Auquajajaj

PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

HOMES

JULY 2018

l DECORATING l GARDENS l ANTIQUES & VINTAGE l RENOVATION

Country style 52 pages of beautiful period homes and gardens full of rural charm

Antiques shopping

Garden IN THE

Plant combinations, weekend jobs, and the latest outdoor furniture

HOW TO ADD A CONSERVATORY OR ORANGERY

Discover the best destination for treasure hunting

Summer colours PLUS...

FARMHOUSE BUYS SCANDI RECIPES RECLAIMED TAPS HISTORY OF MAZES ORIENTAL SCREENS BRITISH LIGHTING

Evoke the feel of exotic holidays with hothouse hues and tropical prints

CELEBRATING 200 YEARS OF EMILY BRONTË

Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

ust when I’m starting to think that summer has already peaked during the recent record-bursting temperatures, I catch myself gazing dreamily out of the window at the garden almost in full bloom, the sun glinting through the glass, and am reminded that, really, this is only the beginning. It’s no secret that we are not famed for good weather in this country – yet when we are blessed with one of those rare, perfect British summer days, there’s no place I’d rather be. So this month, the team have embraced the warmest season and put on our sun hats to seek out the best garden furniture (page 131), create perfect plant colour combinations (page 136), discover how to add a garden room to a period home (page 119) and, going beyond Blighty, bring the heat indoors with tropical-inspired decorating ideas (page 24).

When I’m not soaking up the sun, my favourite summer pastime is exploring our nation’s charming towns and cities, discovering their heritage and unique places to shop. I love rummaging around antiques and vintage stores, trying to find the perfect pieces for my house – and invariably finding something I never knew I wanted. But that’s part of the fun. For this issue, we visited one of Britain’s best antiquing towns – Petworth in West Sussex – and sought out its finest independents, so you can shop in confidence (page 98). If you struggle to find the right furniture for your house’s age, turn to page 92 for the first of a new series from Antiques Roadshow expert Marc Allum, in which he highlights the key pieces that work with homes from each era. He starts with 17th-century style, and it’s fascinating to learn how the events of the time had such a bearing on the furniture people bought.

I am a great advocate of mixing old and new – a home has to work for modern life, but including original antiques can evoke a house’s history and set the tone for the whole interior.

Elsewhere this issue, homes editor Karen Darlow celebrates 200 years since the birth of Emily Brontë with a visit to Haworth, and the parsonage where this beloved British author grew up and wrote her only novel, Wuthering Heights. Over the years, Karen has visited many properties for her work, but perhaps none more meaningful and atmospheric than the humble abode of the marvellous Brontë sisters. I really enjoyed reading Karen’s insight into the village and Emily’s life there, and felt inspired to dust off my old copy of the book and rediscover the passionate, yet dark and tragic story of Cathy and Heathcliff.

Finally, on a lighter note, I’m delighted to tell you that this month we have a fantastic subscription offer, and for a limited time are giving away a set of two beautiful Emma Bridgewater mugs, worth £39.95, to new subscribers (page 90) - don’t miss out. Enjoy!

Melanie Griffiths Editor, Period Living Period Living 3

PERIODLIVING

Future PLC, Units 1 & 2, Sugarbrook Court, Aston Road, Bromsgrove B60 3EX EDITORIAL Editor Melanie Griffiths Content Editor Rachel Crow Chief Content Sub Editor Emily Hawkes Homes Content Editor Karen Darlow Style Editor Pippa Blenkinsop Contributions by Michelle Guy Email periodliving@futurenet.com ART Head of Art Billy Peel Senior Art Editor Emily Smith Art Editor Karen Lawson ADVERTISING Media packs are available on request Print & Digital Sales Director Jackie Sanders 01527 834426 jackie.sanders@futurenet.com Print & Digital Sales Manager Rebecca Vincze 01527 834415 rebecca.vincze@futurenet.com Classified Sales Manager Emma Farrington 01527 834445 emma.farrington@futurenet.com INTERNATIONAL Period Living is available for licensing. Contact the International department to discuss partnership opportunities International Licensing Director Matt Ellis matt.ellis@futurenet.com SUBSCRIPTIONS Email enquiries contact@myfavouritemagazines.co.uk Orderline and enquiries +44 (0)344 848 2852 Online orders and enquiries www.myfavouritemagazines.co.uk Head of Subscriptions Sharon Todd CIRCULATION Head of Newstrade Tim Mathers PRODUCTION Head of Production Mark Constance Production Manager Frances Twentyman Advertising Production Manager Jo Crosby Digital Editions Controller Jason Hudson Digital Production Executive Nicholas Robertson DIGITAL Digital Manager Tom Burbridge Senior Web Editor Lindsey Davis Video Producer Matt Gibbs Email Delivery Manager Alison Nash Web Operations Manager Laura Sturgess MANAGEMENT Chief Operations Officer Aaron Asadi Commercial & Events Director Nick Noble Director of Content & Product Development Michael Holmes Editorial Director Jason Orme Commercial Finance Director Dan Jotcham

Printed by William Gibbons & Sons PO Box 103, 26 Planetary Road, Willenhall, West Midlands WV13 3XT. 01902 730011; williamgibbons.co.uk Distributed by Marketforce 5 Churchill Place, Canary Wharf, London E14 5HU. 020 3787 9060; marketforce.co.uk ISSN 0958-1987 We are committed to only using paper which is derived from responsibly managed, certiied forestry and chlorine-free manufacture.

The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill holds full FSC (Forest Stewardship Council) certiication and accreditation.

hurchwood Design has been lovingly handcrafting furniture commissions for over three decades; each one totally unique and produced to suit individual requirements and architectural proportions.

+44(0)1298 872422 info@churchwood.co.uk

www.churchwood.co.uk

All contents Š 2018 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered ofice: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press.

Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not afiliated in any way with the companies mentioned herein.

If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/ or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR) www.futureplc.com

Chief executive Zillah Byng-Thorne Non-executive chairman Richard Huntingford Chief inancial oficer Penny Ladkin-Brand Tel +44 (0)1225 442 244

60

49

82

CONTENTS Cover

Photograph Kasia Fiszer

Decorating & shopping

11 19 21 22 24 49 81

July journal We round up the latest interiors offerings, news and exhibitions Orange zest Use tangerine tones to add a burst of summer sunshine to interiors Perfect parasols Take shade with our pick of pretty and practical garden umbrellas Polka dots Striking spotted homeware for a dotty decorating scheme

Features

31 92 98 103

Into the wild Decorate with prints and colours inspired by tropical flora and fauna ON THE COVER

Manor house brights Mix classic pieces and vibrant hues for a quirky country house look ON THE COVER Dutch farmhouse Capture rural Holland with pretty prints and rustic vintage pieces

153 178

ON THE COVER Made in Britain Family business Lyngard uses traditional techniques to put a twist on lighting design

The 17th-century interior Antiques Roadshow expert Marc Allum outlines design characteristics of the period

19 129

ON THE COVER On the antiques trail In the first of a new series, we journey to Petworth to discover the best places to buy antiques ON THE COVER Emily BrontĂŤ On the bicentenary of her birth, we look back at the life and work of a national treasure

Recipes Sample the delights of Scandinavian summer cuisine ON THE COVER

ON THE COVER Mazes We look back at the history of this quirky garden feature

21 Period Living 7

Homes

36 50 60 36 71 82

119

ON THE COVER A kind of magic This Cotswold gem makes the perfect setting for Rosie Pearson to indulge her love of sculpture

Room at the inn A former Cotswold pub built in 1790 makes the perfect home for the Grant family Country idyll With rustic timber beams and limestone walls, this Welsh cottage is full of rural charm Through the generations Built by one of the homeowner’s grandparents in 1920, this Dutch farmhouse is full of pretty vintage features All change Paul Williams has used his expertise as an interior designer to transform a Victorian flat

ON THE COVER Conservatories Traditional designs for making the most of the summer sun

Gardens

125 129 131 136 144

Garden journal A round-up of the latest products for your garden Flower power Garden shopping inspired by blooming summer borders Garden furniture From statement chairs to dining sets, we’ve rounded up the latest looks for traditional gardens ON THE COVER

ON THE COVER Garden advice Gardens expert Leigh Clapp explains how colour-themed planting can transform a scheme

Secret garden Enclosed by ancient flint walls, this beautiful Kent garden pays homage to its Medieval past

Advice & inspiration

125

109 113 117

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

144

90

ON THE COVER Home health check Property expert Roger Hunt advises on garden maintenance

The reclaimer Tap Refurbishment’s Keith Watkins gives tips on reclaimed brassware ON THE COVER

109

8 Period Living

Regulars

161

Subscribe Get six issues for just £20 when you subscribe to Period Living, plus get a free Emma Bridgewater two-mug set worth £39.95 Stockists Where to find all the suppliers featured in this issue

153

journal JULY

The latest interiors offerings for a period home, from summery prints and accessories to artisan glass and furniture, old and new

BEST OF BOTH Torn between print and plain? DFS has launched a new sofa that combines the two. Covered in a pretty bloom fabric teamed with a co-ordinating lime, this stylish Brionna design, £649, offers striking summer style.

TASTE OF THE TROPICS

Feature Pippa Blenkinsop

Bring a sophisticated splash of colour to summer dining with Spode’s new Hawaiian-inspired range, Maui. Covered in beautifully handpainted tropical blooms and butterflies, the heritage brand’s 30-piece porcelain range includes everything from cereal bowls to serving platters, and even co-ordinating placements and coasters. From £23 for a cream jug.

GARDEN PARTY

With the arrival of summer comes an abundance of fresh British-grown produce. To celebrate this plentiful time of year, Daylesford Organic Kingham is hosting its annual Big Picnic on 14 July. Set amid Cotswold fields, you can pull up a hay bail at the long banquet table and tuck-in to delicious sharing platters laden with summer fare straight from the organic farm. Tickets £75 each.

ON THE WEB For the latest interiors news, visit realhomes.com/ period-living Period Living 11

News

LOOK SHARP

ated c Cur ol le Introducing

Bring a burst of citrus zest to your kitchen with these new lemon accessories from The Contemporary Home.

From £7 for a sugar pot.

n io ct

Tradescant & Son, the new wallpaper and fabric brand that’s bringing natural history into our homes. Founded in 2017 on a passion for print, nature and the past, the brand’s designs take inspiration from the collections and curiosities of history’s naturalists, in particular the 16th- and 17th-century naturalist, collector and gardener, John Tradescant. The debut collection, Curator, features a cornucopia of flora and fauna motifs from exotic and British birds to insects, antlers and feathers, alongside classic stripes and plains. Based in the heart of Lancashire’s Ribble Valley, all the brand’s designs are hand drawn and printed locally onto cloth, £95 per m, and paper, £89 per roll. With its pops of cheery yellow, PL loves this beautiful Parakeet wallpaper.

Wi s wer h you e he re.. .

er s of summ Share tale with these new s re adventu Matthew sets from Covered stationery r. ie p a P n for Williamso t designs, they are n in his vibra to bring a smile to d e te n ra gua 1.32 for nt. From £ the recipie notecards. ed personalis

From left: Akapule bike basket, £69, The Basket Room; natural circular basket bag, £29, Marquis & Dawe; Market Pom Pom basket, £40, Bohemia; apple rattan basket, £29, Olli Ella

SUMMER ESSENTIAL Whether used for gathering up meadow flowers on a country walk, a day at the beach, or simply for doing the weekly shop, these beautiful eco-friendly baskets will put a spring in your step.

Period Living 13

ARTISTS’ PRINTS The Monkey Puzzle Tree is a new design studio that works with artists to create beautiful fabrics and wall coverings. Founded by Charlotte Raffo, who has combined her passion for pattern with experience in product development, the brand champions fresh design talent by translating original artwork into beautiful surface prints. ‘I love being inspired by the artists I work with,’ says Charlotte. ‘It’s so exciting to find a piece of art and visualise what kind of patterns and processes will make it shine.’

Left: Rita does Jazz velvet by Sarah Thornton, £120 per m, and cushion (far right), £90. Right: How the Leopard got its spots cushion

by Alexis Snell, £90.

ANTIQUE OF THE MONTH

Above: Close view of one of a pair of large polychrome Chinese lacquer screens dated around 1750, at Castle Drogo, National Trust Below: A 19th-century Chinese eightpanel black and gold lacquer screen with mountainous pagoda landscapes, with figures in boats, pine and willow trees.

W432cm, £3,000–£3,500

By the mid-17th century, the UK’s trade in oriental curiosities with China and Japan had established a taste for the East. There was a fascination with their blue-and-white porcelain, but furniture was also imported into Europe. The screen was an important feature of the oriental interior. The room settings were highly formalised, and in Japan, particularly, solid pieces of furniture were few. Screens were used as room dividers, gave privacy, and protected against draughts. They were also designed to be easily movable and, therefore, were ideal for export.

The flow to Europe rapidly increased, as oriental screens translated well to the European interior and gave broad displays of sought-after oriental lacquer and ornamentation. Chinese lacquer screens were known as ‘Coromandel’ or ‘bantamwork’ screens in the West. The Below: An Above: A late demand for lacquer soon outstripped supply; oriental screens are listed 18th-century Qing and in the inventories of every great house between 1700 and 1750.

Chinese black earlier Chinese lacquered hardwood, True oriental lacquer could not be produced in Europe because its screen with a lacquer and main ingredient was the sap of the Rhus vernicifera tree, indigenous riverscape in jade six-panel to China and later introduced to Japan and South-East Asia. Once the shades of gilt, screen, carved sap had been dried, it could be applied in coats, forming a crust so hard within borders with scholar’s that it could be carved in relief. Colour, traditionally black, red, and decorated with objects and dragons, cloud Buddhist aubergine, could also be added. In Europe an imitation based on shellac bands and emblems. (made from insect secretions) was developed, known as japanning. It utensils, at the W216cm, is always betrayed by the European character of faces and landscapes.

National Trust's £22,000– Japanning, in white, blue, and green, and the oriental lacquer colours, Sunbury Hall £28,000 was applied to many pieces of furniture.

Many imported screens were left as they were, but some were cut up to make the precious art form go further. The screen fragments were adapted for pieces of Reader offer furniture such as mirror-frames, cabinets, tables, and chests, sometimes with no PL readers can purchase regard for the unity of the designs.

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.*

14 Period Living

Images (Qing screen and 19th-century screen) courtesy of Miller’s Antiques Handbook & Price Guide 2018-2019 and Woolley & Wallis; (Castle Drago detail and 18th-century screen) ©National Trust Images/John Hammond and Robert Thrift. *Offer subject to availability, allow seven days for delivery

In her column celebrating collectibles, antiques expert Judith Miller focuses on oriental lacquered screens

ted in o f a ra

k

C

News

Love the new country look? Then don’t miss the Cotswold furniture collection from Willis & Gambier. Made from solid oak with a natural oil finish, the timeless and versatile pieces make a great foundation for a classic country home – particularly teamed with duck egg blue. Small Cotswold dining table, £929, and Cotswold oak chairs, £229 each.

Period Living 15

News

MUST SEE To mark the 30th anniversary of Jonathan Cooper, this month his Chelsea gallery is presenting Jonathan Cooper: 30 Years – a group exhibition celebrating contemporary figurative painting, drawing and sculpture. Showcasing 30 international artists represented by the gallery, the exhibition, 12–21 July, intends to highlight Jonathan Cooper’s passion for discovering and promoting artists that demonstrate new viewpoints within the genres of wildlife, botanical, still life and landscape art.

Clockwise from left: Kairo lamp £550; Cascade droplet pendants, £850 each; Surfaced vase, £180

t S Image (top right) An Army of Caterpillars, Rebecca Campbell, oil on linen

e tt

ing silhou k e ri With its iconic

shape, nothing says period style like a wing-back armchair.

One of the newly unveiled designs from Tetrad’s Heritage collection, this handcrafted Ellington armchair, with its deep buttoning and sprung seat, strikes the perfect balance of style, comfort and quality, and is available covered in a range of sumptuous new Coco velvets.

Pictured in Mauve, it costs from £1,073.

TALENT SPOT Characterised by a watery appearance created from a skilful symphony of light, colour and movement, the glass creations of Laura Smith are a beautiful celebration of her island roots.

Born in Bermuda, but now living and working in London, Laura says of her work: ‘My designs draw inspiration from the ocean and natural phenomena of the island. The light and colours are so vibrant in Bermuda and its storms, hurricanes and water shortages all highlight a beautiful but fragile ecosystem.’ Since graduating from Edinburgh College of Art she has gradually perfected a signature technique, fusing precious metals and glass to create luminous watery effects. Laura begins by blowing molten glass into organic forms, often glistening with air bubbles. Once formed, she then applies different metals in leaf form to the surface of the glass to create a variety of alluring patinas. Copper creates turquoise veining, while silver gives a sparkling luminosity.

Once cooled, some pieces are sandblasted to give a matt finish.

Products range from vases to chandeliers as well as bespoke creations. (lauraelizabegthglass.com) Period Living 17

Shopping Vintage Chinese sideboard, circa 1920, £1,350, Rouge Orange metal trunk, £40, Habitat

Rib knit throw in Clementine, £49, John Lewis

Sense slider orange ceramic mug, £12, Oliver Bonas

y ng a t s sing with these

e ng a t

NG st Stem ceramic plant pot and stand in Poppy, £45, Orla Kiely

en t

pie

o ess c ces t c a o patterned

ty ou

ld bo

at em

Avenida Home Puddin’ Head hare dining plate, £18, Amara

Iris floral silhouette print cushion in Rust, £8, Linea at House of Fraser

ri nte rior

OR A m Fro

Feature Sophie Warren-Smith and Emily Hawkes

Primary Palette Morrocan rug, £49.99, Homesense

ri n

E

T S E Z

es

Vertigo vintage framed print, £99, Made

Goldfish orange task lamp, £59.95, Annabel James

et on

Dulwich industrial pendant light in orange, £49, Cult Furniture

,l s e ri

e

Inle rattan tray in Orange, £42, Kalinko

Pelham three-seat chesterfield sofa in Terracotta Orange wool, £3,860, excluding fabric, Rume

Discovery decorative textured vase, £11.99, Argos

Period Living 19

Shopping

Barlow Tyrie Napoli telescopic rectangular parasol in white, £1,300, John Lewis

Tiki beach parasol, £20, George Home

Droog Shadylace green parasol, £299, Connox

Pathein garden umbrella, £250, Kalinko

Jalli print parasol in orange, £225, Raj Tent Club

Dolly hand blockprinted parasol, £299, East London Parasol Company

PERFECT PAR ASOLS Whether you prefer colourful contemporary or pretty patterned styles, take shade this summer under this selection of garden umbrellas

Carambole parasol cloud in yellow, £53, B&Q

Sywawa Paddo garden parasol in red, £720, Go Modern Furniture Cozy Bay crank parasol in Creamy White, £99, House of Fraser

Geisha garden parasol in purple, £79, Cuckooland

Feature Sophie Warren-Smith

Pink Princess parasol, £2,150, Sunbeam Jackie

Classic stripe parasol, £129, Marks & Spencer

Period Living 21

PRETTY IN POLK A Go dotty with your décor – from rainbow coloured spots to classic monochrome prints – with our pick of the latest polka dot designs Top row: Polka dot cake tins, £38 for a set of three, Emma Bridgewater; multi-spot lambswool throw, £89.95, Bronte by Moon; Magda oversized mug, £8, Habitat; Ditsy Spot teatowel, £12, Cath Kidston. Second row: Maggie loveseat in Gail Bryson – Cerulean Soni, £690, Sofa.com; blue and white polka dot dolomite vase, £12, B&Q; Kate Spade New York deco dot tea kettle, £63, Amara; black spotted porcelain plate, £3.99, H&M. Third row: Radley Vintage Dog Dot leather strap watch in Ash, £89.95, John Lewis; blue dots ceramic mug, £6, The Contemporary Home; red/white spots ceramic cupboard knob, £3.50 each, Pushka Home; Pretty Maids wallcovering in Smoke, Limestone and Winter, £54 per roll, Vanessa Arbuthnott. Bottom row: Klevering Dotty ceramic photo frame, £37.50, Printer & Tailor; Maddie polka dot pouch, £24, Oliver Bonas; Summer Berries polka dot candle, £7, Next; Organic cotton cushion in Madelaine Sage, £30, Cottage in the Hills

22 Period Living

Feature Sophie Warren-Smith and Emily Hawkes

Shopping

Summer holidays to far-flung places are often the source of our most treasured memories, so why not look back at adventures to warmer climes to inspire a tropical scheme? After all, who wouldn’t want to step into an exotic paradise after a hard day?

Covered in leafy botanical designs to bustling animal prints and fruity motifs, all bursting with life, this season’s bountiful fabric and wallpaper collections make great starting points for setting off on a decorating adventure; use them to inspire a mood board of co-ordinating paints, furnishings and finishing touches. There is no doubt that we’re becoming increasingly colour confident in our homes, and to satisfy this thirst, furniture and homeware brands are offering striking silhouettes in a spectrum of vibrant hues, perfect for punctuating a hot tropics look. Texture, too, can really add to the exotic experience. Mirror the iridescence of hummingbird feathers or the glossy coats of wildcats with shimmering velvets, and capture the rustic textures of the rainforest canopy with furniture in rattan, wicker and rope.

24 Period Living

Feature Pippa Blenkinsop Image Mind The Gap The Rediscovered Paradise Bermuda wallpaper, £150 per roll, Rockett St George

INTO THE WILD

Decorating

A botanical wallpaper in leafy green makes a brilliant backdrop for an exotic scheme. A rhythmic repeat, this sophisticated Bamboo wallpaper from Osborne & Little, ÂŁ65 per roll, captures the tropical trend while being versatile and calming. To evoke the jewel colours of the jungle, try teaming it with a sofa in sumptuous peacock, such as this Eden design from DFS in teal velvet, ÂŁ1,399.

