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From the early years of the twentieth century until well into the 1930s Paris was the epicentre of a design movement that aimed to redefine the decorative arts in a very modern and particularly French way. The passing of time has done nothing to diminish its allure. Chris Yeo delves deeper.
Now, as we know, the French have a long and proud history in the decorative arts – they virtually invented the idiom – but, more than any other, there’s one style that encapsulates le style Francais. You might know it as Art Deco. The French called it Moderne. Ah, Art Deco. Just mention it and images of sleek ocean liners, peopled by impossibly beautiful characters wearing Cartier jewels and sipping Manhattan cocktails spring to mind. Or maybe it’s the futuristic styling of Max Sterm’s Metropolis or even the gaudy delights of the Odeon cinema – those streamlined and chrome-plated ‘peoples’ palaces’ that brought Hollywood glamour to the depression-ravaged masses of the 1930s. Art Deco emerged as a style for the new century and an ever-changing, fast-paced world of motor cars, air travel, flappers, and syncopated jazz. It’s the style of the Chrysler building, of the Zigfeld Follies and, as it happens, Victoria Coach Station; an intoxicating mix that continues to beguile us as much as it did in the Roaring Twenties.
Has there ever been a style more luxurious, glamorous, more imitated and, perhaps, less understood? Let’s start with the name. ‘Art Deco’ was actually only first coined in the late 1960s as a sort of two-hander to Art Nouveau which had preceded it. Also, far from being a single recognisable style, there were, in fact, many different strands, depending on when and where it popped up.
Italy, Sweden and, of course, America all had their own particular ‘takes’ on it. But nowhere did the style emerge more coherently than in France. Many books will tell you that Art Deco first surfaced at the Exposition Internationale des Arts Decoratifs et Industriels Modernes, the world expo held in Paris in 1925. Except that it didn’t. The Moderne style actually began to appear in France much earlier, around 1910 and was well into its stride by the time of the exhibition.
So, having de-bunked a couple of myths, let’s look at what is it that makes French Art Deco, sorry, Moderne, so distinctive. It’s all down to time and place. The French interpretation of the style was extremely luxurious, relying on rare and exotic materials like Macassar, ebony, lacquer, shagreen and mother-of-pearl, to give a sheen of glamour. As the centre of the world’s luxury goods market, Parisian designers were well-placed to take advantage of the readiness of these materials and could also draw on the world-leading expertise that Parisian craftsmen had in working them.
So much for place, as for time, le Style Moderne sought inspiration not from the modern industrial world, instead, it looked back in time to the world of Marie Antoinette and the French aristocracy. For a style so synonymous with the twentieth century, the French Moderne style is firmly rooted in the grand traditions of the 18th Century ancien régime – the political and social system of France before the revolution of 1789 – and its time-honoured traditions of apprenticeship and guild training.
During the 18th Century, France established itself in the forefront of the luxury trades, producing furniture, porcelain, glass, metalwork and textiles of unsurpassed refinement and elegance with Paris becoming the style capital of the western world. The ebenistes of Paris became the acknowledged masters of furniture making in Europe, supplying the homes and chateaux of the French court and aristocracy.
Some of the most beautiful and refined furniture ever made, displaying the highest level of artistic and technical ability, was created in Paris during the eighteenth century. Rather than breaking with tradition, the great designers of the 1920s saw themselves as inheritors of a grand tradition stretching back over two centuries. Tradition, however, was not the only source of inspiration. So too were the exotic, avant-garde trends in the fine arts and fashion. The vogue for exoticism developed following the arrival in Paris of the Russian impresario Sergei Diaghilev and his dance troupe, the Ballets Russes, in 1909, with its wildly atmospheric and outré productions. Léon Bakst’s design for Schéhérezade (1910), for example, featured lavish orientalist sets and costumes. The unexpected colour combinations, vivid patterns and louche furnishings – billowing curtains, low-slung divans, piles of tasselled pillows – were immediately imitated in stylish interiors by Paris artist-decorators.
Paris in the 1920s had an abundance of places where objects in the Moderne style were sold and displayed, mostly galleries, showrooms and shops on the more voguish Right Bank of the city centre. What were called Ensemblier showrooms, such as those of Emille-Jacques Ruhlmann, Süe et Mare and Martine, not only displayed individual pieces for sale but presented fully furnished interiors that suggested the range of what the ensemblier could produce on commission. At the more accessible end of the market, the four big Paris department stores established specialised decorating departments and many speciality shops, including Jean Luce, La Crémaillère and Le Grand Dépôt, which sold a wide range of glass, ceramics, linens and other utilitarian and decorative goods. It was as if Moderne had entered the DNA of the French capital.
For those in search of the Moderne style, Paris is, of course, a mere hop and skip over the channel but for a taste of the style that’s a little closer to home, Eltham Palace near Greenwich is a capsule of 1930s Parisian-inspired sophistication. Stephen and Virginia Courtauld of the eponymous textiles dynasty bought Eltham with its semi-ruined medieval Great Hall, moat and bridge, and rebuilt it as a dazzlingly sophisticated semi-rural hideaway. The saloon is a vast Moderne interior, lined with Australian black bean wood panelling, topped with a dome and finished off with a vast, circular, abstract carpet, the effect is like entering the First Class Lounge of a 1930s liner. Not that everyone felt that at the time: one editorial in The Times likened it to a cigarette factory.
