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PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

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Creative flair 47

OCTOBER 2018

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DISCOVER BRITAIN’S BEST DAY OUT FOR BUYING ANTIQUES

pages of original homes, from a Cotswold barn conversion to a Scottish castle

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PRETTY FABRICS CURTAINS AND BLINDS TABLE LAMPS ROLL-TOP BATHS

GET READY FOR AUTUMN Invest in a cosy fireplace or centrepiece stove

Romantic

country style Capture the rustic charm of rural cottages with beautiful decorating inspiration

Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

or many people, myself included, the British countryside holds an almost mythical draw. You simply can’t beat the fresh air, the open space, the buzz of nature, and the chocolate box cottages dotted around the rolling green landscape. That’s why, three years ago, I was so desperate to move from town to country that my husband and I limited our house search to rural villages, while widening our acceptable commuting distance to spread across three counties. We spent hours trawling property websites, and days driving to far-off places to discover hidden gems.

Eventually, we found what we thought was The One, only for the sale to fall through, causing heartbreak and the loss of time and money. But these things happen for a reason, as just two weeks later we found our current home, set within an idyllic, sleepy village just outside the Cotswolds. It’s not the best house on the street by any stretch (quite the opposite, in fact), but we love it and can’t see ourselves moving for many years. We’ve taken our time to decorate and improve it, and still have a long list of jobs to do, but with each task it gets closer to our vision and feels more like a reflection of our personalities. Of course, being a country girl now, I was set on a laid-back rural look for the interior, and so far we’ve gone for soft, putty-coloured walls, pretty fabrics, exposed wood finishes, lots of comfy seating, and animal and floral themed artworks. To celebrate such an enduring trend, this month style editor Pippa Blenkinsop offers a special focus on country-style interiors (page 24) and shows different ways to emulate cosy cottages. The great thing about country style is that it suits homes in all locations and in many architectural styles, as at its heart it is simple and unpretentious.

Elsewhere this issue, we look at the other key component for any country home – a roaring fire in a centrepiece stove or fireplace (page 123). I have to admit, after researching and weighing up all the options, my husband and I opted for an incredibly realistic wood-burning-style gas stove for our living room. It wasn’t what we originally planned, but once we took into account the low heat demand for the small room, how well it retains heat, and our lack of space or inclination for storing fuel, it became apparent that this was the way forward, and we haven’t looked back – it’s our favourite thing about the room and it’s so cosy and convenient.

If the country fashion isn’t your thing, then you’ll enjoy Antiques Roadshow expert Marc Allum’s look at the mid-century modern movement (page 98). Although currently in vogue, it’s a style that polarises opinion – those who lived through it the first time round often think it’s dated, while the younger generation are discovering its versatility as a bridge between old and new.

Whatever your view, I do hope you enjoy the issue.

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 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 Brand Director Paul Newman Director of Content & Product Development Michael Holmes Editorial Director Jason Orme Commercial Finance Director Dan Jotcham

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

Contents 64

55 Cover

Photograph Brent Darby

Decorating & shopping

11 21 22 24 32 53

October journal We round up the latest interiors offerings, news and exhibitions The curious collector Be inspired to create an eccentric, eclectic look reminiscent of a Victorian collector’s home ON THE COVER Table lamps Give your home a warm welcome with these stylish new designs

Country cottage Create a cosy look with timeless charm using floral prints, rustic textures and calm neutrals

34 98 104

ON THE COVER

ON THE COVER Natural selection Our pick of relaxed linens that capture the beauty of rural Britain

Bloomsbury revisited Mix handcrafted, colourful pieces for a modern artisan feel

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Features

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Made in Britain Daniel Harris welcomes us to his weaving studio where he creates bespoke cloths using original Victorian looms The 20th-century home Antiques Roadshow expert Marc Allum charts the interiors developments of the period On the antiques trail We journey to Bath to seek out its wealth of antiques shops ON THE COVER

21 40

In the picture With the Tate’s Edward Burne-Jones exhibition due to open this October, we look at one of the artist’s most famous works

109 Period Living 7

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Homes

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ON THE COVER Artists in residence As vibrant and decorative as her beautiful fabrics, Vanessa Arbuthnott’s Cotswold home is alive with creative energy

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Living a fairytale Complete with round towers and spires, this baronial-style Scottish castle is as enchanting on the inside as it is on the outside

64

A place of sanctuary Rosemary Pugh sympathetically extended a Welsh long house and revived its interiors with classic, country-style decor

74

A graphic redesign Interior designer Alexandre Liaume reconfigured an east

143

115 123 129 132

ON THE COVER Window dressings Get your home ready for winter with our round-up of stylish blinds, curtains and shutters

Fireplaces and stoves The latest designs for period homes, plus handy buying tips ON THE COVER

Renovation Property expert Roger Hunt advises on how to care for and repair interior mouldings Destination reclamation We rummage for treasure at Cheshire’s Beeston Reclamation

Gardens

London apartment to make the most of the space and its character

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Rebuilding the past This Massachusetts farmhouse holds happy holiday memories for Jim Hall, who now lives here permanently with wife Julie Scott

139 143 144

Advice & inspiration

109 113

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House journal New products and expert advice for updating a period property Roll-top baths The ultimate luxury for a traditional bathroom, choose from our favourite designs

Garden journal The latest products for your garden, and horticultural advice Garden shopping Outdoor buys inspired by the colours, textures and pastimes of the autumn harvest Textural tapestry With late-season borders and an arboretum, this Sussex garden is a joy as summer comes to an end

Regulars

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ON THE COVER

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Subscribe Get six issues for just £20, plus a free set of three Orla Kiely animal canisters worth £30 Stockists Where to find all the suppliers featured in this issue

ournal J Look forward to October with the latest interiors news, homeware and must-visit fairs Feature Pippa Blenkinsop

TURNING HEADS Who needs expensive artwork when plates come this pretty? Transform your walls with the exuberant and whimsical new designs at Christian Lacroix Maison Mamzelle Scarlet Love Who You Want charger plate, ÂŁ100, Amara

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News

Time to curl up As the nights draw in, there’s nothing like slumping into a lovely armchair next to a roaring fire. A new addition to John Lewis’ Croft range, handcrafted in collaboration with Simon Pengelly of Sitting Firm, the Harp armchair is a perfect mix of old and new for period homes with a modern edge. Reminiscent of the traditional stick-back chair, but with sleek Scandi styling, it costs £1,200. Team with the Harp footrest, £599, and plenty of cosy cushions and throws, from £20, to complete the look.

ANTIQUE OF THE MONTH

*Offer subject to availability, please allow seven days for delivery. Images courtesy of Miller’s Antiques HHandbook & Price Guide 2018-2019 and (wall pockets and Royal charger) Woolley & Wallis; (tile) Bellmans; (chinoiserie dish and puzzle jug) Dreweatts & Bloomsbury

In her column celebrating collectibles, antiques expert Judith Miller looks at the tin-glazed earthenware of British delftware

Above: A pair of Liverpool delftware wall pockets with birds design, dated c.1750, £1,000-£1,500 Below: London delftware Royal charger with William and Mary, c.1690, £5,000-£6,000

The manufacture of British tin-glazed earthenware began in the 16th century, when it was known as ‘galleyware’, possibly named after wares transported by galleys from Spain and Italy. The most important centres of production were Southwark, Aldgate, and Lambeth in London, Norwich, Brislington in Bristol, Liverpool, Glasgow, and Wincanton. A record of 1567 tells of the arrival in Norwich of such Dutch potters as Jaspar Andries and Jacob Jansen, who had fled Antwerp to escape religious persecution. These potters established potteries locally and later at Aldgate. Very few examples of 16th-century British tin-glazed earthenware have survived. Pottery made during the 17th century is far more common. From around 1600, small quantities of Chinese porcelain began to be imported into Britain by the East India Company, and some British delftware made from c.1620 shows the influence of these Chinese blue-and-white imported wares. After c.1660 until the end of the 17th century those in the ‘Transitional’ style were copied.

The most notable late 17th-century wares include ‘blue-dash’ chargers, named after the blue dashes around the rim, which were boldly decorated in polychrome with stylised tulips, carnations, oak leaves, biblical subjects, and portraits, particularly of such monarchs as Charles II, William and Mary, and Queen Anne. The majority of this type are covered with a yellowish lead glaze on the back, through which the body is clearly visible - it was considered unnecessary to waste the expensive tin glaze on a side rarely seen.

These dishes have a thick foot-rim around which a cord could be wound for hanging on the wall. Other wares included wine-jugs, drug jars, salts, and wide-brimmed dishes. While a few examples show traces of the old ItalianDutch style, most embrace the fashion for Chinese blue-and-white wares.

From around 1720, British delftware became more distinctive and the decoration less complex and looser in style. Delftware made in the 18th century tends to be more delicate and intimate, and a far greater range of wares was made, including punchbowls, plates, flower-bricks, wall pockets, wine-bottles, guglets, fuddling-cups, pear-shaped jugs, puzzle jugs, posset-pots, and, extremely rarely, tea and coffeeware. While many of these were painted with contemporary British subjects – figures, buildings and landscapes – others are decorated in blue with chinoiserie themes – pagodas, pavilions and Chinese figures. Production of British delftware virtually ceased at the end of the 18th century due to the competition from creamware (cream-coloured earthenware).

From top:

Liverpool delftware tile, 1750-55, £700-£800; Bristol delft chinoiserie dish, c.1760, £750-£850; Liverpool delft puzzle jug, c.1760, £1,000£1,400

Reader offer PL readers can purchase Judith Miller’s Antiques Encyclopedia (£45, Mitchell Beazley) for the special price of £30, plus free UK P&P. To order your copy, please call 01903 828503 quoting Encyclopedia MB688.*

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Looking to give your home a new lease of life?

Little Greene has partnered with the National Trust to launch a collection of green paints perfect for an interior refresh. Inspired by NT properties and the Little Greene archive, the 31 verdant shades range from the delicate Hidey Hole, to the vivid Sage & Onions and Tea with Florence (pictured). From £43.50 for 2.5ltrs of Absolute matt emulsion.

Image (bottom left) ‘Clearing the Wood – A Bright Autumnal Day’, Sidney Richard Percy (1821-1886), oil on canvas, on Sutcliffe Galleries stand for £38,000

f lea ARTIST’S IMPRESSION Introducing the latest collection from Bluebellgray, inspired by the work of Matisse. Drawing on the artist’s vibrant, graphic cut-outs, the design team have created two bold prints, Play and Tom, that capture the experimentalism and energy of 20th-century abstract art. Made up of bright, expressive brush strokes in a vibrant palette of blue, coral and green, this Play lampshade makes a real statement for the ceiling.

From £40 for a small.

TALENT SPOT

TICKET OFFER This month, The Northern Antiques Fair returns to Harrogate. A popular destination for dealers and collectors alike, the fair will showcase over 40 of Britain’s most prestigious galleries and expert dealers. Don’t miss this year’s particular highlight: the showing of Sidney Richard Percy’s painting Clearing the Wood – A Bright Autumnal Day, exhibited at The Royal Academy in 1853.

From 4–7 October at Harrogate Convention Centre. Admission £7.50 or get 2 for 1 tickets when you present this page on entry.

Showcasing her debut collection at this year’s Decorex show, weaver Camilla Thomas creates beautiful hand-woven soft textiles inspired by the spectacular scenery of the North Wales coast.

A collection of merino wool throws and cushions, Tidal Sands seeks to capture the magical, multisensory experience of Camilla’s favourite place, Anglesey, from ‘the evocative light, rippling off the waves and shapes of the landscape, to the palette of soft sea blues and stony greys studded with the dark orange of the crab dotted pebble coastline,’ she says. ‘Even in winter I could watch the sea and the sky for hours. It can be really dark and dramatic, especially in a storm, and we can just hear the lighthouse bell tolling above the roar of the wind. I’ve been visiting since I was a child and now we have a family holiday home there.’

While the pieces are creative expressions of a single moment, the technique itself took longer to discover, as it was only in her forties that Camilla first sampled hand-weaving, during a textiles degree at Manchester Metropolitan university.

‘The realisation that I was making a fabric from just yarn and a loom was intoxicating and I was hooked from then on.’ Passionate about the heritage behind the craft, Camilla uses the traditional process and chooses high quality, natural fibres, such as merino wool, so that the pieces can be cherished for generations. (camillathomastextiles.com).

From top: Handwoven Seafront cushion, £40; Rockpool cushion, £120; Sea Front throw, £288

Period Living 15

News

EYE ON DESIGN Laura Vincent, senior retail designer at the National Trust, talks about the new home collection

What was the inspiration behind the range?

Clockwise from top right: Natural World ceramics, from £6; oblong cushion, £25; Felbrigg Hall herbarium specimen

Taking the theme of the natural world, we delved into the curiosity cabinets of National Trust properties across the country to find inspiration for our seasonal prints. We centred our focus on Felbrigg Hall, as we were particularly taken by its fantastic herbarium of 140 specimens of carefully pressed plants, preserved by collectors and explorers in the 1800s.

Talk us through the creative process We began by making plenty of first-hand drawings of the herbarium specimens, then, back in the studio, handpainted them separately to try and capture the pressed form and individual shape of each. These paintings were then grouped together into a single composition and repeated digitally into a print. The result is an original and contemporary design in two colourways, which plays with scale and dramatic placement across product.

What are your plans for the future?

We are working closely with our suppliers to look for more sustainable materials and processes, and continue to support local makers and UK-made product wherever we can.

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Transform your home into a secret garden with the latest wallpaper from Abigail Edwards. Inspired by Frances Hodgson Burnett’s famous novel, the wallpaper depicts hand-drawn illustrations of climbing tangles of ivy dotted with fluttering moths, for an enchanting, decadent feel. Available in two colourways, the green/gold of Twilight (pictured), and the delicate grey/silver of Pearl, Secret Garden costs £89 per roll.

Birthday bear It’s time to cut a large slice of marmalade sandwich cake as the nation prepares to celebrate 60 years since the birth of a literary icon. Michael Bond’s A Bear called Paddington, illustrated by Peggy Fortnum, was first published by Harper Collins in October 1958 and has been delighting children and adults ever since with Paddington’s charming misadventures. To mark the occasion, Harper Collins is releasing a lavish new hardback edition of the original book in full-colour, £20, and a new compendium of classic stories, The Complete Adventures of Paddington, £40.

Period Living 17

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Lily lovers will be pleased to know that Emma Bridgewater is adding a new Stargazer Lillies design to her floral family. Big and blousy, it is available across mugs, jugs and plates, for a blooming, beautiful kitchen. Priced from £19.95.

HANDMADE AT KEW 4–7 October, Royal Botanic Gardens, Kew. Advance tickets £17; on the door £19; child £6. Includes full day entry to the gardens From top: Wire,

copper and fine crochet sculpture, £135, Liz Cooksey; flat slip decorated terracotta platters, from £175, Victoria Dawes, both exhibiting at The Great Northern Contemporary Craft Fair

Handmade at Kew returns for the fourth year to the stunning Royal Botanic Gardens. The four-day event sees over 150 international and UK-based contemporary artists exhibiting gorgeous textiles, jewellery, ceramics, glass, furniture and more.

GREAT NORTHERN CONTEMPORARY CRAFT FAIR 11–14 October, Upper Campfield Market, Manchester. Advance tickets £6.50 (concs £5.50); on the door £7.50 (concs £6.50) The largest of three annual Great Northern Contemporary Craft Fairs, GNCCF Manchester will showcase over 150 talented designer makers across all media from ceramics to glassware. Plus, don’t miss the graduate showcase where you can discover the best of Britain’s emerging talent.

MADE LONDON, MARYLEBONE 18–21 October, One Marylebone, London. Tickets from £5 Set in a stunning former church, Made London is an annual contemporary craft fair with over 120 makers.

Discover an eclectic mix of artisans across all mediums, from Rachel Larkin’s folklore-inspired automata to Fair Isle textiles from Bakka Knitwear.

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he ss t centu o cr The latest collection from r

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Be inspired by the work of hundreds of designer makers at these contemporary craft events across the country this month

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FUN OF THE FAIRS

fabric designer Kate Medlicott, Journeyman is inspired by design throughout history, from medieval ruins to mid-century colours. An eclectic fusion of styles, the prints capture motifs discovered on architectural ruins of Glastonbury abbey, such as a tile depicting a knight on horseback, which Kate translated into the focus of her lead design (below), to the punchy primary palettes of the 1960s, for a refreshing mix of old and new. Available in five colourways, the fabrics cost £49 per m and cushions from £45.

