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As we chat with interior designer Alice Leigh, she is fresh from completing a countryside project that perfectly matched her ethos and allowed her to enjoy every moment. A project full of handcrafted pieces is one that excites her. And a delicious mix of old and new, contemporary and antique is what stands out within Alice’s style. She has an eye for natural materials, bold shapes and local craftsmanship.
A huge fan of British crafts, Alice is a keen supporter of local talent. “I think the more we can support homegrown craft, the better. I’ve noticed a big movement in this direction, especially with Brexit, closely followed by the pandemic. Imports have become trickier over the last few years. Now is as good a time as any to be supporting our homegrown talent.”
Her considered designs are undisputed. So we wanted to know what makes Alice tick. A long soak, as it turns out, and a bronze sculpture she tracked down on her honeymoon. Read on...
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The last thing I bought and loved was a framed textile by the Marrakesh lifestyle company Lrance. I love finding new and interesting pieces, mixing and matching, commissioning special pieces too. Getting to know the artist makes the process so much more meaningful.
The place that means a lot to me is where I grew up in North Wales.
The best souvenir I’ve brought home is a bronze sculpture from our honeymoon in Mauritius - they were sitting on tables in the restaurant and we tracked down the local artist.
The best books I’ve read in the past year are the Paper Palace by Miranda Cowley Heller and ‘If in doubt wash your hair’ by Anya Hindmarch - a brilliant guide to juggling work and family life!
The podcast I’m listening to is My Life in Seven Charms by Annoushka Ducas. Annoushka is a jeweller and in the podcast she talks to inspiring women about collecting charms. She explores their unique ability to evoke memory and meaning.
In my fridge, you’ll always find chutney - it goes on everything!
Some of my best ideas have come while I’m in the bath. My bathroom is my favourite room in my house – I take baths very seriously!
The thing I couldn’t do without is my ear pods – and much to my children’s amusement, I lose them on a daily basis!
The moment that changed everything for me was getting my first job in Design with Lavinia Dargie (Dargie Lewis Designs) and staying for 10 years.
An indulgence I would never forgo is a good coat to hide a multitude of sins underneath, especially in a hurry on a school run.
The last piece of clothing I added to my wardrobe was a beautiful linen dress from Wiggy Kit.
My favourite building is Somerset House in London.
I am excited to see more earthy terracotta colours and natural hues being used in design projects. They can look really wonderful in limewashed paint finishes. The company Bauwerk specialises in these natural limewashed finishes, which react with the air on application to create wonderful matt, stone-like results which look amazing.
I am inspired by the V&A! I find it jam-packed with inspiration. I’m also lucky to live close to the Design Centre at Chelsea Harbour and they have a fantastic programme called ‘Conversation in Design’ where I always pick up top tips. Living in London, I get very inspired from just walking amongst old buildings that have a foot in the past and the future. I love to see how decorative details stand the test of time and how modern craftsmanship can continue that story.
My favourite Lorfords Antiques piece is currently a Swedish Flatweave Rug by Ingegerd Silow. I love a mid-century Swedish flatweave rug - their patterns and colours are always so adaptable to many a room.
I keep coming back to the Lorfords Contemporary Elmstead Sofa. I am a huge fan of it, I love their style and comfort. I recently placed two of these in a reception room of a very elegant stucco-fronted London Townhouse and covered them in a lovely teal wool from Tissus D'Helene.
(The Elmstead Sofa from Lorfords Contemporary. Alice Leigh Design. Image by Rachel Smith)
One of my favourite sustainable materials is rattan. It's hugely sustainable and there are a few wonderful suppliers championing the craft in the UK. It works well in both traditional and contemporary projects adding both character and timelessness to a room. One of my absolute rules is to include antique and salvaged items that are not only sustainable, they add a sense of authenticity to a project.
An indulgence I would never forgo is a good coat to hide a multitude of sins underneath, especially in a hurry on a school run.
The best advice I’ve ever received is don’t sweat the small stuff.