Period Living 25

Getting the tropical look need not mean a completely new scheme, nor cost the earth. Even the simplest of touches, such as hanging house plants and botanical wall charts, can transform everyday spaces with their bursts of fresh green, as this kitchen shows. Using Classic English cabinetry by Devol, the calming neutral shell is brought to life and given a homely touch with zingy accessories and metallic finishes. From ÂŁ25,000.

26 Period Living

Decorating

If you’re cautious about wall-to-wall jungle fever, then statement drapes are a brilliant way to embrace the look without overpowering a room. Echoing vintage banana leaf prints, this new Osborne & Little Palmaria fabric, £117 per m, has a glossy sheen for a touch of tropical luxe.

Scour vintage shops for retro cane chairs to complete the look.

Period Living 27

Carry the tropical theme through to the garden and by creating a hidden oasis clad with tropical prints, rattan accessories. Blue knitted throw £49 Linea Pomegranate print cushion £15 Linea Terrarium candle holder, small £30, large £40 Linea Odette 24-piece gold cutlery set £185 Biba Sarie dinnerware from £7 Junipa Gold leaf tray £22 Linea Pineapple candle holder, small £25, large £30 Biba Margarita glasses (set of 4) £18 Linea Leaf print vase £24 Linea Palm tree candle stick £30 Linea Maui embroidered cushion £25 Linea Cane lantern, small £30, large £40

If there’s anywhere that deserves to be an exotic escape, it’s the bedroom. Taking inspiration from porcelain and tableware of the 18th and 19th centuries, this beautiful cartouche wallpaper is a great choice for a period home. A calmer take on the tropical trend, it makes the perfect foil for colour-block furniture and accessories in hot canary and coral. Binding the scheme together, the classic stripe linen serves a cool contrast. Sophie Stripe bedlinen, £14 for a standard pillowcase and £85 for a double duvet cover, both The Secret Linen Store; Folie Rousseau wallpaper, £125 per roll, Cole & Son; Audrey double upholstered bed in Canary cotton matt velvet, £1,310, Sofa.com.

28 Period Living

Styling Pippa Blenkinsop Photograph Kasia Fiszer

Decorating

Clockwise from top left: Palmaria fabric, £117 per m, Osborne & Little. For a similar vintage book, try Oxfam. Brera Lino linen in Leaf, £62 per m, Designers Guild. Indian glass paintings, from £30, Louisa Maybury. Brera Lino linen in Lime, as before. Tropical Palm wallpaper, £120 per roll, Debbie Mckeegan. Pot plant art postcard, £5.50 for four, Brie Harrison. Zulu tray, £39 for a set of two, Dassie Artisan. Paints (clockwise from top): Jarosite, £35 per 2.5ltrs of 1829 Chalky emulsion, Craig & Rose; Garden City, £39.50 per 2.5ltrs of matt emulsion, Fired Earth; Mid Azure Green, £43.50 for 2.5ltrs of Absolute matt emulsion, Little Greene; Angelica, £35 per 2.5ltrs of 1829 Chalky emulsion, Craig & Rose. Lambourn Quincey cotton, £45 per m, Blendworth. Indian glass painting, as before. For similar vintage game cards, try Ebay. Animalia by Emma J Shipley wallpaper in Rousseau Lime, £49 per roll, Clarke & Clarke. Retro rattan mirror, £290 for a set of five, The Forest & Co. Personalised Palm Fronds notebook, from £12.99, Papier.

Period Living 29

uc d o pr

ec

mic era

lighting that combi

nes

i ns

pi ra tio

n

the

mil ys

ki ll s

m fro

to

Made in Britain

ard

ws o dra

n generations of fa

h unique contem t wit p ora pas r

ng y L

y s ty le

SHINING A LIGHT ON

HISTORY

Words Katherine Sorrell | Photographs Fiona Walker Arnott

I

f you could bottle authenticity, a good place to start would be the Lyngard factory in Stoke-on-Trent. The virtually unchanged Victorian redbrick building sits in the heart of Tunstall, the northernmost district of the Potteries, once the most important centre of ceramics manufacturing. Here, Carmen Lyngard

and her husband Iain Pattinson are continuing a tradition of handmade ceramics that dates back through six generations of Carmen’s family, starting with her great, great-grandfather’s uncle, Henry Stacy Marks RA, a renowned artist and one of the leading designers at Minton’s Art Pottery in the 1870s.

Lyngard makes a range of fine bone china lighting in what Carmen and Iain ➤

Period Living 31

describe as ‘minimally eclectic’ style. ‘It’s about taking my heritage and bringing it up to date,’ says Carmen. ‘My father, like both his parents, was a painter at Royal Doulton, and he’s now a ceramics restorer. I learnt from him from a young age, earning pocket money by making replacement arms and handles. Sometimes he would work on really expensive pieces, and I’d wonder why no one made anything with beautiful finishes like that any more,’ she continues. ‘He taught me the techniques needed to create those effects, and they are the basis of what we do at Lyngard today, although we are constantly updating them and using them in ways not seen before.’

It seems like it would have been inevitable for Carmen to end up making ceramics, but she actually took a degree in fashion and textiles, pursuing a career in fashion buying that led to her working around the world. She never entirely left ceramics behind, however, and she and Iain, who also worked in fashion, spent a great deal of their spare time with Carmen’s father, perfecting different decorative ceramic finishes. Their eureka moment came during Carmen’s maternity leave, when she began buying and selling antique ceramics. ‘We were showing at the New York Ceramics Fair, nestled between antiques dealers and contemporary potters, and we noticed that people were happy

to purchase both old and new pieces,’ she says. ‘All they wanted was to buy a beautiful, decorative item that they would cherish. We realised that we had all this knowledge at our fingertips, and that we should be manufacturing our own work.

It just felt so right.’

Having already made a few vases for themselves, Iain and Carmen were keen to try out creating lighting, too. ‘We’re both interested in interiors, and of course a pendant is the centrepiece of a room,’ says Carmen. ‘Lighting gives me the opportunity to use my skills in design and sculpting, and we were also attracted to the ways in which, once illuminated, the piece can be incredibly beautiful and different to how it is unlit. For example, when a certain lustre light is switched on, you see amazing colours and light shining through the coloured lustre – you therefore get much more out of the piece than if it were just a vase or a bowl. That gives us a real thrill. As soon as we develop a new finish, we think: “Right – how does it look with a lit bulb inside?” ’ Lyngard’s first design was the Campbell, based on a classic French light, then the Plex, which has a mid-century modern feel. They also spent a long time developing their reduction-fired lustre finishes, which use a technique known only by a few experts around the world, and require a one-of-a-kind kiln designed

Left to right: Moulds containing the clay forms ready to be removed; slip is pumped into the moulds then left to dry to form the shape; Carmen takes a pendant form from the drying room to the kiln; she sponges the dried clay form to remove any imperfections before it is fired and glazed

32 Period Living

Made in Britain

by Carmen’s father.

Over the course of a couple of years, the couple’s ceramics hobby became a real business plan, making the most of Carmen’s training in developing products, costing and building ranges. In 2014 they took the plunge and launched.

‘It was pretty scary,’ says Iain. ‘But it combined everything that we loved doing.’

At their first trade show they were spotted by The Conran Shop, and just a few months later their lustre lighting range was the star of its autumn window display. The exposure led to orders from Heal’s, then Harrods, then Anthropologie – a whirlwind start that meant Carman and Iain soon had to move out of the space they were borrowing in Carmen’s father’s studio and find somewhere with more room. ‘Luckily the kiln electrician knew a factory down the road that had been dormant for about ten years,’ says Carmen. ‘We went to see the owner, who

promised to teach us all the knowledge that had been handed down to him. It’s a tradition in the Pots to do this – the old owner teaches the new one, and no tips are shared outside the walls.’

For Iain, who studied history at university, walking into the dust-covered factory that had been untouched for years was a dream come true. But learning to operate the huge industrial machines was a challenge.

‘Their noise and sheer scale was terrifying at first,’ admits Iain, ‘but I absolutely love it now. When the big machines are running there’s a rhythm to their sound, like the heartbeat of the factory.’

The making process is lengthy and highly labour intensive. Once Carman and Iain are happy with a design, they produce technical drawings and then Carmen sculpts a prototype in plaster, which is used to make a master mould. Iain then makes slip (runny clay) from clay rolls ➤

Left to right: After the clay form is removed from the mould it is checked for any imperfections; Iain carefully unloads the contents of the kiln; each glaze is either painted or sprayed onto the Campbell pendant by hand; Carmen carefully weighs the ingredients for a lustre glaze

Period Living 33

and, once it is well mixed, pumps the slip into the mould.

A day later, they tip the clay form out of the mould and leave it in the drying cupboard for a couple more days. Carmen scrapes any sharp edges off the form, which is then ready to be fired in the biscuit kiln – this takes 24 hours. After two more days, Carmen removes and glazes the piece, putting it back in the kiln for the 12-hour long glaze fire, following which it is ready to be decorated, before going back into the kiln for a further 12 hours. The lustre pendants need another couple of processes and firings before they are ready.

Finally, each piece is taken back to the workshop to be wired, tested and packed.

Thanks to her fashion background, Carmen has developed a sixth sense for the next trend, and is constantly developing ideas for new designs. ‘I tend to get my inspiration from anywhere. It can be a building, a piece of sculpture or natural elements from the earth,’ she says. ‘I’m

inspired by historic lighting and by mid-century shapes and, of course, for the finishes I look at past masters of pottery and pick my father’s brain for how to reproduce them. I then turn them into my own, modern interpretation, which takes a lot of trial and error.’

Should Carmen ever need reminding of her family heritage, she only has to look at the code of practice hung on the Lyngard factory wall, something that her great-grandfather, Fred H Hand, helped develop in the 1940s, and for which he was awarded an MBE by King George VI. ‘My heritage is really important,’ she says. ‘It’s something I feel completely at home with, and now I couldn’t imagine doing anything other than designing and making ceramics. This feels like it was always meant to be.’

To see more of the lighting products, visit lyngard.com

Left to right: Carmen mixes the ingredients for a lustre glaze; she hand-paints the marbled finish on a Cooper pendant; this decorative fern finish is achieved by painstakingly hand-sponging transfers over the glazed pendant; the last stage in the lengthy process is careful wiring and testing. The finished designs seen are the Fern Campbell and Blue Imari Campbell, priced from £175

34 Period Living

Rosie extended the kitchen, adding the bay window and adapting a cook’s table from Badminton House to make a huge preparation space.

On the shelf above the Aga are a sculpture by Guy Stevens and frescoes

by Muirne Kate Dineen, while the face mosaic on the wall is by Rosie.

The curtains are from Robert Kime 36 Period Living

Jacobean Manor House

A KIND OF MAGIC Every two years, Rosie Pearson fills her home and garden with sculptures, which cast a spell on the stunning location and turn it once again into the talking point it was in the 1920s, when the young Mitfords ran up and down its corridors Words Karen Darlow | Styling Pippa Blenkinsop | Photographs Kasia Fiszer

Period Living 37

L

ooking for somewhere a bit special to turn into a home for herself and two young daughters, Rosie Pearson called off the search when she found Asthall Manor, a solid Cotswold home in rolling, rural Oxfordshire. It had been home to the infamous Mitford sisters and their parents in the roaring 1920s, and their presence – and the distinctive blue woodwork paint they chose – still makes itself felt around the house.

‘The estate agent advised me not to bother with a viewing. It was outside my budget, was a huge job and had far too much land. So I went to see it,’ says Rosie. ‘The girls had spent the first years of their lives in this staggeringly beautiful green valley in Jamaica, and I was looking for somewhere that had some kind of magic. I walked round and I could just picture lots of good things happening here, although I didn’t really know what.’ The house was sold at auction and, as predicted by the agent, the winning bid left Rosie far behind. A few months later, however, Rosie had a second chance to buy the house at a more affordable price with a small fraction of the 270 acres. ‘The buyers had only ever wanted the land, so I moved into the flat above the ballroom and started to turn the house into something that would work for us,’ she adds.

Rosie admits that the property wasn’t terribly welcoming. ‘It was rather stark and foreboding, the garden was overgrown and there wasn’t even a front gate – its reclusive previous owner preferred it that way,’ she says. ‘Before I even got an architect, I was put onto Julian and Isabel Bannerman, known for their garden designs but brilliant with interiors too, and they helped me come up with a plan, along with architect Robert Franklin.’

First an unsightly single-storey extension was demolished at the back of the house. In its place, a sheltered outdoor seating area now overlooks an angled knot garden designed by the Bannermans to make the most of a steep slope facing the back of the house. ‘I was all for leaving the garden until after we’d finished the house, but Isabel and Julian convinced me it was far better to start the garden at the same time.’ So while the garden was taking shape, a poky kitchen was being transformed into

38 Period Living

a warm, bright family space, with Robert Franklin’s plans to extend it and bring in more light. A warren of back rooms were opened up, the back stairs were relocated, and the kitchen was extended out into the garden, with a dramatic oversized bay window.

Nineteen years on, and good things have indeed been happening at Asthall Manor, which has earned itself quite a reputation for its biennial sculpture exhibition, On Form. Pieces by stone sculptors from around the world cast their spell on the garden, ballroom and the main house, against a backdrop of the most magnificent roses – an Asthall speciality.

Rosie’s love affair with sculpture began almost by accident, as she considered ways of turning the new front gateway to her home into a real statement.

‘Anthony Turner, an old school friend, had some sculptures on the back of his van when he came to stay, which he called plumpkins. And as soon as I saw them I knew I wanted something along those lines for the gateposts. It’s like a vegetable, but with a living character, I was never going to choose something ordinary.’ From this, Anthony and other sculptors persuaded her that Asthall would be the perfect place to showcase new work, encourage people to look at sculpture in a new way and relax around the pieces, feeling the smoothness or roughness of the stone for themselves. ‘I said, let’s give it a go – I couldn’t live in this enormous house without finding some reason for it,’ adds Rosie.

Two years later Rosie and co-curator Anna Greenacre were welcoming visitors back, and for 2018 Asthall will open those perfectly adorned gates to its ninth On Form, with plans to exhibit in the adjoining ballroom, furnished for the occasion by Lorfords Antiques. The collaboration with the antiques specialists is all part of Rosie’s vision to help people to feel more comfortable around sculpture, and see it as something they can live with in their homes. So what advice would Rosie give to a firsttime sculpture buyer? ‘Don’t worry too much about where to put it. If you’ve fallen in love with it, buy it. Just put it down somewhere and live with it...Trust yourself and listen to it, too – really get to know it.’

Rosie practises what she preaches and her daily life at Asthall Manor is lived alongside sculpture, not in a stuffy, high-end gallery way, but in a part-of-thefurniture way, and she often finds herself absentmindedly touching a piece as she passes it. ‘That’s what they’re for, not for setting on a plinth in a big empty room.’ onformsculpture.co.uk; 10 June – 8 July 2018 Clockwise, from top left: The front of the house at the last On Form, with Achilles Heel by Jordi Raga; Rosie at the kitchen table; Anthony Turner’s gatepost sculptures; Giles Wood’s painting of the kitchen, which hangs in the Mitfords’ former schoolroom; a piece by Anthony Turner in the meadow; refreshments in the kitchen; St Nicholas Church, viewed from the garden, with Sibylle Pasche’s Traccia di Vita on the left; the garden door

Jacobean Manor House

THE STORY Owner Rosie Pearson (pictured above) lives here, and co-curates On Form, a biennial sculpture exhibition at the property (onformsculpture.co.uk) Property Asthall Manor in the Windrush Valley, Oxfordshire, built in the early 1600s in Cotswold stone with many additions over the centuries. It served as a convalescent home during the First World War What she did Rosie added a front drive, relocated a staircase, added a new bathroom and extended the kitchen. The garden has been landscaped

Period Living 39

Above: In the kitchen’s new bay window, an Australian fruitwood table is teamed with bold, contemporary chairs. The two sculptures on either side of the window are by Anthony Turner.

On the table are freshly gathered flowers from the garden Right: Paddington – so-called because he’s a handsome marmalade cat – snoozes in the kitchen on an early-20th-century bamboo chair, one of four Rosie unearthed in an antiques shop; for similar, try Raj Tent Club

40 Period Living

Jacobean Manor House

Below: In the living room, the original ceiling cornicing is highlighted in striking claret; for similar, try Little Greene’s Theatre Red. Isabel Bannerman bought the blue dresser for Rosie’s kitchen at auction, but it didn’t fit the space. Luckily, Rosie is happy to use it here. On the table in the window is a striking sculpture

by Guy Stevens, For a similar denim sofa, try Sofa.com. The cushions and curtains were made by Joanna Smith-Ryland in Jane Churchill’s Elephants fabric Left: Above the fireplace is Rosie’s great-grandfather’s coat of arms

Period Living 41

42 Period Living

Jacobean Manor House

This page: This oak-panelled room would once have been the manor’s main hall. The Howard sofas are from Hares Antiques in Cirencester.

On the table is a mushroom sculpture by Ben Russell, and one

by Luke Dickinson. The Portuguese rug was Rosie’s mother’s Opposite: On the piano are two pieces by Guy Stevens, while on the stool is a work by Anthony Turner. The tapestry stool, just seen, belonged to Rosie’s mother

Period Living 43

Right: Rosie bought the wicker pram from one of Lyon Oliver’s auctions, which, says Rosie, were ‘always full of eccentricities’. The upholstered shutters in the Manor’s main hall were designed by Rosie’s cousin Joanna Smith-Ryland, as a way of keeping in the heat, without spoiling the look of the leaded windows and panelled window seats

Above: The grand staircase, with a folksy painted chair (probably Russian), a quirky tapestry found in Stow-on-the-Wold, and wallpaper

by Designers Guild Right: A beautiful lantern, that the Bannermans found in Turkey, lights up the stairs. On the window ledge is a sculpture by Aly Brown, entitled Dark Moon

44 Period Living

Jacobean Manor House

Period Living 45

Right: Rosie added this yellow bathroom as part of the alterations to the house. Architect Robert Franklin encouraged her to make it a spacious room. The blind is made in Sweet Treat fabric by Kravet.

The sculpture on the window ledge is called Hathor, by Jason Mulligan Below: The patchwork quilt in the spare bedroom came from a junk shop in Witney. The headboards were made by Lucy Harrison Interiors, fabric as above, and the curtains and Roman blind in Manuel Canovas ‘Bahamas’ fabric. The chair is from Habitat. For a similar traditional cast-iron radiator, try Period House Store. Flowers supplied by Daylesford Opposite: This bedroom was once the Mitfords’ schoolroom. Their governess used to shut the curtains if a funeral was taking place at the church opposite. The bed is from Seventh Heaven and was Rosie’s first internet purchase in 1999 Opposite, bottom left: The sculpture by the fireplace is by Aly Brown, and by the window is a tapestry stool that belonged to Rosie’s mother Opposite, bottom right: A second bathroom, with Rosie’s father’s weighing scales

46 Period Living

Jacobean Manor House

Period Living 47

Shopping 990 wood-fired range with 500 electric companion in Powder Blue, £11,715, Esse

Rose kelim black rug, handwoven in wool, from £355, Woven

Berry Brothers wide-width wallpaper in Sherbet, £65.52 per m, Lewis & Wood Grass Green Pear Halves portfolio, £22, Cambridge Imprint Handpainted plates, from £26.40, Penny Morrison

Fern Stripe Chintz cotton, £92 per m, Jean Monro

Classic Field tiles, £149.95 per m2, Winchester Tiles

Shanxi Green vintage stool, £145, Rouge

MANOR HOUSE BRIGHTS Mix heritage designs with colourful pieces from across the globe for a vibrant bohemian twist on the classic country look

Tiger Tiger cushion, £135, Wicklewood

Feature Pippa Blenkinsop

Luke Edward Hall matches, £8, Alex Eagle

Belmont sofa including Ticking fabric, £6,792, Lorfords

Mexican glass jug, £45, and tumbler, £12.50, V&A

Period Living 49

ROOM AT THE INN Belles and Andy Grant spotted the potential in a quirky, converted pub that others had passed by. Trusting their instinct, they have turned it into the happiest of homes Words Charlotte Colville | Photographs Brent Darby

50 Period Living

Converted Pub

The internal window is a particularly strong feature in this converted pub. It brings light to the hallway, opens up the living room space and provides an attractive display shelf.

The sofa is the Bluebell by Sofa.com

Period Living 51

THE STORY Owners Belles Grant, who works for a maternity nurse agency and a French clothing company, and husband Andy, a head hunter, live here with daughters Emelia, six, and Luella, four Property Built in 1790 as the Ship and Anchor pub in Chipping Norton, Oxfordshire, it was converted into a house in the late 1900s. It has four bedrooms What they did The couple fitted new living room floors, turned the study into a playroom and a shower room into a WC. They also added dormer windows Above: The wood-burning stove was added by Belles and Andy – a much more heat-efficient option than an open fire and child friendlier, too.

Just off the living room is the girls’ playroom, formerly a study. The painting above the fire is

by Lucy Pratt, a local artist and friend of Belles Above right: The couple added the corner display shelves and cupboard in the living room. The armchair is from Cotswold Home and Garden Right: With its sunny, south-facing façade, Belles and Andy’s house is full of light. They added the dormer windows in the roof to make the attic rooms brighter Below: Once home to the pub’s WCs, the terraced outside space has been transformed into a natural haven. Belles and Andy added a lawn and shallow steps. Andy painted the summerhouse on the top terrace and turned it into an office

52 Period Living

Converted Pub

T

here’s magic in the tangled web of streets that make up the old part of Chipping Norton. Cotswold stone cottages, Georgian townhouses, ancient alms houses and one of the tiniest theatres in England, jostle for space on the steep hillside. Belles and Andy Grant, who had driven from their London flat, felt this charm instantly as they left their car in the pretty market place and went off for their first house viewing.

