SO42 7YR. Specialist collections of lavender and agapanthus. Open Monday-Friday, 8.30am-5pm. Tel: 01590 612113; fairweathersnursery.com Exbury Gardens, Exbury, Southampton, SO45 1AZ. Rothschild collection of woodland trees and flowers, particularly rhododendrons and azaleas. Open daily, 10am-5.30pm. Admission (gardens only), £10.35. Tel: 023 8089 1203; exbury.co.uk
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Recipes Recipes
Be inspired to enjoy a leisurely and indulgent start to the weekend with family and friends, by this selection of tasty dishes from the Lantana Cafe
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French toast with honey-roast figs, orange mascarpone and toasted almonds Nothing says ‘Saturday morning’ better than French toast. The orange mascarpone cuts perfectly through the thick, eggy brioche. SERVES 2 ● ● ●
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125ml mascarpone 2 tbsps single cream ½ tsp grated orange zest, plus extra to serve 1 tbsp freshly squeezed orange juice 4 ripe figs, cut in half lengthways Clear honey, to drizzle 100g whole almonds 2 eggs 100ml milk ¼ tsp vanilla extract 1 tbsp caster or granulated sugar
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Unsalted butter for frying 2–4 thick slices of brioche Icing/confectioners’ sugar, for dusting 2 baking sheets, greased and lined with baking parchment
Preheat the oven to 180°C (350°F) Gas Mark 4. 1 Mix the mascarpone with the cream, orange zest and juice in a small mixing bowl. Cover and set aside. 2 Place the figs, cut-side up, on a prepared baking sheet. Drizzle with honey and roast in the preheated oven for 15–20 minutes until soft and caramelised. Remove from the oven and set aside. Meanwhile, scatter the almonds on the other prepared baking sheet and bake in the oven for 8–10 minutes until lightly golden. Remove them from the oven, cool completely, then roughly chop if desired. 3 To make the French toast, whisk together the eggs with the milk in a large mixing bowl. Add the vanilla and caster/granulated sugar, and whisk again. Transfer to a shallow dish and set aside. 4 Melt a little butter in a large frying pan/skillet set over a medium heat. Dip each slice of brioche in the egg mixture one at a time. Let the slices soak up the mixture for a few seconds, then turn over to coat the other side. 5 Place the egg-soaked brioche in the hot pan, one slice at a time, and cook until golden on the bottom. Turn over and cook for a few minutes longer until both sides are golden. Transfer to a clean baking sheet and put in the oven to keep warm. Cook the remaining slices in the same way, adding a little more butter to the pan, if required. 6 To serve, cut the brioche slices in half, overlap the slices on the plate and top with the figs, mascarpone and almonds. Sprinkle with a little orange zest and icing/confectioners’ sugar.
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Slow-braised beans with ham hock You need to start this recipe a day in advance – the beans need to soak overnight and the ham hock can take up to five hours to cook. It’s worth the wait, though.
Recipes SERVES 6–8 ●
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500g dried cannellini beans 1½ tsps fennel seeds 2kg ham hock 1 red bell pepper 2 tbsps olive oil 1 onion, finely diced 2 garlic cloves, finely grated 2 x 400g cans chopped tomatoes 1½ tsps dried chilli/hot red pepper flakes 1½ tsps sweet smoked paprika 500ml vegetable stock 2 bay leaves 75ml black treacle
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50g/3 tbsps tomato purée/paste 50ml/2 fl oz of Worcestershire sauce 1 star anise 1½ tsps English mustard powder A sprig of rosemary, roughly chopped Sea salt and freshly ground black pepper A baking sheet lined with foil
Preheat the oven to 200°C (400°F) Gas Mark 6. 1 Soak the dried cannellini beans in water overnight, then rinse and discard the water. 2 Place the soaked beans, fennel seeds and ham hock in a large saucepan or pot and cover with cold water. Set over a medium-high heat and bring to the boil. Reduce the heat and simmer gently for about 45 minutes, until just soft. Drain, discard the water and reserve the beans, seeds and ham hock. Cover and set aside. 3 Place the red pepper on the prepared baking sheet and roast in the preheated oven for 20 minutes. Turn and roast for another 20 minutes, until the skin is blackened in most parts and the pepper collapses. Remove from the oven and reduce the heat to 140°C (275°F) Gas Mark 1. Put the red pepper in a bowl, cover with clingfilm/plastic wrap and set aside for 10 minutes. Once it is cool enough to handle, remove the skin, core and seeds, then dice the flesh. 4 Heat the olive oil in a frying pan/skillet set over a medium heat and sweat the onion until soft. Add the garlic and continue to cook for 1 minute before transferring to a large, shallow, ovenproof casserole dish. Add the drained, cooked beans and seeds, the chopped tomatoes, roasted red pepper, dried chilli/hot red pepper flakes, paprika, vegetable stock, black treacle, tomato purée/paste, Worcestershire sauce, bay leaves, star anise, mustard powder and rosemary. Gently mix them all together. 5 Nestle the ham hock into the beans, cover with foil and cook in the oven for 3 hours. After this time, remove the foil and cook for another 1–2 hours, until the ham hock is cooked – the meat is cooked when it is easy to pull away from the bone. 6 Remove the dish from the oven and transfer the ham hock to a large plate to cool slightly. When it is cool enough to handle, cut off the skin and fat and discard. Shred the meat, then return it to the casserole dish with the beans. Stir well, season and serve.