The stock market crash of 1929 saw the optimism of the 1920s gradually decline. By the mid-1930s, Art Deco was being derided as a gaudy, false image of luxury. Despite its demise, however, Art Deco made a fundamental impact on subsequent design. Art Deco's widespread application and enduring influence prove that its appeal is based on more than visual allure alone.
Vive la France!
Click here to visit our lookbook 'Iconic Geometry' for our take on an Art Deco inspired interior.
Or click here to shop our full collection of Art Deco pieces.
Antiques transcend trends; their very survival proves their resilience against the ebb and flow of fashion. And yet, we all know that the best trends return time and time again. Right now, the interiors world is hooked on curves - from scalloped rugs to pendant lights. We explore the majestic beauty of antique Swedish cabinets, and why they're...well, right on trend.
Much of the current dialogue around curved furniture focuses on more contemporary pieces, like kidney-shaped sofas and sculptural coffee tables. The 20th century was undoubtedly a great era of experimentation with shape, and vintage furniture displays some staggering feats of design and engineering. Yet, the Swedes were ahead of the curve (pardon the pun), by a good two centuries.
Swedish Rococo
The straight-lined Gustavian era is perhaps the most famous period of Swedish furniture, yet what came before was beautiful in its own right. The Swedish Rococo period (1750-1775) was nestled between the dramatic Baroque and refined Gustavian years. It’s instantly recognisable for its proliferation of shells, but also for its sinuous curves inspired by nature.
Rococo furniture has an indisputable air of romanticism. It is lighter and more playful than the eras that came before and after it, yet still shows exquisite attention to detail. If you’re looking to create soft and welcoming spaces in your home, look no further than these Swedish antiques. Expertly crafted by Sweden’s pioneering cabinet-makers, the furniture usually sports a painted finish that feels right at home in today’s interiors.
Antique Swedish cabinets - room by room
Sometimes, a majestic antique catches your eye but you can’t quite imagine it in your own home. They’re often far more practical than you think, though, particularly when it comes to storage pieces.
The dining room
In the dining room, it has to be a Swedish cupboard or buffet. This is an entertaining space, so you need furniture that's practical but is also guaranteed to catch the eye of your guests.
Cabinets from the Swedish Rococo period are coveted for their beautifully shaped door panels, sweeping aprons, and graceful cabriole legs. Their defining feature, though, is the pronounced arch of their bonnet tops. This curvaceous silhouette softens any room and offers welcome contrast to a long rectangular dining table.
Short on space? Choose corner cupboards
If you’ve visited any of Sweden’s grand country houses, you may have encountered a floor-to-ceiling wonder in the corner of the room. ‘Kakelugn’ was the name given to the Swedish stoves which afforded them the most efficiently heated houses in Europe by the 19th Century.
Not only were these stoves high-performing, they were stunning pieces of art in their own right. They were covered from top to toe with hand-painted ceramic tiles which complemented the wider décor of the room. These cylindrical stoves were no doubt large, but their corner residence meant they didn’t infringe too much on floor space.
Commissioning your own ‘Kakelugn’ may be a stretch, but corner furniture is a savvy way to add storage in smaller spaces. Their curved silhouette is mostly a preserve of antiques and rarely attempted by modern manufacturers, so they bestow a unique charm on contemporary spaces.
The Swedish corner cabinets in our collection typically feature two cupboards separated by an open mid-section. Their compact silhouette offers both hidden storage and the opportunity to show-off treasured items. Let no space go to waste, and use one of these timeless cupboards for storing kitchenware or board games while softening the lines of a room.
If you’re looking for a lower storage piece for your dining room, choose a Swedish buffet. Often with the same curved profile and graceful panelling as their taller counterparts, buffets also allow for displaying curios and ornaments on top.
The bedroom
Nowhere demands the soft, romantic curves of antique Swedish furniture quite like the bedroom. There’s been plenty of research into the link between our bedroom design and how easy we find it to switch off. Much of this is about creating a gentle, welcoming palette and avoiding overstimulating décor. Equally important, though, is keeping clutter at bay. This is is where storage furniture comes in.
In your bedroom, look to Swedish Rococo commodes and bedside tables to keep essentials close at hand yet out of sight. They usually feature a serpentine form, giving something as simple as drawers a sinuous rippling effect. The flowing lines don’t stop there, as chest furniture offered the opportunity for craftsmen to show off their skills with beautifully scalloped aprons and elaborate curved legs or bracket feet.
The remains of old paint that often cling to Swedish antiques, from neutrals to soft pastels, are the perfect tonic at the end of a busy day. Complete your relaxing bedroom scheme by pairing antique storage pieces with a gently curved stool and a Swedish flatweave rug. When your bedroom ensures both wellbeing and beauty, you can’t go wrong.
The office
A common misconception is that antique furniture is undoubtedly beautiful, but not practical. This underestimates the wealth of innovative design features and expert craftsmanship evident in many antiques, and storage furniture is no exception.
The home office. Somewhere many of us spend a great deal of time, yet often the first to sacrifice good looks for utilitarianism. Antiques offer a plethora of options for injecting character and charm into such a space, including unique desks and chairs. For a statement storage piece, look no further than a Swedish 18th century secretary.