‘We never got to view another house,’ recalls Belles ‘because we knew instantly that this was the one!’ Built in 1790 as the Ship and Anchor, the building had been a public house for almost two centuries and had kept that welcoming, laid-back atmosphere unique to pubs and inns. It also retained some lovely original features, such as a bread oven with ash drawer beneath, an echoey inglenook fireplace, wonky wooden floorboards, gnarled beams, and deep window seats.

‘We loved the house’s character,’ says Andy, ‘even though it was far from a show home!’ The previous owner had three sons and two lodgers, and they must have lived in happy disarray in this house stuffed full of quirky and eclectic artworks.

The house had hardly any storage, so there were belongings everywhere, and the kitchen consisted of an oven, a table and two cupboards. More unusual still was the thick red pen graffitied all over the house in haphazard sketches, and snatches of poetry jotted down as if in passing. ‘We knew we’d have to make some changes,’ says Andy. ‘But it was a refreshing and relaxed environment, full of sunlight, and we could see what a happy home it would make for our little family.’

Belles, Andy and their baby Emelia moved in, in 2012, and started to make the house their own. It was with some sadness that they painted over the graffiti and planned a kitchen suitable for family life. They wanted to bring the house up to date while respecting its unique character, but were also keen to hold onto a muted version of its bohemian and artistic past.

The Grants’ big passions are art, antiques, and all things French. Over the years they have collected one-off pieces of furniture and works of art from

England and France. Their London garden flat was also below a French brocante, whose owner would give them first refusal on any new finds. ‘We would see her Fiat approaching, piled high with treasures, and some never reached the shop floor before we snapped them up!’ says Belles. There’s a French influence throughout the house, particularly in the kitchen, where the Grants installed a minimal number of built-in units and kept the rest eclectic and freestanding. With its café chairs, blue artisan tiles and clock, and one-off cupboards and cabinets it could almost be in a home in Provence.

The same continental charm spills into the living room next door, where warm neutral tones give a restful and elegant character. With generous southfacing windows, and a unique internal window, where perhaps the bar had once been, it basks in daylight and is constantly evolving as Belles and Andy add new quirky and colourful finds.

Belles enlisted soft furnishings expert Vivienne Goede to make all her curtains and cushions. Where some homeowners would spend months agonising over fabrics and decorating schemes, Belles gave Vivienne the measurements, budget, and an idea of the patterns and colours she liked and left the rest to Vivienne. ‘With the exception of one pair of maroon curtains, a mutual mistake, Vivienne had second-guessed perfectly every time.’

Upstairs the atmosphere becomes more cottagey with creaky old floorboards, exposed stonework and sunny window seats. There are three delightfully higgledy-piggledy bedrooms – a feminine and playful one each for the girls plus a pretty spare – and a family bathroom on the first floor, and then up a steep flight of stairs is Belles and Andy’s lofty bedroom and bathroom under the eaves. With twisty beams soaring above, this room has a sense of peace and space, and two new dormer windows overlook a patchwork of roofs. ‘We get all the benefit of the light and view up here, but no one can look back at us!’ laughs Belles. Across the landing the couple installed a colourful and pretty bathroom full of French flair. ‘It’s a long way up here, so hopefully we’ll never have to share it with the girls,’ jokes Andy.

All parents relish moments of peace, but family is everything to Belles and Andy and this house is first and foremost a family home. The Grants fill it with friends, too, who find every excuse to drop by, and the place takes the extra swell comfortably and seems at its best when buzzing with people.

As a pub, its doors would always have been open and today, as a home, it is little different. There’s something, other than a pint of Hook Norton ale, that draws people here again and again.

Period Living 53

Two posters picked up in French markets adorn the entrance hall.

The internal window and arched doorway are lovely relics of the former inn. Tongue-and-groove panelling was added to the walls for definition, and painted in Studio Green and White Tie, both

by Farrow & Ball

54 Period Living

Converted Pub

The kitchen needed quite a bit of work to transform it from the very modest state it was in when the Grants bought the house. They replaced the floor, had a relatively small stretch of fitted cupboards built in, and added as many freestanding cupboards as they could to give a French country look.

The corner cupboard is from Bazar, the clock from Roger Lascelles, the tiles from an antiques shop in Tetbury, and the tile-topped table from a French fleamarket

Period Living 55

Above: The cafÊ chairs in the dining area are from Colbert on Sloane Square in London and are perfect for the French antique theme. The bench and glass-fronted storage cabinet are from Chipping Norton’s Station Mill Antiques Left: Big windows and generous windowsills provide a good space for sun-loving herbs. The cast-iron radiator below was in the house when the family moved in

56 Period Living

Converted Pub

Above: Luella’s bedroom has the timeless features of original floorboards, exposed (and since painted) stonework and a little window seat, perfect for sitting at and watching the world go by. The cot bed is from Peter Jones, with bedlinen from The White Company. Luella has inherited her mum’s artistic flair and made the tissue paper pom pom Period Living 57

Left and below: Always a calm and quiet space, the attic has been transformed with a new dormer window and by having the stonework painted in pale colours. Belles and Andy had built-in wardrobes installed, including a top cupboard to hide a TV. The bed is from Warren Evans, the bedside tables were bought on Ebay, and the chest of drawers is a family heirloom, painted in Annie Sloan’s Louis Blue. For a similar chandelier, try Westland London Below: Belles and Andy’s colourful bathroom is a recent addition, installed in 2016. The turquoise Laura Ashley tiles, and green cupboard from Phoenix on Golborne, make a colourful and fun contrast to the gnarled beams above

58 Period Living

60 Period Living

Farmhouse Renovation

COUNTRY IDYLL Although they had lived nearby for many years, Charles and Linda Whittingham had never noticed that at the end of an overgrown lane there was a derelict farmhouse.

They cleared the grounds, restored the house and turned it into a beautiful home Words Debbie Jeffery | Photographs Unique Home Stays

A newly excavated lake and a deck were formed at the bottom of the valley. ‘My idea was for a rolling lawn leading down to the lake, which is fed by pure water from artesian springs, but the ground was at different levels so I hired a machine and asked a neighbour to tackle the landscaping,’ says Charles

Period Living 61

THE STORY Owners Linda Whittingham, a radiographer, and her husband Charles, a dairy farmer, live here with their Jack Russell terrier Freckles. The couple have two grown-up daughters Property A 200-year-old, limestone farmhouse with 17 acres of land in Denbighshire, Wales What they did The house has been restored and remodelled, the surrounding land was cleared and a neighbouring barn converted into a rustic cinema and games room overlooking a newly created lake

62 Period Living

Farmhouse Renovation

D FOLLOW US ON TWITTER @PeriodLivingMag for daily news and inspiration

espite living in the area for more than 50 years, Charles and Linda Whittingham had never seen the old limestone house standing just one mile from their home in Ruthin, North Wales.

‘The previous owner was reclusive, and very few people ventured down the lane, which had become totally overgrown,’ explains Linda.

‘An estate agent friend let us know that the derelict smallholding was for sale, and we fell in love with the beautiful setting. We weren’t actually looking for a project, and had never renovated a house before, so taking on a damp, uninhabitable property with a caved-in roof was a huge task.’

Previously a working farm, Eirianfa is at least two hundred years old and was built in limestone quarried from the neighbouring village. Outside it looks like many of the other old farmhouses in the area, with whitewashed walls and a slate roof, but inside there were few original features remaining.

Single-glazed uPVC windows had been installed in the 1970s and the floors had been concreted over.

‘We wanted to keep the characterful look of the house, but add some modern comforts inside,’ explains Linda. ‘The renovation work has taken about 18 months and was a real labour of love.’

The first task involved clearing the access lane and raising its level to help prevent flooding. ‘The low-lying ground was very wet, and digging out a new lake at the bottom of the valley means that the fields are able to drain into this,’ explains Charles, who now farms the land around the house. ‘We used old telegraph poles to build a seating area over the water, and you can take a rowing boat out onto the lake. It feels like it’s always been there.’

Once the landscaping was completed the couple turned their attention to the interiors.

Hallway walls were removed to create a large farmhouse kitchen and altering the pitch of the roof made space for a family bathroom and study.

‘There was a big bow in the roof, but we decided to keep this as it adds character,’ says Charles.

New roof timbers were fixed in place alongside the existing beams, and the crumbling original slates were exchanged for reclaimed Welsh ones.

Charles was involved with the renovation throughout, and acted as project manager, with Linda taking on the role of interior designer and lending a hand on site at weekends.

Windows have been upgraded with bespoke wooden sliding sashes, which are double glazed, and the existing plaster was laboriously chipped off walls and replaced with lime plaster and limewash.

‘We stripped out the 1970s fires and revealed the original fireplaces,’ says Linda. ‘Finding these was definitely one of the high points of the project, and the sitting room now has a very efficient wood-burning stove in the old stone fireplace.’

The couple installed underfloor heating on the ground floor and the whole house has been rewired and replumbed. ‘Some internal walls have been left unfinished and exposed, and others were painted in limewash, leaving the rough stonework still visible underneath,’ says Charles. Limestone flooring has been laid in the new farmhouse kitchen and the neighbouring sitting room, with oak floorboards upstairs in the bedrooms. A rickety staircase was replaced with a bespoke oak one, and all internal doors were traditionally made from oak planks by a local company. The attached stone barn has also been restored and is now used as a home cinema and games room. Walls were repointed, the structure re-roofed, and doors and windows replaced.

‘We did go over budget on the finishes, but it’s a beautiful house and it would have been a crime not to do it justice,’ says Linda. ‘I hate seeing old properties ruined with nasty modifications, so we’ve tried to keep the character, but have introduced modern comforts. It’s been hard work but we’ve thoroughly enjoyed it, and couldn’t be more proud of the way the house looks now.’

Eirianfa is available for holiday rental with uniquehomestays.com

Clockwise, from top: The traditional limestone farmhouse has been limewashed externally and overlooks a lawn and lake; a new porch with an oak post was built for the front entrance of the house, which has been re-roofed and features bespoke timber sash windows; next to the kitchen, an old stone barn has made an ideal entertainment space, complete with hot tub and bar.

Two vintage cartwheels from a reclamation yard serve as a partition between the raised bar area and the lower section of the building; Linda and Charles with Freckles, their Jack Russell terrier

Period Living 63

64 Period Living

Farmhouse Renovation Left: Limestone slabs from Floors of Stone were laid over underfloor heating in the living room, where an original fireplace was uncovered and restored Below: Charles and Linda chose a wood-burner from Clearview Stoves and a coffee table from Arighi Bianchi. The wall candle sconce is from local company Celtic Dreams. For similar sofas, try Tetrad

Period Living 65

A large kitchen-diner was created by extending into the existing hall and sitting room. The beams are a combination of original and reclaimed timbers, and the kitchen cabinets were supplied by A&J Kitchens. RM Jones Joinery made the windows and new staircase, and an electric range from Aga completes the country look

66 Period Living

Farmhouse Renovation

Period Living 67

Left: Shared between two bedrooms is a luxurious bathroom, formerly a junk room. It features a duck-egg blue roll-top bath and a separate shower. The bath had previously been used as a cattle feeder and was restored by Unique Enamelling, with oak feet made by a joiner. The floor tiles are from Mandarin Stone and the basin from Fired Earth Below and bottom: In the master bedroom, stone walls were repointed, oak flooring was laid and deep oak sills were added to frame the view of the farmland beyond. The bed is from John Lewis, and the dressing table is from Loaf

68 Period Living

Dutch Farmhouse

THROUGH THE GENERATIONS Jos and Paulien live in a beautiful old farmhouse, built by Jos’ grandparents, which they’ve renovated with salvaged materials Words and styling Monique van der Pauw Photographs Ton Bouwer/CocoFeatures.com

The kitchen in the newly converted barn, where all the accessories and textiles were picked up at fleamarkets, and the splashback and floor tiles came from salvage yards

Period Living 71

J FOLLOW US ON INSTAGRAM @period_living for more vintage inspiration and style ideas

72 Period Living

THE STORY The property A farmhouse built in 1920 in a countryside hamlet in Gelderland, eastern Netherlands. The cities of Nijmegen and Arnhem are a half-hour drive away.

Who lives here Paulien Degen, a retired nurse and nursing teacher, and Jos Dekkers a retired farmer. The couple have two grown-up children and now run a B&B from the old farm (deknechtenkamer.nl) What they did Jos and Paulien restored the property, reinstating period features, and converting a barn and hayloft into guest rooms

os Dekkers still remembers how, as a young boy, he would help his father pick cherries in the orchard of the family farm, climbing at least 40 rungs to get to the top of the trees.

‘My father knew exactly how to position the long ladder, so it wouldn’t fall if a branch broke off.’ He has many fond memories of his childhood here at De Vliervoeters, in the eastern Netherlands.

He was born and raised at Laag Vliervoet, the farm built by his grandparents in 1920.

His parents moved into the house when his grandfather died, so his grandma wouldn’t be on her own. ‘I remember her well,’ Jos says, ‘a tiny lady with her hair in a bun on the top of her head.

She had her own living room, but spent all her time in the kitchen next to the wood stove.’ A huge Aga now takes its place, heating the whole house.

Years later, in 1985, Jos and his wife Paulien took over the farm from Jos’ mother when his father died. The house was well cared for, but the interiors hadn’t been touched since the 1970s, so the couple began years of renovation to give the farm back some of its old charm, and create two new guest rooms for their B&B. The couple started with the old stable; Jos remembers his father keeping six cows here, but now there’s a large dining table and a cosy seating area on the ground floor. The original beamed ceiling lends real character to the space, while on the floor are reclaimed tiles. ‘We didn’t have enough tiles, so we added in some old pavers in a herringbone pattern, and that worked,’ says Jos. A narrow staircase leads to the attic, once the hayloft, but now a cosy bedroom with a wooden floor and country-style tongue and groove on the walls. Jos and Paulien crafted a bedstead from two reclaimed doors they found in a salvage yard, but their most beautiful find ever can be seen in the bathroom, with its nostalgic red-and-white tiled floor. ‘We found three copper taps, covered with paint. A friend cleaned them for us, then a smith and a plumber adapted them to work with modern plumbing,’ he adds. ‘It would have been much easier to buy a reproduction, but we prefer the real thing, with all the marks of its previous life.’

With the first bedroom finished, Jos and Paulien turned their attention to the beautiful old barn, once used for storing the fruit harvest. Jos recalls it stacked high with wooden boxes full of cherries,

apples, pears and plums waiting to be transported to the fruit auction house. ‘After that we kept pigs in here, cows in winter, and even our daughters’ horse was stabled here at one time,’ says Jos. ‘But the barn had fallen into disrepair and its walls had nearly collapsed, so we rebuilt it, keeping just two small parts of the back wall. In effect, we’ve created a new barn, but using reclaimed materials and traditional techniques.’

The ‘new’ barn provides a second guest room off a traditional Dutch kitchen, complete with wood-burning stove and a colourful tiled floor that continues into a pretty bedroom. A sliding door – made from salvaged doors – divides the bedroom from the bathroom, with more reclaimed floor tiles.

Jos and Paulien paid incredible attention to detail in their quest for an authentic, characterful look; in fact the whole barn is furnished and decorated with treasures from fleamarkets, charity shops and reclamation yards. Each doorknob and every hinge has found new life here on the farm. Sometimes they had to cheat a bit, like when Paulien ‘attacked’ a new plank with a chisel to give it an old look, and drilled tiny holes in other planks to have them look as if they were attacked by woodworm.

When it comes to the materials they reuse, however, they are not purists. ‘The floor tiles in our bathroom came from a much more grand house, but they fit in here, too,’ says Jos. They try to choose things that date from the same period as the farm, to get an authentic period look, and when it comes to décor, Paulien tirelessly tries to find the right paint colour with the right look for the right spot. ‘I must have painted the ceiling in the stable guest room six times!’ she exclaims.

A fan of old furniture, Paulien wishes she could ‘step into a time machine to see how they were used and by whom.’ Regardless of their origins, the furniture and accessories in the guestrooms look as though they have always been in the house. Robust and simple, with a touch of romance here and there – pieces of lace decorating a shelf, flowers in an old teacup – each and every piece was collected by Paulien. ‘There was nothing authentic left; it was all destroyed when the house was modernised in the 1970s,’ she says. ‘We’ve gathered so many things that we could easily start another project!’ But they won’t; the time has come to relax and enjoy what they have created: a beautiful farmhouse idyll.

Dutch Farmhouse

Clockwise from top left: Jos and Paulien; a simple garden posy and the couple’s homegrown strawberries; this seating is in a sheltered spot in case of summer showers; a dining area, surrounded by roses, for brighter days; Paulien has nurtured the roses, choosing the traditional varieties favoured by Jos’ grandmother; the farm was built in 1920 by Jos’ grandparents

Period Living 73

Left: A traditional-style wood-burning stove, framed with pretty blue tiles, creates a cosy corner in the kitchendiner. The old door has been painted to complement the salvaged floor tiles Below left: Jos and Paulien used the leftover wall tiles to create a splashback around an old stone sink. A refurbished copper tap completes the vintage look Below right: Another of Paulien’s old taps has been fitted in the renovated barn Right: Jos can remember this room from when it was a cowbarn. Now transformed and completely refurbished, it makes a homely and relaxed dining space.

The steep stairs lead to a bedroom converted from the old hayloft

74 Period Living

Dutch Farmhouse

Period Living 75

76 Period Living

Dutch Farmhouse

Above left: A reclaimed stained glass door has been adapted into a sliding door, a good solution for this small en suite shower room Above right: More salvaged tiles lend a decorative touch to Jos and Paulien’s bathroom.

The old bathtub has been re-enamelled Clockwise from far left: From the wildflowers displayed on the end of a beam; the rustic handmade soaps in a zinc bowl; garden flowers on a rustic stool; to an old mirror in the en suite shower room, Paulien ensures that every detail fits in with the vintage country look Opposite: Sweet dreams are guaranteed with pretty floral print bedding on an antique cast-iron bedstead. A milking stool serves as a bedside table. For a similar bed, try Wrought Iron & Brass Bed Company

Period Living 77

The surprisingly spacious hayloft bedroom is simply furnished with rustic farmhouse furniture.

A cupboard bed was built from old doors, and the room’s tongue-and-groove walls contain two hidden cabinets. The paint colours for this room, and the rest of the house were hand-mixed

by Paulien

78 Period Living

Champness, £21.99 per 500ml tin, Fusion Mineral Paints

Shopping

Flat-top wooden stools, £125 each, Shimu Rose Linen Artisan cross over apron, £59, The Linen Works

Riess Beak pot, £19.50, Manúfactum 19th-century delft tiles, around £52 per tile, Regts Antique Tiles

Eglantine rose soap with organic argan oil, £3.15, French Soaps Périgord carafe, £19.20, The French House

DUTCH FARMHOUSE

Pair of French shutters, £275, Lorfords Antiques

Mix nostalgic kitchenalia with vintage tiles and rustic pieces to capture the romance of rural Holland Clifton Cartouche wall light, £388, Rowen & Wren

Bees linen, £55 per m, Cabbages & Roses

Holland sideboard, £745, Loaf

Feature Pippa Blenkinsop

Walnut chopping boards, from £50 each, Raj Tent Club

Large pot stand, £89, Grand Illusions

Meadow Bouquet cushion, £38, Pillo London

Vintage glass butter dish, £12.95, Rex London Period Living 81

82 Period Living

Garden Flat Update

ALL CHANGE In order to take advantage of garden views, interior designer Paul Williams swapped the position of the kitchen and bathroom in his London flat – a decision that resulted in a fresh new look for all the rooms Words Amanda Harling | Photographs Andreas von Einsiedel

This image: The walls of the sitting room glazed in a light-reflecting pale yellow by Nick Bennett, and Roman blinds made from vintage French linen sheets, provide a neutral backdrop for Paul’s collection of paintings and ceramics Opposite: The custom-made bookcase accommodates Paul’s library of books on art and design. His eclectic mix of furnishings includes a Howardstyle armchair upholstered in cream linen from The Cloth Shop, a French 1930s fruitwood dining chair, a 1970s Perspex table lamp from The Last Place on Earth and an octagonal Moroccan brass tray-top table Period Living 83

S ON THE WEB For more period homes, visit realhomes.com/ period-living

84 Period Living

haring his time between a business in upstate New York and one in London, interior designer Paul Williams leads a busy life. When he’s not devising bespoke display systems for retail clients or searching for vintage furniture and artefacts for The Locust Tree, his shop in Hudson, he’s coming up with practical, beautiful interior designs for private homes. Having somewhere to unwind is essential. So 10 years ago, with that in mind, he made the move from central London to the leafy surroundings of Wimbledon Village. ‘It only takes me half an hour to get into town but it’s so much quieter here, and the prospect of having a garden to relax in during the summer made it irresistible.’

Paul’s London home on the lower-ground floor of a sizeable Victorian house had previously been converted into a self-contained ‘granny flat’. ‘I might not be a granny,’ he says laughing, ‘but it suits me very well.’ However, after living there for several years Paul took the decision to improve the layout by transposing the kitchen and bathroom.

He explains: ‘Lying in the bath and looking out at the garden is the perfect start to my day, but before all I had to look at was a wall. I realised that if I put the bathroom where the kitchen was I could have a morning view, so that’s what I did. What was my lovely dining room became the bedroom and my former bedroom is now the dining room. It might seem self-indulgent but I’m much happier with the new arrangement and that’s what matters.

‘The new kitchen couldn’t be smaller; it’s like a galley kitchen on a yacht. Everything I need is within reach: a cooker, a fridge, a sink and working space. I don’t need to lay in provisions – I just pop down the road to the local shops.’