Butternut squash, egg, crispy cavolo nero, feta, pomegranate seeds and jalapeño zhoug Butternut squash provides a great backdrop for contrasting textures, colours and flavours. SERVES 2 ●
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500g peeled and deseeded butternut squash, cut into 2.5cm chunks 1 tbsp olive oil, plus extra for roasting 2 small garlic cloves, crushed 1 tsp thyme leaves 30g/3 tbsps whole almonds, toasted and roughly chopped A few sprigs of mint, leaves roughly chopped 1 tsp pomegranate molasses 6 stems cavolo nero (approx 70g), stalks removed, chopped into 2.5cm pieces 2 slices of focaccia or pitta bread
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2 eggs 50g feta cheese, crumbled 1–2 tbsps pomegranate seeds Sea salt and freshly ground black pepper
JALAPENO ZHOUG ● 65g coriander, leaves and stalks chopped ● 30g jalapeño or green chillies, chopped ● 1 tsp sea salt ● 1 garlic clove, chopped ● 200ml olive oil ● 20ml/1 tbsp plus 1 tsp freshly squeezed lemon juice ● 2 baking sheets lined with baking parchment ➤
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Recipes Preheat the oven to 180°C (350°F) Gas Mark 4. 1 Spread the butternut squash chunks out on a prepared baking sheet, drizzle with olive oil, season with salt and pepper and roast in the preheated oven for about 20 minutes or until tender. 2 Remove from the oven, transfer to a bowl and mash roughly with a fork, keeping it a bit chunky. 3 Heat 1 tablespoon olive oil in a small pan, add the crushed garlic and thyme leaves and cook over a gentle heat for a couple of minutes. Add this to the smashed butternut squash with the toasted chopped almonds, mint and pomegranate molasses. Season with salt and pepper. 4 Put the cavolo nero in a bowl, drizzle with olive oil and season with salt and pepper. Gently rub the oil into the cavolo nero leaves with your fingers and spread it out on the second prepared baking sheet. Roast on the top shelf of the preheated oven for about five minutes, until crispy. 5 To make the jalapeño zhoug, put all the ingredients in a food processor and blitz to a paste. 6 When ready to serve, gently reheat the smashed butternut squash in a pan. Toast the focaccia or pitta bread and poach the eggs. 7 Heap the smashed butternut squash on two plates, top with the crumbled feta, cavolo nero and pomegranate seeds. Serve with a generous dollop of zhoug, the toasted focaccia and a poached egg.