Textured bowl with gold lustre, £95, Nisi Living

Steele bison skull wall mount, £115, Out There Interiors

Ferm Living butterfly salon cushion, £79, Amara

Velvet button stool in Fir, £285, Oliver Bonas

Brooksby black glass-fronted wall cabinet, £169.50, The Farthing

Feature Sophie Warren-Smith

Shanxi butterfly screen in black lacquer, £1,745, Shimu

Bejewelled dragonfly brooch in silver and cognac amber, £135, John Lewis

THE CURIOUS COLLECTOR

Shooer sculpture, £131, Arteriors Home

Green beetle trinket tray, £14, Rockett St George

Green toucan on stand ornament, £49.50, Modern Country Style Interiors

Heritage cotton fabric in Cedar, £21.50 per m, Iliv

Insect wall chart, £39, Abode Living

Shopping

Display jewel-toned insects, exotic birds and botanicals, alongside luxe minerals and gothic black highlights to evoke the Victorian-era Natural History Museum

Boston glass ceiling pendant in bronze, £75, Perch & Parrow

Parrot table lamp, £258, David Hunt Lighting

Insect Mandala bone china teacup and saucer, £28, The Curious Department

Bird’s leg marble side table, £350, Audenza Self wing-back armchair in House of Hackney Florika velvet in Onyx, £2,540, Rume

Bowler Hat Balloon bone china plate, from £36, Rory Dobner

XL Mountain Blue Swallowtail butterfly in box frame, £50, Mini Beast L’Objet gold-plated turtle magnifying glass, £135, Liberty

Period Living 21

Ignatio ceramic pink and blue lamp base, £102, and Tarquin shade, £43.80, Där Lighting

Palm Beach medium glass lamp base, £365, Rosanna Lonsdale

Magnus Pettersen Studio Beacon lamp, £175, A New Tribe

Quad table lamp in weathered brass, £699, Davey Lighting

Palm Tree table lamp, £175, Rockett St George

Light the way

Ned antique brass two-light table lamp, £222, David Hunt Lighting

As the nights begin to draw in, don’t feel gloomy about shorter, darker days – instead brighten things up with a chic table lamp

Oshro ceramic lamp base in pink, £75, John Lewis

Ceramic soft grey petal table lamp, £99.60, The Farthing

Salamander glass table lamp, £225, with marbled paper shade, £55, Pooky

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Dragonfly lamp, from £145, Christopher Wray

Banyan brass table lamp, £59.99, MY Furniture Caidence bottle lamp with wicker shade, £240, Out There Interiors

Feature Sophie Warren-Smith

Little Luna lamp in white, £65, Curious Egg

Victor table light in burgundy, £349, Original BTC

From the honey-coloured limestone cottages of the Cotswolds and the timber-framed thatches of the West Midlands, to the whitewashed crofts of the Scottish Highlands, weatherboarded dwellings of The Weald and flint homes of Norfolk – rural British cottages offer beautiful expressions of vernacular architecture through the ages. Prized features of our green and pleasant land, cottages are entwined with geology and landscape, so taking decorating inspiration from the natural surroundings is a fitting place to start. Layering fabrics that capture the beauty of the countryside, from garden roses to hedgerow brambles, and paring them with neutral shades and natural materials, makes for a timeless feel. Humble and characterised by the marks of time, their layers of history make cottages perfect for furnishing with antique furniture and handcrafted pieces with chips, warps and imperfections that only serve to enhance the relaxed, unique feel.

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Feature Pippa Blenkinsop Fabrics (clockwise from top left): Roses Blue linen, £75 per m, Kate Forman; Posy linen in Aged Linen/Duck Egg, £120 per m, Inchyra Designs; Isobella linen, £75 per m, Kate Forman; Samira in Indigo, £65 per m, Iliv; Roses, £75 per m, Kate Forman; Botanist in Duck Egg, £82 per m, Andrew Martin

COUNTRY COTTAGE

Decorating

Based on the Shaker principles of simplicity, utility, and craftsmanship, the elegant proportions and fuss-free, linear design of Shaker kitchen cabinetry make it perfect for a humble country cottage, mixed in with reclaimed unfitted pieces for a relaxed feel. If low ceilings are an issue, limiting storage mainly to base cabinetry is a good way to keep a cottage feeling bright and open, while also allowing beautiful stone walls to stand out.

From ÂŁ12,000 for handcrafted cabinetry at Devol Period Living 25

White-painted wood panelling and open shelves bring a relaxed, rural feel to a kitchen or utility room, and can be installed by a competent DIYer over a weekend. For similar Georgian-style panelling, try The English Panelling Company. With its French-style, fluted design, this Luis tableware from A by Amara, from ÂŁ10 for a side plate, is a pretty choice for a cottage, and durable stoneware is good for everyday use. Finish the country look with vintage bottles filled with garden pickings, and old enamelware 26 Period Living

Decorating

If you are lucky enough to have a room with beautiful original flagstones, exposed stone walls, and characterful wooden beams, then subtle hints of pattern and neutral tones are all that are needed to complement the rustic textures and time-worn patinas.

Try teaming salvaged wooden furniture with Vanessa Arbuthnott’s charming country linens, such as curtains in For the Love of Rose in Clay/Damson, £52 per m – a modern take on toile de Jouy

Period Living 27

With elegant curves and a Howard-style silhouette, this small Classic sofa from Susie Watson Designs is a great choice for zoning a snug kitchen-cum-living room, and is layered with paisley, ticking and statement floral cushions, plus a wool throw, for a cosy cottage feel. At the window, curtains in Susie Watson Designs’ Duck Egg Vintage Stripe, £45 per m, edged with True Blue Ivory Pom Poms trim, £15 per m, give a pretty playful softness, and, of course, no classic country kitchen should be without the iconic wooden dresser.

Sofa from £1,820; caned coffee table, £745; cushions, from £35; Rose Pearl Stripe Shetland wool throw, £86; hand-painted Pottery, from £18, all Susie Watson Designs 28 Period Living

Decorating

There’s something truly magical about sleeping up in the rafters. Let original oak beams stand out against a palette of simple neutrals.

Complement the rustic patina of aged wood with a natural seagrass carpet, then try delicate patterns, such as Neptune’s Emma linen in Sage, £55 per m, for upholstery and cushions

Period Living 29

Styling Pippa Blenkinsop Photograph Kasia Fiszer

Decorating

Clockwise from top left: Glenmore Red Rowan fabric, £26 per m, Clarke & Clarke. For similar vintage books try Oxfam. Mallory gingham fabric in Ruby, £34.76 per m, Prestigious Textiles. Handles: Heart, £4, and small ring pull, £3, Scumble Goosie. Bespoke Country Cottage bunting, £29.95, Catkin & Olive. Bella Rosa on Ivory linen, £64 per m, Peony & Sage. For a similar platter try the Blue Asiatic Pheasants design, £32, Burleigh. Vintage cigarette cards, stylist’s own. Furniture paints: French Grey, Gustavian Grey, Linen and Old White, all £19 per 750ml tin of water-based eggshell, Scumble Goosie. Washed linen napkin in Blush, £26 for four, Also Home. Ditsy Delilah Mint and French Blossom wallpaper, £95 per roll, Peony & Sage. Isobella (top) and Anoushka Pink linens, both £75 per m, Kate Forman. Handmade gift tag, £6.50; cotton reels, £3 each, and teacup and saucer, £9, all Betty & Violet. French Knot Cow Parsley hand embroidered fabric, £150 per m, Peony & Sage. Handmade strawberry tile, £3.50, Ascott Gardens. Vintage-style notelets, £21, Scumble Goosie. Vintage plate, stylist’s own.

WW1 Union Jack flag, £18, Betty & Violet. Floral buttons, £2 each, Stockwell Ceramics. Milk bottle vase, £7.50, The Flower Studio at Amazon. Embroidered artworks: Ladybird in the meadow, £35, and Meadow flowers, £60, both LouStitches at Etsy Period Living 31

Styling Pippa Blenkinsop Photograph Kasia Fiszer

From left: French Hares linen in Fudge on Cream, £64 per m, Peony & Sage; Vintage Check linen in Raspberry, £98 per m, Inchyra Designs; Rodborough Whitebeam linen in Steely Blue, £52 per m, Susie Hetherington Textiles; Indienne Lala linen in Aqua, £20 per m, and Sissinghurst linen/cotton-mix fabric in Charcoal, £35 per m, both Clarke & Clarke; Roses linen, £75 per m, Kate Forman; Bella linen in Camomile, £92.70 per m, Lewis & Wood; Wire Haired Jack Russell linen, £50 per m, and Saddleback Pig linen, £52 per m, both Emily Bond; Ivy Rose linen in Dusky Pink, £52 per m, Susie Hetherington Textiles

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Fabrics TREND WATCH

Natural SELECTION From classic florals and checks by our favourite brands, to Arts and Crafts-inspired prints by emerging fabric designers, mix and match these charming linens to create a timeless look that celebrates the great British countryside

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The weaver’s tale 34 Period Living

Made in Britain

Using salvaged Victorian and vintage looms, and century-old techniques, Daniel Harris produces beautiful, bespoke fabrics Words Rachel Crow | Photographs Kasia Fiszer

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aniel Harris stands in quiet contemplation studying his vintage loom, trying to fathom the cause for the slight variation in weave on an upholstery fabric. Tied with hundreds of delicate lengths of cotton and wool yarn, the intricate and complex machine can produce wonderfully detailed and tactile textiles, yet a fractional change in its set-up can spell a fundamental change in the woven cloth. Part weaver, part engineer, part textile designer – ‘and always covered in oil’ - Daniel has had to learn by trial and error how his collection of ‘cumbersome relics’ work. Each an amalgam of at least two machines, these antiquated, unwieldy beasts have been carefully disassembled, reassembled, crucial components replaced, and then gradually coaxed back to life.

A completely self-taught weaver, Daniel had never even seen a shuttle loom before he acquired his first – a rusting Victorian footpeddled Hattersley that he rescued from a derelict barn in Wales, where it had been sitting dormant in puddles for about ten years.

‘I cannot emphasise enough how little thought I had put into this,’ he says, smiling. ‘I knew hand-weaving was far too time-consuming, and the modern machines too expensive and complicated. I thought all I’d need was a loom, but you should see my spares department – it’s endless!’

With a sewing background, following a degree in Costume Interpretation at Wimbledon School of Art, Daniel worked for ten years on numerous fashion projects and commissions ranging from the obscure to the opulent: adult baby outfits for an Aldi commercial, a wedding dress for a Shetland pony in a Stella Artois advert, to sewing loose covers for the Queen’s private apartment in Buckingham Palace. ‘But I’d had the idea to weave my own cloth a long time ago.’ So in 2011 he

swapped needle for shuttle and set up The London Cloth Company in Hackney, the capital’s first micro-mill, supplying fabric to fashion houses around the world and eventually extending to premises in Epping as he acquired more looms, winders, warping mills and related ephemera from all corners of the British Isles.

We meet at Daniel’s new mill, housed in an old agricultural barn in the rural surroundings of the Netherwood Estate near Tenbury Wells, Worcestershire, not far from where he grew up in Malvern. Now splitting his time between the two sites, rather than an underground commute and industrial, urban surroundings, here he enjoys a tranquil journey through bucolic, secluded farmland. Curling around his legs as he takes a brief pause in his frenetic activity, and occasionally mewing for a biscuit, is his mill cat and travelling companion, FloRider, who turned up one day at his Clapton site, ‘a small, scraggy and skinny kitten that never left,’ and who now is always at Daniel’s side as he travels between city and country.

The mills are almost akin to a working museum, with Daniel’s motley crew of near-extinct, forgotten machines dating from the 1870s to 1970s, producing a range of beautiful woven fabrics – from rope-dyed plain, herringbone and twill indigo cottons to multi-hued woollen heritage tweeds, tartans and blankets. His bespoke cloths have been used for furnishing fabrics in homes and restaurants to gracing operas or film sets, such as the recent Solo: A Star Wars Story.

When he slowly cranks up his vintage Dobcross power loom, the sound is almost deafening as the shuttle holding the weft is fired back and forth, passing over and under the warp in its fast, hypnotic action more than a hundred times a minute, weaving up to seven colours. While Daniel is keen to stress this is not a craft - ‘these machines ➤

‘These machines were at the forefront of the Industrial Revolution – in their day they were seen as killing craft’

Opposite, clockwise from top left: Daniel’s Hutchinson Hollingworth Dobcross loom dates from 1904. ‘It can weave up to seven colours, semi-automatically and produces a perfect finished edge, which is really desirable,’ he explains; cones of indigo and white yarn on a creel are broken down into warp and weft. The weaving is a small part of the process – big cones of yarn first have to be broken down into smaller cones, perns and bobbins, wound on to a warping mill and then transferred to the loom; cushions made up in Daniel’s herringbone, tweed and plain indigo fabrics; the mill is filled with yarn spun from British wool; examples of Daniel’s bespoke fabrics. ‘Once I have the customer’s decision on colour, the rest is easy. I get people to bring in fabrics that they like, but even then I won’t copy the yarn but do my own interpretation of it’; built in the 1960s, the Somet AC2 revolutionised weaving; natural dyes colour the woollen yarn; Daniel uses a vintage Bobbio pattern card punch, one of the many items he picked up from abandoned mills he visited around the British Isles; Daniel stands at a bench in the spares room making a pattern chain 36 Period Living

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were at the forefront of the Industrial Revolution; in their day they were seen as killing craft’ - there is no denying that there is the same ‘crafting’ ethos in how this one-man mill operator has a hand in every single stage of the weaving process.

Having drawn on the acquired knowledge and skill of a network of former mill workers dotted around quiet corners of the country, as well as his apparent natural ability for fathoming the quirks and intricacies of these temperamental machines, Daniel has been practising and perfecting his weaving techniques since his first tweed – which took four months of perseverance to produce. ‘I use the same techniques that have not changed for decades, but to make this work as a business it had to be simplified. We only really weave two things but within those two there is a huge range. We use a cotton warp with a wool weft, 28 ends of yarn in the warp per inch. It can be any colour or structure, but that is the standard set-up; I won’t deviate from that. By limiting yourself and doing the same thing over and over, changing it incrementally each time, you learn so much more about how the machine behaves.’

As Daniel darts between tasks – one minute winding weft on to bobbins, the next adding links to a pattern chain – his conversational tangents

weaving about the subject of his oeuvre, it is clear that there is nothing simple about the process. With some 200 ends in the Indigo fabric on one machine, each of which is 500 metres long, requiring 163 kilos of yarn to be wound on to a warping mill and then set up on the loom, his is a physically and mentally demanding profession. ‘I can tie on 480 knots an hour by hand, and to set up the loom could take two days, but once weaving it can be really quick; it’s weirdly efficient,’ he adds of the various looms, capable of producing from five to 20 metres an hour.

It is apparent that Daniel is passionate about reconnecting people with where cloth comes from. His next aim is to expand on his upholstery fabrics and interiors products; he has created a bespoke tartan to grace the interiors of the new café and restaurant opening in November in restored old farm buildings on the Netherwood Estate. ‘One of the reasons I set up this new mill was because I have too many looms, but these premises change everything,’ he enthuses. ‘Here I have time to think. It is bringing back the creativity.’

‘To set up the loom could take two days, but once weaving it can be really quick; it’s weirdly efficient’

To find out more visit londoncloth.com

Left: Blankets made from British and Irish Donegal wool for Sutton & Tawney, and cushions in a beige tweed fabric. Blankets from £100; cushions, from £40 Above: Daniel’s mill companion, FloRider, can be found weaving his way between the looms, and boxes overflowing with old wooden bobbins and yarn 38 Period Living

ARTISTS IN RESIDENCE Overflowing with creativity and decorated in a vibrant rainbow of paints, Vanessa Arbuthnott’s country home and garden is the inspirational backdrop for her distinctive textile designs Words Karen Darlow | Styling Pippa Blenkinsop | Photographs Brent Darby

The kitchen is created from a mixture of old shelves and dresser bases found at auction and painted; Vanessa added decorative scrolls to the wall cupboards to unify them. The worktops around the Everhot range are slate from an old billiard table. Vanessa upholstered Ikea’s Nordmyra dining chairs in her own Pretty Maids fabric in Lime. The tablecloth is an Indian hand-block printed design from nearby Abbey Home Farm. On the easel is a still life by Rose Arbuthnott.

The striking orange wall paint is Little Greene’s Marigold 40 Period Living

Converted Cow Byre

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Above: Vanessa loves the rustic plate rack so much that she has moved it with her from three houses. The sink base unit is another auction find, upcycled with chicken wire and with Pretty Maids fabric to match the chairs. The blind is made up in her Dawn Chorus fabric Right: Vanessa’s daughter Rose loves to paint in this spot in the kitchen. On the wall is her sister Flora’s ‘Pregnant Beast’.

Both Rose and Flora contribute designs and ideas for their mother’s textiles. The curtain fabric is Life and Eternity in Teal Opposite: The sofas are covered in Pretty Maids in Lime (left) and Shibori in Tangerine Sweet Pea, as is the chair.

A rug from Solva Woollen Mill is used as a throw on an old footstool, while the coir rug is from Scumble Goosie. On the table is a sculpture of her husband, Nicholas, which Vanessa commissioned from the sculptor Anthony Abrahams 42 Period Living

Converted Cow Byre

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S

corching shades of tangerine and hot pink, rich mossy greens, celestial blues and moody charcoals - these are the colours of Vanessa Arbuthnott’s palette. They are the tones she favours for her distinctive textiles and for the décor and furnishings of the converted cow byre that has been the family home for 25 years.