The sitting room is the only room that remained unchanged, but Paul took the opportunity to refurbish the decoration and add a decorative plaster cornice to match the ones he chose for the bedroom and dining room. ‘Fitting a cornice is the finishing touch. It adds elegance in the same way that a hat does to an outfit.’ Paul had the walls dragged and glazed in order to create a

light-reflecting surface for an array of paintings and prints. ‘I change things around constantly, ’ he says, moving a small flower study and replacing it with an Italian landscape by artist Andrea Tana.

Some items are more likely to stay put, such as the monumental bookcase Paul designed that’s now full of books on art and design. Another piece Paul designed specifically for the room is the sofa, which extends along one wall. Covered in an understated primrose and cream damask, it sits beneath a mid-19th-century French chinoiserie screen, bought from Fontaine Antiques at the Battersea Decorative Antiques Fair. ‘The fair takes place three times a year and is one of my favourite places to browse, with dealers from far and wide displaying an extraordinary range of decorative items.’

Paul is a fount of knowledge when it comes to antique fairs. ‘It’s amazing what you can find when you take the trouble to look,’ he says, unwrapping a set of four 19th-century French equine engravings, still retaining the delicate, original gilded frames.

‘They’d look beautiful anywhere but I’ll ship them to Hudson if I can resist hanging them here. That’s the only drawback – for the shop I only buy what I like so I have to be very disciplined about not hoarding all my finds.’

Paul’s taste in antiques covers many periods and styles. Indeed, some might think that the sitting room would become impassable if it had to accommodate a single item more, but Paul maintains that he’s skilful at making space. ‘My friend Maggie counted 16 pieces of furniture last time she was here, but the room is multi-purpose and I use every item; the desk in the corner is for work, the oak table in the window is where I eat when alone or with a friend or two, the armchairs are where I read and the sofa is for seating friends.’

The dining room is also multi-purpose. ‘My assistant sometimes works in there and when more than a couple of friends come over for a meal, that’s where we eat unless it’s fine enough to lay the table in the garden. It’s a peaceful spot for client meetings, too. I spread the plans out on the table along with samples of fabric, wallpaper, carpet and whatever else we need.’

The bedroom with its outlook over the garden is Paul’s haven from work and meetings. The bed is invariably bedecked with finely embroidered vintage linen accumulated over the years while the oak settle beneath the window is where he likes to stretch out and read when the weather isn’t conducive for relaxing outside. ‘This room has a restful feeling about it, which I want to keep, so Maggie could count the bits and pieces in here on one hand,’ he says, as he takes in the contents of the room. ‘Best make that two,’ he adds.

Wimbledon flat THE STORY Owner Paul Williams (pictured below), who is an interior designer (paullasalledesigner.co.uk) Property A lower-ground-floor flat in a converted Victorian property in Wimbledon What he did Paul didn’t need to make any structural changes, but improved the layout by switching the kitchen and bathroom over, and swapping the dining room and bedroom

Paul’s secluded garden makes an ideal setting for alfresco parties.

The 19th-century French scrollwork chairs and marble-topped bistro table are from The French House, and the glasses and pitcher are from Zara Home.

The tablecloth is English tape-work while the pretty turquoise and white napkins are vintage Madeira-work

Period Living 85

Left: The new kitchen with walls lined in gleaming Metro tiles is minimal in size and décor, but there is just space for a Victorian dry larder cupboard and a wall hung étagère for spices. The still life is by Scottish artist Colin Wilson Above right: In the hall, Paul’s collection of English 1940s and ’50s white mantel vases are displayed in the wall cabinet. On the Tonbridge-ware marquetry table is a double horse head lamp base from Richard Taylor. The wall paint is Parlour Rose by Fired Earth Below: In the dining room, traditional French salt-glazed cruches (jugs) are arranged on top of a rustic painted armoire. Walls are painted in Farrow & Ball’s Powder Blue

86 Period Living

Garden Flat Update Formerly the bedroom, Paul’s small dining room features a French fruitwood table and a set of 1930s dining chairs. On the table are an 18th-century English wooden dairy bowl and a 19th-century Japanese marquetry tray. The glasses and jug from Zara Home are ‘as fine as any Venetian Venini glass,’ says Paul.

The Roman blind fabric is by Bernard Thorp and the walls are painted in Farrow & Ball’s Powder Blue

Period Living 87

Above: The new bedroom has a view of the garden. A plaster cast of Pan and a Satyr is fixed to the wall above the bed, while on the bedside table is a vintage ceramic Casa Pupo lamp. The mahogany chest of drawers is a 19th-century piece. Walls are painted in Farrow & Ball’s serene Lulworth Blue and lace-trimmed bedlinen adds to the restful look Below left: An antique French settle upholstered in plain oatmeal linen stands beneath the window with a pair of Brunschwig & Fils fabric cushions. An Italian metal wall sconce hangs on the wall above the settle. The ironwork conservatory table is another 19th-century antique, and the ceramic lamp base is from Richard Taylor Below right: With its view of the garden, the new light and airy bathroom is full of period charm, particularly with quirky accessories such as the majolica heron jug and the folding silver mirror. For similar Edwardian-style sanitaryware and taps, try Victorian Plumbing

88 Period Living

PERIODLIVING

S

ubscribe to Britain’s best-selling period homes magazine to ensure you never miss an issue, and save on the cover price. For a limited time, when you subscribe to Period Living for six months for £20, you will receive a free Emma Bridgewater Sweet Pea Flowers set of two half-pint mugs, worth £39.95. Hurry! Offer ends 31 July 2018.

As a subscriber

you’ll receive the following benefits:

l Every

issue delivered free to your door

l Beautiful

case studies and expert advice for your home project l Shopping

ideas, stunning gardens and inspiring decorating features

It’s easy to subscribe!

Go online at: myfavouritemagazines.co.uk/PLJUL18 Or call 0344 848 2852 and quote PLJUL18 Terms and condiTions his ofer entitles new UK direct debit subscribers to pay just £20 every six months. Plus when you take up the ofer receive a emma Bridgewater mug set worth £39.95. Git is only available for new UK subscribers, subject to availability. Please allow up to 60 days for the delivery of your git. in the event of stocks being exhausted we reserve the right to replace with items of similar value. Prices and savings quoted are compared to buying full-priced print issues. You will receive 12 issues in a year. Your subscription is for the minimum term speciied.

You can write to us or call us to cancel your subscription within 14 days of purchase. Payment is non-refundable Terms apply, seeunless the website forcircumstances full details. apply.

OfferYour ends 31 December 2017. ater the&14conditions day cancellation period exceptional statutory rights are not afected. Prices correct at point of print and subject to change. UK calls will cost the same as other standard ixed line numbers (starting 01 or 02) or are included as part of any inclusive or free minutes allowances (if ofered by your phone tarif). For full terms and conditions please visit: www.bit.ly/magterms. ofer ends 31 July 2018.

88 Period Living

Subscribe

6 issues for just ÂŁ20 plus free gift This month, when you subscribe to Period Living for six months by direct debit, you will also receive a free Emma Bridgewater two-mug set worth ÂŁ39.95

ABOUT YOUR FREE GIFT This beautiful set of two half-pint Emma Bridgewater mugs feature the new Sweet Pea Flower design and come presented in an illustrated gift box. Made from English earthenware, the mugs are dishwasher and microwave safe.

Period Living 89

17

YOUR ANTIQUE HOME

The TH CENTURY

T

he 17th century was both an interesting and shocking period in English history. The entire epoch is clearly defined by the rule of the Stuart dynasty, beginning with James I in 1603 and ending with William and Mary in 1702. Yet, half way through the century the country was rocked by an unprecedented event. King Charles I was beheaded for treason in 1649 and over a period of some nine years, between 1642 and 1651, Royalists (Cavaliers) and Parliamentarians (Roundheads) battled each other in a series of three ‘wars’ collectively recognised as the English Civil War.

92 Period Living

The ensuing turbulent and violent period known as the ‘Commonwealth of England’ and the ‘Protectorate’, between 1649-1660 – the latter under the rule of Oliver Cromwell and – albeit for a short period – his son Richard, mark a decisive swing in the powers of both the monarchy and parliament. With the restoration of the English monarchy under Charles II in 1660, the established premise that the monarch could not govern without the consent of parliament irrevocably changed the structure of governance and power, and effectively sowed the seeds for our modern form of democracy.

Yet this period, known by the monarchists as the ‘interregnum’, also denotes an important departure from the prevailing styles of the Stuart period, ➤

Photographs © National Trust Images/Andreas von Einsiedel/Nadia Mackenzie

The 17th century was an elegant period in interiors. Antiques Roadshow specialist Marc Allum investigates the history and how you can bring aspects of it into your home today

Antiques

Opposite: The early 17th-century carpet – a rare example of English turkey work – found in Lady Betty’s Bedroom at the National Trust’s Knole in Sevenoaks, Kent Clockwise from left: The dining room at Packwood House in Warwickshire, showing the Cromwellian gateleg table, Charles II chairs, and window with 17th-century Flemish glass (nationaltrust.org.uk); detail of the gold and silver brocade bed curtains of the Royal State Bed in the King’s Room at Knole; the four-poster bed in Lady Betty Germain’s bedroom is hung with embroidered hangings, while 17th-century tapestries adorn the walls; an X-framed ‘Chair of State’ and two high stools covered with applique strapwork textile, at Knole (nationaltrust.org.uk)

Period Living 93

Antiques vehemently brought about by the Puritans, whose Protestant values sought to rid the Church of England of its over-extravagant ‘Catholic’ influence.

CHANGING FASHIONS So what is it that defines English 17th-century style? First, it’s important to remember that class and wealth are without doubt the most important factors in asserting patronage and acquisition. The predominant fashionable decoration of several important houses readily springs to mind in defining 17th-century aristocratic style.

Knole in Kent is one such product of the period, and although the house itself is of medieval origins, it was the Sackvilles, and primarily Thomas Sackville, who set Knole on its early 17th-century course to becoming a treasure house of the period. Its rooms are impressive and emblematic of the success and wealth of the family. Like many important houses, the rooms tended to develop over successive generations and their evolution led to a gentle intermingling of objects, furniture and style.

Knole has, however, given us the ‘Knole Sofa’, a distinctively shaped ‘settee’ with drop flaps (arms) held by cords on decorative finials, a design that has been perpetually rejuvenated over the past centuries and is still ever-popular.

Photographs (bottom) © National Trust Images/Nadia Mackenzie; (top) Brent Darby

BEAUTIFUL BAROQUE The European Baroque style, with its flamboyant decoration, made little impact in England until after the Restoration of the monarchy, but Knole still contains important Baroque items from this period with original textiles and upholstery forming an important part of its 17th-century history.

The first truly Baroque house in England is, in fact, considered to be Chatsworth, largely remodelled in the 17th century. William Cavendish, the 3rd Earl of Devonshire, was forced to flee to

Left: Coffers and trunks were an important requirement in a 17th-century household, and there are many to be found in the salerooms today, from plank and panelled to more elaborate ornately carved examples

Europe after his expulsion from the House of Lords in 1642. Chatsworth endured the turbulence of the Civil War and was occupied by both sides, but when William returned after the Restoration the house underwent massive remodelling, particularly under the direction of architect William Talman (a pupil of Sir Christopher Wren).

This commenced in 1687 and has given us one of the country’s greatest private houses, which – coincidentally – is fresh this year from the largest restoration project ever undertaken on the house.

A STYLE FOR ALL But what of the simple folk? Well, I only have to look around my own home to put myself in touch with some down-to-earth furniture items of the period. The application of fabrics, particularly applied on furniture and its structural elements, is a joy of the period, too, and it has been constantly reproduced by successive generations, particularly in the Victorian and Edwardian periods. This makes it both accessible and affordable. ➤

Below: One of the Knole sofas, with its distinctive drop arms held by cords on decorative finials, in the Picture Gallery at the National Trust’s Upton House in Warwickshire (nationaltrust. org.uk)

Period Living 95

HOW TO GET THE LOOK CHAIRS Many of the items in my own home, which date from the 17th century, are eminently affordable and include the typical high-back chairs of the period with cane seats and back panels. I have regularly purchased them at auction for as little as £100 each, although some have been rather fragile and badly wormed.

In many cases you have to appreciate that such items are for decoration only.

There are, however, plenty of simple and substantial workaday examples of 17th-century seating readily available through auction or from good dealers, and these include solid oak panel-back chairs, some with carved decoration, sturdy Wainscot chairs and more austere Commonwealth chairs.

Woods such as oak and the highly favoured, usually finer, walnut examples, are often cherished by collectors for their colour and idiosyncratic nature. Types of turning, regional differences and inlays can make an enormous difference to their value. A child’s chair, for instance, will be highly sought after, as too are dated examples. Continental pieces, such as French chairs, are also prevalent in this country, and it’s important to know the differences in design if you want to pursue the purist route.

COFFERS AND TRUNKS A look at the most important household requirements of the period readily serves up a plethora of coffers and trunks. The ubiquitous plank and panelled coffers are easily purchased at auction and because of their abundance, are often as little as £200 in the salerooms - if not less.

Beware that some ornately carved examples are later embellished and are not always the most useful pieces of furniture to accommodate either. However, if it’s the look you are after, they are eminently affordable.

TABLES Table were essential and large period dining tables can come with hefty price tags, yet I often stumble across simple oak side tables or lowboys at auction for a few hundred pounds. Of course, quality is everything, and that magical affirmation ‘William and Mary’ 96 Period Living

Top to bottom: A 17th-century-style beech caned elbow chair, c.1870, £980, Windsor House Antiques; oak chest of drawers on raised bun feet, c.1680, £2,000, 1stDibs; William and Mary oak gateleg table, £950, Salisbury Antiques Centre; late 17th-century bleached and carved oak coffer, £1,100, Lorfords; Tudor Knole drop-arm sofa in Linwood Dallaway fabric, £8,685, Brights of Nettlebed; William and Mary-style 20th-century walnut long stool, sold for £1,000 at Christie’s

with their wavy X-shaped stretchers, oyster veneers and wonderfully turned cup and cover legs, can make a huge difference to value.

CHESTS The same applies to chests of drawers, and wonderful variety abounds in various woods, including beautiful figured walnut veneers, bun feet and richly patinated country examples with complicated panelled drawer fronts – often referred to as Jacobean in the early 17th century.

MIX AND MATCH It’s a period that is wealthy in texture and colour. If budgets are important then it’s a good area to mix and match. A wonderful early 20th-century reproduction of a William and Mary sofa – often very ornate – might cost just a few hundred pounds at auction. An open armchair with plenty of elaborate ‘show-wood’, might similarly cost £300-400. Footstools, small side tables and coffers come in a range of incarnations and, strangely, some of the period pieces can be no more expensive than their good quality Victorian and early 1900s counterparts.

Accessorising is important, too, with textiles, brassware and ceramics playing an important part in a 17th-century interior. It is, in my estimation, a particularly good epoch in British history from which to draw a wealth of design inspiration; from the Puritan to the Baroque, there’s something for everyone.

WHERE TO BUY Keep an eye out and research upcoming local auctions. Also search online at: l periodoakantiques.co.uk l marhamchurchantiques.com l elainephillipsantiques.co.uk l woodcockantiques.com l holtantiquefurniture.com l loveantiques.com

ON THE ANTIQUES TRAIL Head south to the historic town of Petworth and discover an abundant mix of antiques shops and dealers that will tempt even the most discerning of buyers

History in a nutshell Mentioned in the Domesday book of 1086, Petworth dates back to Norman times and is blessed with charming cobbled streets, elegant squares and a profusion of period properties, ranging from rustic medieval cottages to imposing Georgian houses. The town’s connection with antiques is attributed to the historical development of the magnificent Petworth House: a stately home set within the gardens of Petworth Park. The Percy family acquired the site 98 Period Living

in 1151, when King Henry I’s widow gifted it to her brother Joscelin, who married Agnes de Percy and adopted her surname. His decendent Henry de Percy built a fortified manor on the site in the 13th century, but in 1682 this was completely rebuilt by Lady Elizabeth Percy and her husband Charles Seymour, the 6th Duke of Somerset, one of the wealthiest men in the country. Seymour also commissioned Capability Brown to redesign the formal gardens, who over a 12-year period transformed them into a 700-acre natural-looking landscape – regarded today as one of Brown’s finest masterpieces.

Over the past 800 years, generations of family collectors have embraced the arts at Petworth House and there are over 300 paintings on display, including works by Turner, Van Dyck, Lely, Blake, Gainsborough, Teniers and Elsheimers.

With such connections, the town has continued to attract quality dealers and, today, PAADA, Petworth Antique and Decorative Arts Association, represents the majority in town.

The House and Park were sold to the National Trust in 1947 and Lord and Lady Egremont (of original family descent) now live within part of the house and work with the National Trust to preserve the legacy.

Antiques insider guide With such a wonderful profusion of antiques shops to choose from, the dealers below represent a crosssection of the diverse selection represented in the town:

ANTHONY SHORT Anthony Short specialises in 18th- and 19th-century quality antiques, set around a large showroom, including pieces from the Georgian, Regency and Victorian periods. Anthony embraces designs by Chippendale, Sheraton and Hepplewhite, along with continental oak and country furniture, decorative antique objects, silver, art and prints.

Why is Petworth so popular? ‘This quintessential English market town is the destination in southern England for antiques and interiors, attracting British and international buyers,’ says Anthony. anthonyshort.co.uk

AUGUSTUS BRANDT From a spacious Georgian townhouse and adjacent coach house, Augustus Brandt offers high-end antiques including furniture, sculpture, art, natural history, lighting, mirrors, silver, jewellery and textiles. Also to be found are contemporary new designs, including luxury brand Linley (the ➤

Feature Ali Heath Map illustration Sarah Overs

T

he picturesque market town of Petworth, in West Sussex, is home to possibly the largest selection of antiques shops in the South of England.

Attracting dealers, collectors and those simply wanting a great day out, this beautiful location at the heart of the South Downs has a long-standing reputation synonymous with antiques.

Whether you are looking for English, French, Swedish, Italian, oriental, Art Deco, country or 20th century, there are more than 30 antiques shops here to catch your eye, along with a plethora of interiors shops, art galleries and independents.

Antiques

PETWORTH

Period Living 99

only out-of-London stockist). Expect to find a circular Pugin table next to a bespoke Macassar console table and George III silver wine goblets. This is a destination lifestyle store at its best. augustusbrandt.co.uk

DAVID SWANSON One of UK’s best-known dealers in 17th- and 18th-century oak and country furniture, David has been based in Petworth for over 30 years.

He sells a mix of oak, early pine and fruitwood furniture, cottage antiques, tavern and country furniture, as well as continental antiques and oriental sculptures. Find Queen Anne walnut cupboards next to a low chinoiseriedesign Edwardian table and fabulous continental painted commodes. davidswansonantiques.co.uk

DICKSON & RENDALL Robert Dickson and Lesley Rendall sell important 20th-century antique furniture, mirrors, lighting, objects, art and sculpture. Both BADA dealers, they traded for 30 years on the Fulham Road and have considerable experience buying mainly quality Italian and French antiques. They also offer a decorating and sourcing service.

Current signature pieces include an uber-cool bespoke three-metre-long architect’s table, Dijon 1971, in cream enamel, and a fine pair of Maison Jansen two-tier etageres in original condition, from Paris circa 1960s.

Why Petworth? ‘Chelsea rents became untenable so we decided to bring our 20th century style to Petworth!’ dicksonrendall-antiques.co.uk

THE BEST OF THE REST Art galleries – Forest Gallery (forestgallery.com); Kevis House Gallery (kevishouse.com); Rountree Tryon Galleries (rountreetryon.com) Bone Interiors – interiors store (boneinteriors.com) Giovanna Ticciati – interior and furniture designer, selling in-house collections alongside antiques and art (giovannaticciati.com) Guilt Lingerie – award-winning lingerie boutique (guiltlingerie.com) Hennings Wine – wine merchant (henningswine.co.uk) Rugs of Petworth – handcrafted, one-of-a-kind rugs (rugsofpetworth.co.uk) Spriggs Florist - florist (spriggsflorist.co.uk) The Hungry Guest – café, bakery, food shop, cheese room, butchers (thehungryguest.com) Tiffins Tearoom - tearoom (tiffinstearoom.co.uk) Twenty – fashion boutique (twentypetworth.com)

featuring pieces from 1850 to present day. In the beautiful glass-fronted corner store, you’ll find an original 1920s Heal’s settee recovered in modern Liberty of London fabric, sat alongside an Art Nouveau cast-iron chair by celebrated French designer Hector Guimard. Also to be found are mirrors, ceramics, art, metalwork, books and furniture.

Favourite current piece? ‘A modernist low sideboard designed by Richard

HUT Owned by Michael Brace and Warren Smithson, Hut specialises in decorative furniture and accessories from across Europe. Expect to find antique linencovered chairs and sofas, early 19thcentury statement marble-topped commodes, armoires, antique lamps and unusual decorative finds.

What’s unique? ‘We offer a full interior design service and can provide clients with a house dressing service via our other company, Dress to Impress, which operates across the south-east.’ dresstoimpress.uk.com

PATCH ROGERS An inspirational Arts and Crafts design showcase, in the heart of the town, 100 Period Living

DIARY DATES The Country Brocante Summer Fair 29 June-30 June 2018.

Immerse yourself in decorative country life with 150 exhibitors at Cowdray Park, Midhurst.

The Petworth Arts Festival 17 July-4 August 2018. Diverse programme of classical and jazz, cabaret, theatre, comedy, visual arts and literary talks.

The Petworth Park Antiques and Fine Art Fair May 2019. Threeday event in Petworth Park featuring around 50 exhibitors.