Asparagus, goats’ cheese and spinach tart It’s always nice to be able to tell what flavour a tart is by looking at it. Here, with the asparagus floating on the surface like synchronized swimmers, there is no mistaking who is the star of the show. SERVES 8-10 ●
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90g/6 tbsps cold, unsalted butter, cut into small pieces 180g plain flour, plus extra for dusting A pinch of sea salt 2–3 tbsps ice-cold water
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150g goats’ cheese 80g baby spinach leaves 12 asparagus spears, ends removed A 20cm round, deep, fluted tart pan Baking beans
FILLING ● 7 eggs ● 250ml double cream ● 200g crème fraîche ● Sea salt and freshly ground black pepper
Preheat the oven to 190°C (375°F) Gas Mark 5. 1 Place the butter, flour and salt in a food processor and pulse the mixture for 20–30 seconds, until it resembles coarse breadcrumbs. With the motor running, add the ice-cold water slowly and stop as soon as the dough comes together. It is ➤
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important not to over-mix the dough as it will become tough, and if you add too much water it will shrink as it cooks. Wrap the dough in clingfilm/plastic wrap and chill in the fridge for at least 30 minutes before using. Roll the pastry out as thinly as possible on a lightly floured surface. Line the tart pan with the pastry and prick the base all over with a fork. Place on a baking sheet, line with a piece of greased baking parchment slightly larger than the pan and fill with baking beans. 2 Bake in the preheated oven for 15–20 minutes. Remove the baking beans and parchment and return the pastry case to the oven to cook for a further 5–10 minutes, or until it is pale golden and cooked through. Remove from the oven and set aside to cool. Reduce the oven temperature to 160°C (325°F) Gas Mark 3. 3 For the filling, in a large mixing bowl, whisk together the eggs, double cream and crème fraîche. Season with salt and pepper, then gently stir in the goats’ cheese and spinach. 4. Pour the mixture into the cooled tart case, making sure the cheese and spinach are evenly distributed. Lay the asparagus spears in a single layer on top of the egg mixture, alternating head and tail, and gently push them into the tart. 5 Bake in the oven for about one hour, until golden and just set. Serve hot or cold.
Courgette loaf This is a great alternative to savoury muffins in the morning. Its loaf shape makes it easy to toast. Thick slices, lightly toasted under a grill then spread with butter and jam, beat savoury muffins hands down. MAKES 8–10 SLICES AND SERVES 4 ● ●
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300g grated courgette 300g self-raising flour, sifted 1 tsp baking powder 1 tsp mustard powder ½ tsp sea salt ½ tsp cayenne pepper 170g grated strong Cheddar cheese 100g/6½ tbsps butter, melted 4 eggs, beaten
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135ml plus 1 tbsp milk A 900g loaf pan, greased and lined with baking parchment
1 Squeeze the grated courgette with your hands to get rid of as much moisture as possible and place in a large mixing bowl with the flour, baking powder, mustard powder, salt, cayenne pepper and grated Cheddar. Toss everything together gently with your hands. 2 Combine the melted butter with the beaten eggs and milk in a jug/pitcher. Pour over the courgette mixture and gently combine using a large spoon. Take care not to overwork the mixture – you should have a thick batter. 3 Spoon the mixture into the prepared loaf pan and bake in the preheated oven for 50 minutes to one hour, until golden brown and a skewer inserted into the middle comes out clean. 4 Set aside to cool in the pan for five minutes, then turn out onto a wire rack to cool completely. 5 Slice, toast and butter the courgette loaf to serve.
Reader offer This is an edited extract from Lantana Breakfast & Brunch by Shelagh Ryan (£9.99) Ryland Peters & Small. PL readers can buy it for the special price of £7.99 including UK P&P. To order call Macmillan Direct on 01256 302699 and quote ref PR8. 152 Period Living
Photographs Kate Whitaker and Adrian Lawrence /Ryland Peters & Small
Preheat the oven to 180ºC (350ºF) Gas Mark 4.
Design discovery
ARTS ANDCRAFTS Celebrating artistry, honest materials and simple forms, this revolutionary design movement is increasingly still relevant today. Immerse yourself in the works of such luminaries as William Morris at the best places to visit in Britain
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n the late 19th century, Britain experienced a design reform. Tired of factory-produced goods and declining standards in decorative arts and craftsmanship following the Industrial Revolution, leading designers and architects sought to recapture and celebrate lost traditional skills. Yet, the ethos behind the Arts and Crafts movement went beyond mere aesthetics. Early influencer John Ruskin, who among his many occupations was an art critic and political thinker, argued that industrialisation had impacted negatively on society, to the point that the workforce had turned into ‘servile labour’. He believed that it was healthy for workers to design the things they made, and to make them by hand. Among those to take note of Ruskin’s philosophy was William Morris, who was inspired to not only design beautiful interiors, wallpapers and textiles, but have a hand in their manufacture, too. So exquisite was his work and so influential the man, Morris drove forward the movement, and today his name is synonymous with Arts and Crafts. The movement only lasted at its peak for three decades, from around 1880 until the start of World War I, but its influence spread through architecture, interiors, art, decorative objects, jewellery, and even gardens. It made an impact around the globe, too, inspiring similar movements on the continent, the United States and, some years later, Japan. Today, as we increasingly eschew mass-produced uniform goods in favour of unique artisan pieces, Arts and Crafts design has never been so popular. Whether you enjoy a William Morris print, a stately home or a romantic garden, there is a wealth of remarkable places to visit across the country.