On the outside, these secretaries share many of the decorative features that make Swedish cupboards so alluring; a sweeping bonnet top, elegantly carved door panels, and scalloped or curving feet. So far, so beautiful. But it’s what you find inside that makes these a truly unique addition to any interior.
In the middle of the piece, you will find a sloping section that folds down into a spacious work surface. The perfect size for holding today's laptop and a notebook, these versatile desks allow you to fold away work stress at the end of the day. Behind the desk is often a mixture of miniature drawers, cubby holes, and cupboards within cupboards for stowing stationary and private documents. Above you’ll find a generous cupboard with shelves inside and several drawers below for keeping office items organised.
For a home office that's as welcoming as it is high-performing, pair your secretary with a Swedish Mora Clock. These iconic, beautifully curved clocks will add to the sense of calm while helping you to keep an eye on the time.
Swedish antiques: all shapes and sizes
Our lookbook ‘ ‘ is here to inspire you to decorate with curved Swedish pieces. If streamlined silhouettes are more your style, we offer an extensive array of Swedish furniture here at Lorfords that spans all periods and tastes.
To learn more about the history behind the beauty, explore our articles on the Swedish Rococo and Gustavian periods.
When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.
‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.
A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.
Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.
Preparing your canvas
Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.
Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.
Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.
Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.
Tactile textures
As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.
Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.
Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.
On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.
Relics of land and sea
The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.
Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.
Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.
We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.
The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.
The Mediterranean garden
When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.
Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.
Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.
In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.
Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.
Soft touch
Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.
While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.
Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.
Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.
It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.
'If you really love something and you can afford it, buy it. You will never regret it.' - Kate Earle
We chat to Suffolk-based designer Kate Earle, of Todhunter Earle, about what makes her tick and where she gets her fabulous style inspiration from.
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Some of my best ideas have come while driving, I drive a lot, in and out of London, site visits, school runs. I never listen to music, I listen to the radio and I think about the projects I am working on, occasionally I have a lightbulb moment, it’s the only time that I am ever on my own.
The thing I couldn’t do without is horses, they are a huge part of my life.
The place that means a lot to me is the North Norfolk coast, it is not too far away from Suffolk where we live. The beaches are the biggest and whitest in the world. Breath-taking scenery, space and calm.
The best souvenir I’ve brought home is an Italian marble-topped serving table with a painted and gilded base bought in Florence on our 10th wedding anniversary. It is in our dining room in Suffolk.
The last thing I bought and loved was the Japanese embroidery from Justin Evershed Martin, for a new apartment that I have just completed for myself in London.
The best books I’ve read in the past year are Orlando King by Isobel Colegate, Meet Me in the In-Between by Bella Pollen, my sister and I argue about Bella Pollen, I think she writes really well, she doesn’t! Just about to start Young Bloomsbury by my great friend Nino Strachey.
The podcast I’m listening to is The Airing Cupboard, real-life stories read by my friend Zoe Brown in her amazing, chocolatey Belgian accent.
I placed a Lorfords Contemporary piece in a TP Modern sofa in a very contemporary beach house on the Caspian Sea.
In my fridge, you’ll always find a bottle of Belvedere vodka and some parmesan.
The event that changed everything for me was a school careers lecture by Jacqueline Inchbald when I was 14 years old. That was it, I knew what I wanted to do and never swayed. I had set up my own business by the time I was 21.
An indulgence I would never forgo is ready salted crips, I could happily live on them.
The last piece of clothing I added to my wardrobe was a yellow straw hat by Jane Taylor, I bought it in about two minutes whilst double parked outside the shop. I could see two policemen bearing down on me and I had to move fast.
My favourite building is ooo, I have a few….the Pantheon in Rome, the Brighton Pavillion, our tiny Georgian fishing hut by the river in Herefordshire.
My favourite room in my house is my bedroom, it is huge. I have a proper dressing table (my grandmother's), sofas and chairs, a fireplace and views over the garden. It's quite colourful but tranquil and full of interesting things.
The best advice I’ve ever received is if you really love something and you can afford it, buy it. You will never regret it.
I do not compromise on attention to detail when designing, I am fanatical about design detail.
I often compromise on my clothes, I tend to wear the same thing, or a version of, every day.
My favourite object to include in a project is antique or one-off lighting and lamps, we make a big effort to source unusual and interesting lamps, when budget allows we love to commission bespoke ceramics by Kate Malone, Rupert Merton etc.
My favourite Lorfords Antiques piece is an antique green and sienna marble table that we have bought for a house in Suffolk, due to complete in the Autumn.
What I love about contemporary living is open-plan living spaces that allow the whole family to be in one room but doing their own thing. I don’t actually have one but maybe one day.
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Click here to read more L-Shaped interviews or click here to visit the Todhunter Earle website.
Outrageous and witty, the Rococo movement’s flame burned brightly in the middle decades of the 18th Century. Chris Yeo looks at one of history’s most exuberant styles and poses the question: are you a Roundhead or a Cavalier?