Stepping into Vanessa’s kitchen, visitors are cosseted by cosy orange walls, the warmth of the range cooker and, at the far end of the room, huddled among comfy sofas and plump cushions, the glow of a wood-burning stove. It’s a scene crowded with sculptures, pictures and family treasures, while near the French windows, a still life on easel captures the remnants of autumn sun.

This eclectic domestic scene, bursting with pattern and creativity, brings to mind the famous Bloomsbury Artists’ painted interiors. Yet these Victorian farm buildings haven’t always felt quite so idyllically homely. ‘We bought the property 25 years ago when the cows had just left. It was an open u-shaped building with a corrugated iron roof and a Dutch barn for animal feed,’ explains Vanessa. It took six months to make just a section of the property habitable enough to move in.

‘There were no doors or skirting boards, and the children slept on mattresses on the floor,’ recalls Vanessa. But slowly, she and Nicholas began to transform their home around the family, painting walls and hanging doors as they went, although without any overall defined plan for the buildings or their eventual purpose. ‘When you’ve got four children, all under six years of age, it’s like the survival of the fittest,’ says Vanessa, although she charts her passion for interiors back to those early days in the property. ‘It was the first time that I became interested in interior design – a bit like having your first garden – it was really fun to start discovering what my style was,’ she adds.

Vanessa and Nicholas agreed on one key area of style: they both like painted woodwork. ‘We didn’t really like the colour brown at all. In retrospect, I think we should have left the oak beams above the woodburners unpainted… But no, we painted everything!’ Upstairs under the eaves, where all the bedrooms are, the painting transformation was

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somewhat slowed down by the need to conceal the thick blue insulation between the rafters with wallpaper, before covering it over with white paint.

The children chose the wall colours for their own rooms – from a carefully collated selection!

On a limited budget, the couple covered the chipboard bedroom floors with huge worn rugs for £50 or £60 pounds apiece from the auction rooms in Wotton-under-Edge. ‘Initially all the furniture was old bargain buys that we’ve gradually replaced with better pieces,’ says Vanessa. ‘In fact, it wasn’t until 2010, when I started to design and sell sofas for the business that I had a new one of my own.’

Two years ago, Vanessa and Nicholas converted a studio space at the back of the property into a contemporary living room. The new space has full-height glazed doors on two sides, through which they can enjoy the yew arch and lime avenue that Nicholas planted some years ago.

The latest update is the downstairs bathroom, refitted and redecorated in a mix of coastal blues, including a fabric designed by Nicholas.

Just as the property, furnishings and accessories have been added to over the years, so Vanessa’s textile designs are frequently refreshed with new techniques – whether this is the Japanese art of Shibori, or the cut paper technique she explored at a workshop on designer Lucienne Day, which inspired this season’s cut designs. ‘I like to learn different skills as it sets you off in a new direction,’ she explains. ‘Otherwise it’s just my hand, doing the same style of drawing. When I’m ready to start new designs I’ll set up a table in the kitchen and pin things up, or I’ll work in the studio. But I always draw in pencil on tracing paper. Other than that, nothing in my life is ritual or predictable.’

One constant, though, is the presence of artistic talent – from the Arbuthnott family and from the artists and craftspeople who use the studios opposite the home. Many of them run workshops at Vanessa Arbuthnott’s showroom in Cirencester, including community projects for refugees, and art therapy for the elderly and people in need. ‘That’s where my real passion lies,’ says Vanessa. ‘I love these sorts of projects, and I miss being involved in them directly, but now with the art space at the showroom I feel I can give something back.’

THE STORY Owners Textile designer Vanessa Arbuthnott (vanessaarbuthnott.co.uk) lives here with husband Nicholas, who is an architect. They have a whippet dog called Ruby, Pickle the cat, and some chickens. The couple have four grown-up children Property A converted u-shaped cow byre, near Cirencester, Gloucestershire, built in 1890 What they did The couple converted the property in 1993. Two years ago they converted an old studio into a contemporary living room and updated a downstairs bathroom

Converted Cow Byre

Above: A grapevine and wisteria provide welcome shade over a pretty outdoor dining space in the lee of the old barn. The tablecloth is from Abbey Home Farm with Vanessa’s fabrics on the cushions. Oval Room Blue by Farrow & Ball was used for all of the exterior woodwork Right: Nicholas and Vanessa’s living space is the central section of the u-shaped cow byre. The barn on the left is used as a painting and print studio. To the right is the more contemporary living room extension.

A keen gardener, Vanessa created this relatively formal design inspired by a garden in Cumbria Top right: Vanessa, surrounded by paintings of her side of the family

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Above: The airy entrance hall is a room in itself, with a pedestal table inherited from Nicholas’ family, and a Dutch marquetry cabinet from Vanessa’s. The floor is painted with Potmolen Paint mixed with one of Rose’s oil paints. The twin staircases are painted in Powder Blue floorpaint, the walls in Lime White, both Farrow & Ball 46 Period Living

Converted Cow Byre

Left: The downstairs cloakroom, recently updated with Vanessa’s fabrics and wallcoverings. The wallpaper is Up the Garden Path in Teal, the chair fabric is By the Sea, designed by Nicholas when Vanessa injured her wrists and couldn’t draw. A Howdens sink is topped with Kentmere slate, with a skirt in Simple Ticking Teal; the blind and shield is Stockholm Stripe, Teal and Tomato. The Lakeland scene is by David Thistlethwaite, with a print by Flora just seen Above left: Vanessa painted an old bergère-style daybed and topped it with her cushions. Above it is a portrait by Rose, and one of Nicholas by Victoria Lloyd Jones, a family friend. This staircase is filled with paintings of Nicholas’ family Period Living 47

The second living room was converted two years ago from an old studio, and was designed by Nicholas to incorporate as many eco features as possible, including windows from Rationel. It is furnished with seating, footstools and fabrics from Vanessa’s Artisan collection, the rug is from Scumble Goosie and for a similar standard lamp, try Le Klint 325 Floor Lamp, at Clippings. The striking wall colour is Little Greene’s Lead, the stove is from Morsø, and oak boards from The Solid Oak Flooring Company have been given a protective lime finish with eco-friendly Danish TripTrap products, from Eva Johnson

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Converted Cow Byre

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Above: The master bedroom was one of the first spaces Vanessa tackled, with tins and tins of white paint to create a light, restful space. She updated a Habitat bed with a simple painted frame cut from MDF, and covered vintage suitcases in fabrics from her Bohemian Collection. The curtain fabric is her Japonica in Indigo Blue, the velvet bedcover is Moss, with cushions in Japonica, and Pretty Maids in Lime/Winter. The folded throw is from Solva Woollen Mill. For similar rugs, try Leedas at Etsy. The seascape is by Victoria Lloyd Jones Right: In Flora’s old room, an antique French bed has been reupholstered in Botanical Trellis in Raspberry, while on the floor is a pink Herringbone rug, both from Vanessa Arbuthnott. The pink bedding is made by Congolese refugees in Nairobi – Vanessa worked with the Xavier Project to design duvet covers using a mud-resist technique. The doll collection began when the children were small; Carmine paint by Little Greene is a similar wall paint colour.

For a similar child’s basket chair, try Willow Souvenir at Etsy

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Shopping

From top: Bird Hop linen in Saffron; Momo in Tangerine/Sweet Pea; Stockholm Stripe in Damson/Scree/Winter; Pretty Maids in Smoke/Winter, all £52 per m, Vanessa Arbuthnott

Blue enamel teapot, £25, AG Hendy

Bloomsbury circle painted sideboard, £2,450, Lorfords Antiques

Isaac two-seater sofa in Gail Bryson Trill Yolk fabric, £1,540, Sofa.com Cecil table lamp, £299, Original BTC

Heirloom boxes covered in handprinted paper, £55 each, Molly Mahon

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Bloomsbury revisited

Knot-Garden cushion in Green, £49, Melin Tregwynt

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c art-f illed homes of

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Baba storage basket, from £39.95, Nkuku

Sue Ure small hand-thrown mug in Charcoal, £23, Oggetto

Feature Pippa Blenkinsop

Annie Sloan Chalk Paint in Barcelona and Emile, both £5.95 for 120ml

Small Hungarian settle bench in Charcoal, £450, Garden Trading

Irena Sibrijns bowl, £55, Charleston House Shop

Green Churriana tile and Pink Split Shift Two tile, £5.88 each, Bert & May

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Scottish Castle Spied through the gap in the trees, Wardhill, with its magical spires and turrets, looks every bit the story book castle, and even contains a room that was locked for 150 years. The faded stonework is full of history and character

LIVING A FAIRY TALE Will and Sarah Leslie inherited a baronial-style castle in poor repair, and are slowly turning it into a fantasy family home Words Alison Gibb | Photographs Douglas Gibb

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W

ardhill Castle has been in Will Leslie’s family for 850 years, although its magnificent baronial exterior bears little resemblance to the modest house that was first built on the site by Will’s ancestor, William Cruickshank, in the 12th century. Originally church land, the estate was gifted by William the Lion of Scotland as a reward for Cruickshank’s services in the Crusades. It was inherited by his only descendent, Janet Cruickshank, who married William Leslie, a King’s Constable and distant relative of King Malcolm of Scotland. The Leslies of Wardhill remain hereditary bailies of the regality of Garrioch, a duty awarded by James IV to the chieftain of Clan Leslie after the battle of Flodden in 1513.

The property was vastly extended over the ensuing centuries and became grander in scale until its zenith in Victorian times, after which the building fell into disrepair. Will’s great-grandfather’s gambling left the family’s debts insurmountable and half of the building was demolished in the 1970s. ‘My grandfather had the choice of spending several hundred thousand pounds on roof repairs or paying a fine to Historic Scotland for demolishing half of the building,’ Will explains.

‘He decided on the latter, still leaving a substantial property, but one that’s much more manageable to maintain.’ His parents still had the major task of treating the remaining building for dry rot.

Will took over Wardhill in 2014 when he married Sarah, and his mother and father Sebastian - the 15th Laird - moved to another property in Aberdeenshire. The latest custodians of Wardhill were determined to update and restore the building as fully as possible, initially giving themselves five years to make a difference. ‘Each generation has done their bit,’ says Will. ‘My parents made the building as habitable as they could, but heating it was impossible: you lit a fire in one room and you stayed there. If you needed something from another room, you literally had to run there and back, it was so cold!’ Installing a biomass boiler has solved that and helped the whole building.

The task the couple were faced with was daunting to say the least, but both sets of parents have been extremely supportive. Sarah’s parents live in Yorkshire and have years of experience of renovating properties. ‘They come up for a week at a time and are a force of nature,’ says Sarah. ‘You

56 Period Living

cannot help but be swept along by their energy and enthusiasm. It was my dad’s idea to convert the game larders into the family kitchen, for instance.

We honestly could not have done it without them.’

The pair tackled the Bow wing next. It was almost a ruin and there was no lighting, heating or plumbing in that part of the building and two of the ceilings had collapsed. ‘The rooms were piled high with junk and dead birds. One room had been locked for 150 years,’ says Sarah. ‘It turned out to be full of trunks, all stuffed with papers and ephemera dating back to the 1700s.

Will’s mum, Candida, had to help me sort it all out. There are trunks all over the house now, put to good use as bedside, coffee and side tables.

‘The problem was that the house was twice the size at one point, so when half of it was knocked down, the contents were stuffed into this dilapidated wing,’ she adds.

Sarah is enjoying decorating and restoring the house, but admits it is daunting choosing designs for such a splendid historic backdrop, and the expense of purchases on such a vast scale is eye-watering.

Luckily, she found one supplier, Shufflebotham & Son, in Macclesfield, that sells end-of-line fabric at a reduced price. ‘They’ve been a lifesaver,’ she says.

A lot of the furniture and wallpaper is steeped in family history. The bed in the Spanish room was given by the Queen of Spain to Will’s greatgrandmother, who was lady-in-waiting to Empress Carlota of Mexico. The bed was carried around Europe for the Queen’s comfort and convenience.

The well-travelled family bought curtains in the Paris Exposition in 1889 – some have disintegrated, but others survive – while wallpaper dating back to the 1920s is still in excellent condition.

Updating the property, Will and Sarah walk a tightrope between preserving family history and adding their own stamp. The result is a comfortable home full of period details. ‘At the end of the day, it is our home and we want it to suit us.’ Already a popular destination for special occasions and family get-togethers, the castle will soon host fitness and well-being boot-camps. ‘Nothing too brutal!’ promises Sarah. ‘We want guests to come and relax – and perhaps drop a dress size – but we aim to make the results for our clients sustainable.’

Sustainability is a good aim, whether for their future business plans or for their historic home, and it’s one Sarah and Will Leslie are serious about.

Top right: The castle had a close shave in 1746 after the Battle of Culloden, when advancing Hanoverian troops were bribed by the chamberlain to burn bales of straw around the outside to make it seem from afar that it was on fire Right: Painted cabinets from Howdens are paired with handles from Pushka Home, Silestone worktops, and bar stools from Ikea. The electric Aga didn’t need a chimney, but Sarah felt it needed framing.

On the shelf is a collection of Sophie Allport ceramics. The dresser was Will’s mother’s, now updated with Annie Sloan paint. The wall lights are by Jim Lawrence

Scottish Castle

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

THE STORY Owners Will and Sarah Leslie live here with their 18-month-old son, Harry. Will is the estate manager of the farm. Sarah is a qualified surveyor, now focusing on renovating and upgrading the property and welcoming guests to the castle for special occasions and events (wardhillcastle.co.uk) Property A Grade II-listed 12-bedroom stately home near Inverurie, in rural Aberdeenshire, originally built in 1170. Stone wings have been added and demolished over the years. There are 800 acres of farmland and woodland What they did Sarah and Will have turned the old game larder and previously dilapidated ground-floor rooms into a spacious family kitchen, installed a biomass boiler, updated the central heating, and have fully restored one wing.

They are preparing to tackle the rest of the house and surrounding gardens

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The snug has a cosy feel, with its 1920s chintz wallpaper and wood detailing accented in soft blue; for similar, try Little Greene’s James. The furniture and furnishings are mostly inherited pieces, including the curtains, originally from the British embassy in Paris. Above the fireplace is a portrait of Will’s great-grandmother. There is no central light, just table lamps from India Jane and a candlelit chandelier. The family tree displayed on the coffee table was found rolled up behind a radiator

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Scottish Castle

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Scottish Castle

Above and left: The drawing room makes a magnificent setting for drinks receptions and small weddings. Its stunning wallcovering was chosen when the room was decorated in preparation for Will’s father’s 21st birthday party. Sarah had to take down the 150-year-old curtains, which were disintegrating, and the family use the shutters, now all in working order Opposite: This opulent red wallpaper with the gold trefoil motif is perfect for the formal dining room. The plates all bear the Leslie family crest, which includes the motto ‘Grip Fast’

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Above left: The many winding staircases and corridors have all been freshly painted and brought to life with flowers and paintings Above: The bed in this pretty guest room is on loan from Will’s cousin.

Hotel supplier Mitre Linen supplied the bedlinen, and the throw was in a bundle of bedspreads found in one of the wings. The curtains are from The Curtain Exchange, but are just decorative as the shutters have been restored. Find a similar light at The Chandelier & Mirror Company Left: Sarah found the pretty wallhanging under a bed. The sheets and pillowcases are from Mitre Linen, while the throw and cushions are from TK Maxx. The walls are painted in Blue Gray by Farrow & Ball Top right: The ornate bed was a gift from the Queen of Spain to Will’s great-grandmother, and is topped by a faux-fur throw from Dunelm Mill. The bedside lights are from TK Maxx, and the curtains from The Curtain Exchange. For a similar bed, try And so to Bed Right: The pretty wall light at the centre of this symmetrical setting was found in an outbuilding. Sarah liked the on-trend 1970s wallpaper, so chose to keep it Far right: Sarah chose a bath and WC from Phoenix Bathrooms. The tiles are from Topps Tiles

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Scottish Castle

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A PLACE OF SANCTUARY Fulfilling a lifelong dream with the renovation of her traditional Welsh long house, Rosemary Pugh called in the experts to create interiors that complement the farm views and beautiful coastal setting Words Natalie Flaum | Photographs Colin Poole

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Welsh Long House Rosemary asked local builder Owen Evans to create the curved cobbled stone path that wraps around the front of the cottage. The old wagon wheel leaning on the original stone walls was an antique yard discovery. Bespoke timber frame windows and doors were made by Steven Thomas Joinery, to fit the original openings. The cottage was reroofed by thatcher Alan Jones and his apprentice Dafydd Driver, while carpenters Arthur Davies and Dylan Tandy insulated the roof

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Welsh Long House

Opening straight into the dining room, the new front door was made by joiner Steven Thomas to fit the extra-wide entrance to the former cow shed. The dining table once belonged to Rosemary’s grandmother; Laura Ashley interior designer Kay Cullen suggested sanding, sealing and painting the top.