(Alice Leigh Design | Images: Jonathan Bond)
For more information on Alice Leigh, please visit her website.
To read more interior design articles, please see our interview with Sims Hilditch here.
No point in British history had such a profound and lasting impact on furniture design as the Georgian period. Let's take a closer look at this towering legacy.
Georgian England
The Georgian period counts for over a century of English history. Four consecutive George’s were on the throne, and it was a time of relative stability.
Beginning with George I and ending with George IV, Georgian England encompassed a wide range of design styles. The enduring legacy, however, is one of sturdy and high-quality furniture that exudes elegance.
There’s a certain vitality to the Georgian period, reflected in its furniture and other antiques. Democracy was growing and it was a time of relative peace and prosperity. This was the era when games tables came to the fore, and interiors revolved around entertaining. Grand homes, such as Chiswick House, needed furnishings for entertaining guests for days at a time. Pieces had to be functional, but also on-trend, and cabinet-makers delivered to that brief.
The ‘early Georgian’ period refers to the reigns of George I and George II. Under George I, the elegant furniture of Queen Anne continued, whilst Rococo style flourished under George II.
The ‘late Georgian’ period correlates with George III, who reigned from 1760 to 1820. This was the heyday of Chippendale, Hepplewhite and Sheraton and neoclassicism took off. George IV, as Prince Regent, reigned on behalf of his father for the last nine years before taking over as King.
George IV pioneered the well-known Regency style. Our previous blog explored the Regency in-depth, so we will focus on the prior period in this article.
The mahogany revolution
Georgian furniture did not just make use of mahogany as a material- the timber dictated design in this period. This exotic wood was not a new discovery; designers had long admired it and used it for the finest of pieces.
The timber of choice up until this point was walnut, but several factors side-lined it in favour of mahogany. England had been heavily reliant on France for importing walnut, until France banned its export in 1720. Shortly after, in 1721, Sir Robert Walpole as British Prime Minister lifted the tax on mahogany.
Thus, the mahogany revolution began, offering an indispensable resource to the cabinet-makers of the 18th Century. The timber was sourced mostly from Jamaica at first, and then Honduras.
This wood was durable and tough, with a very fine grain that resisted scratches and bumps. Mahogany blended seamlessly with ornament and lent itself well to the elegance that defined this period of furniture design.
Mahogany wasn't the only exotic timber coveted in this period; designers also exalted the boldly striped figuring of rosewood and satinwood.
The Georgian protagonists
Both the excellence of furniture in this period as well as its varying styles are down to the master cabinet-makers of Georgian England.
The Georgian period saw a growth of the middle and lower upper class in England. This created a thirst for possessions and furniture, which provided a strong market for the cabinet-maker. And what an era for cabinet-making it was!
Chippendale's era
Thomas Chippendale was the first on the Georgian furniture scene in London, the centre of high society. Entrepreneurial by nature, he is widely regarded as one of the finest furniture designers in English history. In 1754, he found some fame with The Gentleman and Cabinet- Maker's Dictionary. With numerous reprints and editions, this pattern book was sourced by fellow cabinet-makers, architects and noble gentleman.
Chippendale was a man who found inspiration and wonder in everything he saw. He drew upon French Rococo style, more classic French style, the Gothic and the Chinese. The Chippendale legacy is aligned with English Rococo style, though he spanned so many styles with ease. William Kent was another designer who enthusiastically embraced Rococo as well as Palladianism.
Chippendale catered to swelling demand for functional yet stylish furniture. He accepted commissions to provide interiors totally in the Chippendale style for wealthy households. Chippendale pieces are famous; the camelback sofa, ribbonback chairs, and shell and acanthus decoration feature heavily. Collectors exalt his chairs, sofas, mirrors, and serving tables as some of the finest furniture in the world. He was known for bold brass hardware, fretwork moulding and cabriole legs with ball and claw feet.