The British, as we are always told, are a reserved people. Along with fish and chips, our stiff upper lip is what we’re most famous for. I must admit that whenever I hear this, I have to remind myself that, within this sweeping statement, they’re talking about me. I don’t know about you but I’ve never considered myself the shy and retiring type, if anything, I’m a bit of a Cavalier. A what, I hear you ask. Let me explain. According to a particular school of thought, we Brits divide into two camps – Roundhead and Cavalier. Students of history will know that these were the opposing sides in the English Civil War – the Parliamentarians aka Roundheads were known for their spartan tastes – banning Christmas carols and anything that looked even remotely pleasurable while, on the other side, the Cavaliers revelled in all that life had to offer and showed it with their big hair, Saville Row tailored uniforms and their all-round flamboyance and love of the good things in life. We have a saying that if someone has a ‘cavalier attitude’ it means they don’t care (like that’s always a bad thing). If ever someone accuses you of that just tell them to stop being such a Roundhead.
Anyway, so the theory goes, these opposing traits have become key aspects of the British character, battling for supremacy in every walk of life like it’s 1642 all over again. As a design historian, one of the things I love is being able to make connections between man-made objects and the wider world. I think, down the centuries, this Roundhead versus Cavalier tension has played out in the way we decorate our homes. Roundheads are all about straight lines and classical order, while Cavaliers are more laissez-faire and letting things go curly. Normally it works pendulum style – think of the florid excesses of High Victorianism being stamped out by William Morris and his smock-wearing acolytes, or those ‘Form Follows Function’ Modernists showing Art Deco exactly what it could do with its decorative flourishes - but occasionally those two forces fight it out at the same time. With this in mind, this week we’re taking a look at the curious affair that was English Rococo.
Rococo, it’s a word you’ll have heard before but what exactly was it? Quite simply, the most self-consciously decorative – cavalier - of all decorative styles. Developed in Louis XIV’s (it was known as “the French taste” in this country) it was the dominant style in northern and central Europe during the first half of the 18th century, affecting all the arts from furniture to fashion and sculpture to ceramics. The word rococo actually began life as a term of ridicule in the 1790s, when the style was already dead and buried. It sounds Italian but actually derives from the French rocaille (pronounced 'rock-eye'), describing the shells and rocks which were used as decoration in shell-rooms and garden grottoes.
There’s nothing straight about Rococo, it’s all about the curve. Flowing lines became obligatory. Think twirly-whirly, think wedding cake decoration, sinuous C and S-scrolls, garlands, ribbons, shells and sea monsters. Familiar objects lose their well-known outlines and, to quote the Bard, suffer a sea-change, into something rich and strange. In Rococo’s surreal world everything swirls, moves and writhes. Designers plundered the natural world for inspiration; crabs, eels, and crustaceans happily rub along with seaweed, mermaids and river gods. Rococo’s essential motif was the cartouche – an amorphous, unformed shape that was somewhere between a jellyfish and the human ear, which could be moulded into any shape. From this basic motif the great French ornemanistes – like Nicolas Pineau, who could take a console table and turn it into an all singing, all dancing gilded extravaganza – produced their extraordinary designs.
Across the channel, the British were grinding their teeth. Paris was the undisputed centre of European fashion and the French luxury trades set trends for all the other European nations. Despite being almost constantly at war with France throughout the 18th century, those thrifty Anglo-Saxon Protestants still craved the exquisite sophistications of the enemy. Rococo arrived in England just at the point when things were getting more square and architectural. Since the 1720s when Lord Burlington had led a campaign to revive the classical splendours of Palladio and Inigo Jones, the Palladian movement had been the dominant force in design. The watchwords were symmetry and balance and, as styles go, it was sober and serious – Roundheaded, even. For some, Rococo’s arrival was looked upon rather like the arrival of a flu pandemic. Frothing with indignation, one commentator had this to say:
They heap cornices, columns, cascades, rushes and rocks in a confused manner, one upon another; and in some corner of this confused chaos, they will place a cupid in great fright, and crown the whole with a festoon of flowers.
The Rococo first inveigled its way into England via the fashionable dining rooms of the aristocracy. Gastronomic success rested not only on the best ingredients, but also on the service, the convivial atmosphere, and the visual interest of the table and eating room. By the 1740s, the best dining tables were groaning with a prince's ransom of rococo silverware: a still-life centre piece or a branching epergne holding flowers and fruit surrounded by a flotilla of tureens, condiment sets and candelabra. The greatest Rococo silversmiths were Paul de Lamerie and Nicholas Crespin (who once found the perfect Rococo shape in a turtle’s shell and so mounted it in silver and turned it into a punch bowl) both of whom specialised in elaborate tableware that were swirling rocaille masterpieces, which must have ruined the taste of the soup for more Palladian-minded diners.
The outstanding English interpreter of Rococo was Matthew (or Matthias) Lock. He was a designer and cabinet-maker who had workshops in Tottenham Court Road but about whose life we know virtually nothing. Lock was an outstanding draftsman who, probably more than anyone else, understood the French style giving it his own, very English, twist. In his fantasy world – best seen on his mirror frames – a riotous assembly takes place; friendly goats confront surprised foxes; monkeys precariously perched monkeys blow bubbles; squirrels admire spring flowers; Chinaman in coolie hots and drooping moustaches cling to trees, the roots of which dissolve into icicles; all among a riot of fountains, shells and running water.
So did, England ‘go Rococo’? Well, for the answer to that, look around. Visit France, or southern Germany, or Austria or northern Italy and you’ll be tripping over Rococo palaces, churches and townhouses, try looking for the same in this country and your search will be in vain. The truth is Rococo made only a brief stay as a fashionable style and only touched the smart and the grand, even then, mostly in the form of small objects – vases, candlesticks, soup tureens, mirrors - rather than whole interiors.