‘Kay and I became good friends and she would often come to visit me on her days off. She distressed the table legs and painted the side tables, too,’ says Rosemary

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O

nce a dilapidated cow shed, Soar Cottage is now an elegant period home with a contemporary twist. The work to transform it started in earnest in 2011, when Rosemary Pugh took the plunge to fulfil a lifelong dream. ‘We inherited the farm and its 180 acres in 1969, from my latehusband Eryl’s father,’ she says. ‘We always said that one day we’d rescue the cottage, but farming and raising a family got in the way.

‘Before the cottage was abandoned in the early 1960s, the last known occupants raised eight children here, who used to play in the fields with Eryl. All the locals are amazed at how the cottage looks now; most of them remember it with the orchard, and cows and pigs in the fields.’

The cottage is built in the vernacular style, from local materials with ‘clom’ walls of compacted earth, straw and small stones. The thatch consisted of heather, gorse and earth clods covered with rushes and local straw. Inside, the layout was that of a typical rural Welsh long house, consisting of a one-room parlour with a bedroom, dairy, cow shed for milking, a calf pen and piggery.

Ten years ago, with the help of local architect Griff Davies, Rosemary received outline planning permission to renovate Soar Cottage and turn it into a home. Just a few weeks into the project, however, a storm caused chaos as an old apple tree fell onto the thatched roof, causing it to collapse. ‘Due to rainwater seeping in, the walls bulged and went soft,’ recalls Rosemary. ‘Then, to top it all off, the gable-end wall, which is now in the master bedroom, collapsed.’

A year-long delay followed, as the local council insisted on a full investigation to determine the cause of collapse. In the end, it was concluded that the gable wall was unsupported, and clearing and landscaping the area ready for the renovation works had undermined it.

To move forward with the project, Rosemary had to submit a second planning application.

The new design had to retain the same floorplan, elevations, and the character of the original Welsh long house, but with an oak-frame sunroom extension, and a smaller addition to create a master en suite, which also incorporated an old tin shed.

When it came to choosing a builder, there was only one man for the job as far as Rosemary was

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concerned – Owen Evans, who she had known since he was a child. ‘Owen does a lot of local work,’ says Rosemary, ‘so he was familiar with the style of property and the materials needed for an authentic renovation.’

Owen contacted a local specialist firm to supply bespoke oak framework, trusses and beams for the extension. ‘It was pouring with rain when we met Paul Edmonds from Welsh Oak Frame on site. He told me he could make the cottage into “a proper little gem”, and that’s exactly what he did!’ says Rosemary. ‘Three builders lived on site and put the whole oak framework together in just 10 days.’

The roof was insulated next, before the thatchers set to work. They worked tirelessly for five months, and the craftsmanship is clear to see. ‘The thatch is immaculate, one of the best thatched roofs in the area,’ says Rosemary proudly. ‘And it’s not just me who thinks that; most of the locals agree.

‘I did struggle to find traditional timber sash windows to suit the cottage,’ she adds. ‘Thankfully, Griff introduced me to Steven Thomas Joinery, who installed softwood double-glazed windows that finish off the exterior perfectly.’

As the cottage started to take shape, Rosemary decided to call in some expert help to choose furnishings and decor. ‘You can become weighed down with all the decisions you have to make, so having a designer on hand was great,’ says Rosemary, who chose to work with Kay Cullen at the Laura Ashley design service. ‘I’m a huge Laura Ashley fan and had worked with Kay previously at my Georgian house in Aberaeron, when we became such good friends,’ she adds. ‘Kay pulled the whole scheme together and did a spot of furniture upcycling for me, and we even went antique hunting together on her days off.’

With Kay’s input, the finished look is cool, calm and collected, and Rosemary is delighted with how it has turned out. ‘Seeing the cottage finished at the end of a very long journey is such a joy and achievement,’ she says. ‘I love spending time here.

The name Soar Cottage actually originates from a story in the Old Testament. It means a place of sanctuary – and that’s exactly what it is to me.’

THE STORY Owner Rosemary Pugh lives here. She used to help her late-husband Eryl on their farm and now manages Soar Cottage as an occasional holiday let (visit cottages.com for details) Property A two-bedroom thatched cottage in Ceredigion, mid-Wales. The traditional rural Welsh long house was built in the early 1800s as a farmer’s cottage What she did Rosemary transformed the former cow shed and piggery into an open-plan kitchen-diner and added an oak-frame conservatory and a small extension for a master en suite

Welsh Long House

Right: Rosemary selected pale blue Shaker-style units from Sheraton teamed with granite worktops from West Wales Marble & Granite. A butler’s sink and Elise range cooker suit the traditional farmhouse look.

Carpenter Arthur Davies built the cooker hood, wooden plate rack and moveable trolley island, which conceals pull-out recycling bins from Simple Human. The island is painted in Farrow & Ball’s Rectory Red with an oak worktop from Steven Thomas Joinery. The Welsh slate floor tiles are from Mandarin Stone and the glass pendants are from Jim Lawrence, fitted by Rhidian Evans, who masterminded all the electrics Below right: Vintage jelly moulds, recipe books and coastalinspired china make a pretty display on this peg shelf from Providence UK in Cambridge.

The lobster serving plate is from Laura Ashley Below: The back of the house, which reveals the new oak-frame garden room extension

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Above: The bread oven in the fireplace was replaced with a wood-burning stove from Arcade Stoves. The large oak beam was a gift to Rosemary from Welsh Oak Frame Left: Classic country coastal styling in the living room, with a Lynden fabric snuggler, Burlington leather chair in Vintage, Elliot footstool in Harley Dark Sea Spray, Nigella cushions in Hedgerow, and Roman blinds in Wesley linen, all from Laura Ashley. The seascapes above the sofa are by local artist Stephen Yardley Right: Rosemary made a feature of the exposed open rafters and the cruck frame of the original cottage in the garden room. The framework and oak trusses were made bespoke by Welsh Oak Frame.

The Padstow two-seater sofa, Cambridge plain-back chair, Abinger tripod floor lamp, and rug are all from Laura Ashley, with an antique blanket box from a shop in Narbeth used as a coffee table 70 Period Living

Welsh Long House

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Left: The master bedroom features an exposed stone wall, renovated by Karl Angel. A super-king-size bed with upholstered headboard adds a touch of luxury with lidded baskets used as bedside tables. Rosemary inherited the pine blanket box from her aunt. The Houghton bed frame in Eloise is from Laura Ashley.

Carpenter Arthur Davies fitted the Havwood wide oak plank flooring Below: The guest bathroom, fitted by local plumber Wyn Thomas, includes a marble-top vanity unit, wash basin and tap, all from Laura Ashley, and bespoke blinds in the company’s Pussy Willow fabric. The Welsh slate floor tiles are from Mandarin Stone and the bathroom lights are from Holloways of Ludlow

Left: A former old tin shed that had walls black from soot, has been transformed into a spacious master en suite. The fixtures and fittings are from Ceredigion Plumbing Supplies, the tiles are from Mandarin Stone and the lights are from Holloways of Ludlow. Kay arranged for Rosemary’s antique side table to be recycled into a wash stand. West Wales Marble & Granite drilled through the marble top for holes for the plumbing waste, and the basin is from Mandarin Stone. The galvanised steel bucket and plant stand are from Carmarthen Antiques 72 Period Living

GRAPHIC REDESIGN Alexandre Liaume’s London apartment came with a colourful past, so he gave it a bright new look to let history shine through Words Heather Dixon | Photographs Matt Clayton | Styling Janine Shalan

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City Apartment

The open-plan living area brings in light from both sides of the building, creating a sense of space in this compact home. Alexandre gave the existing Smallbone limed oak kitchen units a new look with a coat of Wishing Well paint from Dulux. He bought the table from a pine shop and the Ercol chairs are from Start Space. For a similar jam jar pendant light, try The Workshop Below Period Living 75

Above left: The apartment is in a converted Victorian workshop in east London Above middle and right: Alexandre turned an underused roof terrace into a stylish outdoor space. A mix of Ikea furniture, a French table and chairs, and antique accessories fill the sun trap, with its trellis for climbers and ladder of herbs. The flooring is overturned decking Below: A new staircase was built and fitted by Stairbox. Alexandre chose to reveal the original bricks to reflect the building’s industrial past

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City Apartment THE STORY Owner Interior designer Alexandre Liaume lives here (alexandreinteriors.com) Property A two-bedroom duplex apartment in a former artisan workshop, built in 1880, near Bethnal Green, east London What he did Alexandre has rewired, replumbed, installed a new bathroom and staircase, added sound insulation, laid new floors and decorated

E FOLLOW US ON INSTAGRAM @period_living for more homes inspiration and style ideas

very so often Alexandre Liaume opens his front door to find people dressed in leather jackets picnicking across the road or taking selfies on the doorstep. Very occasionally a guitarist serenades him from the street or someone peers through the letterbox. Luckily, though, these incidents are rare and Alexandre takes it all in his stride. It’s the legacy of living in an apartment once rented by The Libertines’ frontman Pete Doherty.

‘It adds to the history and character of the place,’ Alexandre says. ‘Some things, like the kitchen units, haven’t changed since he lived here between 2001 and 2003, but most of it is completely different. When I moved in three years ago, I made a lot of changes. I wanted to make it mine.’

The 80m2 apartment was dark, very cluttered and not particularly well laid out. The bathroom was directly off the main living area and a heavy spiral staircase led to two bedrooms upstairs.

Having already refurbished a tiny two-bedroom flat, Alexandre was confident that the move into a larger, unmodernised property, in a trendier area of east London, would pay dividends. ‘It was a lifestyle move,’ he says. ‘There is an amazing flower market two minutes away and loads of artisan workshops, antiques shops and a strong community atmosphere. The fact that the apartment needed lots of work didn’t bother me.’

Alexandre knew, just by looking at the agent’s photographs, how he would change and update the apartment. He would move the bathroom upstairs, turn the old bathroom into a guest room/office/ music room, and make every inch of space count in the compact property. He moved in after a long purchase process and got a builder to strip out the bathroom so he could set up camp in there as the rest of the apartment was renovated around him.

‘For the first month I had to shower at friends’ houses, and use a ladder to get to the loo because the previous owner had taken the spiral staircase and it took me a while to replace it,’ he says.

As a designer, Alexandre is used to seeing the bigger picture, however, and during the five-month

renovation project he replaced the carpeted floors with various types of wooden alternatives, designed the new bathroom to include a whirlpool bath and hammam, and had the staircase made and fitted to his own measurements. ‘It was scary, but it saved me a fortune doing it this way,’ he says.

He also had all the plaster removed on the stairwell to expose the original multicoloured workshop bricks, and turned a cluttered rooftop terrace into a chic outdoor living area with sofas, upturned decking, table and chairs, and planting.

Alexandre’s style is influenced by his French roots, his passion for English vintage and antique furniture, and a love of graphic art. ‘I grew up in an architect-designed house with wooden floors and white walls, but I have always liked using colour to bring warmth and depth to a place,’ he says. ‘Against the advice of others, I decorated the main living area in dark blue and then introduced lots of textural layers, patterns and contrast to create a home. I wanted it to be comfortable and welcoming. A place I want to spend time in.’

Alexandre has maximised the limited space, adding shelves in alcoves and over doorways, linking the outdoor terrace to the inside, and creating multi-use living areas. The open staircase and narrow, French-style doors between rooms – which are often left open – take the eye from one area to another to create a sense of light and space.

The finished look soon led to requests for help from friends and colleagues, and Alexandre has now made the leap from digital product management to interior design, retraining and transferring his skills to work on commercial and private projects with his company Alexandre Interiors.

‘It was always a passion of mine - right from being a boy of 10 wanting to redesign my bedroom,’ he says. ‘A home is about the atmosphere you create that is very personal to you. I didn’t want to spend money unnecessarily in my own place because I had to be realistic with the budget. So I kept the 20-year-old kitchen, which is very good quality, and simply painted it. I also shopped around for ages to find an affordable staircase. I had to get all the measurements absolutely right for it to fit, but it has worked out brilliantly.’

Alexandre’s one extravagance is his spa bath, but he has managed to create a sense of luxury throughout his apartment by filling it with furniture and things that are precious to him. ‘My home is the place I look forward to returning to, where I relax and unwind, surrounded by things I love,’ he says. ‘That’s what makes it my home.’

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City Apartment

Left: The sofa from Parisian brand Roche Bobois is one of Alexandre’s favourite pieces of furniture and inspired the striking wall colour, Fired Earth’s Andaman Sea. Jean-Paul Gaultier cushions and mixed wooden furniture from antiques shops, charity shops and auctions, create contrasting tones, while the mirror bounces light back into the room; for similar, try Rough Old Glass. For a similar pendant light, try The Chandelier & Mirror Company Above: ‘I wanted to create a sociable, convivial atmosphere, so I was really pleased to find this corner bar at an auction,’ says Alexandre. ‘It doesn’t dominate the room yet it’s quirky and fun, and is a great place for storing wine’ Right: The old bathroom became Alexandre’s living space while the apartment was being renovated and is now a multipurpose room containing an office, mini library, music area, and even a sofa-bed for guests

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Above and left: Bold contrasting colours create a striking look in Alexandre’s comfortable and eclectic bedroom. The John Lewis bed features a burnt-orange headboard made by an upholsterer neighbour to match a throw which came from Alexandre’s family. He painted the wall with Little Greene’s Woad paint and added a Hans J Wegner-style chair from Private Floor and a Moresque cocktail chair from Anthropologie, plus an antique bureau. The shutters are from Shutterly Fabulous. Moroccan Bazaar sells similar pendant lights Below: Alexandre wanted to create an exotic, relaxing Moroccan theme in the bathroom, with lush planting and mosaic tiles. He fixed floor boards to the wall and created a planter, then used an Ikea kitchen cabinet and a Corian worktop for the vanity unit. Panaget steamed Robinia natural boards are used for the wall and flooring.

Zellige tiles from Habibi Interiors reflect the lush planting

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REBUILDING THE PAST

Julie Scott and Jim Hall had one very good reason to pour their hearts and souls into renovating this idyllic rural farmhouse – the property had been in Jim’s family for years Words John Seven | Photographs John Gruen

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New England Farmhouse

This picture-perfect home in Alford, Massachusetts, includes timber-frame sections that date back to the 1700s. The house has been extended several times since the mid-1800s, but owners Julie and Jim decided to knock down many of these rough additions, which were in bad condition, and replace them with new areas that better complement the original part of the house. They added an open walkway between the house and the old barn

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I

THE STORY Owners Julie Scott, an illustrator, and Jim Hall, an electrical engineer Property A 1700s farmhouse in Alford, Berkshire County, Massachusetts, USA, which has been extended and improved over the years What they did Julie and Jim renovated the farmhouse, replacing rickety outbuildings with work studios and entertaining spaces, and also added a new kitchen extension

magine a classic New England setting, and a town like Alford is exactly what comes to mind. With its distinguished homes amid picturesque, natural surroundings, Alford embodies a venerable past at peace with an ever-changing present.

Jim Hall and Julie Scott live in a house that fits nicely into this picture. At 230 years old, the property has seen its share of changes through the centuries. It’s not the same house as it was in the 1700s: there have been frequent alterations to fit the times and the needs of the owners. ‘It was like every 50 years there was something added on,’ says Julie. That’s a tradition the couple have continued, expanding and perfecting the house’s physical space, while honouring its history.

It is a history with a strong personal connection for Jim, who grew up spending summers there with his family. It was originally bought by his great-aunt and uncle in the 1940s, then in the 1950s Jim’s grandparents bought it as their summer and retirement home because they had become involved in the area’s thriving amateur dramatic scene. ‘They moved up here because it was cheap, easy to get to, and beautiful,’ says Jim. Jim and Julie moved into the house with their daughter in 1997, and immediately began making changes. The oldest part of the house served as a centre for the renovations to come, with its solid, barn-like timber frame. Many of the previous add-ons had been done on a budget, simply laid on top of stone with no foundations. They were so unstable that when the modern renovations began, one of the old additions literally crumbled to dust with dry rot. The couple’s plans involved removing the precarious additions and replacing them with new, sturdy structures in keeping with the house’s historical ambiance. ‘It is a modest little farmhouse, and the goal was not to mess it up or try to make it into something it’s not,’ says Jim. The work included relocating the kitchen and stairway into the newly built extension, and repurposing those original spaces for a different use, including a bar. Eventually, an extra storey was added to the extension, for an office and bedrooms, and another add-on was rebuilt as

84 Period Living

a granny flat. The original attic in the old house was transformed into a bedroom for the couple’s daughter. ‘My grandfather and I shared that room when I was a child,’ recalls Jim. As much of the original material from the house as possible was salvaged and used in creating the new spaces. The sink base from the old kitchen is now in a toilet, and the original living room floorboards and some of Jim’s grandparents’ furniture are still in evidence. When something couldn’t be salvaged, the couple sought out appropriate replacements from reclamation yards.

It wasn’t until a couple of years ago that Jim and Julie shifted their renovation sights to the old barn at the back of the house, which they were using as a chicken coop. One night, a bear burst into it and destroyed one side to get to the chickens. Where some might see wreckage, Jim and Julie saw opportunity. So, soon after having the barn dated to pre-1820, thanks to its rare, hand-hewn beams, the couple began a complete rebuild. The remaining chickens were relocated to a friend’s farm.