‘Country Chippendale’ and ‘Irish Chippendale’ emerged in the second half of the 18th Century. Rural craftsmen emulated his designs, using native woods rather than mahogany. These are wonderful pieces in their own right, but the quality does not compare with his original designs.
Neoclassicism
Where Chippendale pushed the boundaries, experimenting with new fashions, other designers brought furniture back to basics. Hepplewhite and Sheraton later joined Chippendale as key players in the furniture design of this period. The combined influence of these three men upon English furniture was nothing short of monumental.
As we move into the mid-late Georgian period, neoclassicism begins to dominate furniture design. These designers were of the 'Grand Tour' generation and drew inspiration from Greek antiquity. Robert Adams was undoubtedly the most significant proponent of English neoclassicism. Along with his brother James, the Adams' personal take on Palladian architecture and furniture sent shockwaves through design circles.
Chippendale became aware that change was underfoot, and so he took neoclassicism and ran with it. Some of his greatest successes were in this later period, and the neoclassical Harewood House is still home to some of his best furniture designs.
However, neoclassicism was Hepplewhite and Sheraton's guiding principle from the outset. Despite his huge legacy, George Hepplewhite the man is something of a mystery. He died in 1786, leaving his estate and business to his widow, Alice Hepplewhite. Alice carried on under her own name: A. Hepplewhite & Co. It was his widow who published The Cabinet-Maker and Upholster's Guide in 1788. This book would catapult Hepplewhite to the centre of furniture design.
Hepplewhite pieces draw upon French neoclassicism under Louis XV and Louis XVI. This pair of French salon chairs exhibit his style perfectly.
Hepplewhite was the 'master of the sideboard,' and his designs were light, well-proportioned and beautifully polished. You might recognise them for their splayed feet and stunning inlay decorations.
Sheraton, the final Georgian master
Chippendale and Hepplewhite had passed on before Thomas Sheraton arrived on the London furniture scene in 1790. He very much continued in Hepplewhite's vein, and the beholder can confuse the two men's pieces. However, Sheraton pieces went the extra mile when it came to refinement. Known for his rectilinear shapes and often opting for straight or tapering legs, Sheraton used neoclassical motifs such as reeding and rosettes.
And so, as the Georgian period came to an end, Hepplewhite and Sheraton finished up on a neoclassical note. Their ornament was in contrasting woods and beautiful inlaid decoration. Hence, in the evolution of the Georgian period, you witness a trajectory that builds up to extravagant heights before cooling down to simpler designs.
Georgian antiques
Despite the multitude of styles in this period, the majority had durability and beauty in common. For this reason, Georgian antiques have survived in high numbers and are still very desirable.
It was a widely emulated style for many years, particularly in the 19th Century. Although reproductions are still covetable in their own right, look out for the differences.
England and France revived Georgian design in the 20th Century, as the English Country House style emerged. Over in America, the Georgian legacy gave rise to Federal style. This is fashion that has truly stood the test of time and continues to influence interior design trends to this day.
Georgian tables, chairs, lighting, and cabinets adapt easily to the modern home. The pieces are unobtrusive and showcase the finest craftsmanship.
Lorfords is home to lovely Georgian pieces, which will ease seamlessly into your interior. Browse our lookbook ‘Georgian Golden Age' to breathe new life into your home.
It's All Hallow's Eve, a day that has been heavy with tradition and ritual since the ancient Celtic festival of Samhain. This is the perfect time to examine the Gothic style, which conjures up thoughts of the haunted and supernatural.
On the word 'Gothic'
The original Goths were a Germanic tribe, who held power in parts of Europe between the collapse of the Roman Empire and the start of the Holy Roman Empire.
Gothic architecture itself did not emerge until the 12th Century. The name Gothic was attached to this new movement long after the existence of the Goths themselves.
The early Gothic, or 'Lancet' style, of the 12th and 13th Centuries, gave way to the more elaborate Rayonnant Gothic in the 14th Century. The style resurfaced in the late 18th Century and lasted throughout the 19th Century, with a particularly strong presence in Britain.