Farmer’s market Every fourth Saturday of the month.

Russell for Gordon Russell, in walnut with Hungarian ash-veneered doors and oak handles,’ enthuses owner Patch. ‘It’s a great example of modern British design.’ gallery.acfc.co.uk

PETWORTH ANTIQUES MARKET Find over 40 talented and experienced dealers under one roof in the heart of Petworth (including the highly regarded John Bird Antiques), selling furniture, paintings, silver, decorative objet, textiles, vintage and retro pieces.

This is a great place to hunt out quirky antiques at all price points, so tends to attract established collectors to pocketmoney newbies. petworthantiquesmarket.com

TALLULAH FOX A colourful and eclectic homeware store that successfully mixes in antique furniture alongside carefully curated accessories, from brands such as Thornback & Peel, Keith Brymer Jones and Bordallo Pinheiro. Think rustic 20th-century English butchers’ blocks; 19th-century French dressers featuring the original paintwork; and 18th-century Gustavian handpainted cupboards with floral panels. tallulahfox.co.uk

cy

sin c yea rs

In celebration of

a ry leg

200

ra lite er dh an

Marking

n tio

et

velist, we look at ed no her v o l hom h c u e, m he he t ri ns of h pi t ir

ra

he b

Emily Brontë

EMILY BRONTË Words Karen Darlow Photographs The Brontë Parsonage Museum; Getty

A

s you weave your way up the steep-sided valley to Haworth, the wind picks up, the temperature drops and the skies darken. The elements serve up a reminder that you’re about to pay a visit to the home of a true force of nature. In the graveyard next to the Georgian parsonage, a crow calls from high in a leafless tree. There’s no mistaking it, you’re in Brontë country. This bleak landscape is where Emily, her sisters Charlotte and Anne, and brother Branwell grew up, suffering a succession of family tragedies.

Haworth is where the children’s mother died in 1821, followed by their two eldest sisters, Maria and Elizabeth, from tuberculosis in 1825 – 23 years before Emily’s death from the same disease. It’s the unforgiving backdrop to Emily’s only novel

– Wuthering Heights – and if the biting northern gale drops sufficiently for you to cast your eyes around the valley and surrounding moors, you can see how they played their part in inspiring such a dark but unparalleled, brilliant work.

Step inside the house itself, though, and a surprisingly homely welcome awaits. First, the dining room, with the iconic table around which the Brontës used to pace and discuss their writing and the events of the day. Then a cosy kitchen, set up as it would have been in Emily Brontë’s day, with her baking tins ready on the table – she reputedly baked the best bread in the village. This scene of domesticity is hard to reconcile with the writer of one of the most elemental and disturbing tales of love and family ➤ Period Living 103

Left: Emily’s childhood home is now the Brontë Parsonage Museum Below left: Emily took care of the housekeeping Below: The dining room, with Charlotte’s portrait and the table around which the siblings used to stroll. ‘My heart aches to hear Miss Brontë (Charlotte) walking, walking on alone,’ wrote a servant after the deaths of Emily, Anne and Branwell Right: Top Withens Farm, which now stands in ruins, is thought to be the inspiration for Wuthering Heights

strife in the English language. A second glance, however, will register Emily’s German grammar book (she taught herself the language), propped up against the weighing scales – for she was no ordinary Victorian housekeeper. Yet Emily was happy to spend time baking and carrying out domestic tasks, as she loved to be at home, and if she was away from her beloved moors, she would pine, become unhappy and stop eating.

The children’s father, Revd Patrick Brontë, is often portrayed as cruel, bad-tempered and distant, but it seems the opposite is true. He campaigned tirelessly to improve the lives and health of the poor in his parish, and beyond, writing to politicians and discussing his frustrations at the slow pace of improvement in these matters. He was passionate about redressing the balance of equality in education and set up a school in the village.

How did an Irish-born country parson and this humble setting produce three of the Victorian age’s finest female novelists? In a telling moment of self-reflection after Charlotte’s death, when he had outlived all six of his children, he notes: ‘I do not 104 Period Living

deny that I am somewhat eccentric. Had I been numbered amongst the calm, sedate, concentric men of the world, I should not have been as I now am, and I should, in all probability, never have had such children as mine have been.’

Emily and her sisters Anne and Charlotte were well educated compared with their peers. Patrick Brontë encouraged his children to draw, write, read and play music – enlisting local artists and musicians to instruct them. Emily became a gifted pianist, accomplished to such a level that she could teach others to play; she was also a talented artist, and a skilled needlewoman.

Nonetheless, the three sisters’ education was unorthodox. They were afforded a freedom that many at the time would have seen as scandalous, and their father encouraged them to read anything and everything. From a young age they had amassed a knowledge of the classics: Shakespeare, Byron, Scott and Shelley. The girls would later draw on this literary foundation in their own writing.

The Brontë children’s writing began on a small scale - quite literally. Charlotte and Branwell

Emily Brontë

penned their first stories for their toy soldiers – accounts of battles and military might – written in perfect copperplate with a quill pen in the tiniest of books, measuring just an inch, by two-anda-half inches. Emily and Anne contributed ideas and illustrations until they were old enough to write their own, inventing Gondal, a world of strong women warriors and leaders who they wrote about in poems and prose. Some of these diminutive early works, the ‘little books’, survive and can be admired at the Brontë Parsonage Museum - although you need excellent eyesight or a strong magnifying glass to decipher them.

When not writing, the young Emily was often to be seen roaming the moors with a small wooden stool and a sketchbook for drawing the wildlife and landscapes she saw. She noticed every fine detail, and her sister Charlotte wrote soon after her death ‘There is not a knoll of heather, not a branch of fern, not a young bilberry leaf, not a fluttering lark or linnet, but reminds me of her.’

Emily explains her use of the word ‘wuthering’ in the opening chapter of her work, defining it as

‘a significant provincial adjective descriptive of the atmospheric tumult to which its station is exposed in stormy weather… one may guess the power of the north wind… by the excessive slant of a few stunted firs… and by a range of gaunt thorns all stretching their limbs one way as if craving alms of the sun.’

In the preface to the 1850 edition of the novel – published for the first time under Emily’s true name rather than her pen name Ellis Bell – Charlotte Brontë writes that the novel was ‘hewn in a wild workshop, with simple tools, out of homely materials... moorish, and wild, and knotty as a root of heath’. When a work abounds with such rich descriptions of nature, it’s hard to remember that Haworth and the moors weren’t, in fact, some kind of remote rural wasteland. The Brontës were living close to the heart of Victorian Yorkshire’s booming woollen industry, with Bradford, Halifax and Leeds all less than 20 miles away, and Burnley’s cotton mills just as close to the west, over the Lancashire border. As the industrial towns grew, so too did the hardships of overcrowded living and appalling sanitation, hardships well known to the ➤ Period Living 105

Above: Emily’s drawing of her dog, Keeper, reveals her talents as an artist Right: A fragment of a painting by brother Branwell of Emily Brontë, on display in the National Portrait Gallery, London Below: One of the ‘little books’, produced by the Brontë children for their toy soldiers Background image: Wallpaper design created by Allyson McDermott, based on fragments found in the house

sisters through their father’s campaigns for clean drinking water and better conditions. Emily’s focus, though, was on the hardships of rural life, high up on the moors, away from the towns.

It’s astonishing to think that although her masterpiece forever challenged the accepted landscape of the British novel, it earned Emily not a single penny in her lifetime. Its unscrupulous publisher took a payment of £50 from its author for doing her the kindness of publishing it. The sum was to be repaid when the book sold a number of copies, but no repayment was ever made to Emily.

Meanwhile, the critical reaction to Wuthering Heights was mixed. ‘This is a strange book,’ wrote one reviewer in The Examiner, in January 1848, one month after the novel’s publication in a joint volume with Anne’s Agnes Grey. He continues: ‘It is not without evidences of considerable power; but as a whole, it is wild, confused, disjointed, and improbable; and the people who make up the drama, which is tragic enough in its consequences, are savages ruder than those who lived before the days of Homer…’ He goes on to give it some praise, however: ‘There are certain good rough dashes at 106 Period Living

character; some of the incidents look like real events; and the book has the merit, which must not be undervalued, of avoiding common-place and affectation. We hope that he will produce a second, giving himself more time in its composition than in the present case…’ Sadly, though, there was never to be a second novel, as less than a year later, on 19 December 1848, aged just 30, Emily Brontë succumbed to tuberculosis.

Her legacy lives on as part of this talented Brontë family, her fame tied up with that of her sisters and brother. Together they drew 88,000 visitors to the Brontë Parsonage Museum in 2017, although the unique genius of Emily’s craft and the striking ‘otherness’ of her narrative, puts her novel in a category of its own, unmatched since by any writer.

What finer way to celebrate 200 years since Emily’s birth on 30 July 1818 than by losing ourselves in Wuthering Heights once more; to experience the raw passion of Cathy and Heathcliff, discover new layers of meaning and forgotten twists of plot and character at each return visit?

For details about events and opening times at the Brontë Parsonage Museum, visit bronte.org.uk

LUXURY UNDERFOOT Make a lavish yet elegant statement with a carpet that will draw the eye while blending in beautifully to a period setting. The Columbus Patterned design from Carpetright, shown here in Cream Mosaic, not only offers sumptuous detail, but is durable and hardwearing, which makes it suitable for high footfall areas such as hallways and living rooms. Priced £29.99 per m2.

Magnificent seven This handmade Ava pendant light in Antiqued Brass will create a stunning centrepiece in a stairwell, entrance hall or landing. The light features seven fluted glass shades, which hang in a graceful configuration from a large circular rose, winding clockwise from the shortest to longest cable length.

Made to order within 28 days, it costs £941 from Jim Lawrence.

HOUSE journal Discover the latest products to improve your period home and pick up top tips from leading industry experts

Feature Karen Bray

KNOCK, KNOCK Boost your home’s kerb appeal and bring a smile to visitors’ faces with the new range of solid brass door knockers from Cox & Cox. Available in the shape of a dragonfly, owl or fox, £60 each, the intricate etched detail will add a characterful element to the entrance.

Over time, the unlacquered brass finish will age beautifully and take on a lovely vintage patina, adding charm to your front door.

BUTTERFLY EFFECT Introduce a feminine touch to your bathroom with this pretty Zeina basin from the London Basin Company. The flower-shaped bowl in matt taupe porcelain, £900, features a delicate butterfly design with rose gold accents, with each hand-finished design inspired by traditional Oriental and Middle Eastern patterns.

Period Living 109

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

SMALL WONDER

To find quality European decorative items as well as fine furniture and ceramics, visit the Ardingly International Antiques & Collectors Fair at the South of England Showground in West Sussex, between 17-18 July. Tickets from £20; see iacf.co.uk INTO THE BLUE

Bold as brass Introduce an industrial edge with the Acme range of scuffed brass mixer taps from Aston Matthews.

Featuring circular handles with a tactile knurled grip reminiscent of mechanical cogs, the brass finish will age to a deep patina, or clean regularly to maintain a crisp finish. This three-hole deckmounted basin mixer with pop-up waste costs £408.

110 Period Living

Inject a fresh pop of colour into your kitchen for summer with the new Everhot 100+ cooker in Victoria Blue.

Built to last a lifetime, the heat storage cookers are easy to control, great to cook on and energy efficient, meaning they’re well suited to running off renewable energy, from solar panels to water turbines. There’s also no need for any servicing, flues or pipes, making it easy to take the Everhot with you if you move home. Available in 14 colours, from £7,695.

Q

We’ve seen a device that claims to dry out buildings with rising damp problems using electro-osmosis. It seems too good to be true – is it?

The first question to ask is whether you really do have a problem with rising damp.

While this does exist and is not the myth that some commentators allege, it’s actually much rarer than commonly supposed and frequently misdiagnosed. Such misdiagnosis can occur in older (pre-1919) properties where salts in a virtually dry wall cause elevated moisture meter readings or where dampness is due to an entirely different problem, such as rainsplash from a patio.

Where rising dampness genuinely exists, consider first measures that help its fabric ‘breathe’, such as lowering external ground levels and improving drainage. In most cases, retrofit damp-proof courses (DPCs) or devices to combat rising dampness in old buildings are unjustified and an unnecessary expense.

An exception could be where irreversible alterations mean a pre-1919 property is no longer breathing as intended but functioning instead like a modern sealed building. In such exceptional circumstances, a physical DPC could be considered but is often unviable, in which case I would advise you to contemplate only methods awarded an Agreement or other third party certificate. Chemical injection is the sole method that currently satisfies this requirement. Chemical DPCs, however, like physical ones, should be avoided in earth buildings, where major structural damage can result, and treatment is difficult in flint and rubble-cored walls. It would be wonderful if electro-magnetic devices worked, but I’ve seen no convincing evidence that they do.

Q

A builder we are thinking of using says he would need some payment up front before starting the work.

Should we agree to this?

I would strongly advise you not to pay a builder in advance but only for work completed to your satisfaction in arrears.

On larger projects, this will be in instalments after certain stages are finished. Sometimes a builder will demand money ahead of work to cover a ‘big ticket’ item. This may be reasonable in some instances but you would be best to play safe by purchasing the goods yourself for him.

* 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

Based on an 18th-century bateau bath, the new Tweed cast-iron skirted tub from Drummonds measures just 152cm long. The compact and freestanding roll-top is a great fit for smaller spaces, while still offering all the comfort of a classic double-ended design.

Made to order, the Tweed features a traditional plinth and is available in four bespoke finishes: polished, primed, raw metal or painted, shown here in Early Spring Green from Benjamin Moore, which perfectly offsets the backdrop of De Gournay’s Japanese Garden wallpaper.

Also available in a footed version, the Ashburn, it costs from £3,420.

Maintenance HOME HEALTH CHECK:

Gardens Often reflecting the local vernacular style, hard landscaping and features within gardens are formed from diverse materials and important to the look of a home Words Roger Hunt

R

egular repair and maintenance is just as important in a garden as it is with a house. Tree roots and shrubs need to be kept under control to avoid damage, while poorly designed paths and other hard surfaces adjacent to a building may contribute to water collecting at the base of walls, resulting in damp inside the building.

Paths, walls, structures and items within the ‘curtilage’ of listed buildings are often protected, so permission may be needed before alterations or other work is undertaken.

Warning signs

Gates

Gardens take the full brunt of the weather, so it’s vital to look out for signs of wear and tear on walls and other features and keep them in good order, so that they continue to enhance the setting and character of the home. It’s particularly important to check all is well after a storm.

Uneven paths and broken paving Garden walls in need of repair l Vegetation causing damage to paving and walls l Areas that are regularly waterlogged l Joinery and metalwork with peeling paint, decay or rust l Damaged roofs to outbuildings

Gates define the entrance to a garden so their style and state of repair are important in creating first impressions. If not properly maintained they may stick, squeak or wear.

ACTION: l Check latches and stays. l Keep hinges and other moving parts well greased. l Ease with oil or WD-40 if stuck. l Paint or refinish. l Repair damaged sections. l With metal gates, contact a blacksmith if parts are worn or repairs are needed. l Ensure house names or numbers attached to gates are clear and readable.

Walls

Paths

Garden walls need to be maintained in just the same way as the walls of a house, and are sometimes more vulnerable to damage as trees and shrubs can grow through them and their tops are exposed to rain and frost.

ACTION: l Remove vegetation that will potentially damage walls and cut back plant or tree roots that may undermine them. l Relay loose or missing coping stones and ensure pointing between them is sound. l Replace badly eroded stones or bricks.

Helping to define the shape and feel of a garden, paths are formed from a variety of materials including slate, shingle, pebbles, bricks and stone, which mellow beautifully with age. The bonding or laying patterns of these materials often reflect traditional styles, and granite setts are sometimes laid in fan formation. Wherever possible, avoid lifting and relaying an old path because the original character, wear patterns and patina will be lost.

ACTION: l Straighten and repair edgings that contain the path and keep it clear of soil and debris. ➤

What to look for: l l

Illustration Sarah Overs

Where necessary, repoint with a lime mortar. l Dry stone walls, built without any mortar or cement, should be repaired by professional craftspeople.

l

Period Living 113

as it can contribute to pollution of watercourses and flooding.

ACTION: l Channel water away from buildings. l Check water butts have an overflow that carries water well clear of foundations. l Ensure there is a gap to allow water to escape between the base of a wall and any hard surfaces. l Consider installing a French drain where the ground is waterlogged (see below). l Avoid hard impermeable surfaces. l Construct paths and driveways of permeable paving or shingle, slate chippings or other loose materials laid on geotextile landscaping fabric. l Create a pond to help alleviate flooding. l Form a soakaway – at its simplest a large hole filled with rubble – to take excess water.

French drains

Relay sections of a path that have become loose or damaged over time into a bed of sand or a weak mortar mix. l Photograph old paths or draw a plan before lifting any parts so that the different elements can be accurately relaid. l Maintain the path’s ‘camber’ or fall so water is shed efficiently. l Remove moss that is making a path slippery.

l

Where ground is regularly waterlogged, a ‘French’ drain often provides a solution. Constructed using a perforated pipe, wrapped in a permeable geotextile material to prevent it silting, and laid in a trench backfilled with pea shingle, a French drain collects water running over its surface. The pipe carries the water to a soakaway or pond. The drain may need occasional clearing by rodding or pressure jet so ‘rodding eyes’ should be fitted.

When installing one near a building, care should be taken not to undermine the walls, so trenches should be dug a minimum of 500mm from the building and backfilled as soon as possible.

Outbuildings Historic structures, be they outbuildings, sheds, summerhouses or greenhouses, should always be repaired with traditional techniques and materials.

ACTION: l Repair joinery items such as windows and doors. l Check roofs. l Clear gutters and downpipes. l Repoint walls with lime mortar. l Decorate all woodwork regularly. l Ensure locks work and buildings are secure. l Clean windows.

Drainage It is vital to ensure that gardens do not become waterlogged and to avoid water collecting around the base of buildings. When damp is identified within buildings it may indicate that there is, in fact, a problem outside. Adequate drainage and permeable surfaces need to be provided, particularly where there is rainwater run-off from large areas of paving.

New driveways or replacement paving adjoining public highways may require planning permission and uncontrolled run-off is not usually permissible 114 Period Living

Useful contacts British Artist Blacksmiths Association - directory of members. baba.org.uk CED - natural stone and gravels. Tel: 01708 867237; ced.ltd.uk Chilstone - garden ornaments and stonework.

Tel: 01892 740866; chilstone.com Coleford Brick & Tile - bricks and pavers.

Tel: 01594 822160; colefordbrick.co.uk Dry Stone Walling Association - details of members. Tel: 015395 67953; dswa.org.uk Haddonstone - cast stone products.

Tel: 01604 770711; haddonstone.com H G Matthews - brick pavers. Tel: 01494 758212; hgmatthews.com Lambs - handmade bricks and natural stone.

Tel: 01403 785141; lambsbricks.com York Handmade Brick - landscaping products.

Tel: 01347 838881; yorkhandmade.co.uk

Advertorial

WELCOME IN THE VIEW Follow these tips from the Wood Window Alliance to ensure your windows look their best

R

ecent advances in technology have revolutionised the performance, durability and quality of wooden windows, meaning that they can now last for up to 60 years. Beautiful timber frames have a natural sturdiness and resilience, meaning that you need to do very little to keep them looking their best. These tips from the Wood Window Alliance (WWA) will help you to maintain your wood windows as close to perfection as possible: l Simply wash down your window frames each time you wash the glass panes, ideally at least every eight weeks. Then every year oil hinges and locks, and touch up any localised damage. l Factory-finished wood windows only need a fresh coat of paint every eight to 10 years, but can also be repainted whenever you change colour schemes. l Opaque coatings last longer than translucent stains as they

give better protection against UV from the sun. Using a light colour will reflect the sun’s UV rays and therefore last longer. l If using translucent stains, choose a darker colour as it will block more UV. l South-facing windows may need redecorating sooner due to their UV exposure. l Don’t power-wash or use a garden hose on your windows as this can lead to seal failure. l If you’re buying a replacement wooden window, choose one that comes ready painted or stained, glazed, and with all its hardware ready fitted from the factory. That means you can be sure there’s no putty (one of the weak points of old wood windows) and that the coating has been applied in factory-controlled conditions.

All WWA members meet strict quality, performance and sustainability criteria. Visit woodwindowalliance.com to find a member near you.

Timber frames last for up to 60 years with minimal maintenance.

Factory-finished windows need a fresh coat of paint every eight to 10 years, or whenever you change colour schemes.

Simply rub down the surface to remove the existing paint then apply a single coat of new paint.

Period Living 115

The Reclaimer Below: Pair of Adams 1922 basin taps in polished brass, £199, Tap Refurbishment Right: Rare 1930s polished brass basin taps, canted forward so that users of all heights can see which is hot and cold, £225 for the pair, Tap Refurbishment

Left: Pair of polished brass bib taps with ½-inch BSP connections, £219, Tap Refurbishment Right: Keith Watkins in his workshop

Brassware beauties Keith Watkins of Tap Refurbishment sings the praises of reclaimed and restored taps, and explains why you should invest in the real thing Tapping into tradition…

What to look for…

The old adage of ‘they don’t make them like they used to’ is definitely true of reclaimed taps. Antique versions were made without compromise in Great Britain at a time when proper mechanical engineering techniques and quality components were used, compared to the plastic and rubber parts that modernday taps employ. You can clearly see when you take the two versions apart as to which one is still going to be useable 50 years from now.

They will stand the test of time rather than having to be replaced every few years.

Before buying it is worth checking to see if the tap is for sale because it’s broken, or if the seller has just fallen out of love with the design.

The cost of the tap restoration can double if bespoke parts need to be made from scratch to ensure it is in working order. Do your research and always use a reputable company that can guarantee its work, rather than a company who will simply provide a wash and brush up at a fraction of the price – you will get what you pay for.