No alterations would be quite as crucial as moving the barn six feet away from the house.

‘The barn used to crowd the house,’ remembers Jim. ‘Now it’s at a good distance and it feels right.

We were able to put that little breezeway connector between the house and the barn.’

The main section of the barn includes both new and old boards and cladding, although all of the beams are original. With expansive doorways on either side and a deck at the back, the three-season barn has become a multipurpose space, perfect for entertaining. The completion party last spring featured a jazz band, and Jim and Julie hold foraging dinner parties, where guests forage for wild food and bring it back to cook and eat.

The barn is also a creative workspace for Julie, with the main area roomy enough to hold a monotype press and an enclosed, heated studio at the back. Downstairs, where once was a dark, wet area with troughs for animals, is now a music studio for Jim, with his guitar collection and a space for jamming. Next to that is an outdoor shower inspired by those they saw on Martha’s Vineyard.

The property has come a long way since the days before Jim’s family owned the house. Back then it belonged to a woman named Mrs Place, who is still remembered by some in Alford. ‘She had a potbelly stove, there was no running water or electricity, and there was a tiled water cistern that collected water off the roof,’ Jim explains. ‘She lived alone, and ran a reading room. The village blacksmith was across the street, and people would bring their horse to be shod and come to the reading room.’

Mrs Place might not recognise her former abode, but she would surely approve. ‘The goal was to take the old farmhouse and keep it like a farmhouse,’ says Jim, ‘and I think we’ve pulled it off.’

New England Farmhouse

Clockwise from above left: This attractive porch was added on in 1850 and retained when the house was renovated; Julie and Jim; the entrance hall doubles as a boot room. For a similar painted settle, try The Cotswold Company; the staircase was repositioned slightly to make space for a downstairs toilet, while the living room was once a public reading room

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New England Farmhouse

Above: Jim and Julie relocated the kitchen to a newly built extension, but were keen to give it an unfitted, farmhouse look in keeping with the rest of the house. They opted for a Lacanche range cooker Above left: Open shelves of storage jars and colourful crockery are classic choices for this New England kitchen Left: The couple salvaged many of the fixtures and fittings from the original kitchen and sourced others – including this unusual sink – from reclamation yards to add authenticity Opposite: Tongue-and-groove panelling combined with soft cream walls and graceful pendant lights work well in a country kitchen. Lakeland Paints’ Hickory is a similar shade to that used for the walls. Designers Guild’s Bluebell is a good match for the island and cupboard paint. For a similar chandelier, try Jim Lawrence, and for industrial-style pendants, try Cox & Cox

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New England Farmhouse

Above: The original living room of the house, with a fireplace installed in the 1940s, was previously a reading room open to the public. Much of the furniture in this room originally belonged to Jim’s grandparents, so has been in the house since the 1950s Right: This relaxed sunroom at the front of the house is joined onto the living room Opposite: The new kitchen includes this small dining area, where Julie and Jim eat when they are not hosting larger gatherings in the barn. The couple had the foresight to include a built-in window seat in their plans for the kitchen extension – it’s a handy extra perch for the dining table and to sit at while browsing recipe books

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New England Farmhouse

Above left: With uninterrupted views of the surrounding woodland through undressed windows, the guest room is a calm, quiet sanctuary. The chair was Jim’s grandmother’s Above: A second guest room in the extension doubles as a study, with an old mahogany bureau that, like the side table in the hall, once belonged to Jim’s grandparents Left: Pale hues and soft voile drapes grace the attic bedroom, and a part-glazed door lets light into the hallway

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Julie and Jim rescued the charming 200-year-old barn from the brink of dereliction, repositioning it six feet further away from the house to create a space that is perfect for live music parties, but also serves as Julie’s drawing studio. There is a small office at the back and a new downstairs music studio for Jim. The couple make the most of the barn’s generous proportions with a long dining table and plenty of space for 12 diners or more. The couple have paired an elegant antique dining table with garden chairs, but the unusual combination works well in this all-weather area. For similar chairs, try Bridgman, and for similar industrial-style lighting, try Skinflint

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Advertorial Left: These beautiful stickback Windsor chairs in a Golden Oak finish cost £394 for the side chair and £523 for the armchair Far left: The Washburn river table, with a glass centre, is available in any size, as a coffee table (shown), an occasional table or even a large dining table.

From £2,400

THROUGH THE GENER ATIONS From top: Miles applies Batheaston’s signature Rye finish to a Yeoman’s chair; Sam cuts out a Windsor chair fret; Julie gives a dining set its final polish; youngest team member Bowyn helps to mark out seats

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Discover Batheaston, a small family business in the Yorkshire Dales that has spent 60 years perfecting the art of handcrafting bespoke furniture

B

atheaston has become a name to trust and a sure sign that a piece of furniture has been made to last, with no compromise and an unprecedented attention to detail.

Starting at the beginning of the process, the Gill family carefully select their oak and ash trees from sustainable woodlands, making sure they are the highest quality. Then, using traditional methods and techniques handed down through the generations, they begin to mould the wood into treasured heirlooms of the future.

Batheaston specialises in oak tables and cabinets that can be made to measure to suit all tastes and fit specific spaces, catered to your individual needs. In addition to fixed tops, extendable tables are a handy space-saving option for occasional entertaining.

The backbone of the family business is the distinctive Windsor chair and its many different styles – a timeless classic that brings an elegance all of its own and is essentially the finishing touch to any room, whether positioned around the table or at the fireside.

As well as producing the definitive pieces for which the Gill family are renowned, Batheaston is also constantly working on new designs and ideas. Recent additions to the range include the sought-after Washburn river table and Yeoman’s armchair.

A large selection of wood finishes are available to choose from and samples can be sent to you. New furniture can also be colour matched to existing items you may already have.

Visit batheaston.co.uk to find the right piece of furniture for you, or call 01943 880622 to speak to Miles, Julie or Sam – the furniture makers themselves. You can also see ‘Batheaston Bespoke Furniture’ being made on Instagram and Facebook.

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20

The TH CENTURY Antiques Roadshow specialist Marc Allum looks at the most innovative century in history, and explains how to emulate aspects of mid-century modern style in your own home

T

he pace of technological innovation has generally, over the centuries, been a fairly predictable, gradual slope on a graph. Then, a little more than a hundred years ago, it headed upwards at a near vertical angle and at unparalleled speed. In essence, most of what we consider technologically important happened in just a few generations. As a result, the 20th century is a particularly difficult period to encapsulate in an article about furniture and style because it begins in a different age – the end of the Victorian period – albeit an age of great strides, too.

The century goes on to transition exponentially through some of the most incredible advances in material innovation and invention that humankind 98 Period Living

has ever seen, giving us an astonishing breadth of styles from which to choose. We can marvel over the fact that within the lifetime of our grandparents, humanity has developed flight and atomic power, landed on the moon, invented computers, cloning, smartphones, and genetically modified crops… It is mind-boggling.

Moving to mid-century So, how does one define 20th-century style?

In answer, you can’t; it’s too varied. But what is possible, is to study various facets of a heavily loaded 20th-century palette that incorporates movements such as Art Nouveau, Postmodernism and Art Deco, and arrive at a liveable look that is largely based on the concept of a sometimes overused phrase - mid-century modern: an evolutionary movement born out of those that ➤

Photographs (fabrics) © Robin & Lucienne Day Foundation/(Helix) collection of Jill A Wiltse and H Kirk Brown III, Denver, (bottom left) Bruce Hemming, (top) Brent Darby

YOUR ANTIQUE HOME

Antiques

Clockwise from opposite: Helix furnishing fabric, an abstract design by Lucienne Day for Heal’s Fabrics, 1970; Ercol seating meets 17th-century simplicity in this cottage living room; sunburst clock at Nuffield Place, Oxfordshire, the 20th-century home of William Morris, motor manufacturer, from 1933 (nationaltrust.org.uk); Lucienne Day’s 1953 Dandelion Clocks fabric design; Ladderax brochure c.1971; 1960s Scandart chairs and a Danish PS System wall unit add a retro vibe to this home; one of Marc’s favourite coffee table books of the 1970s Period Living 99

Antiques preceded it while constantly influencing those that have followed it.

The roots of ‘mid-century’ design lie in the burgeoning post-war American market, but the parameters of the style are often broadened to take in pre-war design stemming from modernism and Art Deco and including up to the 1970s and even 1980s. Experimentation with new materials, many developed for use during the two world wars, saw a blossoming of more radical and innovative ideas that challenged the conventional notions of form and function. Industrial materials, such as tubular metal and plywood, entered the domestic market, although ‘high design’, particularly in a materials-poor post-war society, was still regarded as an elite discipline. With the best will in the world, the concept of an idealistically driven, egalitarian and mass-market doctrine was severely hampered by post-war austerity. The result was, in effect, a watered down version of high design, re-engineered for the working man. As the British government levelled the Victorian terraces of our badly bombed cities with the promise of a bright new future, indoor toilets, bathrooms with hot running water and kitchens with melamine worktops started to become the norm.

British design

Photographs (bottom) © Geffrye Museum/ Chris Ridley, (right) © Robin and Lucienne Day Foundation

This was the ‘brave new world’ of a very British form of interior design showcased in the 1951 Festival of Britain, a national celebration of all that was good about British design, technology, art and society at large. The hub of the festival was on London’s South Bank and its message was clear: that Britain could recover from the war and blossom into a modern, contemporary nation, fuelled by a new boldness of design and colour.

Millions of people visited the festival and its satellite events, and it was a major success.

There is much in the current world of design that harks back to the strong patterns and Sputnik-inspired modernity of the post-war period. This reinvention of patterns and designs by luminaries such as Lucienne and Robin Day, has led to a resurgence in interest in their original work, but has also fuelled a boom in the vintage markets, with people looking to mix a variety of original material with modern reinterpretations.

This works well within the marketplace, allowing people to buy from auction and the trade, effectively mixing and matching material that is not always readily available from the period. The ‘retro’ markets are vibrant and easy to tap into so getting the look can be less expensive than you might imagine. Items from the mid-range and lower end of the 1950s, 1960s and 1970s markets ➤ Below: This open-plan, living/dining room at the Geffrye Museum, London, is based on that of a typical townhouse of 1965. The Geffrye is now closed until spring 2020 for a transformational redevelopment (geffrye-museum.org.uk) Right: Calix screen-printed fabric designed by Lucienne Day for Heal’s, 1951. This groundbreaking design, with its stylised plant motifs and combination of earthy and acid colours, was closely allied to the work of contemporary painters and sculptors such as Miró and Klee.

Many retro fabric designs have been reinterpreted for today’s market

➤

Period Living 101

can be purchased and sometimes refinished and reupholstered to give them an uplift, commonly called ‘upcycling’.

Mixing and matching Perhaps one of the greatest inspirational resources we have is the plethora of printed material from the period, particularly sales brochures for furniture companies, such as G-Plan and Ladderax. One of my favourite coffee table books of the era, House and Garden Modern Furniture and Decoration (Collins/Condé Nast 1971), is a stimulating insight into how post-war interiors melded a mixture of contemporary design, architectural innovation, art and antiques.

Of course, our indigenous production also borrowed heavily from internationally renowned designers, and the Scandinavian look that we are all so fond of was copied and echoed by companies here, too – although not always with such panache!

When I was a boy, my parents favoured Habitat and we also owned teak items made by Remploy, a company set up in 1944 as a Welfare to Work provider for people with disabilities.

Furniture was just one of the many areas in which the company operated, and interesting examples of period pieces, such as coffee tables and dining suites, can be readily purchased at reasonable prices.

As well as the largely more affordable generic, anonymous and unattributable pieces that circulate in the marketplace, owning a named piece can make a desirable

From top: Adjustable Avalon teak Ladderax display unit, c.1960, £425, The Old Cinema; Fresco sideboard designed by Victor Wilkins for G-Plan in the 1950s, £1,695, Pamono; mid-century Remploy trolley with two hinged flaps to make a table top, £295, 1stdibs 102 Period Living

but considerable difference to your potential budget. I can cite a recent example of an uncatalogued 1960s sideboard by Merrow Associates that surfaced in a local auction.

It made almost £2,000 on a very small estimate and my chance of a bargain quickly evaporated as the power of the internet came to bear. The company, set up in the 1950s by Richard Young, quickly gained a reputation for well-made and stylishly simple furniture fashioned from exotic veneers and chromium-plated frames. Most was retailed in outlets such as Heal’s and Harrods. Values have risen dramatically over the past 10 years and the supply is also finite. Coffee tables start at around £400 and drinks trolleys at around £500; dining tables can be several thousand. However, as in many areas of the post-war design market, some woods are now subject to CITES permits and this should be considered when purchasing.

Accessorising can be one of the most rewarding areas.

Interestingly, sales brochures of the post-war period often feature a mixture of modern ornaments with ‘heirlooms’, although Victorian objects mixed in with 1970s ceramics can look quite incongruous, and not something we tend to favour in current modern interiors. Yet, interior design is all about living the way that you want to live, and pushing the boundaries is also part of the fun.

So whichever epoch you draw from, remember: there are no rules. In fact, the 20th century broke them all!

Clockwise from far left: 1950s Danish two-seater sofa, £1,772, 1stdibs; teak bureau by Remploy, £149, Vinterior; Italian lounge chair, c.1960, £595, The Old Cinema; Merrow Associates rosewood and chrome desk, £2,800, 1stdibs

ON THE ANTIQUES TRAIL The world heritage site of Bath is famous for its elegant Georgian architecture and Roman Baths, but also an established set of antiques dealers, fairs and specialist independents that make it an unrivalled shopping destination

History in brief Founded in the 1st century AD by the Romans, who transformed the natural hot springs into a thermal spa, the Temple of Sulis Minerva and the baths complex remain at the heart of the city’s development and are counted among some of the most important Roman remains. During the Middle Ages the city became a centre for the wool industry, but in the 18th century it developed into an elegant spa town. The Georgian honeycoloured architecture reflects the work of John Wood Senior, Ralph Allen and Richard ‘Beau’ Nash, whose combined influence shaped Bath into one of the most stunning European cities.

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Antiques dealers insider’s guide Here we list a few of the local dealers where you will find everything from 18th-, 19thand 20th-century furniture to silver, textiles, books, quirky European finds and lighting.

BEAU NASH Home to a plethora of beautiful silver objects, this attractive Georgian store is run by antique silver specialist Duncan Campbell – a BBC Antiques Roadshow expert with over 30 years’ experience – and Ronald Pringle, a decorative antiques specialist. ‘The buyers of small silver collectibles have nearly all gone away: today it is all about functionality and aesthetics.

Pieces are displayed among 20th century, mid-century modern furniture and decorative accessories to create a lifestyle feel, and are sold for everyday use and enjoyment, rather than investment,’ says Duncan.

Favourite recent find? ‘A silver copy of a Burmese monk’s begging bowl, made in 1890.

The detail was exquisite and like nothing I have ever seen before. Sadly, the skill in India for making such pieces does not exist anymore and you would not be able to find this again for love nor money.’

Why Bath? ‘It feels like you are on holiday 365 days a year.

We are located in the heart of the stunning city, yet it is only a 10-minute walk to find beautiful open countryside.’ beaunashbath.com

ANTIQUE TEXTILES AND LIGHTING Owned by Joanna Proops, who has been dealing in antique textiles for over 50 years, the museum-like shop is bursting with an enormous variety of stock and is famous with interior designers, worldwide collectors and those who share a love for antique textiles and lighting. ➤

Feature Ali Heath Map illustration Sarah Overs

T

he unique city of Bath, set in rolling Somerset countryside in the south-west of England, is a popular destination with weekend visitors. Historically, the town was regarded as a pivotal antiques hub outside of London, but the effects of 9/11, with fewer Americans travelling to the UK to buy antiques, and the changing face of the high street have all had an impact on the number of specialist dealers in the city. Today, those that survive have to work harder and diversify to combat the impact of increased online trade and a decline in collectors.

Antiques

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Find exquisite collections of 18th- and 19th-century textiles: linens, silks and brocades. This is a shop driven by pure passion and a wealth of knowledge.

Favourite recent find? ‘I fell in love with a very special piece of tapestry, handmade in the early 20th century at The Royal School of Needlework. It was a rare find, depicting the tree of life and hundreds of sample stitches.’ antiquesofbath.com

THE FIG STORE Owned and run by Madeleine Loker, this lifestyle store sells decorative antique furniture and home accessories with a focus on a pared-back, modern rustic style. Find time-worn English painted linen presses, armoires, sideboards and French dining tables alongside carved wooden panels from India, handmade flax combs and large dough bowls. The pretty courtyard garden café is also home to an interesting array of antique garden furniture, planters and beautiful plants.

Favourite recent find? ‘An amazing panelled haberdashery counter from Eastern Europe.

The original paint and patina were very special.’

Why Bath? ‘I love the wealth of independent stores and dealers off the beaten track – they make the city what it is.’ thefigstore.com

BATH OLD BOOKS A specialist bookshop located in the heart of the city and renowned for collections on architecture, art, literature, travel and children’s books.