This second wave of enthusiasm would become known as 'Gothic Revival' and spanned literature, architecture, and design.
Intellectual shifts
The Gothic Revival of the 18th and 19th Centuries was a conscious movement. It stemmed from a fascination with medieval times, but the influences were more wide-ranging and nuanced.
Nostalgia for a 'golden age' characterised the Romantic movement, voiced by the likes of Blake, Coleridge, and Wordsworth. These poets reacted against the principles of the Enlightenment, which centered around the importance of reason.
This nostalgia was fuelled by paintings of ruined medieval castles and abbeys, as well as medieval tales with Gothic themes. The prominent critic John Ruskin wrote widely on medieval art, literature, and society. Ruskin argued that medievalism reflected a morally superior way of life to the present day. In an 1853 essay, he praises the individuality and eccentricities of the Gothic in comparison to the neat perfection of neoclassicism.
As is so often the case, Gothic revivalism had a religious undertone. Architectural theorists wanted to transfer the weight and significance of Gothic architecture to church reform. The style was well-suited to the Victorians in many ways, not least their preoccupation with death and religion.
The Gothic novel
It's natural to associate the Gothic with all things horrible and repellent. This is down in large part to the role of the Gothic novel, which emerged in the 18th Century.
Similar to Romanticism, these were writers who reacted against reason and reality and their restraint on free thinking. In the case of the Gothic novel, this gave way to the supernatural and terrifying. The setting for these novels? The ruins of old Gothic buildings.
Bram Stoker's Dracula is perhaps the most famous Gothic novel, but it was actually Horace Walpole who wrote the first Gothic horror. Walpole's The Castle of Otranto takes place in the ruins of an Italian castle. These novels centered around the traumas of a protagonist, which created an imaginative and dark new form of writing.
The new genre did not find a fan in Jane Austen. She questioned how literature that was so far removed from real life could prove so popular. In her own work Northanger Abbey she chastises young ladies who were enraptured by this 'circulating library.'
The new Gothic
Gothic elements began to appear in furniture designs of the 17th Century. Chippendale's Gentlemen and Cabinet Maker's Dictionary, amongst other works from the period, merges Gothic elements with classical designs. This wasn't a direct imitation, however, as not enough was known about the original version.
Horace Walpole did not restrict his enthusiasm for the Gothic to his writing and oversaw one of the most major works of the Gothic Revival in Britain. Walpole built Strawberry Hill in London in the mid 18th Century. The mansion remains a magnificent showcase of this style in all its glory.
Walpole studied designs of medieval tombs and turned them into fireplaces and bookcases. The mansion features extraordinary attention to detail, with quatrefoils and hooded arches throughout. Walpole was ahead of his time; Gothic houses were not fashionable at this time and the wealthy still preferred Palladian homes.
Strawberry Hill brought the Gothic Revival to the fore and it was a hugely iconic design. Members of his own class followed Walpole and incorporated the style into their homes, as the style became associated with intellectual heights and Christian piety.
Early manifestations of the Revival were in the domestic sphere, but this soon changed. Public buildings including the Houses of Parliament were built in this style from the 1820s. Indeed, whilst the Gothic lost force in private settings in the last quarter of the 19th Century, churches and institutions continued with this design until well into the 20th Century.
Upsetting the status quo
Not everybody embraced the revival. In fact, it upset the norm in many ways. Catholicism was a cause for concern in the 18th Century, and critics associated it with the Gothic. The Hanoverian monarchy was affiliated with classical design, and many wanted to maintain this refined style.
Scottish minister and writer Alexander Gerard said of the Gothic style in 1759: "the profusion of ornament, bestowed on the parts, in Gothic structures, may ease one who has not acquired enlargement of mind... where refinement is wanting, taste must be coarse and vulgar."
To Gerard and many others, this new style was a fanciful and tasteless whim.
Gothic furniture
Nonetheless, the Gothic was one of the most potent 19th Century revival styles. It would give way to modern materials in the 20th Century, but antique Gothic pieces still make a wonderful statement in a modern home.