HOUSES TO VISIT The National Trust is custodian of many of the finest Arts and Crafts properties in England, and there are thousands of handmade treasures waiting to be discovered within their walls, alongside evocative stories of the families who lived in them. The Trust’s many highlights include the Ernest Gimsondesigned Stoneywell in Leicestershire, the embodiment of one man’s vision of purity for the movement; the interior of Wightwick Manor in Wolverhampton, with its profusion of Morris 154 Period Living
wallpapers at every turn and fabulous De Morgan exhibition featuring the work of ceramicist William and his artist wife Evelyn; and Goddards in North Yorkshire, the charming handcrafted house built for the Terry family (of Chocolate Orange fame). However, the most iconic and influential of them all is the Red House, which gave birth to a new era of architectural design. Perfectly situated in Bexleyheath, Kent, the Red House was built by William Morris in 1860 as a home for him and his new wife Jane. Morris collaborated with friend and architect Philip Webb, and sought the interior design assistance of artist friends such as Edward Burne-Jones. He wanted the house to be ‘medieval in spirit’ (the era he believed to be a great time of artistry, when people took pleasure in their work), with a simplified gothic appearance, and for everything, inside and out, to celebrate art, nature and craftsmanship. The house possesses many Arts and Crafts hallmarks now ubiquitous with the movement’s architecture, such as a high, steeply pitched roof incorporating ‘catslides’ (which extend down below the main eaves height), dominant chimneys, and windows positioned for light rather than formality. Few of the furnishings were bought ready-made, as Morris and Webb designed and made almost everything – and some of these items remain today. Journey across county borders to discover another Philip Webb triumph, Standen in West Sussex, which was completed in 1894 for the family of a wealthy solicitor. The house was intended to look as though it has always been there, grown out of the landscape. It was a modern home, built with electrics and central heating, while Morris & Co interiors create an inviting feel, making it homelier than many grand properties. Today the house is dressed for a weekend stay in 1925, and its delightful garden has been recently restored. Venturing outside the National Trust, Blackwell, with its stunning views over Windermere in the Lake District, is considered a masterpiece of 20th-century design, and its interiors remain remarkably intact. Wealthy industrialist, and later lord mayor of Manchester, Sir Edward Holt commissioned MH Baillie Scott to design the house as a holiday home. Baillie Scott developed his own ➤
Photographs, clockwise from top: ©National Trust Images/Andreas von Einsiedel; ©National Trust Images/John Hammond; ©National Trust Images/Nadia Mackenzie; ©National Trust Images/Andrew Butler; ©National Trust Images/James Dobson
Feature Melanie Griffiths
Out and About
Clockwise from top: The Great Parlour at Wightwick Manor was designed to give the impression of a medieval great hall converted to a late Victorian living room; it features these Tulip and Rose wool curtains by William Morris; this alcove in the Billiard Room at Standen is papered with Morris’ Pomegranate wallpaper; Morris’ own self-built home, Red House feels ‘medieval in spirit’; Stoneywell was built as a summer home by Arts and Crafts architect-designer Ernest Gimson for his brother Sydney, and is a well-preserved example of the movement’s ideals
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the house is hosting the Gloucestershire Guild of Craftsmen for a new contemporary craft and design festival, Crafts Alive. (See page 18 for details.)