Established nearly 30 years ago, the two-storey shop, crammed full of antique tomes, is run by five dealers co-operatively, who provide a friendly, informed, service that includes book finding and valuations.

Favourite recent find? ‘A copy of Oliver Twist by Charles Dickens, which had a piece of shrapnel embedded in it, from 106 Period Living

a Zeppelin attack on London during World War I.’

PENCIL TREE Find mid-century and vintage furniture, restored vintage lighting and modern artworks in this shop that was established in 2014 at the east end of Bath’s artisan corner. Owners Paul and Kirstie Jackson source the likes of classic Danish sideboards, Vico Magistretti Artemide chairs, Eames finds, displayed alongside contemporary art by Paul.

There is also a tiny holiday let at the back of the shop that mirrors the couple’s aesthetic.

Favourite recent find? ‘A beautiful Danish tambour corner cocktail cabinet, with black mirrored interior. It was very groovy!’ penciltree.co.uk

OLD BANK ANTIQUES CENTRE An antiques centre with five established dealers, supplying antiques and decorative items to the public and high-profile dealers. Find English, rustic Spanish and continental country furniture, and 20th-century pieces along with ceramics, glass, textiles, gardenalia and decorative objects.

Favourite recent find? ‘A Spanish 1950s, 7ft wooden carving of a religious figure wearing gold hot pants. It went off to London in a convertible sports car!’ oldbankantiquescentre.com

THE ANTIQUE MAP SHOP Trading for over 32 years, Dave Gardner specialises in antique maps, town plans, sea-charts and other engravings from the 16th to early 20th century, with many original works.

Favourite recent find? ‘A stunning copperplate engraved map of England and Wales by Ortelius/Saxton, which was printed circa 1603 on handmade paper, with fine hand colouring and watermark.’ dg-maps.com

THE BEST OF THE REST INDEPENDENTS Bath Guildhall Market - quaint, old-fashioned indoor market (bathguildhallmarket.co.uk) Etons of Bath - interior design showroom (etonsofbath.com) Haliden - antique oriental carpets and collectable tribal weaves (haliden.com) Homefront Interiors - new, handmade and vintage homeware and textiles (homefrontinteriors.co.uk) Looking Glass of Bath – 35-year-old mirror shop (lookingglassofbath.com) My Small World Toy Store - award-winning toyshop (mysmallworld.co.uk) 19 Queen Square - Georgian townhouse to rent for stays (luxurycotswoldrentals.co.uk) The Bath Bun - traditional tea room with origins dating back to 1761 (thebathbun.com) Tallulah Rose Flower School - flower school with courses for beginners to experienced florists (tallulahroseflowers.com) The Foodie Bugle - groceries, provisions, artisan homeware, gardenware and tearoom (thefoodiebugle.com) The Piano Shop - over 100 pianos on display for all abilities (thepianoshopbath.co.uk) Topping and Company - independent bookshop (toppingbooks.co.uk) VV Rouleaux -luxury ribbons and trimmings (vvrouleaux.com)

DIARY DATES Bath Vintage and Antiques Market The last Sunday of the month at Green Park. (vintageandantiques.co.uk) Bath Saturday Fleamarket Held on Walcot Street, this weekly market is seen as a little Portobello of the West.

Bruton Decorative Antiques Fair 19-21 Oct (brutondecor ativeantiquesfair.co.uk) Bath Decorative Antiques Fair 7-10 March 2019 (bathdecorativeantiques fair.co.uk)

Lit tl e Do you dream of

relaxing in a statement freestanding tub, but only have limited space in your bathroom? This stunning Tubby Torre Dee bath, new from The Albion Bath Company, is an ideal solution. Its shorter-than-average (166cm) but deep design has a back edge that sits flush against the wall, making it highly space efficient. The exterior can be finished in any Farrow & Ball or Dulux colour, or you can opt for burnished metallic or even polished pewter (shown) for a mirror-finish coating.

From £2,650.

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To see more of the latest baths, turn to page 113

CRAFTED ELEGANCE

HOUSE journal

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

DRESSED TO IMPRESS A kitchen dresser not only provides practical storage space, but is a classic statement piece.

Indigo’s Plank single cupboard top dresser, from £1,359, is handcrafted from slow-growing Quebec pine at the company’s Peak District workshop.

The artisan makers use age-old methods to create a beautiful, period-inspired design, which offers a choice of knobs or handles.

Traditional blacksmith Nigel Tyas Ironwork has worked with ceramicist Sarah Jones-Morris on its latest handmade Mickleden wall light, priced £165. The charming design features a decorative wroughtiron backplate and a slender tapered arm, complemented by a delicate hand-rolled porcelain shade with a lacy imprint pattern that’s revealed when the light shines through. It also has adjustable brass fittings that enable the head to be repositioned.

CABANA STYLE Mixing playful patterns with a sophisticated monochrome palette, Gemini Tiles’ new Cuban collection of decorative porcelain tiles features four distinctive designs: Star, Block, Sky and Ornate. Use just one pattern to create a beautiful bathroom or conservatory floor, or mix and match to make a statement splashback in the kitchen. W22.5xL22.5cm, the tiles are priced £49.99 per m2.

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

ur caps olo C Meet Painthouse, ul

SOPHISTICATED SURFACES Delivering the feel and appearance of natural stone, the Radianz Quartz Gold Canyon Grey worktop, from £150 per m2, is both scratch and heat resistant.

Ensuring a superior finish that lasts for years to come, Radianz Quartz is extremely durable and has a high density, non-porous composition.

From stunning marbleeffect designs to eyecatching dark and light surfaces, Radianz has over 30 materials to choose from to achieve your desired interior scheme.

SOLID CAST Bert & May has teamed up with British maker Kast to create the new handmade Rho concrete basin.

Available in five natural shades, Crimson (shown), Brighton Stone, Mandarin, Limestone and Old Iron, the simple lines and handcrafted ‘imperfect’ character result in a unique yet practical basin, £1,473.

Q

We own an old cob cottage in Devon and need to carry out repairs to the walls – what formula should we use?

I’d suggest a mix comprising soil from the original source, otherwise one with matching constituents. Straw remains an important ingredient, but cow dung, which was often incorporated historically, can be omitted.

Other additives are sometimes included, depending on local practice. Lime has been incorporated in recent times but is now avoided because of the unsuitably strong mix produced. Reconstituted earth from the building being repaired can be used unless it is contaminated, for instance, by vegetation.

Fresh straw will be needed and, where required, the mix can be modified by the addition of aggregates at one end of the scale or clay at the other. It is sometimes worth having the salvaged material analysed first.

Q

Our original stone flooring is flaking and chipped. What do you suggest we do to restore it?

Your most feasible option would be to simply dress back loose material where the stones are flaking, although laminations in limestone can sometimes be repaired by conservators using injections of lime-based grout. Take care to minimise damage from vacuum cleaners. Suitable matting can lessen further deterioration. Where there is heavy erosion, you may be able to lift and reverse stones to avoid replacing them. While any deep holes or chipped edges can be filled with hydraulic lime mortar, ongoing maintenance is likely to be required. Renewing part of a stone with matching new material is usually preferable to wholesale replacement.

Q The Listed Property Owners’ Club will be providing access to a host of experts and support at the Scottish Listed Property Show, at the Assembly Rooms in Edinburgh on Saturday 27 October. Tickets are £10 in advance at lpoc.co.uk, or £15 on the door 110 Period Living

My old leaded light windows are leaking – what can be done to stop the water from coming in?

Establish first that leakage rather than condensation is the source and that it doesn’t indicate an underlying problem. Leaks are sometimes addressed by repairing joints that have opened between glazed panels or around the window perimeter. Often leaks develop between the glass and cames due to decomposition of the glazier’s cement (traditionally a mix of linseed oil, whiting and other ingredients). Successful regeneration of the old cement in situ can be achieved by brushing on several applications of a 50:50 boiled linseed oil: turpentine mix.

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

es

a new non-toxic, odourless paint brand, which has launched a collection of 72 colours in just one formula. Priced from £18 for 750ml, the paint works on walls, ceilings and wood, providing excellent coverage in all interior environments. To make it easier to choose a shade, colours are divided into six ‘style capsules’ – Brights, Luxe, Fresh, Pastels, Naturals and Neutrals – and you can even sample your choice on a painted peg doll for £1.

Advertorial Left: Crown’s Period Collection contains 48 classic colours that are perfect for a traditional home, from £23 for 2.5ltrs of flat matt, and from £17.50 for 750ml of eggshell Below: Flagon is an inviting green that won’t overpower a Victorian home – match it to wood and metalwork for a modern touch Bottom: Sunday School is a sophisticated stone grey that works beautifully in a smart Georgian interior

TIMELESS COLOURS Whether you crave strong pigmented walls or a more muted paint palette, Crown’s Period Collection offers a range of enduring shades that suit any style of home

D

ecorating offers the perfect chance to express your style, create your own space and put a personal stamp on your home. Crown wants to inspire homeowners to experiment with colour, but understands this isn’t just about painting bold feature walls.

Crown has been helping the nation to make their mark on their homes since 1777, so the team know which colours have successfully stood the test of time. Everything they have learned over the years has been put into the Period Collection to create an enduring line-up of elegant shades that will never date.

This collection is for the home enthusiast who wants to embrace a classic interior style, with a soft and sophisticated palette. With 48 subtle and muted shades in a flat matt finish, the colours will suit any style of home ‘Having an unbroken soft and greyed – and all shades are ‘breatheasy’, colour over the walls, as well as the Crown’s unique formulation, which is 99 per cent solvent free, with wood and metalwork, creates a truly lower emissions, making it kinder restrained and sophisticated look’ to the environment.

Colour doesn’t have to mean loud, Judy Smith, Crown colour consultant and this collection is a step away from traditionally bold colours. Don’t forget about your skirting boards, doors and even radiators, as they all contribute to the overall scheme – with 10 shades available in this collection in a low-sheen eggshell finish suitable for wood and metal, you can match your woodwork and radiators to your walls to create a contemporary, streamlined effect.

To explore the range, for inspiration and advice from Crown’s colour consultants, how-to videos, and to order matchpot samples (with free delivery), simply visit crownpaints.co.uk.

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Shopping

From left: Camden cast-iron, roll-top bath in yellow, £4,163, CP Hart; Arcade Albany natural stone bath, £3,999, Burlington Bathrooms; Marseille Stannum copper bateau bath, £4,421, The Cast Iron Bath Company

MAKING From left: Drayton volcanic limestone slipper bath, £2,920, West One Bathrooms; The Tyne copper bath with nickel interior, £5,940, Drummonds; Porto Santo cast-iron, double-ended bateau bath, painted in Pantone Serenity with cast-iron feet, £2,150, Heritage Bathrooms

A SPLASH From left: Holborn Kilnsey acrylic single-ended bath in Dusty Grey, £845, Frontline Bathrooms; Amiata Quarrycast double-ended bath in Anthracite, from £3,430, Victoria + Albert Baths; Draycott cast-iron bath customised in Greenery with Decò feet, £3,573, Devon & Devon

Feature Sophie Warren-Smith

Who doesn’t long to luxuriate in a roll-top bath after a long day?

Here are our favourite designs to suit a period property

From left: Bateau bath with verdigris exterior and polished copper interior, from £4,699, William Holland; Leighton polymarble roll-top bath, £2,599, Thomas Crapper; Cameo cast-iron slipper bath, £1,995, The Hurlingham Bath Company Period Living 113

Window Treatments

12

ideas for dressing windows

Feature Michelle Guy

From beautiful, draped curtains to pretty pleated Roman blinds, pick a window treatment that is functional and fabulous

An extra layer Large windows and doors flood a room with light, but can be draughty in older properties. Floor-to-ceiling curtains are great draught excluders if you opt for heavy lined fabrics that hang well. Clarke & Clarke’s Oriental Garden range features bold geometric prints, like the Bhutan design in Denim, £25 per metre, used to make curtains for these charming French doors. ➤ Period Living 115

Mix and match Below: Go bold and experiment with contrasting colours to make a statement with your window dressings. Pick a fabric that matches the accent colour of accessories rather than the main room shade, which will add impact while tying the look together. The mustard hues in this bedroom have been picked up in these floor-to-ceiling Java Pair lined eyelet curtains, from £80 for H137xW167cm at John Lewis. Mix with sheer fabric roller blinds to balance the look.

Botanical beauty Right: Window seats are wonderfully inviting and provide a great opportunity to create a stunning focal point using a mix of fabrics. Floral and nature-inspired prints in a palette of apple green, taupe and terracotta in the Parchment Fern fabric used for this Roman blind, £21.50 per metre from Iliv’s Sketchbook collection, beautifully link the room to the garden. It has been paired with a plain window seat cover in Kendal fabric in Willow, £30 per metre, and a mix of cushions to create a gorgeous place to retreat.

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Window Treatments

Patterned pleats Right: Roman blinds come in different styles, so think about the overall look and feel you want to create. Hobbled Roman blinds are made using dowels so you get a neat pleated look when pulled up. Heavy fabrics like wool work well with this style, such as this Legacy, Broadway design in Mustard, £53.95 per metre from Moon.

Flexible friends Left: Tier-on-tier shutters are similar to full-height café-style designs, but with two sets of panels sitting top and bottom you have the flexibility to operate them separately, giving greater control over the level of light and privacy. These hardwood shutters, which cost from £397 per square metre at Apollo Blinds, are bi-fold opening for enhanced versatility.

Soft touch Left: A cool palette of greens, duck egg blues and creams gives a nod to the water’s edge and so works well in bathrooms.

The combination of blind and curtains in contrasting patterns delicately frames the window in this scheme by Sanderson, and doesn’t overpower the room.

The curtains are made from Seashore in River Mist, £49 per metre; the blind is in Nest Egg in Eggshell/Ivory, £56 per metre; and the panel is in Estuary Birds in Blue/Grey, £56 per metre. ➤

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Window Treatments Going green Right: Looking for a solution that is both sustainable and stylish?

Bright, bold and made from a blend of natural fibres, these vibrant green upcycled silk Brunei blinds from Stitched are made from a mix of wool, flax and recycled silk, creating a soft, luxurious material. They are milled in the UK so have a low carbon footprint and are produced with zero landfill.

The material features a geometric dobby weave coupled with a classic three-tone tweed effect, and is available in eight vivid colours. Made-to-measure blinds start from £50 per metre.

Easy update Below: Adding window film to glass is a quick and simple DIY project. A great alternative to curtains or blinds, it adds colour, makes a statement and aids privacy all at once. This Violetta window film from Purlfrost is a beautiful design that is a modern take on stained glass. You apply it with soapy water and the tool is provided with your order. Prices start from £11.50 for a H50xW25cm section of frosted film. ➤

Light and dark Above: Controlling light and privacy in one go is made easy with the Day and Night Enlight roller blind from Hillarys. These striking blinds combine Venetian and roller in one with a combination of opaque and translucent horizontal stripes. Using the cord you can align the stripes with spaces between to allow light in, and close them up at night or if you want some privacy - ideal if you are overlooked or have a street-facing room. Pictured in Diffuse Denim, prices start from £142 for H76xW61cm (includes measuring and fitting).

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Colour pop Above: Roller blinds are a quick, affordable and easy way to add a burst of colour to your scheme.

You can use contrasting colours or colour match your decor, like this cerise Gala Divine roller blind from English Blinds, which has been paired with the kitchen cabinets. Mould resistant and waterproof, the plain-coloured blind costs £37.98 for an average sized window of H120xW120cm.

Shaped shutters Right: Portholes, arches or triangles – don’t be perturbed by your unusually shaped window.

Custom-made shutters can be the perfect solution.

They can be individually designed to fit any shape, are versatile and add style to your statement window. These Pure White shutters with 64mm louvre and centre tilt rod start from £310 per square metre at Just Shutters, including design, fitting and lifetime guarantee.

Climate control Left: Cool rooms in summer and warm in winter – that is the ideal. These Duette energysaving blinds have a honeycomb structure that traps air inside to help retain heat, as well as a special fabric coating that reflects heat. They are perfect for a conservatory, which is often a tricky room to keep at the right temperature. The blinds can be custom-made to fit your conservatory roof and windows, and you can pick from a palette of pastels, earthy tones or vivid brights. You can even choose to operate the blinds from a phone or tablet. Prices are on application.

120 Period Living

Fires and Stoves

Arada’s new Farringdon wood-burner has a large viewing glass, offers long burn times, and is available in a range of seven colours. Shown in Atlantic, prices start from £1,245 for a small

FAN OF FLAMES Create a cosy atmosphere and warm up your living space with a charming open fire or centrepiece stove

Above: Contura’s new 810L wood-burner is small enough to fit into an existing fireplace opening, yet can heat large spaces of up to 90m2. From £1,450, the classic design features a large glass door Below: The Paragon One Evolution open gas fire has an impressive 4.4kW heat output and over 63 per cent efficiency.

Shown here with the Aylesbury limestone surround, prices on application, Charlton & Jenrick ➤

Feature Ife Adedeji

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Left: Combining beauty and top functionality, Morsø’s 04 multi-fuel stove has been designed with a large glass panel with an airwash system to provide clear views of the flames.