As styles go, Rococo was elegant and charming but insubstantial. This was to sow the seeds of its downfall since it showed a lack of reverence for classical architecture which became unacceptable to the new generation of Rome-inspired architects, like Robert Adam who openly despised it. In fact, what was called Rococo in England bore little resemblance to the rich, creamy, wedding-cake heights it achieved in Europe. Done properly, Rococo was smart, urban and sophisticated it was also expensive and hard to master. Rococo designs demanded that each craftsman be also an outstanding artist as well. That was asking too much. John Betjeman, the great architectural historian, said that political history explains the style’s failure to launch. Because of the Civil War and gradual reform of Parliament, the aristocracy took a greater interest in politics here than on the Continent. Rococo required commitment and we were just too busy with other things. Perhaps it was a victory for the roundheads after all.
Styles never quite come to a full stop. In the early 19th Century the rococo impulse was revived under the flamboyant Prince Regent. Its last hurrah was at the turn of the century with Art Nouveau, when it made a flamboyant if brief return. While the austere geometry of modernism governed much of design thinking during the twentieth century, designers continually returned to organic, natural curves as a source of inspiration in the 1950s, and the psychedelic 1960s.
Fantastical, daring, highly decorative and never, ever sensible, it’s almost impossible not to be charmed by Rococo. There again, as a Cavalier, I suppose I would say that.
We talk to ‘Antiques Roadshow’ expert Chris Yeo about collecting Mid-Century glass. He says ‘dancing with light and alive with colour, Mid-Century glass makes a bold statement, just try not to get too hooked’.
Glass Act
When I tell people I work in antiques the question I’m invariably asked (after “When do you hope to get a real job?”) is “What do you collect?” and my answer is absolutely nothing. Although I’ve lived, eaten and breathed antiques since childhood the idea of amassing a collection of any one thing or group of things has never held any appeal. With one exception, that is.
Roughly twenty years ago, on a typical Saturday morning mooch around an antiques market (remember them?), I came across something that stopped me in my tracks. It was a glass vase, a sleek, weighty number in rich shades of blue and turquoise. It was love at first sight and, of course, I bought it. About a month later I bought another piece of glass, shortly followed by another and another – you get the picture.
For the next few years, I hoovered up every piece of studio glass I could find. It was a labour of love and an obsession which bordered on an addiction. Put a piece of studio glass in front of me and I would find it near impossible to ‘just say no’. I won’t be too hard on my younger self. There is, after all, something undeniably seductive about mid-century art glass: a perfect marriage of art, craft and design that melts the hearts of even the most ardent minimalists. Richly coloured and beautifully made, fine quality glass introduces just the right note of luxury, colour and sophistication into any interior.
The history of colourful glass
The Europe that emerged from the Second World War was a grey and dismal place. War-time shortages and rationing of “luxury goods” meant that people had been starved of colour for years. There was a huge demand for anything bright, fresh and modern, especially among young people setting up home for the first time. Ceramics, textiles and wallpaper manufacturers all ramped up the colour quota but nowhere was this appetite for colour better nourished than amongst makers of studio glass. And, when it came to glass, no one understood colour better than the Italians.
Italian design came of age in the post-war years with a welter of colourful designs in both glass and plastic, materials which share the same malleable qualities. The magical process of transforming a bubble of molten glass into a vessel or piece of sculpture is a test of skill and artistry but the Italians took up the challenge with gusto and, of course, style. Highly individualistic designers celebrated colour for its own sake, applying it in ever more bold and dramatic combinations. Italian glass is more properly Venetian glass. Venice has always been the heart of the Italian glassmaking industry with a history of glass-blowing unparalleled anywhere else in the world. From the thirteenth century onwards Venice had held a monopoly on glassmaking in Europe, and its products—often extravagantly coloured, enamelled, and gilded—were treasured luxuries. Originally, Venetian glass was made - as you would imagine - in Venice, but the workshops were moved to the small lagoon island of Murano in 1291, in part because their kilns constituted a fire hazard to the city, but also to keep the glassmaking process a secret by isolating the makers on their own well-guarded island.
Now, I think it’s fair to say that for many of us our idea of Murano glass will have been “coloured” by a trip to Venice. You’ll have done the circuit of St Marks, paid through the nose for a coffee and then, along with ten thousand others, you will have been funnelled off into the narrow alleyways that lead off the square. You shuffle along passed shop after shop – each one dedicated to relieving you of as much money as possible - crammed with all manner of gaudy clowns, fish, dolphins and more Mickey Mouse figures than even Disneyland would want - all sold under the banner “Murano”. If this has been your only encounter with Italian glass you’d be forgiven for wanting it to stay that way but there really is so much more to Murano.
Examples of Murano glass
Murano Glass
From the 13th to the 18th century Murano glass was one of the wonders of the world with an unrivalled reputation for innovation, its glassmakers having developed, among other things, ways of incorporating threads of gold into their creations and techniques for the famous millefiori (multicoloured) and lattimo (milk) glass. Amongst the myriad workshops that make up the Murano glass industry the most highly regarded and arguably the best known is Venini.