Photographs, clockwise from top left: ©National Trust Images/Andreas von Einsiedel; ©Lakeland Arts/Nick Wood; ©National Trust Images/Chris Lacey; ©Lakeland Arts x 2
MUSEUMS Clockwise from top: The Drawing Room at Standen, featuring a grand fireplace and Arts and Crafts prints; the main hall at Blackwell, decorated with carved panelling and stunning peacock frieze, looking into the dining room with its delft-tiled fireplace; Goddards was designed by Walter Brierley for Noel Goddard Terry, of the chocolate-making firm; stained glass at Blackwell featuring a rowan motif; William De Morgan Daisy tile at Blackwell
take on Arts and Crafts style, influenced by the local vernacular and other luminaries, such as CFA Voysey. From fireplaces decorated with De Morgan tiles, stained glass and carved panelling to mosaic floors, wall hangings, and furniture and objects by many leading Arts and Crafts designers and studios, there is much to absorb. One of the last great houses built to Arts and Crafts principles, Rodmarton Manor in Cirencester was created by Ernest Barnsley and the Cotswold Group of Craftsmen for the Biddulph family, who still own the property. The house was intended to provide employment and keep alive craft traditions in the area. Architect CR Ashbee described it as ‘The English Arts and Crafts movement at its best’, and today the manor and glorious gardens are open to the public on selected days. This September,
While you can’t beat the immersive experience of exploring a historic property, for a deeper insight into the Arts and Crafts movement it pays to visit one of the excellent museums showcasing a wealth of handcrafted treasures. The William Morris Gallery in Walthamstow, London, offers the best of both worlds, allowing visitors to stroll through the rooms of Morris’ stately family home, from the ages of 14 to 22, and discover the story of his evolution – from a bored privileged student with no formal arts training to the father of Arts and Crafts. Many of his works are on display, including a full range of Morris & Co designs, while the house itself is a fine example of Georgian design, set amid parkland. Elsewhere in London, the V&A museum has many exquisite pieces in its collections, from Morris himself to the contemporaries he inspired including CFA Voysey and William De Morgan, and even Morris’ own idol, John Ruskin. To go beyond Morris and appreciate the wider influences of the movement he began, head to the Cotswolds, which became an important centre for Arts and Crafts as designers such as Ernest Gimson and CR Ashbee relocated there in the early 1900s, attracted to its idyllic landscape, rich tradition of craft and accessibility to London, Birmingham and Oxford. The Wilson in Cheltenham holds its own Arts and Crafts museum featuring many internationally significant works. As well as showcasing the colourful designs and craft skills ➤ Period Living 157
to all, and sought to explore the possibilities machines offered in mass-producing quality pieces. The museum tells the fascinating story of his life and business, tracing designs over the decades that followed.
Clockwise from top left: The Old Garden at Hidcote, one of the finest Arts and Crafts examples; textile embroidered panel, silk thread on linen, by Morris’ daughter May, for Morris & Co, early 1890s, on display at The Wilson; the Works of Geoffrey Chaucer, printed by the Kelmscott Press, 1896, on display at The Wilson; bronze bust of Morris on display at the William Morris Gallery, in his old family home
of the makers, the collection conveys the social message of the movement with its emphasis on creative manual work. Tie in a visit to a museum with a stroll around independent shops, galleries and tearooms, in the picturesque market town of Chipping Camden. Its Court Barn Museum celebrates famous and lesser known designers from the Arts and Crafts movement through to the present day. Beautiful Broadway, just a 10-minute drive away, offers a similar experience at the Gordon Russell Design Museum, located in the original workshop of the renowned 20th-century furniture designer. Russell came under the influence of the community of craftspeople who had recently moved to the area, but he believed that good design should be available 158 Period Living
Designed at the same time, Arts and Crafts houses and gardens were usually married together in appearance and followed the same principles of using natural materials and craftsmanship. There wasn’t an exact style for gardens, but they tended to be romantic, mixing manor house formality with charming cottage garden planting, and roses in abundance. There were often more structural elements, too, such as neat lawns, box hedging and topiary. The most influential gardener and horticulturist working to an Arts and Crafts ethos was Gertrude Jekyll, famed for her colourful, painterly approach to planting and hardy floral borders, as well as her collaborations with Edwin Lutyens, one of the movement’s leading architects and designers. Today, the garden of Jekyll’s own home, the Lutyens-designed Munstead Wood in Godalming, Surrey, is open by appointment, and there are a number of her gardens open on selected days through the RHS Open Gardens scheme. One of the greatest Arts and Crafts gardens is Hidcote near Chipping Campden, created by American horticulturist Lawrence Johnston and now in the care of the National Trust. It features a series of linked ‘rooms’ with no obvious ordered route, while secret gardens and hidden-away seating areas await at every turn. Beds burst with country garden favourites, wild meadows and woodlands create a romantic feel, and formal hedging, circles and topiary add structure. Often referred to as a garden for all seasons, throughout the year there’s a floral spectacle to drink in, from summer roses to winter snowdrops.