From £975

Right: With a traditional cast-iron hood and angled glass door, the Elmdale wood-burning stove from ACR, from £1,895, is the perfect mix of modern and traditional, and works well in inglenooks

Esse’s new Bakeheart 5kW wood-burning stove can be combined with a domestic boiler to provide hot water, while an integrated hob and oven mean you can cook with it, too.

From £2,600

or many people, the first thing that comes to mind when conjuring up an image of a cosy, inviting home, is a warm log fire burning and the soft crackling sound of embers being formed. ‘The focal point in any living room should always be the fireplace – traditionally this was the centre of social activity in a space,’ says Emma Page, founder of The Victorian Emporium.

‘Draw the eye with furniture and accessories: arrange a sofa on either side of the fireplace, with a coffee table between them, and side tables with lamps. Add a mirror above the mantelpiece, some treasured possessions such as candelabras and vases, and you’ve got your living room design.’

F

WHAT’S THE DIFFERENCE BETWEEN FIRES AND STOVES?

A traditional open fire is enclosed by a stone or brick chimney, which has an internal flue that allows smoke to escape outside. It also has a hearth, to protect the floor, a grate, on which the fuel is burned, and a surround. People tend to have an open fire for the visual appeal alone, as around 80 per cent of the heat produced is simply lost up the chimney.

A stove contains the fire in an enclosed unit, with the air input controlled, making it a much more efficient system for heating a space – some models boast over 80 per cent efficiency. Stoves can be freestanding, with dual-sided designs a popular 124 Period Living

Left: Chesneys’ Chichester Portland stone surround, £9,540, is an 18th-century design finished with moulded dog leg jambs, acanthus frieze and corniced shelf. Shown here with the Osterley steel fire basket, priced £2,712

choice for open-plan spaces, or inset within a fireplace. To remove the smoke and gases, a stove needs to be connected to a flue, which may be housed in an existing chimney or left exposed, adding a contemporary design element.

To maximise the performance of your stove, invest in a model featuring Cleanburn technology.

This means an additional supply of air is introduced above the fire, allowing the gases and ash to be re-burnt, therefore producing more heat using the same amount of fuel, and reducing emissions.

Bear in mind that if you live in one of Britain’s many smoke control areas, you will be restricted to burning authorised smokeless fuels, such as anthracite coal or wood, on a Defra-approved stove. Contact your local council to find out.

WHICH FUEL IS BEST? Originally, timber was the

fuel of choice for fireplaces, before coal came widely into use during the Victorian era, then gas and electricity in the 20th century. Today, timber is highly desirable, and is considered a more sustainable, eco-friendly option. It is available in different forms, most commonly logs and pellets.

‘It is important that you buy timber with less than 20 per cent moisture content, or it will burn less cleanly, leading to higher emissions,’ explains Vicky Naylor, general manager at ACR Stoves. ➤

Fires and Stoves

Above: With its compact design and heat output of 4kw, Charnwood’s Cove multi-fuel stove is perfect for small rooms and can even be installed without an air vent. Available from Ludlow Stoves, prices start from £1,218

Right: With its strong lines and wide view of the flames, Aga’s Hanwood wood-burner adds a stunning contemporary twist. It has an efficiency of over 80 per cent and is also approved for use in smoke control areas.

Priced £1,675

Above: The cast-iron Regal fireplace insert is a Georgian design available in a polished (shown) or ashpan black finish. £492, The Victorian Emporium

Left: Capital Fires’ Winterfold timber mantel in Blenheim Grey has a classic look with a warmer feel than stone.

Shown with a Leagrave black cast insert, solid-fuel fire and honed granite slabbed hearth, expect to pay around £1,076 for the complete set

The Parkray Consort 15 multi-fuel stove, from £1,339 at Hunter Stoves, features double doors, offers a high heat output, and also has water heating capabilities

Period Living 125

Right: The ideal addition for safety and for creating a finished look, this fireguard, from £325 at Garden Requisites, will suit any period-style fireplace

Right: Carved entirely from marble, Percy Doughty’s Aversa mantel is influenced by early Georgian designs, paying close attention to lines and proportions to create a strong yet elegant frame. Shown here with the Belvedere hob and plate, prices start from £2,123

Right: Gazco’s Riva2 600HL gas fire features an Echoflame black glass lining, to show off the flames to their best. Priced £2,195, shown here with the Victorian corbel mantel in Antique White Marble

Above: The Clearview Solution 400 is an efficient clean-burning wood stove with a heat output of up to 5kW, making it ideal for smaller rooms. It is priced £1,662

‘Look for wood with the Ready to Burn logo, a new initiative from Woodsure, as this guarantees your wood has less than 20 per cent moisture.’

Freshly cut logs, which have a higher moisture content, are cheaper to buy than ‘seasoned’ wood, but they need to be dried out for up to two years before they are burned. You will therefore need to have a large, dry space in which to store them.

If you don’t want the inconvenience of storing fuel or cleaning out the fire or stove after each use, then gas is ideal. The better quality designs look just as good as the ‘real’ thing, and gas offers the added convenience of being switched on or off instantly.

WHAT HEAT OUTPUT DO I NEED? A stove can be used to heat an individual room and possibly adjacent rooms. A heating engineer will be able to help you perform a heat loss calculation so that you can accurately choose the kilowatt output required to provide a comfortable level of warmth in the space.

Some stoves are capable of supplying wholehouse domestic heating and hot water if they feature a back boiler, or have the capacity for one to be added later on. These models can also make you eligible to earn cashback for seven years from the government’s Renewable Heat Incentive (RHI) scheme; find out more at energysavingtrust.org.uk.

126 Period Living

WILL MY CHIMNEY BE SUITABLE? If you’re planning on

installing a new fireplace or reinstating an existing design, it’s essential that you seek advice to ensure your chimney is sound. If the original lining has disintegrated then it’s possible that the integrity of the chimney has been breached, allowing harmful gases, such as carbon monoxide, to leak into your home. A reputable supplier can recommend the best course of action, which typically involves relining the chimney with a flexible flue liner.

IS THERE ANY MAINTENANCE? Depending on the fuel

and appliance type, HETAS recommends that you have your chimney swept at least once a year – search its online database at hetas.co.uk to find a chimney sweep in your area. In addition, a stove or fire will need to be cleaned regularly to keep it in good condition. To sweep away ash and wipe off soot, use a brush and a dry, lint-free cloth.

WHICH SURROUND STYLE IS BEST? It is important to choose a design in keeping with the era of your property. If you live in a Georgian house, a stone or marble surround will most suit the original style, whereas Edwardian and Victorian houses would traditionally feature a cast-iron insert and the surround could be timber, stone or marble.

Renovation

Mouldings Ranging from the highly embellished and intricate to the relatively plain and simple, mouldings provide proportion and scale to interiors and are important to maintain Feature Roger Hunt, author of Old House Handbook s well as their aesthetic value, helping to define period styles and the status of homes, or even individual rooms, most mouldings fulfil practical purposes, too.

Skirting boards protect the foot of walls, and dado rails were originally fitted to stop the backs of chairs scraping surface finishes. Other mouldings are used to conceal the junction between two surfaces or materials; for example, a coving or cornice neatens the meeting of ceiling and wall, an architrave covers the uneven gap between door or window frames and the plaster surrounding them, while a ceiling rose tidies the area around the mounting of a light fitting.

A

Repairing and overhauling Most mouldings are formed either of timber or plaster, although some were created using papiermâché. When undertaking renovation or repair work, try to avoid removing mouldings as plasterwork easily crumbles, and timber splits and chips. Where removal is necessary, photograph, number and note the position of all sections so that they can be correctly returned later. Mouldings were often made up of various pieces to create the desired size and look. They were also sometimes composed of a combination of materials, so it is important to try to understand how the mouldings were formed before starting renovation work.

Illustration Sarah Overs

Timber Mouldings were fashioned from both softwood and hardwood, nailed either directly onto the masonry or into wooden plugs or battens – known as ‘grounds’ – embedded in the wall. Where timber mouldings must be removed, gently tap an old chisel under the edge then, using a block of wood to provide leverage, gently prise the moulding away from the wall. Take care not to damage the face of the timber while removing the nails. Screws and wall plugs are ideal to use when replacing items.

New lengths of mouldings are available from DIY stores, timber yards and specialist suppliers. Some merchants will machine new lengths to match

original mouldings, although this process can be expensive so it is important to order sufficient for the job. Another source is architectural salvage yards; it’s worth taking a section of what you are trying to match when searching.

Plaster Plaster detailing can be fragile and great care should be taken during building and repair work to protect it. Ceiling decorations, in particular, are vulnerable to vibrations, so may need to be supported. The way plaster mouldings were made varied: originally items like cornices were ‘run’ in situ with further ornamentation added separately in the form of ‘enrichments’ cast in moulds. Later, fibrous plaster was used. This is formed from plaster, hessian and timber laths, which meant that items could be cast on a bench, with the prefabricated sections subsequently fixed in place.

Minor damage may be repaired with a proprietary filler, while plaster of Paris is ideal for larger repairs. However, plasterwork requires considerable skill so it is advisable to employ a craftsperson where significant or intricate work is required. Some fibrous plaster mouldings are readily available to replace missing sections and a number of companies will reproduce plasterwork using moulds taken from existing items. ➤ Period Living 129

Top: Each era in history has its distinctive styles of decorative mouldings.

Egg and dart designs – a quarter circle section of convex shape – were often found on late-Georgian cornices and dado rails Middle: Popular Arts and Crafts motifs depicting flora and fauna influenced frieze designs in many Victorian homes Bottom: Fibrous plaster brackets were used to embellish some of the interior archways in Edwardian homes and were often a feature in halls

Status and proportion The most ornate mouldings in a home are found in the areas seen by visitors, such as hallways and sitting rooms, as these were designed to impress.

By contrast, where rooms were only used by the household, mouldings tended to be far plainer, with those in basements and servants’ quarters being the simplest of all.

The status of rooms is important to remember when renovating a house, as elaborate reproduction mouldings introduced into informal areas can seem out of place. It is also worth remembering that adding mouldings where none would have existed can upset the proportions of a room. Removing original mouldings can have a similar effect.

It is always worth looking for any telltale signs that might indicate where mouldings were used.

For example, when wallpaper is stripped away, patched nail holes or parallel lines of paint on the original plaster may reveal the position of long-lost picture and dado rails.

Maintenance checklist l l l l l

Clean dust and dirt from crevices in mouldings Remove accumulated layers of paint Look for rot or insect attack Refix loose sections Repair missing pieces or areas of damage

Useful contacts

Dealing with paint

ON THE WEB For a step-bystep project on removing paint build-up from old mouldings, visit realhomes.com/ period-living

130 Period Living

Much of the detail and beauty of a moulding may be lost due to accumulated coats of paint added over the years. Paint removal requires care and is a time-consuming process; it is important to test stripping techniques on a small area first.

Wire brushes and other abrasive methods should never be used. Plaster and wood are often successfully stripped using chemical removers and peel-off poultice systems. The careful use of a steam wallpaper stripper may help strip paint from plasterwork, while hot-air guns work well with timber mouldings – although it is important to avoid scorching the wood or allowing scrapers to dig in. Paint lodged in fine detail can often be dislodged with a toothbrush and toothpick.

New paint should then be applied in thin layers, while taking great care not to let it clog the indentations of the moulding.

ATKEY & COMPANY – portfolio of period joinery mouldings. Tel: 01934 806883; atkeyandco.com THE BROOKING NATIONAL COLLECTION – research resource with wide range of moulding examples.

Tel: 01483 274203; thebrookingcollection.org BUTCHER PLASTERWORKS – specialist in fibrous plastering, will match and restore. Tel: 020 8830 1928; butcherplasterworks.com ILLINGWORTH INGHAM – machined timber profiles.

Tel: 0161 872 1841; iitimber.com PERIOD MOULDINGS – Georgian to contemporary timber mouldings. Tel: 01765 640314; periodmouldings.co.uk RICHARD BURBIDGE – architectural timber mouldings. Tel: 01691 678300; richardburbidge.com STEVENSONS OF NORWICH – makes, restores and installs decorative plaster mouldings. Tel: 01603 400824; stevensons-of-norwich.co.uk STRIPPERS PAINT REMOVERS – specialist paint removal without damaging surfaces. Tel: 01787 371524; stripperspaintremovers.com VICTORIAN SOCIETY – interior mouldings guide.

Tel: 020 8994 1019; victoriansociety.org.uk WRP TIMBER MOULDINGS – range of timber profiles.

Tel: 01799 543887; wrp-timber-mouldings.co.uk

Eclectic E

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A passion for salvaging and reusing interesting items led Andrea and John Newton to change careers and follow their dream of running a reclamation yard in rural Cheshire Words Karen Bray | Photographs Jeremy Phillips

132 Period Living

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ive years ago, husband and wife team Andrea and John Newton left behind successful careers in golf to take over Beeston Reclamation – and they haven’t looked back. Set in a sprawling four-acre site in Beeston, Cheshire, the yard has an idyllic rural location between two hills, with a canal and railway to one side where steam trains often pass by, including the Flying Scotsman. There is even an original signal box just by the entrance.

The yard had been open for many years before the couple bought it in 2013 and has an interesting history. ‘The hill behind the showrooms originally housed fuel tanks for the war and the showrooms were the pump houses, one still having all the original glazed bricks inside,’ explains Andrea.

‘The house at the top of the yard was used for offices in the war, but built to look like a residential property so that it wouldn’t be targeted.’

Running a reclamation business was a major change for them both. Andrea was previously a golf manager at a championship club and John worked on the European Tour with professional golfer Darren Clarke, among others. Life on the road had started to take its toll on John, and Andrea felt she was ready for a new challenge. ‘Reclamation has always been a passion for us, so when the chance came to run a yard, we grabbed it with both hands,’ she says. ‘So many people come here and say they wish they owned it – we feel very privileged.’

There are many reasons why the couple were so attracted to the reclamation business, one of the ➤

Reclamation

Clockwise from opposite top: Andrea and John Newton with the team; the well-stocked yard features an unusual mix of chimney pots, architectural salvage and reclaimed building materials; with a fabulous view of the hills beyond you will also find garden statuary, gates and railings in the yard; an array of ridge tiles and wall copings; original cast-iron street signs; the rural location has a canal situated to one side Period Living 133

Right: Andrea and John in the main showroom with an eclectic range of items including vintage packing trunks, decorative ornaments and industrial lights – all watched over by a life-size statue of Dracula Opposite top, left to right: A cast-iron vanity unity from Eaton Hall that was recently hired for BBC’s Peaky Blinders; some colourful cast-iron radiators with a mirror above made from a reclaimed window; these original prison door bolts were from Oldham Town Hall

main ones being that it is more eco-friendly than buying new. ‘We are becoming a throwaway society and we feel strongly that it is far better to reuse than dispose of,’ says Andrea. ‘If you are restoring a period home then reclaimed products will be more in keeping and will have aged, ensuring they blend better with the existing property.’

Value and quality are equally important to the couple. ‘Most antiques increase or at least hold their value, are well built and made to last. Also, more often than not you will find something a little different – you are not going to go to your neighbour’s house and see the same item, so you can really express your own individual taste.’

The couple run the yard with a small team, including yard manager, Dale, who has worked there since he was 15. ‘There are just five of us as we prefer to offer a personal service,’ says Andrea.

Beyond supplying quality, reclaimed products, their aim is to make the experience an enjoyable one for customers. ‘It can be quite daunting going to a reclamation yard for the first time to look for, say, a brick match, as there are so many variations on type, size and colour. People are often excited about their new project, but don’t know where to start, so that is where we can step in and guide them through the different types,’ says Andrea.

‘We like to source a wide variety of items for people to choose from and try not to categorise ourselves into one area. Everyone has different ideas and expectations, and we like to surprise them with an eclectic range of products.’

They pride themselves on being a one-stop shop, as not only could you build your dream house from 134 Period Living

all the reclaimed building products – including bricks, oak beams, Yorkstone, setts and quarry tiles – but also landscape your garden and then furnish the interior from all the interesting pieces they stock. ‘We have everything from beautiful country house-style furniture to industrial upcycled items,’ says Andrea.

The yard originally supplied mainly building products, but when Andrea and John took over, they felt the showrooms were underutilised and would lend themselves perfectly for displaying interior products and furniture. ‘We have a real love for antique items and anything different,’ explains Andrea. ‘It’s great to see a tired piece of furniture brought back to life after a little restoration and hopefully used for many years to come.’

The couple’s own favourite items include an apothecary cabinet that was reclaimed from the basement of an old chemist in Whitchurch, Cheshire. ‘Amazingly it still has all its original glass amber drawer knobs,’ says Andrea. ‘Some of the names on the drawers are intriguing, such as Rottenst.’ Another highlight is an original cast-iron vanity unit that was saved from Eaton Hall, in Cheshire, before it was demolished in the 1960s. ‘The detail is amazing – if you look closely at the taps the ends are tiny acorns,’ adds Andrea.