The firm was founded in the early 1920s when an enterprising Milanese lawyer, Paolo Venini, established a new glass company on the island with a Venetian antiques dealer, Giacomo Cappelin. Their breakthrough innovation was to copy the French fashion industry’s tradition of appointing an artistic director to create new designs and then drive them forwards. This was a stroke of genius which instantly put Venini at the forefront of fashion. The firm collaborated with artists who transferred their skills from canvas to glass, combining bright vibrant colour with flair and confidence that’s the very essence of Italian style. As a strategy, it took glassmaking to new heights of excellence and kick-started the Italian studio glass movement.
By the early 1930s, Venini was attracting the cream of Italian designers including Carlo Scarpa, Gio Ponti and Tyra Lundgren. The post-war years were Murano’s most dazzling and creative period. With its bold palette, Italian glass of the 1950s and ‘60s is instantly recognisable. Shapes have an easy asymmetry and a looseness of form reminiscent of folded fabric. In fact, one of the most popular shapes was the ‘fazaletto’ or ‘folded-handkerchief’ vases first made by Venini in the 1940s.
'Folded-handkerchief' by Venini
Glass around the world
With its vibrant colour combinations and top-quality design credentials, the Italians dominated the glass scene but they weren’t the only nation on the colour spectrum. In the UK the prestigious London-based firm of Whitefriars had been making glass since the 17th century and had a centuries-old reputation for restrained and elegant glassware but in the 1950s its fortunes changed when, like Venini, it engaged the services of an artistic director, Geoffrey Baxter (1912-95).
Baxter was a young graduate fresh from the Royal College of Art, at that time a powerhouse of ideas about art and design. At Whitefriars, Baxter took the forms of Scandinavian glass – thickly-walled, with curving organic shapes and highly sculptural vessels – but, unlike the Nordic versions which used either clear glass or subtle, muted shades – Baxter used bright, rich colours to create something youthful and very British. Colourful things were also coming from behind the Iron Curtain.
In Czechoslovakia, the glass industry was nationalised in 1948 and continued the centuries-old tradition of glassmaking in the Bohemian region. Bohemian glass had a reputation for excellence and the new Communist government did not deem glass to be an art form that was ideologically threatening, meaning that designers could work largely free of official control. This resulted in the creation of highly innovative modern designs that updated traditional methods of glassmaking and put Czech glass on par with the best that Italy had to offer.
Glass art by Whitefriars
Glass in the modern-day
Following on from its 1950s heyday, studio glass is once again riding the crest of a wave of popularity. If you’ve never thought of having glass on display, think again: the allure of light playing on coloured glass can be just as compelling as a strikingly painted canvas. That said, some people remain a little nervous about living with glass – “It’ll get knocked over and smashed!” Truth is, most glass is more robust than you think and, so long as you’re not flinging it against the wall, it’s no less durable than pottery.
Striking forms and colours make the piece a work of art in its own right and a real talking point. Art glass, displayed as a single statement piece or grouped together, brings warmth and colour to an interior as effectively as any painting and can also be a good way of introducing an accent colour into a room scheme.
The sinuous, organic shapes and jewel-like hues so beloved of mid-century glass artists work as a counterpoint to the tailored interiors of today. Arranging collections of glass in groupings of similar colours and shapes create a strong visual impact.
Remember, when it comes to glass, less is always more, don’t clutter shelves and tabletops with pieces. Instead, give each one space to breathe. You’ll find your art glass a source of inspiration as well as beauty.
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Browse our collection of Mid-Century glass:
> Shop our Murano glass collection
> Shop glass and ceramics
Well, we do love a tasty mealtime, and now for some tasty tableware! The busy bees at Bertioli have just launched their new series of prints, the Veg Patch. They are making the whole dining experience a delicious affair. Inspired by Thyme’s kitchen garden, the delightful linen tablecloths and napkins have been meticulously and lovingly drawn by Thyme’s founder Caryn Hibbert.
"I’ve always loved drawing and painting, but as I pursued a career in medicine, they became something of a childhood memory. It was only a few years ago that I started drawing again, picking up a pencil and rediscovering a passion that I had forgotten... I’ve since painted many of the wonderful plants in our gardens at Thyme, but the Veg Patch range is a particular favourite. I love how our vegetables are uniform and jumbled in equal measure – making for fabulous subject matter – but also because cooking has always been so central to Hibbert family life."
CARYN HIBBERT, FOUNDER, THYME
Field to fork
The collection displays veg patch favourites, such as radishes, carrots and onions, bean flower and runner beans. Picked daily from their own veg patch for the Ox Barn’s menu, Thyme enjoys a field to fork ethos. How perfect then, to create their own tableware from such an integral part of Thyme and Bertioli's raisin d'être.
The collection includes linen tablecloths in the following lengths: 260cm, 320cm, 380cm and 450cm. The collection also includes napkins, with the tableware packaged in matching “book bags”. There are plans for tea towels and aprons in the future. Rumours also abound of a range of crockery and one of wallpapers and upholstery fabric… more to follow when Bertioli has done some more digging on that front.
Bertioli is a family affair
Thyme and Bertioli's ethos is to create products and a wonderful environment, that can tell stories of the natural world evolving through the seasons. The name Bertioli is a reference to Caryn Hibbert’s maiden name. Her father, Michael Bertioli was pivotal in the restoration of the historic barns and buildings that make up Thyme; her mother, Patricia played a formative part in Thyme’s chef director, Charlie Hibbert’s culinary journey.