You need only glance at the interior of Strawberry Hill to note the defining characteristics of this style. The haunting hooded arches define both Gothic architecture and furniture design. Islamic architecture in Spain at this time was likely the inspiration for the vertical emphasis and vaulted ceilings.
This was a unique style in the detail as well as the whole, with the quatrefoil (flower with four petals) the symbol of Gothic design. Geometric forms, repeated patterns, and foliate decoration also feature in Gothic furniture. The pieces feature heavy carving, and woodwork tracery copied from the windows of Gothic architecture. Gothic chairs, tables, and other pieces of furniture were in many ways a replica of the buildings that inspired them.
But the style manifested in simpler settings too, and its natural forms make it blend well into a rural landscape. The 'Carpenter Gothic' emerged as a version of the style suitable for smaller houses and cottages- particularly in America.
It's possible to transfer the motifs and features of Gothic Revival into a wide variety of settings. Indeed, the legacy of this style is evident in the later Arts and Crafts movement.
Dramatic styling
The Gothic is an inherently beautiful style. The vivid colours of stained glass and plush furnishings make an effective contrast to the melancholy Gothic. Some of us love drama in an interior, and here at Lorfords we have plenty of statement Gothic pieces.
The intellectual connotations of this style make it well suited to a library or home office. Stunning bookcases in our collection showcase the pointed arches of Gothic style. Pair with a grand desk, or even an altar table.
Dining rooms are another arena for Gothic glamour. Carved dining chairs and a large heavy wood table will give your entertainment rooms the wow factor. Lighten up the dark tones of the furniture with magnificent Gothic lighting. Dramatic lanterns and candelabras are the finishing touches for achieving this style.
To add a dose of Gothic design to your home, look no further than our lookbook, 'Gothic Drama,' for inspiration.
The Regency was the pinnacle of British sophistication and a pivotal period in design. It was a time of fascinating architecture and elegant furniture, but the influences in this period were far from straightforward.
The Prince Regent
At the heart of the Regency was the Prince Regent himself. In 1810, George III became seriously ill and was deemed mentally unfit to rule. The Regency Act was passed the following year, which allowed his son to rule on his behalf. Technically speaking, this period is the nine years that George IV was Regent. 1820, the Prince Regent became George IV and King in his own right.
But in reality, Regency style and design was more enduring and covered more or less the first 30 years of the 19th Century. Nonetheless, it is rightly seen as a reflection of the character of the Prince Regent. He reacted against the frugality of his upbringing under his father, George III, with extravagance. George IV was seen as a hedonistic and gluttonous young man, ridiculed by cartoonists at the time.
The concept of The Grand Tour and broadening one's horizons was long gone. Britain was suffering a trade blockade due to its war with France, so young men wined and dined in London’s most prestigious venues. The ‘dandy’ emerged, and these men modelled themselves on the styles of the Prince Regent.
Yet, even more so than food and women, George’s great passion in life was building, designing and collecting. The Prince Regent spent the first few years of his reign commissioning vast amounts of furniture. The interests of the Regent, as well as the wider context of the Napoleonic wars, help us to make sense of the paradoxes of Regency style.
The eccentric Royal Pavilion in Brighton, as well the Prince’s city residence Carlton House, were two iconic expressions of Regency style.
Empire style
Regency coincided with Empire style across the channel in France. Napoleon’s successful campaigns in Egypt meant that Egyptian motifs frequented French furniture. The Prince Regent wanted to match, if not surpass, the architecture and design of his rival.
Neoclassical design was very much in vogue already, but Regency designers followed classical precedent in a far more prescriptive sense. They did away with the fussy ornamentation of Adam style and stayed true to classic simplicity of form.
Exact copies of ancient Greek, Roman and Egyptian pieces were made and classical motifs were incorporated into Regency furniture. Regency brings to mind heavy wood and this was certainly the heyday of mahogany and rosewood. There was a newfound appreciation for surface and beautiful patinas, particularly the bold figuring of exotic timbers.