Photographs, clockwise from top left: ©National Trust Images/Sarah Davis; ©The Wilson Art Gallery and Museum x 2; ©William Morris Gallery
GREAT GARDENS
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Caesarstone 0800 158 8088 caesarstone.co.uk California Shutters 0800 195 0196 californiashutters.co.uk Carrie Scott & Partners carrie-scott.com Christopher Wray 020 7013 0180 christopherwray.com Clarke & Clarke 01706 242 010 clarke-clarke.com Classical Baths 0113 236 0214 classicalbaths.co.uk Clearview 0114 294 5018 clearviewsg.co.uk Coastal Home 01208 226340 coastalhome.co.uk Collins & Hayes 01773 309599 collinsandhayes.co.uk The Conran Shop 0844 848 4000 conranshop.co.uk The Contemporary Home 0845 1308 229 tch.net Cotswold Trading 01386 853331 cotswoldtrading.com Country Style Interiors 01243 532261 countrystyle-interiors.co.uk Cox & Cox 0330 333 2123 coxandcox.co.uk Crafts Alive guildcrafts.org.uk/exhibitions Cult Furniture 020 8185 6960 cultfurniture.com Curiousa & Curiousa 01629 826284 curiousa.co.uk Curious Egg 01738 621111 curiousegg.com
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Där Lighting 01295 672200 darlighting.co.uk Davey Lighting 020 7351 2130 originalbtc.com David Hunt Lighting 01295 672200 davidhuntlighting.co.uk The Decorative Antiques Fair 020 7616 9327 decorativefair.com Designer Paint 020 7351 5775 designerpaint.com Designers Guild designersguild.com Devol 01509 261000 devolkitchens.co.uk DFS 0808 115 4015 dfs.co.uk Dowsing & Reynolds 0113 819 9985 dowsingandreynolds.com Drench 01202 612800 drench.co.uk
Early Learning Centre 0371 231 3513 elc.co.uk E Easy Lighting 01254 670087 easylighting.co.uk Ebay ebay.co.uk Emma Bridgewater 01782 407733 emmabridgewater.co.uk Ercol 01844 271800 ercol.com Esse 01282 813235 esse.com Esther Connon 07711 594346 estherconnon.co.uk Etsy etsy.com Everhot 01453 890018 everhot.co.uk Fabric Collective thefabriccollective.com FThe The Farthing 0844 567 2400 thefarthing.co.uk
Farrow & Ball 01202 876141 farrow-ball.com Fenella Smith 01491 412444 fenellasmith.com Fermoie 01672 513723 fermoie.com Fileman Antiques 01903 813229 filemanantiques.co.uk Fiona Gourlay fionagourlay.com Fired Earth 01295 814365 firedearth.com Folk Soap folksoap.co.uk Footstools & More 0113 345 7526 footstoolsandmore.co.uk The French House thefrenchhouse.co.uk
Habitat 0344 499 4686 habitat.co.uk H Havwoods 01524 737000 havwoods.co.uk Heal’s 0333 212 1915 heals.com Holloways of Ludlow 020 762 5757 hollowaysofludlow.com Houseology 0330 363 0330 houseology.com Hurn & Hurn 01603 559250 hurnandhurn.com
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Idyll Home 01270 812717 idyllhome.co.uk Ikea ikea.com Iliv 01772 651199 i-liv.co.uk Industville 020 7971 7871 industville.co.uk
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Jali 01227 833 333 jali.co.uk Jeremy Kost jeremykost.com Jigsaw 020 8392 5603 jigsaw-online.com Jim Lawrence 01473 826685 jim-lawrence.co.uk Jimmy’s Retro Furniture 07702 598370 jimmyretro.co.uk John Dyer Gallery 01326 735016 johndyergallery.com John Lewis 0345 604 9049 johnlewis.com Joules joules.com Just Fabrics 0845 498 9043 justfabrics.co.uk Kahla en.kahlaporzellan.com K Kalinko kalinko.com Keuco 01442 865220 keuco.co.uk