Sustainability
Made from sustainably grown French linen (with an entirely European supply route from flax to loom), Caryn’s original prints have been delightfully transposed onto this exquisite collection of tablecloths, napkins and placemats. The designing takes place in Caryn’s studio at home, before the production brings the pieces to life in Lithuania. There is full transparency on the production process of the Thyme table linens and the production is certified by OEKO-TEX® to ensure there are no harmful substances used. All the fabrics are digitally printed, leaving minimal run off of dyes.
Order your tableware
The full Veg Patch collection is available in The Piggery and Balcony Room boutiques at Thyme and for order and delivery on bertioli.co.uk. The tableware and ceramics in the Thyme boutiques have been chose for their links to the nature, food and entertaining.
To find out more about what's happening at Thyme, click here.
Dripping with their vibrant glossy glaze, French antique confit pots are a humble yet gorgeous collecting area. We discuss their culinary history, what to look for when buying a pot, and how to bring their magic into your interiors.
What's in a name?
Confit pots were made for culinary use and they quickly became staples of the French kitchen. ‘Confit’ comes from the verb confire, to preserve, which inspired the French preserved duck dish of the same name. Confit pots served as the all-important preserving vessels for confit. Luckily, many of these earthenware pots have survived and we encounter beautiful 19th and early 20th Century examples. The great irony of these pots is although they were produced en masse, every single one is unique.
Confit: the culinary history
Prior to refrigeration technology, people embraced any method that could extend the life of edible goods. Duck or goose confit originated in Gascony and remains a delicacy of the South-West regions. To make confit, salted meat is cooked and preserved in its own fat. This last step is vital, as it provides a protective layer and infuses the meat with flavour.
The end result is far more appetising than the process might suggest. Trust King Henri's taste, who was born and raised in Gascony. When he became King of France, Henri missed his beloved duck confit so much that he ordered literal barrels of it from his home region.
The role of the confit pot
Once the cooking process was over, confit pots stored the meat ready for preservation. Cellars had an earth ground so that these vessels could be buried and left alone until they were ready. This explains the distinctive partial glaze we see on French confit pots. The larger unglazed section allowed the cool earth to reach the meat inside. Terracotta is the ideal material for this process because it absorbs moisture and has a cooling quality. Meanwhile, the glazed top section acts as a measuring mark to show how deep to bury the pot.
The cook would label the pot with the date he buried it so he knew when to take it out – a primitive ‘best before’ date. Confit pots always have high lateral handles so they could be lifted back out of the earth.
This method allowed cooks and heads of households to plan ahead and ensure there were always reserve stocks of food. Indeed, confit de canard was first made in Gascony to keep locals fed during the long and cold winter. The dish's popularity has endured long after the need for such a primitive technique.
It wasn’t only France, nor only duck, involved in this process. Indeed, once our ancestors realised the merits of this preservation technique, they used it for everything from meat to fruit. So, how did the confit pot go from a kitchen essential to an avid collector’s area?
Different sorts of confit pots
Confit pots are not a pretentious collectable. There are no maker’s marks, nor special features to enthral the beholder. During their heyday, these vessels were an everyday necessity – no different to our fridge today. Confit pots were designed to be durable, not delicate. They have a broad, sturdy form rather than an elegant one. Yet it is these same features that make them so utterly gorgeous.
You may never have noticed the confit pot in Van Gogh’s ‘Sunflowers.’ It isn’t the main attraction, but it is there in all its rustic glory nonetheless. In this world-famous painting, the sprawling bouquet sits in a charming and classic confit pot with the tell-tale yellow glaze at the top. Indeed, traditional French pottery features in a few of his still-life paintings. Van Gogh found this humble vessel a suitably attractive subject for his art, and so began our love affair with confit pots.
The pot featured in ‘Sunflowers,’ with its shapely body and mustard yellow glaze, is the most common style of confit pot. Less common, but just as beautiful, are the green-glazed examples. Pots with a spout and/or a lid are actually cruches, which were used to hold olive oil or vinegar. You also find lidded versions, blue examples, and entirely cream examples. These variations on the classic confit pot were likely used for slightly different purposes, but share that same rustic unadulterated beauty. Beguiling confit pots also originate from elsewhere around the world, particularly Italy and Spain.
So, what do you need to look out for? A genuine antique confit pot will have no glaze on the bottom and any remaining glaze around the outside should be luminous. These pots were not for display and were heavily used, so you can expect chips and wear. More petite pots, which would contain one or two servings, are much harder to come by and coveted by collectors.
Styling your antique confit pots
As is the case with all antiques, choosing a confit pot is up to personal preference. Some collectors love examples with next to no glaze left, exposing the naturally patinated terracotta. You might favour the classic yellow, or perhaps the more unusual punchy green or earthy brown pots. If you wish to build or expand upon a collection, a range of colours with varying levels of wear will create a layered visual. Confit pots share a natural rustic colour palette, so they are sure to complement any interior scheme.
Indeed, clustering confit pots together gives them an immense decorative presence. Make use of open kitchen shelving or a dresser base to create that authentic country kitchen feel. You don’t have to limit your pots to display only. They make for excellent kitchen utensil holders, paintbrush holders or vases. However you use them, confit pots provide an interior with history, texture, colour and authenticity. You can’t go wrong!