What to avoid…

From shelf to sold…

We source our taps from a wide range of places; people often approach us with old taps they want to sell, while others are bought online. On our shelves we’ve usually got a selection of pretty much every design ever made, in a reclaimed state. The majority of our work is restoring clients’ own taps, but we also stock a wide range of restored reclaimed taps so that potential clients can get on the reclaimed tap ownership ladder.

Moroccan taps should be avoided at all costs.

They look pretty, but must not be used on a UK mains pressure water system for fear of flood. Their mechanical sections are undersized; we’ve seen steel components used in the galleries instead of brass; their castings are mostly porous, and there seems to be no consistency in the build of two ‘matching’ taps. We also don’t recommend antique taps be used by children as the threads need a certain amount of mechanical sympathy.

From above: A reclaimed set of brass telephone taps, £120, Authentic Reclamation; polished brass bath filler, £395, Dorset Reclamation; restored nickel-plated Victorian bath tap set, £198, Mongers Architectural Salvage

Restoration issues…

Feature Karen Bray

What to pay…

A polished brass pair of reclaimed and restored basin taps should cost around £199. A polished brass bath-shower mixer would start at £450, depending on the style and provenance.

We would always recommend using a professional company to carry out restoration on reclaimed taps, as DIY fixes can often be more of a hindrance than help. We’ll probably have the very tool to sort out the issue correctly and if we haven’t, we’ll make one!

Period Living 117

Garden Rooms

BRING IN THE

SUN

Garden rooms are great places to enjoy during the warmer seasons and, if well planned, they can also be put to good use during the cooler times of the year Feature Ifeoluwa Adedeji

A

glazed extension can really enrich your home life and add value to your property. With the right design and internal finishes, you could gain enough space to create a large kitchen-diner for entertaining friends and family year round, or simply add a cosy living area to chill out in while enjoying garden views.

There are several design options to choose from, each with their own particularity and suitability.

Knowing exactly what the space will be used for and how the natural light moves around the building throughout the day, is essential in order to decide what is best for you, as well as where to place furnishings, lighting and other fittings.

Future-proofing is also an important element of a successful garden room. ‘The way we use our homes constantly changes as family life evolves,’ says Neil Ginger, CEO at Origin. ‘You should plan for all of the potential uses the new space might have and factor this in from the outset.’

Illustrations Getty

CHOOSING A STYLE You may need to apply for permission from the local planning department if your plans exceed the property’s permitted development (PD) rights, if your home is listed, or if you live in a designated area, such as a Conservation Area, which places further restrictions on PD. Even if the project falls within the scope of PD, there are still some restrictions; for instance, single-storey additions can only extend out by 6m on a terraced or semidetached property, and 8m on a detached house.

In both cases, you can only extend upwards by up to 4m. Visit planningportal.co.uk for more ➤

Above: After the owners of this beautiful Grade II-listed thatched cottage failed to get consent for a sympathetic extension, they enlisted Kitchen Architecture to add a minimalist glazed room.

Rather than being a pastiche, this striking design shows how the house has evolved over the years

Period Living 119

detailed guidance and double check with your local planning authority before proceeding.

Whether or not your new garden room requires consent, it is still important to choose the most appropriate style and design to complement your home, ensuring that the new addition is not only subservient, but enhances the property’s character.

WHICH TYPE OF STRUCTURE? A standard conservatory is designed to be a separate addition to an existing property, accessed via an external door or window. Traditionally mainly made up of glass, they have previously had a reputation for overheating in summer and being uncomfortably cold in the winter. However, modern glazing as well as shading and heating solutions mean that it’s possible to create a cosy conservatory that’s fitting for year-round use, and as long as the structure meets building regulations, it can link seamlessly to interior spaces.

Designed to capture as much daylight as possible, sunrooms feature a smaller glazed area than conservatories and offer more protection Above left: Featuring bronze windows to complement the main house, this bespoke kitchen conservatory by Vale Garden Houses incorporates decorative mouldings for a timeless elegance. From around £40,000 Above right: This 18m2 green oak sunroom by Oakwrights adds a much needed room to a Yorkshire family home. Expect to pay from £49,000 for a similar design

120 Period Living

from solar glare as they have a solid rather than a glazed roof. They are considered to be a part of the house and not separate from it, joined via internal doors or even open fully to the adjoining space. A small sunroom would be a perfect retreat in a cottage for reading and relaxing in.

Originally designed to grow citrus trees, orangeries feature less glazing than traditional conservatories, and they tend to include an impressive glazed roof lantern. Hardwoods such as oak are commonly used to build orangeries because the exposed beams paired with the expanses of glass combine to create a beautiful finish. Today, an orangery is a popular solution for creating a spacious kitchen-diner in a period home.

Lean-to additions are ideal for smaller properties.

As the name suggests, a lean-to literally looks as if the addition is leaning on one wall of the existing house, with a sloping roof. Consider this solution if you own a Victorian semi-detached or terraced home with a side return that could be exploited.

It’s perfect for maximising space and can be partly, or fully glazed to appear more like a conservatory.

Garden Rooms

THE RIGHT TEMPERATURE You might be able to connect your existing heating system to radiators that can be fitted in your new space, but an efficient underfloor heating system will make the space more comfortable in the winter months. ‘Underfloor heating is ideal because the base structure of the extension will more often than not be concrete,’ says Adam Jannece, managing director of JCJ Construction. ‘It also allows you to have floor-to-ceiling glazed expanses without obstruction from traditional radiators.’ A singleroom underfloor heating system can be either warm-water or electric. The building regulations state that conservatories require their own separate heating system – a stove is a popular solution.

When it comes to keeping a garden room cooler in the warmer seasons, ‘air conditioning can help counteract the heat from solar gain if you decide ➤

Above: This bespoke three-winged modern orangery from Apropos features triple skylights and bi-fold doors. The roof features selfcleaning glass. Expect to pay from £40,000 for a similar project Below left: This bespoke aluminium conservatory offers a beautiful contrast to the brickwork of the existing building. Prices for a similar structure would start from around £30,000 at Marston & Langinger

Below middle: This orangery by David Salisbury spans the width of the property and has resulted in a stunning kitchen/dining/living space that doesn’t overpower the existing property. Expect to pay from £35,000 Below right: This oak orangery was designed to create a bright living space off the kitchen. Antique leaded lights in the window and door frames complement the existing property.

From £70,000 at Richmond Oak

Period Living 121

to have a glass roof; however, this can be a very expensive solution in regard to both the installation and running costs,’ adds Adam.

Effective shading is more cost effective and can offer respite from glaring rays. Choose from motorised blinds and curtains, or built-in shades that disappear into panels. If your budget allows, try to specify glass with a low emissivity coating, which can help reduce heat loss, while solar control glass will reduce how much sun enters the space.

MATERIAL MATTERS The chunky white PVCu conservatory is a familiar sight in the UK, but such a design is unlikely to enhance the features of a period property. There is a vast array of more suitable materials on offer; think traditional timber, brazen bronze or avantgarde aluminium. ‘Oak is very versatile and can be designed to complement all periods and aesthetics of properties,’ says Tony Williams, design consultant at Oakwrights. Metals such as aluminium and steel have been used for centuries in fenestration, but new technologies have made

them more efficient and more appealing to homeowners. Ask your contractor or designer whether the profiles or brickwork could match that of the existing property to establish a seamless flow, or perhaps you’d like a distinct break by using different, but complementary, materials.

EFFICIENT GLAZING Part L1B of the building regulations states that if you want to add an extension where glazing exceeds 25 per cent of the floor area, then you need to ensure that the existing property is thermally efficient before you can go ahead. The regulations specify minimum U-values of 1.6 W/m2K for new windows and rooflights – you can achieve this by installing double-glazed units, while triple glazing can offer between 1.0 W/m2K and 0.7 W/m2K. For doors, you should aim to achieve a minimum of 1.8 W/m2K. With so much glazing, security could be an issue, but glass in conservatories must be toughened up to a height of 800mm, or up to 1,500mm for glass doors. Any quality glass roof should also feature toughened glass as standard.

Above left: Bespoke shading from Conservatory Blinds Ltd shields this conservatory from glare and prevents overheating. Prices on application Above right: This oak garden room

by Arboreta features an orangerystyle ceiling and French doors.

Expect to pay from £96,000 for a similar project plus building work Far left: Aluminium bi-fold doors from Express Bi-Folding Doors have been added to this glazed extension to give uninterrupted views of the nearby countryside. Built-in drainage makes the doors ideal for this exposed location. From £18,775 Left: This oak conservatory by Julius Bahn features a flat roof with glazed lantern, offering the perfect balance between light and shade, with French doors for timeless style. Expect to pay from £74,000 for a similar design

122 Period Living

Border control

TRAIL FINDER The vintage-inspired Rosedale metal garden shelving is ideal for creating your own ‘hanging garden of Babylon’ display. Available in warm sage green, fill it with trailing plants to accessorise a small terrace area or patio. £199, Marks & Spencer.

Keep on top of those pesky weeds that will try to sneak their way around the blooming borders, with the colourful Hedley tool set, £29 from Made.com; and always have the set to hand by storing the tools together in this wild bird gardening bag, £15 at The Contemporary Home.

GARDEN journal

Keep yourself busy pruning, pottering and partying in the garden this month

Hang on a minute...

Bring out the garlands and bunting in preparation for entertaining. This pretty pastel dip-dyed rope tassel garland would look beautiful strung from a parasol or between tree branches, £23 from Bobby Rabbit.

IN THE PECKING ORDER Encourage feathered friends to share your garden this summer by offering them a bite to eat on this copper seed feeder, £35 from Boxwild.

PRINTS CHARMING Add a sunshine feel to a summerhouse or garden room or with these cheery flower prints in warm yellow.

Dahlia Pompom, Dahlia Waterlily or Dahlia Peony, £35 each from Bold & Noble.

TAKE A LEAF OUT OF NATURE’S BOOK It’s time to send out invites for summer garden parties, and this year why not complement the natural, lush green backdrop of your alfresco dining setting with some leaf motif tableware? Linea gold leaf tray, £22, leaf print vase, £24, and palm tree candle stick, £30; Biba pineapple candle holder, from £25, all House of Fraser.

Feature Rachel Crow

e is ad

rch in p ar Pe

This foldable painted beech frame deckchair with parrot print cover will add an element of the tropics to your outdoor space. £250 from Out There Interiors.

Period Living 125

Waste not, want not

EXPERT TIPS... HOW TO KEEP FLOWERBEDS LOOKING THEIR BEST

As you busily weed, mow and deadhead this month, you’ll need somewhere to store the garden waste and convert it into nutrient-rich compost.

Made from natural timber, the Rowlinson Beehive composter will make an attractive addition to the composting corner, £99 from Cuckooland.

Lazy

Tom Hart Dyke is a modern-day plant hunter and curator of The World Garden at Lullingstone Castle, Kent July is a joyous month, with your garden showcasing a riot of summer colour. Take a moment to admire all your hard work of spring before you continue maintaining your favourite annuals, perennials and shrubs.

This month sees the peak of many blooms: gorgeous summer bedding, delightful dahlias, colourful penstemons and the sweet scent of roses. But as the heat of the summer arrives, keeping everything looking its best can be challenging. Two of your most important secret weapons are the secateurs and hosepipe.

s ay

d

Create a secluded reading space to while away those summer afternoons on this Bloomingville garden hammock in pastel pink, £71 from Beaumonde.

Herbal remedy For the keen gardener-cooks, nurture some home-grown herbs in a hand-thrown and durable Suffolk Pottery parsley pot, which can withstand the searing rays we hope this summertime will bring! £14 from Rowen & Wren.

HANDS UP Take care of those hardworking gardener’s hands with this new hand cream combining sunny flowers of neroli with lime and olive leaf extracts, mandarin, pettigrain and calming clary sage essential oils. £6 for 100ml, Heathcote & Ivory.

Enjoy a stunning display as more than 6,500 plants reach their flowering peak this month in the refurbished 172-metre-long double herbaceous border in the gardens of the 17th-century Newby Hall in Ripon. Adults £12.25, children (4-16) £9.25.

126 Period Living

THIRSTY WORK It is essential to water beds well, ideally a soaking once or twice a week either very early or late in the evening to ensure the sun’s rays don’t evaporate or scorch your plant beauties. New planting requires extra attention to ensure survival, particularly in very warm weather, so check the soil moisture by sight and touch for extra peace of mind.

I put down heavy mulch at the start of the gardening season to prepare the beds and it’s a great way of retaining moisture throughout the seasons. July is also the perfect time to feed your plants with an allpurpose plant food; it can be applied during watering and is ideal to encourage further growth.

A SNIP IN TIME Secateurs at the ready, deadheading is your next garden task. By removing spent flowers you will encourage new growth and extend the flowering period of your garden beds. If you are new to growing dahlias, a top tip to remember is that flower buds are generally rounded, so look to take off pointed spent flowers and enjoy the fruits of your labour when a new wave of blooms appears.

Shopping Kenzo Takada Cloisonné vase, £150, L’Atelier Natalia Willmott

Chinese lacquer tray, from £35, Raj Tent Club

Kitchen garden kneeling pad, £20, The Contemporary Home

Aruba floral plate, £8.95, Beaumonde

FLOWER POWER

Violet and Orange floral cushion cover, £13, Dekoria

Feature Michelle Guy and Rachel Crow

Marigolds notebook

by Brie Harrison, £12.99, Papier

Blush and copper succulent plant pot, £16, Audenza

Many gardens reach their floriferous and fragrant peak in July, with the multiple blooms competing to out-show their neighbours; sweet peas scrambling up sticks; roses majestically unfurling along trellises; tubular honeysuckle draping from pergolas, or perennials in vibrant hues singing for attention in the borders. As gardeners race to deadhead and encourage more floral abundance, prolong the feel of summer with these buys

Ceramic wall planter, £13.50, The Farthing

Anthropologie Naeva plant pot, from £8, John Lewis

Blossom and Brogues accordion lanterns, £8.50 per pack, Talking Tables

Musa Spearmint & Ecru lampshade, £38, Modlo Don’t Worry, Be Happy poster print, £29.95, Little Baby Company

Fynbos String of Beads teatowel in Sunrise, £15 for set of two, Clarissa Hulse

Hummingbirds and flowers umbrella stand, £195, Shimu

Mind the Gap Aquafleur Aquamarine wallpaper, £150 per roll, Rose & Grey Period Living 129

12

Gardens

of the best garden furniture designs Whether your style is more English country or contemporary elegance, be inspired to adorn your outdoor space and dine alfresco this summer with the latest pieces

Above: Handmade in an old milking parlour in rural Worcestershire, this gorgeous Gothic chair is made from galvanised steel with a verdigris finish. It has a naturally aged look that suits a cottage-style garden, while the careful shaping of the seat makes it a comfortable spot from which to enjoy the sunshine. £395 from Burford Garden Company.

Left: Sitting Spiritually’s swing seats are the only ones licensed by the Royal Horticultural Society. The range consists of five different back designs and a variety of sizes, handcrafted from pine, oak, accoya and cedar, all pressuretreated with preservative. The pine seats are supplied in a choice of Farrow & Ball Exterior Eggshell paints or Cuprinol Garden Shades – this Harmony seat, painted in Farrow & Ball’s Mizzle, costs £2,685.

Period Living 131

Below: Bring a sense of occasion to outdoor dining with a set that blends the beauty of wood with the texture of wicker. The Sandsend outdoor dining set, £2,425 from Oka, is made from acacia wood and all-weather rattan and, as with any natural wood, it will change colour as it ages. The set is showerproof, but for extra protection, Oka recommends the furniture is covered when not in use.

Right: The reclaimed teak used in Raft’s furniture is kiln-dried using solar power, enabling the timber to withstand extreme hot and cold temperatures without splitting or cracking. This Primrose garden sofa, £2,589, is available in Natural or Dark Teak and comes with cushions upholstered in an on-trend Sunbrella fabric, which has a special finish that repels water. Shown here with the Eden coffee table, from £564.

Above: Create the look of an outdoor room with Garden Trading’s Harting furniture set, comprised of a three-seater sofa, two armchairs and matching coffee table. Made from recycled all-weather rattan with charcoal-coloured showerproof cushions, it’s the perfect blend of traditional and contemporary design. £2,250 for the set.

Right: Café style gets an update in lightweight steel and bright colours – options include mint, scarlet, blue and orange, plus the lilac and green shown here.

What stays the same is the pretty scrollwork detail for a delicate look.

Caprera chair, £108; Pigale table, £138, both IQ Furniture.

132 Period Living

Gardens

Feature Andréa Childs

Left: Get in the swing of retro styling with this freestanding Trelawny hanging pod chair from Barker & Stonehouse. Made from UV-resistant weave over an antirust aluminium frame, and with a maximum weight capacity of 20 stone, it’s tougher than it looks.

The seat, £309, can be kept outside, but the cushions should be brought indoors when not in use.

Below: Bring a breezy New England look to your garden with this Rural wood double rocking chair, £163 from B&Q. Made from grey-painted

Above: In a small garden, flexibility is a bonus, and the centre of this set can be raised to create a table with two seats on either side, or folded down to form a three-seater bench. The St Ives wooden folding two-seater bench, £244.99 from Shed Store, is made from FSC acacia timber and should be treated annually with teak oil and sealant.

Above: This clever modular design from Wyevale Garden Centres creates a dining set with six seats (a sofa, plus two stools) that tuck neatly around the table when not in use. One stool even conceals an ice bucket beneath its lid, while a parasol and USB-powered light chain are included. Made from weatherand rust-resistant synthetic rattan, with showerproof cushions, the Chelmsford costs £1,999.

pine, it features broad slats for a fresh take on farmhouse style.

The single seat version costs £130.

Below: With the look of your favourite armchair, this rustic seat is ready for the garden. It’s part of the Branchwood collection from Indigenous – furniture made from fallen teak branches salvaged from forests in Indonesia. The wood is kiln-dried to give it a sun-bleached appearance and to prepare it for outdoor use. The Branchwood Relax chair costs from £625; the Branchwood stool from £93.

Above: For the ultimate in relaxation, lay back on a lounger that comes with a matching table perfectly placed to reach over for refreshment.

The Brighton sun lounger has an adjustable back, plus waterproof cushions in a choice of beige or grey. Made from synthetic rattan, the set is also durable enough to be left outside all year long. Priced £1,279 from Bridgman.

Period Living 133

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

5 GARDEN ESSENTIALS

Advertorial

Get your patio ready for entertaining with the latest rattan outdoor furniture from Maze Living

T

he vibe of a good summer party is not only set by making sure everyone has a seat. A good table for serving food and drinks, places to grab a moment in the shade when it gets too hot, or a warm place to cosy up when the sun goes down are all essential. Here are a selection of versatile rattan garden products that will make your next garden gathering one to live up to.

1. RELAXING DAYBED Right: A daybed is a versatile seating option that’s perfect for sunny days spent reading in the garden, but also offers a comfy seat for less formal gatherings. Options with integrated shading are great, providing somewhere safe for young children to sit out of the sun.

3. INFORMAL BAR SEATING Below: Recreate a chilled rooftop bar feel in your own garden with a rattan bar set. Bar sets are a fantastic way to save space and entertain guests in style, and even better with an integrated ice bucket, as it saves the need for several trips to the kitchen.

2. INTEGRATED ICE BUCKET Right: Find a table with a builtin ice bucket to cut down your trips to the kitchen. A selection of chilled bottles within easy reach of all your guests means more time chatting and less time doing the drinks dash, as everyone can help themselves.

4. OVAL TABLE Below: For larger parties, a round or oval table is best as it makes it easier for everyone to join the conversation than a long thin table. Choose a table including a Lazy Susan for easy serving at meal times.

WHY MAZE LIVING?

5. VERSATILE DESIGN Above: The types of entertaining you do may be varied, meaning that a one-size-fits-all table just won’t do the job. For example, if you are eating, a dining table is a must, but this may not be the most comfortable set up for casual drinks where a coffee table would be more suited.

Fortunately, there are rising tables, which can quickly be adjusted to suit the occasion.

All Maze Living furniture comes with a five-year guarantee and free delivery. The strong rattan material is woven on to powdercoated aluminium and can be left out year-round, with easily removable cushions. With a range of styles and colours to choose from, you can customise your set to suit your needs. Call 01440 710673 or visit mazeliving.co.uk Period Living 135

PLANT A R AINBOW Careful use of colour combinations around the garden can create different moods in separate areas, with the effects changing through the seasons Words and photographs Leigh Clapp

136 Period Living

Gardens

Period Living 137

PLANT PALETTE

C

olour in the garden can bring areas to life, the different tones imbuing a range of emotions, from soothing to stimulating. Variety, contrast and imagination are key to creating successful horticultural colour combinations.

When planning your palettes, take into account the architectural style of your home and garden, as well as the colours used in the building materials of the house, paths, steps, walls and fences. Consider, too, the quality of light throughout the day in different areas and through the seasons – strong colours work well in bright sunlight whereas pale shades can appear bleached out; pastels look their best in morning light and whites at dusk.

COLOUR WHEEL For gardeners the colour wheel, with half composed of hot or warm colours and the other half with cold or cool colours, is useful to demonstrate the differences between harmonies and contrasts.

Bright colours add drama and bring the area into the foreground. Hot colours work best in sunny gardens, and as they appear closer they make a garden feel more intimate. Calming, cool colours recede and blur the boundaries so can be used effectively to make an area feel bigger.