‘It has great history and was recently hired for the BBC television series Peaky Blinders.’

The couple also have a passion for upcycling, perhaps taking an old mangle and turning it into shelves, or exhausts from a Harrier Jump Jet engine and making them into a console table. ‘It’s always interesting to see the end result, says Andrea. ➤

Reclamation

Clockwise from above: Varied items in the showroom including a mirror made from an old church panel; a 1960s Bambi children’s ride; an apothecary cabinet with the original amber glass drawer knobs and labels

Period Living 135

Clockwise from top left: Andrea and Charlie in the main yard; reclaimed roof hip tiles; view outside the showroom, with the hill behind; reclaimed bricks; cast-iron window frames – perfect for period property restoration or upcycling into mirrors

from – all our bricks and setts are hand-picked, sorted and palleted.’

The couple don’t regret their change of career.

‘Every day is different,’ smiles Andrea. ‘You just never know what you are going to get asked for next. We work with so many different people and companies on different projects, from the general public, builders, landscapers, interior designers and shop fitters, to prop masters for television and films. Every project is exciting, whether it is a small or large; we love a challenge and we have a true passion for the items we sell.

There is a real satisfaction in seeing the end project, knowing that we’ve been able to help.’

01829 260299; beestonreclamation.co.uk

‘We recently acquired a prison cell door, which we have made into an amazing one-off table. It has the most incredible character.’

People often contact Beeston with items they are looking to sell. ‘Our building materials generally come from demolitions – it’s sad to see some of the lovely old buildings being knocked down to make way for modern developments, but if we can salvage some of the materials, then at least they can be put to good use rather than crushed and lost for ever,’ says Andrea. ‘We have a demolition company on our yard that concentrates on “demolishing to salvage”. In turn this gives us a wide variety of building products that are often hard to match and source. The reputation of the business is extremely important, so we are careful where we source items 136 Period Living

Andrea’s tips for sourcing reclaimed building materials l Ensure your builder is experienced in using reclaimed products. l Always examine reclaimed products and make sure that they are fit for purpose. l Research your products and ensure they are suitable for the end purpose. l Be aware of transportation, as many items, particularly building and landscaping materials, can be heavy and bulky. A good reclamation yard will usually be able to assist you with this. l Always buy from a reputable yard that know their products and where they have come from, so that you can buy with confidence and enjoy the experience.

TAKE A DIP Encourage feathered friends into your garden with this traditionally designed cast-iron bird bath, £35 from The Farthing. It has a painted oxidised finish and a weighted base for extra stability.

WATER SOURCE In the event of an Indian summer, make watering plants a breeze with this 10-litre powder-coated steel watering can, £40 from Garden Trading. Shown in Carbon, it has a large brass rose for easy pouring.

A SEAT FOR ALL SEASONS Made from powder-coated steel, the new Hunter green Mira chair, £249 from Nest.co.uk, will stand up to all weather conditions. Designed

by Mia Lagerman for Skagerak, the wire-meshed, stackable seat is also available with arm rests; perfect for taking from garden room to patio.

ON THE TILES

journal

Artist Rory Dobner is renowned for his quirky homeware, and his latest tile collection doesn’t disappoint.

Hand-decorated with intricate ink illustrations, the playful tiles, £38 each, span A-Z, 0-9 and punctuation marks. Why not use a selection to create a striking outdoor wall-art display?

Invest in pieces that will survive in the garden, whatever the weather, and bring the outdoors in

Feature Michelle Guy

Screen star Contemporary meets classic in decorative panel maker Stark & Greensmith’s new collaboration with the RHS. Inspired by images from the RHS Lindley Library, beautiful botanical designs are laser-cut onto recycled steel or powdercoated aluminium garden screens. Prices start from £388.

SOLO ACT Show off one flower or plant in all its glory in this personalised One Lab Pot wooden stand, £22.99 from Gettingpersonal. co.uk. Pair with the One Lab Pot, £18.99, to create a stunning display.

Period Living 139

EXPERT TIPS… CARING FOR HIPPEASTRUM BULBS Mick Lavelle, gardening expert and senior lecturer in horticulture at Writtle University College, offers seasonal advice October is the time of year when the large bulbs of hippeastrums appear in nurseries and garden centres. Often incorrectly called amaryllis, they are easy to grow and – given the right aftercare – will continue to perform for years to come.

EASY VINTAGE

oney ke h i l

Sw ee t

Add a charming yet practical touch to your outdoor table with this easy-to-clean vinyl lace tablecloth. Available in a number of colourways, including leaf green (pictured), light blue, grey and white, it is wipe clean and can be washed at 30 degrees. £35 at Printer+Tailor.

Head to the Taste of Autumn Food Festival at RHS Garden Hyde Hall, Chelmsford, Essex, between 6-7 October, to indulge in regional produce and enjoy the garden in seasonal colour.

Adults £10.35, children £5.

Champion the humble bumble with this hand-decorated fine bone china Bumble Bee wildlife botanical mug, £12.95 from Lola Design.

ON THE BOOKSHELF Root, Nurture, Grow is all about propagation – growing new plants from old. Authors Caro Langton and Rose Ray show you how to take cuttings, cultivate runners and divide plants at the root. There is even a ‘how to’ on making your own propagation chamber and other practical projects to better display your plants. Published by Hardie Grant Books on 18 October, £18.

140 Period Living

GET GOING In most cases, hippeastrum bulbs come as part of a ‘complete set’, including the pot and growing media. If you have just bought the bulb, though, use either John Innes No.2 or multipurpose compost. The pot should be just a little larger than the diameter of the bulb.

Don’t bury the bulb – two-thirds of it should remain above the surface.

POT IT Once potted, put it in a well-lit spot that ideally maintains a daytime temperature of around 21°C (70°F) and doesn’t dip below 16°C at night.

Water sparingly until the new leaves develop, and from then on, do so more regularly, aiming to keep the compost moist but not wet. Turning the pot regularly prevents the emerging flower stalk leaning towards the light. Bulbs should flower about six to eight weeks after planting, and can be planted from October right through until January.

KEEP ON CARING After flowering, cut down spent flower spikes to the base, but keep the leaves. Continue watering and apply a balanced liquid fertiliser weekly. The whole pot can be kept outside or in the greenhouse during the summer months, but during September, bring it inside again and let the plant gradually dry out. Cut back any yellowed leaves and place the pot in a cool place such as a shed or garage (light is not necessary at this stage) for one to two months.

Next October you can start it back into growth in exactly the same way that you did when it was newly potted.

Shopping Apple handpainted tile, hallmarked and signed by the artist, £16.48, Marlborough Tiles Purple cabbage flower stem, £10.50, Gisela Graham

Vintage square wooden bucket in green, £125, Rouge

Casa Domani Botanika Coupe mugs, £25 for set of four, Creative Tops Auburn threeleaves cushion, £10, Dunelm Indoor/outdoor Autumn Leaf porcelain floor tile, £21.45 per m2, Walls & Floors

Laurie fabric in Fern, from £40 per m, Iliv

Rabbit and Cabbage teatowel, £11.95, Annabel James

AUTUMNAL HARVEST As leaves begin to turn from green to gold, it is a sure sign that summer is over and autumn is upon us. Garden landscapes will gradually turn from fresh greens to hues of orange, gold and brown; hardy perennials will stand proud; and seasonal fruit and veg will flourish, ready for harvest in a few weeks. We’ve embraced the theme and pulled together a collection of practical and pretty pieces that will help you tidy, tend to and tame your autumn garden

Pumpkin plant notepad, £10, Redbubble

Pheasant wool throw, £79, Indigo & Rose

Ceramic Cabbage jug, £12, Paperchase Feature Michelle Guy

Cast-iron nine-litre fruit press, £150, Vigo Presses

Lidney Sussex trug, £72, Rowen & Wren

Large rustic seedling tray with pots, £25, Meeknest

Burgon & Ball RHS stainlesssteel hand fork, £11.99, Dobbies

Kent & Stowe digging spade, £17.99, Webbs

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144 Period Living

Gardens The characterful cottage sits at the top of the land overlooking the garden, and is set off by a small terrace with descending steps adorned with pots of gazanias and begonias, and planted beds of sedum, berberis, salvias, watsonia, hebe and erigeron. Once surrounded by thousands of trees, the gardens have gradually been cultivated into colourful areas of varied planting

TEXTURAL TAPESTRY Sweeps of prairie planting, architectural forms and vibrant combinations fill the garden landscape at Shalford House as the autumn reaches a crescendo of colours Words and photographs Leigh Clapp Period Living 145

T

he extensive gardens surrounding the characterful Shalford House, in Sussex, were covered in fir trees when Sir Vernon Ellis and his wife Lady Hazel moved here in 1991. ‘Most of the trees were dead two-thirds of the way up, there were overgrown chestnut coppices, but the garden had some nice features and, although I could see the challenges, it had potential,’ recalls Sir Vernon.

Although he has always nurtured an interest in gardening and plants, this was the largest garden Sir Vernon had tried to tackle. Set on a southfacing, steeply sloping site with a high water table, boggy areas and acidic, heavy Weald clay soil, there were indeed challenges to be met. After removing around 1,500 trees, the couple called in Surrey garden designer Sally Court to create the layout and planting plan. ‘It looked like a WWI battlefield when we removed the trees,’ Sir Vernon recalls, but

Above: Sir Vernon and Lady Ellis among the salvia collection Right: Planting is in layers with prunus, cornus, elaeagnus and tactile Hylotelephium spectabile (sedum, or ice plant) forming fringing clumps along the beds Opposite: Viewed through burgundy cotinus and berberis, trimmed topiary punctuates the lawn border that billows with crimson salvias and penstemons, along with deeper Hylotelephium spectabile ‘Autumn Joy’ and harmonising panicles of blue Aconitum napellus

146 Period Living

KEY FACTS Character A rambling country garden, with formal areas by the house, late-season borders and swathes of prairie-style planting Size 10 acres, which includes woodland, plus an additional 30-acre arboretum Aspect South-facing, steeply sloping site with a high water table Soil Boggy areas and acidic, heavy Weald clay soil Owners Sir Vernon and Lady Hazel Ellis, since 1991, who have developed the garden with the help of garden designer Sally Court (cgd-landscape-design.com) House Centuries-old farmhouse, reconfigured in the 1940s Open The garden is open for the National Gardens Scheme on selected dates (ngs.org.uk)

gradually, over time, and with the addition of copious amounts of new topsoil, the 10 acres have been cultivated on this picturesque hilly setting, backed with views to the surrounding woodland.

Flowing out from the house, stone paving adorned with seasonal containers now makes a welcoming alfresco dining area and viewing point over the garden. Sentinels of paired topiary bay trees, arctotis and begonias define the steps that lead down to an expansive lawn.

This verdant area is supported by a retaining wall and edged in deep herbaceous borders. In late summer through autumn, they billow with mauve asters, repeated clumps of crimson Sedum spectabile, dancing Japanese anemones, clusters of dahlias and a variety of rich-toned salvias – a particular favourite of Sir Vernon’s. ‘Inspired by a fine bed that we saw at Kew Gardens, we also ➤

Gardens

Period Living 147

have a dedicated border by the house of around 30 varieties of salvias,’ he explains.

The land then contours down, with an intersecting stream that was created to lead to an existing pond that was cleared and enlarged. Water is prevalent throughout the garden, from frequent springs to boggy areas; even the property’s water supply is drawn from a well, so that there is no need for mains water.

Beyond the grassy slope, you discover another paved level area with balustrades, called the opera terrace. Overlooking the woodland beyond, it echoes a balcony in the theatre. Appropriate, too, as Sir Vernon was Chairman of the English National Opera for many years and was knighted for his services to music in 2011.

Here, the planting, developed by head gardener James Stevenson who came to Shalford in 2004, is fittingly flamboyant. Architectural cannas, including the deep foliaged ‘Black Knight’ with its velvety red flowers, stripy ‘Durban’ and watermelon-pink-flowered ‘Iridiflora’ make striking statements. They are accompanied by Hedychium ‘Devon Cream’, zingy dahlias ‘Libretto’ and ‘Don Hill’, red spires of Salvia confertiflora, Crocosmia ‘Lucifer’, strappy phormiums, and exotic yuccas lending an almost tropical air. ‘James’ idea to use lots of hot colours is very vibrant and I think works well here,’ says Sir Vernon.

What also sets this garden apart is the largescale prairie planting that flows down one side of the sloping site, reaching its crescendo of texture and colour late in the autumn season. ‘Designed by

148 Period Living

nurserywoman Marina Christopher, the effect is based on the planting themes of Dutch garden designer Piet Oudolf, with huge drifts blending into one another,’ says James.

The shimmer of the palette of plants is quite mesmerising as you watch the interplay of light on spires of Persicaria amplexicaulis ‘Firetail’, Sanguisorba officinalis and Veronicastrum virginicum with daisy-shaped asters, heleniums and rudbeckias, against the parchment foil of the ornamental grasses, such as the atmospheric Miscanthus sinensis ‘Malepartus’ and feathery Calamagrostis x acutiflora ‘Karl Foerster’. Many of the plants have been selected because they thrive in the moist, rich acidic soil, including the beautiful Molinia caerulea subsp. caerulea ‘Variegata’, prolific Eupatorium maculatum ‘Purple Bush’, and the ethereal Thalictrum delavayi, along with ones that cope with sun or part shade in a range of soils, in particular the frothy Deschampsia cespitosa ‘Goldtau’.

At the base of the cultivated landscape is a small sunken garden room with bubbling individual water features, surrounded by ornamental grasses.

This sheltered, hidden spot is a veritable suntrap perfect for catching the rays of late summer sun, while enjoying the sound of the running water.

Sir Vernon and Lady Hazel clearly enjoy the garden as much as they can. ‘We like to relax, wander around, sit out on the main lawn or under the shade of the birch,’ says Sir Vernon. ‘It is lovely sitting with a glass of wine by the orangery, heated by the wall, drinking in the garden views.’ ➤

Gardens Clockwise from left: A small copse of silver birch shades the top pond; the summerhouse appears to rise out of the prairie planting; grass paths meander through the ornamental grasses, such as panicum, miscanthus, calamagrostis and long-flowering perennials; Japanese anemones waft in the breeze with Persicaria amplexicaulis ‘Firetail’

Period Living 149

Clockwise from left: A bench is placed to enjoy the arching sprays of the appropriately named fountain grass, pennisetum, which surrounds the small water feature; dainty mauve-blue symphyotrichum or Michaelmas daisies are brilliant for the autumn garden and combine strikingly with massed golden rudbeckias; nodding blooms of the prolific Rhodochiton atrosanguineus, or purple bell vine

TIPS FROM THE GARDENER l Follow the contours of the land and break up

the areas into doable projects. l Ensure each section flows and works together

for an overall look. l Use any natural water in a garden to create

ponds and waterfalls. l Even if your soil is damp you can create a prairie

effect with moisture-loving grasses and perennials. l Keep the colour going with an abundance of tough, reliable late-season plants.

IN THE AREA l Winkworth Arboretum, Godalming, Surrey

GU8 4AD. National Trust preserved woodland with glorious autumn colour from the Japanese, American and Norwegian maples. Open daily.

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Adults £8.10; children £4. Tel: 01483 208477; nationaltrust.org.uk/winkworth-arboretum l West Dean Gardens, West Dean, West Sussex PO18 0RX.Walled restored vegetable and fruit garden, woodland and Harold Peto garden.

Open February to December. Admission from £5.75. Tel: 01243 818210; westdean.org.uk/gardens l Parham House and Gardens, Pulborough, West Sussex RH20 4HS. Stunning perennial borders and gardens around an Elizabethan house. Open April to October. Adults £9, children £5. Tel: 01903 742 021; parhaminsussex.co.uk l Borde Hill Garden, Haywards Heath, West Sussex RH16 1XP. Historic garden with roses, woodland and an Italian garden. Open March to October.

Adults £8.55; children £5.70. Tel: 01444 450326; bordehill.co.uk

tockısts S A

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T

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V

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Xavier Project xavierproject.org

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Painthouse 020 7947 4127 painthouse.co.uk Pamono 0330 8080 485 pamono.co.uk Panaget panaget.com

Period Living 153

LOVE AMONG THE RUINS… … is a painting with many stories to tell. It was inspired by the Robert Browning poem of the same name, but also by painter Edward Burne-Jones’ failed romance with an artist’s model. Originally created in watercolour in the 1870s, the painting was damaged in a photographic studio so the distraught artist recreated the scene in oil on canvas in 1894, before eventually restoring his original watercolour in 1898, just weeks before his death. That watercolour will be one of 150 works in different media, including stained glass and tapestry, on show in the first major Burne-Jones retrospective to be held in London for over 40 years. A pioneer of the symbolist movement and the only Pre-Raphaelite to achieve worldwide recognition in his lifetime, Burne-Jones was one of the most influential British artists of the 19th century. Tate Britain, 24 October – 24 February 2019. Entry adults £18 (tate.org.uk).

170 Period Living

Image: Love Among the Ruins, watercolour, bodycolour and gum arabic on paper 96x52cm; private collection

In the Picture

9000

9021