Regency prioritised straight elegant lines and beautiful sabre or concave legs. The period did away with marquetry and intricate carving, preferring brass metalwork for ornamentation.
But no single set of characteristics can define Regency. In fact, it was a melting pot of foreign and home influences. It was refined British elegance juxtaposed against extravagance. Many styles were revived or imported. There is undoubtedly a strong oriental influence in Regency furniture. Chinoiserie and japanning were popular, Indian styles were copied and bamboo surged.
The Regency architects
So, who were the main players in this design revolution?
The strong classical influence on the Regency period was fuelled by new publications about classical art and architecture. Thomas Hope published Household Furniture and Interior Decoration in 1807, which was full of classical designs inspired by his extensive travels. The ideas in this book would have a profound influence on Regency style.
Hope wasn't alone, though. The architect Henry Holland sent designers to Rome to make drawings of classical objects. These were published in the book, Etchings of Ancient Ornamental Architecture, in 1799-80. Thomas Sheraton’s Cabinet Dictionary of 1803 shows Grecian couches, which introduced the daybed into Regency Britain. Animal motifs and ‘sabre’ design legs were engraved in this book- features that would become the distinctive characteristics of Regency furniture.
It is impossible to mention Regency without the name John Nash. Nash was court architect to George IV and their visions were very much aligned. With his remodelling of the Royal Pavilion in Brighton, Nash realised the Prince Regent’s dream of a lavish palace in the oriental style. This extraordinary building is clearly influenced by Indian and Chinese styles. Nash was also the brains behind modern day Regent Street and the terraces of Regent’s Park.
Furniture manufacturers of the time were eager to embrace this new style. Renowned cabinet makers Gillows led the charge, incorporating Regency traits including lion paws and reeded carving into their finely crafted pieces.
The Regency legacy
Furniture from this period is highly sought after and has a lasting legacy. Regency chairs are particularly renowned, with their crested rails, low curved backs, brass inlay and sabre legs. By the end of the period, cotton or linen upholstery became the norm and chintz flourished. The Prince Regent loved dining in style and prioritised these spaces in his homes. Because of this opulent attitude to dining, you can discover wonderful sets of Regency dining chairs.
Furniture companies began making lots of tables made for specific purposes. For example, extendable tables, nests of tables, kidney tables, sofa tables and side tables were all produced throughout the period. Regency tables are often round and pedestal bases with tripod legs are common.
However, it wasn't all about furniture and mirrors were a significant feature of Regency style. Circular convex mirrors were particularly prominent in this age, copied from France and seen as a symbol of wealth. These mirrors were supposedly put in dining rooms so that butlers could keep an eye on the progression of guests through each course. Indeed, convex mirrors were so popular in Regency England that they are the only type of mirror to be listed in the mirror section of Sheraton's Cabinet Dictionary. However, you also find beautiful overmantle mirrors from the Regency age.
Regency style has lasting attraction. It is full of unique features and yet still inherently classic. As a result, the architecture and design of this period is very influential and reflects socio-political movements.
The Lorfords collection 
Regency furniture is a delight to have in your home and new pieces are always coming through the doors here at Lorfords. Come and visit us in our hangars at Babdown Airfield and our Tetbury shop to see these pieces in all their glory.
Visit our lookbook, 'Regency flair,' to browse some of the Regency furniture we house.
Howard & Sons was established in 1820 by John Howard and the family business became an iconic name in Victorian England. Their beautiful pieces are still recognised as leading examples of upholstered furniture today and have inspired many bespoke copies.
Howard & Sons was curated for the top end of the market, satisfying demand that was not being met by other upholstered furniture at the time. The company's enduring popularity, resilient throughout the furniture depression of the early 20th Century, testifies to the excellence of their furniture.