Harmonious colours are close to each other on the wheel while contrasting, yet often complementary colours, are found on the opposite sides and can intensify an effect – for example, red ➤ 138 Period Living

Previous page: Red verbena appears to jump forward against a backdrop of blue, purple and soft mauve campanulas Above: Paint your garden as a colourful canvas. A hint of orange geums adds a cheery highlight among an impressionistic tapestry from irises, geums, verbascum, lupins and salvias in muted pinks and purple delphiniums

Top row, left to right: RUDBECKIAS create blocks of golden daisy-like blooms from summer through autumn. These hardy perennials need a sunny position in average to rich soil that is well-drained. Red and orange varieties are also available and perfect companions include heleniums, asters, grasses, verbena and salvias.

ACHILLEAS like a sunny spot in moist, well-drained soil. They work well in summer to autumn schemes mixed with choices such as salvias, eryngium and grasses. Varieties are available in terracotta, yellow, red, pink and white.

KNIPHOFIAS or red hot pokers are striking perennials that bring colour over many months.

Grow in average to humus-rich, well-drained soil in full sun. Once established are drought tolerant.

Second row, left to right: CROCOSMIAS add flaming colour in the summer and late-season garden. Plant the corms in welldrained humus-rich soil in a sunny position.

Drought tolerant and easy care, will form clumps and work well in informal planting schemes with asters, heleniums, grasses, or for impact contrasting purples from aconitum, salvias and nepeta.

DAHLIAS offer a plethora of choices, from single vibrant dahlias with dark foliage to dinner-plate show stoppers, abundant in bloom from summer to late autumn. Provide them with well-drained soil and plenty of sunshine. Lift the tubers or mulch the ground over winter.

HOLLYHOCKS are short-lived perennials. Grow in sun to part shade in humus-rich, well-drained soil.

Mix them with other cottage garden favourites.

Third row, left to right: ECHINACEA is an easy to grow, hardy perennial with a variety of colours, including pink, yellow, green and white. They need full sun in fertile, well-drained soil. Mix in harmonious blocks or with grasses in a prairie style.

IRISES offer myriad iridescent colours and combinations with around 300 varieties. Bearded irises like a sunny spot with well-drained soil and work well with choices such as lupins, foxgloves, salvias, alliums, roses, nigella and phlox.

DELPHINIUMS these stately spires come in glorious shades of pink, mauve, purple and blue, as well as white. Need rich, moist soils in a sheltered spot.

Fourth row, left to right: MECONOPSIS, the blue Himalalyan poppy, is one if you are up for a challenge. They need a mild to warm summer with cool nights and moist, cold winter, with cool, damp, neutral to acid, humusrich soil in part shade, sheltered from winds. Make a striking sight mixed with red or orange erysimum.

HYDRANGEAS offer pink, blue and white flowers to the late-summer and autumn garden. Grow in well-drained, moist soil in sun to part shade.

ROMNEYA produce large papery white poppy flowers from summer to autumn. Plant in full sun in fertile well-drained soil with shelter from cold winds. Be aware they can spread once established.

Gardens

Period Living 139

Gardens

flowers look brighter against a green background.

Merely take a look at nature’s partners, such as the striking dark leaf foliage of the orange Dahlia ‘David Howard’ for ideas for combinations.

When you look closely at plants you discover that there is colour in all their elements – petals, anthers, leaves, stems, bark, seedheads and berries.

You might link the foliage of one plant to the petal of another. Gertrude Jekyll was well known for her attention to these details when planning her perennial borders. As a reaction to the brash bedding displays of the Victorians she developed schemes based on her background as an artist, creating complex three-dimensional pictures in carefully graded colours.

By treating the plants in your garden as you would paints on an artist’s palette, you can combine and interweave your own personal canvas.

Don’t feel bound to follow rules, however; let your creativity flow. When grouping plants do, however, keep in mind their horticultural compatibility – whether they need similar conditions and will flower at the same time.

with a freshness and purity that is hard to achieve with other monochrome schemes. Luminous, pale blooms add light to shadowed areas; many are highly scented and work well when combined with stunning foliage in varying tones of greens to silver. A tip to make sure there is interest in the simplicity of a white garden is to include a mix of heights, sizes, textures and flower shapes.

True blue is a rarity in the plant world but it’s worth hunting out these elusive jewels to add a touch of cooling elegance to the garden. Most flowers described as blue are actually shades of violet or purple, but there are some that are pure blues – you often need to take a look in person rather than rely on catalogues or online pictures.

Blue extends the view as it recedes, so plant at the end of a border to make it appear longer. For the real thing some of the most stunning choices ➤

Above: Sunset shades in a hot themed border, where roses, daylilies, kniphofia and dahlias contrast with purple salvias and dark foliage Below: Pink flatters shades of mauve and purple, as here, where various hues in roses, irises, salvias and geraniums create a rhythm along the path

CLASSIC COMBINATIONS Consider if you want a signature colour theme year round, or one that changes with the seasons in different areas.

The colour of nature, green is calm and soothing.

It acts as a foil or background to other hues, or can be used as the main theme. A landscape design of various shades of green, emphasising tone, shape and texture, can be subtle and beautiful. Our eyes are able to detect more nuances in greens than in any other colour and nature gives us a multitude to play with.

A restrained palette of neutral whites against lush greens is timeless, serene and sophisticated, Period Living 141

Left: Rich hues deepen with russet tones as summer turns to autumn in this textural palette of lateseason flowers, such as salvias, penstemons and dahlias

include stately delphiniums, iridescent salvias, massed agapanthus and voluptuous hydrangeas.

For a fresh, clean combination that gives a sense of distance, echo delft china with blue and white blooms. Add some grey foliage to complete the effect. Blue will stand out against other colours but take care with mixing blue-mauve tones with clear blue as it will throw off the colour; better to put blue with definite purple, mauve and pink for a pretty and harmonious combination. Colour opposites orange and blue make a complementary combination that is sure to stand out, and hot reds and yellow will jump out against cool blues.

Pretty pink offers up possibilities in a wide palette of hues, ranging from deep magenta to the palest shades. Cool pinks have a hint of blue; warm a hint of yellow, and pink can be used boldly or subtly. You can choose to be monochromatic with varying shades of pink to lift a space. The colour is perfect in romantic cottage gardens, mixed with pastels or blues and mauves, or if you’re feeling brave go for a surprising eye-popping combination pairing scarlet pink with orange.

HOT COMBINATIONS Hot colours provide energy and warmth.

Reds are passionate and add strong focus to an area. They work well with opulent purples or their complementary greens. The tonal range of reds in nature is vast – from the young foliage of roses and berberis foliage, through to clear red poppies or claret and burgundy toned heucheras.

Orange is a colour that more than any other elicits a strong response from the viewer - maligned by some as too garish, and loved by others for the vibrant energy it brings to a space. Think of 142 Period Living

kniphofias (hot pokers) adding life to a sea of parchment grasses. Orange is seeing a renaissance in the garden. The strongest hues work strikingly set against complementary rich blues and purples, or its softer apricot tones combined with gentle mauves are more subtle. Try orange in seating areas as it stimulates sociability and conversation.

Yellow adds bursts of sunlight to a scheme.

Cheerful yellow can work well in golden borders, mixed with oranges and bronzes, or contrasted with blues or purples it really draws the eye. It can be bright and vivacious or toned down to creams, which blend with most colour groupings. Keep your design simple as yellow has lots of impact and consider the angles of light and the glorious transparent effect of backlighting yellow for a radiant glow, especially when the sunlight is low in early spring and autumn.

Consider, too, the possibilities of painted seating, pots and features adding to your colour canvas.

Below: Purple is a special colour – hot and cold at once. Tonal mixed lavender is soft and soothing for a romantic scheme, or try purple flecked through golds or teamed with astringent lime greens for an eye-catching floral effect

THE SECRET GARDEN Interior and garden designer Fiona Cadwallader has transformed her hidden garden, nestled behind ancient walls, into a succession of horticultural beauties presented through the seasons Words and photographs Leigh Clapp

Relaxed planting in the double herbaceous borders is abundant with roses, including single apricot ‘Keith Maughan’ and crimson ‘Dortmund’. A succession of blooms from delphiniums, astrantia and other perennials all creates a soft, romantic effect 144 Period Living

Gardens

Period Living 145

KEY FACTS CHARACTER OF GARDEN An enclosed garden, or hortus conclusus, surrounded by an 11th-century flint, stone and brick wall. The English country garden in miniature features a large lawn, sunny and shady borders and a green oak pergola that echoes a monastic cloister SIZE The garden is a level half-acre ASPECT Faces north-east, and backs onto the River Stour SOIL Light sandy loam improved with annual applications of organic matter OWNERS Artist, garden and interior designer Fiona Cadwallader and husband Patrick Heren, an energy market journalist PERIOD OF HOUSE The Grade II*listed manor house dates from about 1560 and incorporates elements of the medieval manor House of Fordwich, which was held by St Augustine’s Abbey from Saxon times until the dissolution of the monasteries OPEN Fiona and Patrick’s garden at Watergate House, Fordwich, Canterbury, Kent CT2 0DB is open through the National Gardens Scheme. Groups of 10 or more are also welcome by arrangement from April to August. Visit ngs.org.uk for details. For details of Fiona’s garden designs, visit cadwallader.co.uk

146 Period Living

n the site of the ancient port of Fordwich in Kent, now classed as the smallest town in the country, can be found the enchanting hortus conclusus (enclosed) garden of Watergate House, home to interior and garden designer Fiona Cadwallader and her husband Patrick. A delight to discover, the garden is hidden behind ancient stone, brick and flint walls, but the beautiful scene that greets visitors today is a far cry from that when the couple purchased the property in 1999.

Both the house and garden were in a poor state, the former needing total refurbishment before thoughts could be focused on the garden. Although the setting was magical, backing onto the River Stour, with glimpses through arched gateways to the water gently lapping on the mellow walls, there were no sightlines in the garden. A greenhouse and hornbeam hedge planted at right angles obscured any view from the kitchen, which faced on to it, while the planting was mostly evergreens with little herbaceous infill. ‘It was really boring; it all needed to be changed and also I wanted lots of flowers,’ Fiona recalls. Yet the space emanated history and was full of possibilities.

Work began on the garden in 2006, first to remove a shady concrete terrace that jutted out from the house and the greenhouse, and also most of the existing planting. Over a period of six months, working from a plan she had drawn up, Fiona developed the structure and reshaped the space. Yorkstone paving was used to create a terrace and paths that lead directly from French doors through the garden and to the water. Central to the design is a long green-oak pergola Fiona designed and had built, which runs east to west across the width of the garden and draws on the monastic history of the property while also offering the ➤

O

Above: Billowing planting is offset against an expanse of perfectly manicured lawn, while a row of containers adds definition to the terrace that extends out from the house Above right: The River Stour quietly laps at the ancient walls at the end of the garden Right: French doors from the kitchen open out on to the charming borders that team with Delphinium ‘Faust’ and ‘Vespers’, and prolific roses, such as white ‘Madame Hardy’, crimson ‘Tuscany Superb’ and Munstead Wood

Gardens

Right: ‘The garden needs a lot of regular maintenance,’ says Fiona, as she deadheads Rosa ‘Madame Plantier’

Period Living 147

opportunity to drape it romantically in wisteria, clematis and tumbling roses with a sequential show of bloom. A rectangular expanse of immaculate lawn, and herbaceous borders for both sun and shade areas, as well as productive beds and a new Alitex greenhouse, were all placed to make the most of the half-acre plot, creating all the elements of an English country garden in miniature.

The resulting, elegant framework has been beautifully planted to form a balance between the hard landscaping and soft effervescent infill. Some of the original specimen trees remain, such as a liquidambar and a Catalpa bignonioides, which have been augmented with a Cercis siliquastrum (Judas tree), Magnolia grandiflora and prunus varieties, including Prunus avium ‘Plena’. There are also delightful areas tucked away, such as an early spring garden with pollarded lime trees underplanted with bulbs and a shady corner garden planted with camellias. Every area has been thought through with care. Fiona has realised her aim of creating a range of horticultural sensations, with defined areas of formal, spring, woodland, vegetable and even a secret garden, all revealed in a naturally harmonious flow, and each with their own colour combinations.

‘I think my planting is traditional, dense, and successional,’ she explains. ‘I try to explain to my clients that it’s not necessary for every area to look good all the time, better to have pockets of real sizzling excitement at different times of the year.’

In summer, the vignettes Fiona creates are ones of abundance, with old roses, clematis, spires of delphiniums and voluptuous peonies in delightful profusion. Shades of pink, blue and white intermingle, epitomising this peak romantic time, with roses the hero plant of the season, featured in the borders, climbing over the pergola, adorning the house and tumbling over the walls. ‘I’ve always loved roses,’ Fiona enthuses. ‘Some do better than others, and favourites include ‘Vanity’, a pink 148 Period Living

single, ‘Bengal Crimson’, ‘Lady Emma Hamilton’, and I’m completely addicted to creamy-white Cooper’s Burmese rose.’ Another favourite highlight plant through summer is the peaflowered Indigofera heterantha with its long racemes of pink blooms.

This is not a low-maintenance garden; rather one that Fiona admits is very labour intensive, needing feeding, staking, weeding, deadheading and cutting back regularly, which she clearly enjoys, taking the radio outside with her on summer evenings and at the weekends to spend many hours getting on with the task at hand.

She does also take time to sit out and enjoy the fruits of her labour, though, including in an alfresco dining area tucked away behind arches of roses and adorned with containers of acers and hostas, and on a bench placed under the pergola to look back along its length and across the garden to enjoy the changing vistas and tranquil atmosphere.

Creating a successional planting scheme keeps the interest going all year. From the structure of evergreens and topiary, through spring bulbs and summer’s bounty, the colours then intensify with dahlias and rudbeckias, through to the crescendo of deciduous autumnal hues. Beyond the beauty of the garden there are also views along the river, which include looking across to an island plot on the other side of the water, the latest project that is being planted in a native riverine style. ‘All in all,’ Fiona concludes, ‘the gardens at Watergate House inhabit and reinterpret an ancient site in a quietly generous, profoundly English style.’ ➤

Above left: Surrounded by standard Macmillan Nurse roses, an outdoor dining area is hidden behind an arch of robust Rosa ‘Dortmund’ Above centre: Clematis ‘Betty Corning’ has lovely bellshaped flowers Above: Yellow ‘Desprez à Fleurs Jaunes’ and pale pink ‘Rural England’ soften the arch, while the silvery Pittosporum ‘Irene Paterson’ form loosely clipped sentinels Right: Fiona drew on the monastic history of the property when designing her green oak pergola, which is draped in wisteria, roses and clematis

Gardens

Period Living 149

IN THE AREA

Clockwise from top left: Fiona designed the wrought-iron gates; pinks blues and mauves harmonise in the borders; candy pink Rosa ‘American Pillar’; elegant punctuation is provided by delphiniums such as ‘Lord Butler’; framing a window is Rosa ‘Easlea’s Golden Rambler’; striped crimson ‘Ferdinand Prichard’ rose

150 Period Living

FIONA’S ROSE-GROWING TIPS Buy bare-root roses mail-order in winter from specialist growers, such as David Austin Roses or Peter Beales Roses (classicroses.co.uk). l Plant with a mycorrhizal fungi product to create a better root system and a more vigorous plant. l Mulch to retain moisture and reduce weeds, keeping it clear of the rose stems. l Feed roses with Toprose in spring. l Prune in autumn to prevent wind rock and do a tidy up in spring. l Good companion plants for roses include delphiniums, hardy geraniums, peonies, nepeta, Alchemilla mollis and dianthus. l

GOODNESTONE PARK GARDENS, Wingham CT3 1PL. Historic 14-acre garden around an 18th-century house, with woodland, panoramic views, and an extensive walled garden with densely planted borders and old-fashioned roses. Open Apr-Sep, Sun, Tue-Thu 11-5pm. £7 (child £2); Tel: 01304 840107; goodnestoneparkgardens.co.uk DODDINGTON PLACE, near Sittingbourne ME9 0BB. Picturesque 10-acre landscaped garden and parkland with a woodland area, Edwardian rock garden and formal areas, as well as a Gothic folly, paved rose garden and mixed borders. Open Apr-Sep, Sun, Wed, 11-5pm. £7 (child £2). Tel: 01795 886101; doddingtonplacegardens.co.uk GODINTON HOUSE AND GARDENS, Ashford TN23 3BP. 12-acre gardens around a magnificent Jacobean house. Highlights include a Twenties Italianate garden, rose garden, formal pond and a walled garden resplendent with fruit, vegetables, cut flowers and a fabulous array of delphiniums. Open daily Mar-Nov, 1-6pm. Delphinium Festival 23 Jun-2 Jul. Garden only £5; children free. Tel: 01233 643854; godinton-house-gardens.co.uk MADRONA NURSERY, Bethersden TN26 3DD. Specialist nursery with display beds showcasing unusual trees, shrubs, perennials, ferns and grasses, owned by garden designer and plantswoman Ylva BlidMackenzie. Open Mar-Oct, Sat-Tue, 10am-5pm.

Tel: 01233 820 100; madrona.co.uk

Sc an

Recipes

n s a u i m v m a n er i d Capture the essence of ‘lagom’ everything in moderation - with these light, simple recipes for warmer days from Brontë Aurell’s kitchen Photographs Peter Cassidy/Ryland Peters & Small

NE

TTL

E CR

ÊP E S;

RE SEE NEXT PAGE FOR

CIPE

Period Living 153

Nettle crêpes with ricotta and green vegetables If you don’t have nettles, you can make these delicious stuffed crêpes with all spinach instead.

MAKES ABOUT 8 CRÊPES ● ● ● ● ● ●

● ●

●

75g of nettle leaves 20g of spinach 200g of plain flour 3 eggs 500ml of whole milk Handful of fresh flat-leaf parsley Freshly grated nutmeg Olive oil, for frying and drizzling Sea salt and freshly ground black pepper

FOR THE FILLING: ● 12–15 asparagus spears ● 300g of courgette, spiralised ● 100g of fresh peas ● 200g of ricotta cheese ● Squeeze of fresh lemon juice ● Chopped pistachio nuts and pea shoots, to serve

1 First, wearing protective gloves, discard any thick stems and rough bits from the nettles. Rinse the leaves and then blanch in a large saucepan of boiling water for around 2–3 minutes to kill the stings. Add the spinach for the final minute of blanching. Drain.

2 Squeeze the excess water from the nettles and spinach, then place in a food processor and pulse.

Add the flour, eggs, milk, parsley, salt and pepper and nutmeg. Blend to make a very smooth batter.

If you use a stick blender this will give an even smoother result.

3 Heat a little oil in a 20cm non-stick frying pan over a high heat. Add enough batter to just cover the base of the pan. Cook until no longer liquid and small bubbles start to appear, then flip and cook the other side. Keep the cooked crêpes warm in a low oven while you fry the rest, making sure to add more oil for each one.

4 For the filling, slice your asparagus spears down the middle if quite thick. Blanch the courgettes, peas and asparagus in boiling water for no more than two minutes, then drain.

5 To serve, place a crêpe on a plate and add courgettes, asparagus, peas and dollops of ricotta.

Season well, add a squeeze of lemon juice and scatter with the pistachio nuts. Fold in half, then drizzle with olive oil and decorate with pea shoots.

154 Period Living

Fish cake open sandwiches with tartare dressing ‘Fiskekaker’ are a dinner staple in Norway and Denmark. This recipe makes 6–8 fish cakes but you can serve them for dinner and use the leftovers for these sandwiches.

MAKES 8–10 FISH CAKES/TWO OPEN SANDWICHES FOR THE FISH CAKES: ● 300g of skinless boneless cod fillets ● ½ tsp of salt ● 1 egg ● 2 tbsps of freshly chopped dill ● 1 shallot, chopped ● ½ a carrot, finely grated ● 1 tbsp of plain flour ● Dash of single cream ● Freshly grated nutmeg ● Squeeze of lemon juice ● Salt and black pepper ● Butter and olive oil, for frying

●

●

●

● ●

●

● ●

●

FOR THE TARTARE DRESSING: ● 100g of good quality mayonnaise

● ●

3 tbsps of chopped gherkins 1 tbsp of capers, chopped 1 small shallot, finely chopped ½ tsp of Dijon mustard 2 tbsps of freshly chopped parsley 2 tsps of freshly chopped chives Squeeze of lemon juice Flaked sea salt and freshly ground black pepper 2 slices of rye bread, buttered Pea shoots, to garnish Wedges of lemon, to serve

1 To make the tartare dressing, mix together all the ingredients in a small bowl and leave in the fridge for the flavours to mingle.

2 Meanwhile, put the fish in a food processor with the salt and blitz briefly until chopped through. Add the rest of the fish cake ingredients and blitz again until you have a smooth mixture.

3 Heat up a good knob of butter with a glug of oil in a frying pan. Form large egg-sized fish cakes using a spoon and the palm of your hand. Place in the pan and fry the fish cakes for about 3–4 minutes on each side until cooked through. You may need to do this in batches.

4 Cut the cooked fish cakes in half and arrange three halves on each slice of buttered rye bread.

Top with tartare dressing. Serve warm or cold, garnished with pea shoots and a wedge of lemon on the side for squeezing over.

Recipes

Pork loin with summer-herb crust and hasselback potatoes I love the combination of tarragon and pork – actually, what I love is béarnaise sauce with nearly everything, but it’s not the best choice for everyday health. This herb crust contains tarragon, like béarnaise, and it really lifts the flavour. You can add a gravy to make this more of a roast, or serve on a buffet table with a summer salad.