Oka 0333 004 2042 oka.com O The Old Cinema 020 8995 4166 theoldcinema.co.uk Old Home Interiors oldhomeinteriors.co.uk Oliver Bonas 020 8974 0110 oliverbonas.com On Reflection 01963 220723 on-reflection.co.uk Oricalcum 01423 500694 linseedpaint.com Origin Antiques 01206 213111 originantiques.co.uk Original Style 01392 473004 originalstyle.com Ottos Antiques ottosantiques.co.uk Out There Interiors 020 8099 7443 outthereinteriors.com Paint & Paper Library 0161 230 0882 P paintandpaperlibrary.com Parker Knoll 01773 604121 parkerknoll.co.uk Period House Store 01748 821500 periodhousestore.co.uk Peter Brown peterbrownneac.com Philippe Starck starck.com Pooky 020 7351 3003 pooky.com Porta Romano 01420 23005 portaromana.co.uk Primrose Lane 01672 511766 Printer + Tailor 01432 265094 printerandtailor.com Pure Panda 01752 660862 purepanda.co.uk Ramsay Cornish 0131 553 7000 ramsaycornish.com R Rangemaster 0800 804 6261 rangemaster.co.uk Rapture & Wright 01608 652442 raptureandwright.co.uk Rayburn 0845 762 6147 rayburn-web.co.uk Regatta Great Outdoors 0161 866 0486 regatta.com Regent Antiques 020 8802 3900 regentantiques.com Rex London 020 8746 2473 rexlondon.com RL Rose 020 7976 5684 rlroselondon.co.uk Robert Kime robertkime.com Rouge 020 7275 0887 rouge-shop.com Romo 01623 756699 romo.com Rosanna Lonsdale 07900 216640 rosannalonsdale.com Rose & Grey 0161 926 8763 roseandgrey.co.uk Samarkand Design 07973 922943 samarkanddesign.com S Sanderson 0800 014 2525 thomas-sanderson.co.uk Sara Miller London saramiller.london
Laura Ashley 0333 200 8009 lauraashley.com Laura Thomas Linens laurathomaslinens.com Lefroy Brooks 01603 558270 just-lefroy.co.uk Lethbridge London lethbridgelondon.co.uk Lewis & Wood 01453 878517 lewisandwood.co.uk Lights4fun 01423 816040 Lights4fun.co.uk Lindean Mill 01750 20173 lindeanmillglass.co.uk Linen Me 02081333853 linenme.com Little Greene 0845 880 5855 littlegreene.com Loaf 0845 459 9937 loaf.com Lonsdale & Dutch 0131 556 3257 lonsdaleanddutch.com Lovely Sofas 0800 029 4949 lovelysofas.com Lush Designs 020 8694 1664 lushlampshades.co.uk Lyon & Turnbull 0131 557 8844 lyonandturnbull.com
Sash Repairs 020 8965 4185 sashrepairs.co.uk Sash Window Workshop 01344 868668 sashwindow.com Scandiborn 020 3435 7983 scandiborn.co.uk Scotts of Stow 0344 482 9700 scottsofstow.co.uk Shaw 01254 775111 shawsofdarwen.com Shimu 0800 088 6800 shimu.co.uk Sink World 01407 832653 sinkworld.co.uk Smeg 0344 557 9907 smeguk.com Soane 020 7730 6400 soane.co.uk SPAB 020 7377 1644 spab.org.uk Sofa Workshop 0808 163 1523 sofaworkshop.com Sofa.com 0345 400 2222 sofa.com Soho Home 020 3819 8199 sohohome.com Somerset Open Studios somersetartworks.org.uk Sophie Conran 020 7603 1522 sophieconran.com Steel steel-cucine.com Storm Windows 01384 636365 stormwindows.co.uk Style & Light 0131 662 0000 cotterellandco.com Susie Watson Designs 0344 980 8185 susiewatsondesigns.co.uk Swedish Linseed Paint swedishlinseedpaint.co.uk Swoon Editions 020 3319 6332 swooneditions.com
Made 0344 257 1888 made.com M Made+Good madeandgood.com MadeinDesign 020 7692 4001 madeindesign.co.uk
Ted Todd 01925 283000 tedtodd.co.uk T Tetrad 01772 792936 tetrad.co.uk Thakeham 01798 342333 thakehamfurniture.co.uk
MagneGlaze 0800 999 3349 magneglaze.co.uk Marks & Spencer 0333 014 8555 marksandspencer.com Mirror Works 01743 588287 antiquemirrorglass.com Miss Print 01277 350581 missprint.co.uk Mitchell & Dickinson 01237 429826 mitchellanddickinson.co.uk Molly & Maud's Place 01423 313060 mollyandmaudsplace.co.uk Molly Mahon 01342 825700 mollymahon.com Monogrammed Linen Shop 020 7589 4033 monogrammedlinenshop.com Montes & Clark 01747 228861 montesandclark.co.uk Mood Collections 01903 788457 moodcollections.co.uk Morris & Co 020 3457 5862 stylelibrary.com/morris&co MY Furniture 0845 309 6356 my-furniture.com Mylands Paint 020 8670 9161 mylands.com
The Three French Hens thethreefrenchhens.co.uk Topps Tiles 0800 783 6262 toppstiles.co.uk
KitchenCraft 0121 604 6000 kitchencraft.co.uk Lacanche 01202 733011 lacanche.co.uk L Lakeland Paints 01524 852371 lakelandpaints.co.uk Lapada Art & Antiques Fair 020 7823 3511 lapadalondon.com
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Naomi Paul 0208 5568387 naomipaul.co.uk National Trust 03448001895 nationaltrust.org.uk National Trust Shop 0300 123 2025 nationaltrust.org.uk Neff 0344 892 8989 neff-home.com/uk Neptune 01793 427300 neptune.com Newgate Clocks 01691 679994 newgateclocks.com