Howard & Sons through the ages
Today, we exalt them for their armchairs and sofas. However, Howard & Sons started out as a cabinetry company, operating out of workshops in the Whitechapel area. John Howard's first venture into upholstered furniture started with a workshop on Red Lion St.
The company's most famous residence was at Berners Street in London, where they would eventually occupy numbers 25, 26 and 27. Many of their pieces are therefore signed, 'Howard & Sons, Berners Street.' They became a limited company in 1899 and won their first royal warrant in 1901.
The company began gathering accolades which raised their profile and secured them private clients. They won a prize at the prestigious Crystal Palace Exhibition of 1862 for their suite of library furniture. Their success was not only at home, winning two golds and a silver at the Paris exhibition of 1900.
Their warrant allowed them to supply royal residences with upholstered furniture, alongside other grand venues such as The Savoy Hotel. They also collaborated with Gillows, who were seen as leading cabinet makers in Victorian England.
Howard & Sons ceased trading for a period in 1947. Seven years later, the house decorators Lenygon and Morant Ltd described themselves as 'Makers of Howard Chairs and Sofas.' The Howard name fell silent once more, but the branding carried such power that Howard Chairs Ltd was established in 1967. Today, Howard Chairs Ltd is based on Lyme Street in London, producing furniture following the original patents and designs.
Iconic design
The Howard & Sons name quickly became synonymous with durability, comfort, and beautiful design. The names attributed to their furniture models, such as the Bridgewater and Portarlington, still incite longing today.
These pieces are so coveted, regardless of their exterior condition, because of the renowned craftsmanship and timelessness of their designs. The most iconic Howard & Sons pieces are deep-seated and low, the cushions filled with a feather and down mix.
In 1866, George Howard patented the 'Elastic Seat', which revolutionised upholstered furniture. The coil springs allow for movement up and down as well as side to side, making for a much more comfortable seat.
Howard & Sons used the siège de duvet upholstery scheme, giving their easy armchairs and sofas a supreme comfort that was simply not being matched by competitors.
These cherished pieces have distinctive and elegant arms, which are much shorter than the length of the seat. Their original 'H&S' monogrammed ticking is the most classic, but original Howard pieces feature an array of patterns.
The only way to be sure you have an authentic Howard & Sons piece is a signature. Look out for an Ivorine label on the hessian, or name or number stamps on the castors or inside back leg.
Worthy investment
Howard pieces perform consistently well on the market. Their value goes up year on year as we desire their rare comfort and luxury. Should reupholstery be necessary, you have the freedom to choose a fabric that reflects your taste. Acquiring a Howard armchair is always a good investment.
Many furniture companies offer bespoke reproductions of Howard & Sons pieces, or a restoration service. The Howard & Sons name has resonated throughout the interior design industry since its conception, with designers choosing their pieces to elevate a diverse range of interiors.
Choose pristine or newly reupholstered pieces in bright patterning to add a dash of colour to an otherwise minimalist, contemporary scheme. Howard & Sons pieces have a very fresh feel that compliments a range of decorative schemes.
On the other hand, the more 'shabby chic' look of some original pieces will bring charm and comfort to a country home, as well as a trusted furniture model.
Lorfords and Howard & Sons
Here at Lorfords Antiques, you will find a selection of Howard & Sons sofas and armchairs. We cherish this upholstered furniture for its quality and longevity and continue to source pieces to preserve that legacy.
Lorfords Contemporary produces upholstered furniture in the style of Howard & Sons. Back in 2015, Marco Pierre White asked us to help furnish a historic hotel renovation in Singapore. This began our journey of making bespoke copies of Howard pieces, and we've never looked back.
Inspired by the Howard approach, we prioritise luxury and comfort and use traditional methods and materials as much as we can. Browse sofas, armchairs, headboards, ottomans, and more, which have all been hand-crafted in our Contemporary workshop.
Visit our lookbook, Quintessential upholstery to shop the look or to browse our collection of beautiful antique Howard pieces click below to see what we currently have in stock.
Find the perfect sofa or chair for your home, browse our Howard & Sons collection.