SERVES 4 FOR THE HASSELBACK POTATOES: ● 600g of skin-on medium-sized new potatoes ● 3½ tbsps of olive oil ● 1 tbsp of freshly chopped parsley ● 3 sprigs of fresh thyme, picked ● 25g of butter, melted ● 1 garlic clove, chopped ● 1 tsp of grated lemon zest ● Sea salt FOR THE SUMMER-HERB CRUST: ● 2 tbsps of finely chopped fresh tarragon ● 2 tbsps of finely

●

●

●

● ●

chopped fresh dill 3 tbsps of finely chopped fresh parsley 50g of finely grated Västerbotten or Parmesan cheese 50g of dried breadcrumbs Grated zest of 1 lemon 2–3 tbsps of olive oil

FOR THE PORK LOIN: ● 2–3 tbsps of plain flour ● Large knob of butter and olive oil or rapeseed oil, for frying ● 1 pork loin fillet (around 500g) ● 3 tbsps of Dijon mustard ● Salt and freshly ground black pepper

Preheat the oven to 170°C (350°F) Gas Mark 4.

1 First, prepare the hasselback potatoes. Using a small sharp knife, make small slices widthways across the top of each potato, reaching two thirds down, to create a fan effect. Place in a large roasting tray. Mix the oil and herbs together and coat all the potatoes, ensuring the sliced sides face upwards.

Roast in the preheated oven for around 20 minutes.

2 Meanwhile, mix together all the ingredients for the herb crust and put them on a large plate. Put the flour on a separate large plate. Heat the butter and a glug of oil in a large frying pan/skillet. Sear the pork loin over a high heat until just brown on all sides, then roll lightly in the plate of flour and brush all over with the Dijon mustard. Finally, roll the pork in the herb crust mixture until fully covered.

3 Remove the tray of potatoes from the oven (leaving it on) and brush them with the melted butter. Sprinkle with the garlic, lemon zest and sea salt. Add the herb-crusted pork loin to the tray, nestled among the potatoes, and return to the hot

oven for around another 20 minutes until the pork is just cooked through and the herb crust is golden. Use a cooking thermometer to check if you like – I take mine out at 68°C (155°F) and leave it to rest under a foil cover for 10 minutes before slicing. (My husband would take it out earlier, but if I tell you that then we have to have the whole slightly pink pork debate, and that one you can decide for yourself!)

4 Depending on their size, the potatoes might need a final 5 minutes to crisp up and become fully soft in the middle, but you can leave these in the oven while the pork is resting. Serve the sliced pork and potatoes with gravy as a roast, or as part of a summer buffet table with a selection of salads. ➤ Period Living 155

Recipes

Elderflower Everything cake This cake is the baking equivalent of denim on denim. Elderflower with elderflower – and then a bit more. It reminds me of Scandinavia and never-ending summer days.

SERVES 10 FOR THE SPONGE: ● 250g of unsalted butter, softened ● 250g of caster sugar ● 4 eggs ● 175g of plain flour ● 75g of cornflour ● 2½ tsps of baking powder ● ¼ tsp of salt ● Grated zest of 1 lime ● 75ml of undiluted elderflower cordial, plus extra for brushing FOR THE ELDERFLOWER PASTRY CREAM: ● 3 egg yolks ● 2 tbsps of cornflour ● 1 tbsp of caster sugar

●

●

●

●

250ml of whipping cream Seeds from ¼ of a vanilla pod 100ml of elderflower cordial (undiluted) 20g of unsalted butter

FOR THE FROSTING: ● 125g of icing sugar ● 180g of full-fat cream cheese ● 50ml of double cream ● Grated zest of 1 lime ● 1 tsp of vanilla extract ● Squeeze of fresh lime juice, to taste ● Washed elderflowers, and/or lime zest, to garnish (optional)

Preheat the oven to 170°C (340°F) Gas Mark 4.

1 For the sponge, in the bowl of a stand mixer (or using a hand-held electric whisk) cream together the butter and sugar with the paddle attachment until pale and fluffy. Add the eggs, one at a time, stopping to scrape down the sides of the bowl as needed.

2 In another bowl, sift together the flour, cornflour, baking powder, salt and zest, then fold into the egg mixture. Lastly, fold in the elderflower cordial until incorporated. Divide the batter between three lined 18cm round cake tins, and bake in the preheated oven for about 15–20 minutes or until a skewer inserted comes out clean. Leave to cool, then refrigerate (as it is easier to naked-frost the cake when cold).

3 To make the pastry cream, whisk together the egg yolks, cornflour and sugar until well combined and set aside. In a saucepan, heat the cream, vanilla and elderflower cordial until just boiling. Slowly pour one third of the cream into the egg mixture, while whisking vigorously to incorporate. Pour the egg mixture back into the saucepan and whisk continuously while bringing to the boil again for around 30 seconds until thickened. Remove from the heat and stir in the butter. Do taste it – if the cordial you’ve used is very sweet, then add a bit of lime juice to level out. Leave to cool and then place in the fridge – ideally for a few hours until firm.

4 To make the frosting, whisk together all the ingredients apart from the lime juice (don’t beat the cheese before you add sugar, as this can make

it runny). Stir in the lime juice to taste and chill until firm.

5 To assemble the cake, put the first sponge layer on your chosen serving plate or cake stand. Brush with a little elderflower cordial, then spread over a layer of pastry cream to cover using a palette knife. Add the second layer and repeat with cordial and pastry cream. Repeat once more with the third layer. For a ‘naked’ effect, ensure the cakes are lined up exactly and use a flat-edged scraper to scrape some of the frosting around the sides of the cake, then add the rest to the top. This can only work if the frosting is firm and the cake is sturdy enough. If this is not the case, simply add frosting to the top of the cake. Decorate with elderflowers, if in season, and/or some lime zest. Chill until ready to serve. ➤ Period Living 157

Preheat the oven to 160°C (325°F) Gas Mark 3.

Summer fruit roulade with lemon thyme In Swedish, we call these ‘rulltårta’ – literally, ‘rolling cake’. I fill mine with pastry cream and any summer fruits I can find. It’s a super-versatile cake.

SERVES 8–10 FOR THE SPONGE: ● 120g of caster sugar ● 4 eggs ● 100g of plain flour ● 25g of ground almonds ● ¼ tsp of salt ● 1¾ tbsps of butter, melted ● 1 tsp of vanilla sugar or extract FOR PASTRY CREAM: 1 egg yolk ● 1 whole egg ● 30g of cornflour ● 80g of caster sugar ●

158 Period Living

● ● ●

●

¼ tsp of salt 500ml of whole milk Seeds from 1 vanilla pod 25g of unsalted butter

FOR THE FILLING: ● 1 nectarine or peach ● 120g of redcurrants ● 20 leaves of fresh lemon thyme, or to taste ● ½ quantity of pastry cream ● Extra red or white currants, to garnish ● Icing sugar, to garnish

1 For the pastry cream, whisk together the eggs, cornflour, sugar and salt until well combined then set aside. Heat the milk and vanilla seeds in a saucepan until just boiling. Slowly pour one third of the milk into the egg and cornflour mixture, while whisking vigorously to incorporate but not scramble the eggs. Pour the egg mixture back into the saucepan with the rest of the milk. Whisk continuously and bring to the boil again for around 30 seconds until thickened. Remove from the heat and stir in the butter until melted. Pour into a bowl and leave to cool with a layer of baking parchment on top to prevent a skin from forming. Refrigerate, ideally for a few hours, before using. (This pastry cream will keep well in the fridge for a few days, if you want to make it in advance).

2 For the sponge, in a stand mixer, or using a hand-held electric whisk, beat the sugar and eggs at high speed for around 5–6 minutes until ribbon stage (the whisks should leave a trail in the mixture when lifted). Sift together the flour, ground almonds and salt. Fold very gently into the egg mixture – you want to keep all the air bubbles, as this batter contains no other raising agent than your carefully created bubbles! Lastly, gently fold in the melted butter and vanilla.

3 Pour the cake mixture into a 35x30cm Swiss roll tin, lined with baking parchment. Spread evenly and bake in the preheated oven for about 12–15 minutes or until a skewer inserted comes out clean. Remove from the oven. To minimise the chance of the cake cracking, roll it around a clean teatowel when still slightly warm and allow it to cool this way.

4 Meanwhile, chop the peach or nectarine into small chunks and mix in a bowl with the redcurrants and lemon thyme leaves. Place in a sieve and leave over a bowl so that the excess liquid can drain away from the fruit.

5 Once, cooled, carefully unroll the cake and spread a layer of pastry cream evenly over the whole sponge, then spoon the fruit mixture evenly across, making sure there is a generous amount in what will be the middle of the roulade. Carefully start rolling the cake tightly around the fruit, using the baking parchment to help you – ending with the edge of the cake underneath. Chill until ready to eat. Garnish with more berries and dust the top with icing sugar just before serving.

Reader offer This is an edited extract from ScandiKitchen Summer by Brontë Aurell (£16.99, Ryland Peters & Small). PL readers can buy it for the special price of £11.99, including UK P&P. To order, call Macmillan Direct on 01256 302699 and quote ref NS4.

STOCKISTS 1stDibs 1stdibs.com A A and J Kitchens 01745 817404 Aga agaliving.com Alex Eagle 020 7589 0588 alexeagle.co.uk Amara 0800 587 7645 amara.com Annabel James 0345 548 0210 annabeljames.co.uk Annie Sloan 01865 803168 anniesloan.com Apropos 0800 328 0033 aproposconservatories.co.uk Arboreta 0800 288 8333 arboreta-oak.com Argos 0345 640 2020 argos.co.uk Arighi Bianchi 01625 613333 arighibianchi.co.uk Aston Matthews 020 7226 7220 astonmatthews.co.uk Audenza 0116 298 6393 audenza.com Authentic Reclamation 01580 201258 authentic-reclamation.co.uk B&Q 0333 014 3098 diy.com B Barker & Stonehouse 0333 355 9020 barkerandstonehouse.co.uk The Basket Room thebasketroom.com Bazar 020 8969 6262 Beaumonde 01202 707770 beaumonde.co.uk Bernard Thorp 020 7352 5745 bernardthorp.co.uk Blendworth 023 9259 2000 blendworth.co.uk Bobby Rabbit 0114 321 7000 bobbyrabbit.co.uk Bohemia bohemiadesign.co.uk Bold and Noble 01462 339011 boldandnoble.com Boxwild boxwild.com Bridgman 020 8712 6897 bridgman.co.uk Brie Harrison brieharrison.com Brights of Nettlebed 01491 641115 brightsofnettlebed.co.uk Bronte by Moon brontebymoon.co.uk Brunschwig & Fils gpjbaker.com Burford Garden Company 01993 823117 burford.co.uk

Cult Furniture 020 3504 7081 cultfurniture.com Cuprinol 0333 222 7171 cuprinol.co.uk

D

Dassie Artisan dassieartisan.com David Salisbury 01278 764444 davidsalisbury.com Daylesford 01608 731700 daylesford.com Debbie Mckeegan 0161 873 8891 debbiemckeegan.com Dekoria 0131 803 8702 dekoria.co.uk Designers Guild 020 7351 5775 designersguild.com Devol 01509 261000 devolkitchens.co.uk DFS 0333 999 9777 dfs.co.uk Dorset Reclamation 01929 472200 dorsetreclamation.co.uk Drummonds 020 7376 4499 drummonds-uk.com

East London Parasol Company E eastlondonparasols.com Elaine Phillips Antiques 01969 625199 elainephillipsantiques.co.uk Emma Bridgewater 01782 407733 emmabridgewater.co.uk Esse 01282 813235 esse.com Everhot 01453 890018 everhot.co.uk Express Bi-Folding Doors 0800 121 4809 expressbifolds.co.uk Farrow & Ball farrow-ball.com F The Farthing thefarthing.co.uk Fired Earth 0845 293 8798 firedearth.com Floors of Stone floorsofstone.com Fontaine Antiques 01843 595 137 fontainedecorative.com The Forest & Co 01803 840748 theforestandco.com The French House 020 7371 7573 thefrenchhouse.co.uk The French House 020 7859 4939 thefrenchhouse.net French Soaps frenchsoaps.co.uk Fusion Mineral Paint fusionmineralpaint.com

Cabbages & Roses 020 7352 7333 Garden Trading 01993 845559 C cabbagesandroses.com G gardentrading.co.uk Cambridge Imprint George Home 0800 952 0101 cambridgeimprint.co.uk Carpetright 0330 333 3444 carpetright.co.uk Cath Kidston cathkidston.com Celtic Dreams 01745 813245 celticdreamsironwork.co.uk Christie’s 020 7839 9060 christies.com Clarissa Hulse 020 7226 7055 clarissahulse.com Clarke & Clarke 01706 242010 clarke-clarke.com Clearview Stoves clearviewstoves.com The Cloth Shop 0208 968 6001 theclothshop.net Colbert 020 7730 2809 colbertchelsea.com Cole & Son 020 8442 8844 cole-and-son.com Colin Wilson colinwilsonartist.com Connox 01603 733366 connox.co.uk Conservatory Blinds Ltd 0800 071 8888 conservatoryblinds.co.uk The Contemporary Home 0845 1308 229 tch.net Cotswold Home and Garden 01608 644084 cotswoldhomeandgarden.com Cottage in the Hills 01684 833146 cottageinthehills.com Cox & Cox 0330 333 2123 coxandcox.co.uk Craig & Rose 01383 740011 craigandrose.com Cuckooland 01305 231231 cuckooland.com

direct.asda.com Go Modern Furniture 020 7731 9540 gomodern.co.uk Grand Illusions 01865 237976 grandillusions.co.uk

H

H&M 0344 736 9000 hm.com Habitat 0344 499 4686 habitat.co.uk Hares Antiques 01285 831344 hares-antiques.com Hargassner hargassner.at Heathcote & Ivory 020 7483 8383 heathcote-ivory.com Holt Antique Furniture 01328 821763 holtantiquefurniture.com Homesense 01923 73561 homesense.com House of Fraser 0141 404 3747 houseoffraser.co.uk

Kalinko kalinko.com K Kitchen Architecture 01865 426990

Raft 0800 014 9860 R raftfurniture.co.uk Raj Tent Club 020 8847 2212

kitchenarchitecture.co.uk Kravet kravet.com

rajtentclub.com Regt Antique Tiles antiquetileshop.com Rex London rexlondon.com Richard Taylor 020 7351 2567 richardtaylordesigns.co.uk Richmond Galleries richmondgalleries.co.uk Richmond Oak 01323 442255 oakconservatories.co.uk RM Jones Joinery 01824 736268 Robert Franklin Architects 01869 338166 robertfranklin.net Robert Kime 020 7831 6066 robertkime.com Rockett St George 01444 253391 rockettstgeorge.co.uk Roger Lascelles 020 8208 0040 rogerlascelles.com Rose & Grey roseandgrey.co.uk Rouge 020 7275 0887 rouge-shop.com Rowen & Wren 01276 451077 rowenandwren.co.uk Rume 01273 777810 rume.co.uk

L’Atelier Natalia Willmott L nataliawillmott.co.uk Last Place on Earth 020 8962 8741 Laura Ashley lauraashley.com Lewis & Wood 01453 878517 lewisandwood.co.uk The Linen Works 020 3744 1020 thelinenworks.co.uk Little Baby Company littlebabycompany.com Little Greene 0845 880 5855 littlegreene.com Loaf 0845 468 0697 loaf.com London Basin Company londonbasincompany.com Lorfords Antiques 020 3434 3133 lorfordsantiques.com Louisa Maybury 01993 810014 louisamaybury.co.uk Love Antiques loveantiques.com Lucy Harrison Interiors 07791 248339 lharrison.uk Lucy Pratt lucypratt.com Lullington Castle 01322 862114 lullingstonecastle.co.uk

M

Made 0344 2571888 made.com Mandarin Stone mandarinstone.com Manuel Canovas 020 7244 7427 manuelcanovas.com Manufactum manufactum.co.uk Marham Church Antiques 01647 272723 marhamchurchantiques.com Marks & Spencer 0333 014 8000 marksandspencer.com Marquis & Dawe 01925 767611 marquisanddaw.co.uk Marston & Langinger 01243 214550 marstonandlanginger.com Modlo modlo.uk Mongers Architectural Salvage 01953 851868 mongersofhingham.co.uk Monkey Puzzle Tree themonkeypuzzletree.com

Newby Hall Gardens N 01423 322583 newbyhall.com Next 0333 777 8000 next.co.uk Nick Bennett 07580 315915 Oakwrights 01432 O 353353 oakwrights.co.uk Oka 0333 004 2042 oka.com Oliver Bonas 020 8974 0110 oliverbonas.com Olli Ella 020 7713 8668 olliella.com on form 01993 824319 onformsculpture.co.uk Orla Kiely orlakiely.com Osborne & Little 020 8812 3000 osborneandlittle.com Out There Interiors 020 809 9744 outthereinteriors.com

01993 824200 IIQIndigenous indigenous.co.uk Furniture 01494 722880

Papier 020 7770 6477 papier.com P Paul Williams paullasalledesigner.co.uk

iqfurniture.co.uk

Penny Morrison pennymorrison.com Period House Store 01748 821500 periodhousestore.co.uk Period Oak Antiques 01931 713506 periodoakantiques.co.uk Phoenix on Golborne 020 8964 8123 phoenixongolborne.co.uk Pillo London 020 8888 7319 pillolondon.com Printer & Tailor 01432 265094 printerandtailor.com Pushka Home 020 3056 7556 pushkahome.com

J

Jane Churchill 020 7351 0666 janechurchill.com Jean Monro 020 7259 7281 jeanmonro.com Jim Lawrence 01473 826685 jim-lawrence.co.uk John Lewis 0345 604 9049 johnlewis.com Jonathan Cooper 020 7351 0410 jonathancooper.co.uk Julius Bahn 0344 417 1400 juliusbahn.co.uk

Salisbury Antiques Centre S 01722 410 634 salisburyantiquescentre.com Secret Linen Store 01243 822599 secretlinenstore.com Seventh Heaven 01691 777622 divinedreams.co.uk Shed Store 0333 003 0518 shedstore.co.uk Shimu 0800 088 6800 shimu.co.uk Sitting Spiritually 01297 443084 sittingspiritually.co.uk Sofa.com 0345 400 2222 Spode 01782 743427 spode.co.uk Station Mill Antiques 01608 644563 stationmill.com Sunbeam Jackie sunbeamjackie.com Talking Tables talkingtables.com T Tap Refurbishment 07583 406571 taprefurbishment.co.uk Tetrad 01772 792936 tetrad.co.uk Thomas Crapper & Co thomas-crapper.com Tradescant & Son 01200 446386 tradescantandson.com Enamelling UUnique ues-ltd.co.uk V&A shop vam.ac.uk/shop V Vale Garden Houses 01476 564433 valegardenhouses.co.uk Vanessa Arbuthnott vanessaarbuthnott.co.uk Victorian Plumbing 0345 862 2878 victorianplumbing.co.uk Warren Evans 020 7693 9393 W warrenevans.com Westland London 020 7739 8094 westlandlondon.com The White Company 020 3758 9222 thewhitecompany.com Wicklewood 020 7460 6493 wicklewood.com Willis & Gambier 01733 318400 willisgambier.co.uk Winchester Tile Company 01392 473004 winchestertiles.com Windsor House Antiques 01832 274595 windsorhouseantiques.co.uk Woodcock Antiques 01798342125 woodcockantiques.com Woven 020 3176 8993 woven.co.uk Wrought Iron & Brass bed Company 01485 542516 wroughtironandbrassbed.co.uk Wyevale Garden Centres 0344 272 3000 wyevalegardencentres.co.uk Period Living 161

CONTRARY TO POPULAR BELIEF, the first mazes weren’t really mazes, but labyrinths, with one winding path that didn’t puzzle or confuse in the way a ‘traditional’ maze does. Instead, they symbolised a spiritual journey, which twisted and turned yet encouraged reflection and inner calm.

The Greek historian Herodotus marvelled over an Egyptian labyrinth in the 5th century BC, saying, ‘All the works and buildings of the Greeks put together would certainly be inferior to this labyrinth as regards labour and expense.’

But perhaps the most famous labyrinth of ancient times was the Cretan Labyrinth, with the terrifying Minotaur at its centre.

The Roman Empire often used labyrinth motifs on its streets or over doorways.

These would show a Minotaur at the centre, and symbolised protection.

Nor were labyrinths unique to southern Europe. It is thought that Nordic fishermen walked them before setting sail, to ensure a plentiful catch and safe return, while in Germany, boys would walk labyrinths as they approached adulthood.

After the fall of the Roman Empire, the labyrinth became a religious symbol and was often found painted on the floors of churches. One of the most famous, dating from 1200, can still be seen at Chartres Cathedral, near Paris. There are several theories on the meaning of these religious mazes. The winding paths might have symbolised the trials of being a Christian, or the twisting nature of sin, but they are also known to have been used as a pilgrimage to bring the walker closer to God, and as a penitent’s walk - on hands and knees - to repent a (usually) trifling sin.

It wasn’t until the Middle Ages that labyrinths were used for fun. As they built opulent gardens, kings, queens and noblemen began to include hedge mazes to amuse (and lose!) their guests. They were also the setting for many a secret meeting and courtship. From then on, mazes became an essential grand garden feature, flourishing in Britain from the late 16th century up until the early 1700s, when Capability Brown swept them aside in favour of his ‘natural’ open vistas.

Ironically, as royal gardener for 20 years, Capability Brown lived at Hampton Court, just yards away from the ‘Wilderness Garden’ and its famous puzzle mazes - there were originally at least two. He was under strict royal orders, however, not to touch the maze.

Luckily so, as the maze at Hampton and its more recent descendants elsewhere still keep visitors in a spin today.

The relatively recently added Marlborough maze at Blenheim Palace opened in 1991 and was designed to reflect the history of the palace and commemorate the first Duke of Marlborough’s victory over the French at Blenheim in 1704 Words Karen Darlow Photograph © Blenheim Palace

EVER 178 Period Living

Popularised in Britain’s grandest gardens from the late 16th century, mazes have a story that stretches back into ancient history

CIRCLES

DECREASING

9000

9021