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Valspar 0808 168 3795 valsparpaint.co.uk Vanessa Arbuthnott 01285 831437 vanessaarbuthnott.co.uk Ventrolla 0800 378 278 ventrolla.co.uk Victorian Tiles London 07766 460115 victoriantileslondon.co.uk Violet Grey 01392 348318 violetgrey.co.uk West Elm 0800 404 9780 westelm.co.uk W Wharfside 01372 379810 wharfside.co.uk Wicklewood 020 7460 6493 wicklewood.com Willow & Hall 020 8939 3800 willowandhall.co.uk Willow & Stone 01326 311388 willowandstone.co.uk Windsor House Antiques 01832 274 595 windsorhouseantiques.co.uk Woven 020 3176 8993 woven.co.uk Zara Home 0800 026 0091 Zzarahome.com
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Advertorial
Right and below: A fixed flatglass rooflight fills the room beneath with natural light and also makes an eyecatching feature of the ceiling. Stock sizes available online from £507 Below right: This bespoke multi-section fixed flatglass rooflight helps zone the open-plan space. Price on application
BRIGHTEN YOUR HOME Let natural light flood your living space with flatglass rooflights from Roofglaze
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ooking to bring more light into your home? Flatglass rooflights offer an ideal opportunity to improve and add value to your property. With their sleek and frameless appearance, they are a versatile and cost-effective solution that can transform the ambience of any room. There are well-documented health benefits associated with bringing in natural daylight, not to mention the aesthetic appeal of having a well-lit living space. A flatglass rooflight can offer up to three times more daylight than a traditional window. Hinged flatglass rooflights will also provide natural ventilation as and when you want it, ensuring you don’t get uncomfortably hot in summer. Modern glass rooflights are thermally efficient, while solar-control glass options can help you keep your home at just the right temperature throughout the year. Flatglass rooflights don’t necessarily have to be square or rectangular. Every home is unique, so if you need a bespoke circular or even triangular
rooflight, then this is something a leading manufacturer should be able to accommodate. Roofglaze has been designing, manufacturing and supplying flatglass rooflights since 2002. Its experts can provide a wide range of rooflight solutions – from the simple to the complex – for all types of homes and roofs. The friendly staff can talk you through the options and advise on the best choice for you.
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Period Living 177
CAPITAL DESIGNS
As the London Design Festival prepares to celebrate all things useful and beautiful, this image documents the city’s 19th-century bid to be the design capital of the world. First published in Dickinsons’ Comprehensive Pictures of the Great Exhibition, it shows visitors in the purpose-built Crystal Palace at London’s Hyde Park in 1851. The Great Exhibition was the brainchild of Prince Albert and Henry Cole, and more than six million people are thought to have
178 Period Living
attended. The glass and iron building, designed by Joseph Paxton, was moved to south London in 1854 but destroyed by a fire in 1936. How intriguing to see Victorian visitors browsing a display of cast-iron fireplaces, the very items that are now so highly prized in our period home renovations. It makes you wonder which designs exhibited at this month’s London Design Festival will have a similarly enduring appeal… (15–23 September; londondesignfestival.com)
Words Karen Darlow Image © Getty Images
IN THE PICTURE
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