Browse our extensive collection of antique confit pots and other beautiful pottery on our website. In love with all things French? Read our articles on Arras iron garden furniture and the French bistro style.
Over the last year or so, we have all looked at our own four walls differently. Many of us have longed for more – more space, more freedom. Combined with the rise in home working, garden rooms have flourished out of this desire for change. For creatives, a garden studio offers a space for refuge and inspiration.
Why invest in a garden studio?
We have learned the hard way how difficult it can be to find some solace within our own homes. Whether it’s working from home or pursuing new hobbies, it is always more difficult than you think to escape from domestic demands. Garden rooms offer a perfect balance; we are at home and in familiar surroundings, yet we feel we have left the house. They offer a space for productivity, whilst enjoying the peace and serenity of the great outdoors.
For as long as we have created art, we have embraced the concept of working in blissful peace. The garden studio may feel like a relatively modern luxury, but these swanky spaces were cropping up in Chelsea as early as the 19th Century. Chelsea was one of the first places in England to see a real concentration of artists, who chose to live near their consumers and each other. It was also an area with plenty of ready building space, and so bespoke studios flourished.
Indeed, ‘shed working' has always appealed to creatives. Roald Dahl wrote his beloved children’s books from his garden studio. Cunningly, he told his own children that wolves lived in it so he wouldn’t be disturbed. Genius, no? Unsurprisingly, today's successful creatives are also looking to the garden studio, including block-printing extraordinaire and textile designer Molly Mahon.
The attraction is obvious. Natural light, a space designed just for you, and all the inspiration of the great outdoors close at hand. Whether your art revolves around writing, textile production, painting, or printing, these spaces are adaptable to any need. If this sounds like the stuff of your dreams, we are here to guide you in creating the perfect garden studio.
Choosing the right garden room for you
Alongside this blossoming demand for garden rooms, we have a growing number of options at our disposal. Choosing the right structure for you depends on various factors. Permanent bespoke builds can really add value to your home, whilst you can take a charming shepherd’s hut on wheels with you wherever you may go next. Companies can tailor a whole design to your needs, or you can get creative with the old shed that has gone untouched for decades. Perhaps you even fancy tackling your own project from scratch.
DIY garden studios
Consider using architectural salvage if you are renovating an existing building or building a bespoke design from the ground up. Not only are they much more eco-friendly, but salvaged pieces will also inject character and uniqueness into your studio. Build around antique doors and windows to avoid the structure looking too brand new, as time-worn architectural features often blend more seamlessly with the garden than a modern design. If you’d rather just add a few adornments to a building, then decorative panels, over-door frames, and finials are sure to make it feel special.
Creating a new space outside gives you the freedom to express your style beyond the four walls of your home. We have a large selection of architectural elements to help you start planning your project.
Furnishing your garden studio
Once the basics are established, it’s time to get creative with your studio. It is worth putting time and effort into the interior, as you are likely to spend lots of time here. Investing in your workspace is proven to pay off in efficiency and results. The first priority is having everything you need close at hand, depending on what you will use the studio for. Shelving and storage, a desk or an easel, and craft supplies are likely to be essential.
But nobody wants all work and no play, of course. The most effective garden studio should mean you don’t need to traipse back and forth to get things from the house. Avoid interruptions with a bar cart for refreshments and a storage chest with blankets and candles in for a rainy day.
Consider a range of furniture to meet your working and relaxing needs. Rattan never fails to capture that blend between our home and garden. Wicker furniture suits a garden room because it is sturdy yet light and moveable. You want to be able to pull up a chair for a guest or repurpose your work table for lunch, so choose versatile pieces. We often fear upholstered furniture anywhere near the garden, but a comfy armchair, a small sofa, or a daybed will be protected in a garden room and offer some much-needed respite.
Mirrors will make a smaller space feel bigger, especially with light streaming in through the windows during the day. But don’t forget about lighting – natural daylight can only go so far! Desk lamps and specialist lighting for up-close work are essential, whilst candles and table lamps for dark evenings will add an atmosphere. Make room for a few of your favourite decorative pieces and art; nothing will get the inspiration flowing quite like some wonderful sculpture and glassware.
The room outside
The garden room is a versatile concept. Many of these principles can apply to an entertaining space, a home office, or just a room for reading and relaxing. Garden rooms of all sorts offer the opportunity to extend your living area and create a bespoke room all of your own. The only danger is you may never want to go back into the house!
Get started on your own garden studio design with our lookbook, 'Your garden room oasis.'
Some names are rightfully revered in our industry, and Eleanor Coade is certainly one of them. The legacy of Coade stone is a just reflection of the impressive lady at the helm of the business.
Entrepreuner, inventor, and philanthropist
Eleanor Coade (1733-1821) was the daughter of a wool merchant. Born in Exeter, the family later moved to London in the mid-1760s and Eleanor set up shop selling linen. This experience nurtured her entrepreneurial spirit, and around 1769 she bought the premises of a struggling business that was making artificial stone. These premises, in Lambeth in London, laid the foundations for Eleanor to start making her own artificial stone.
We cannot underestimate the achievements of Mrs Eleanor Coade. Her factory operated successfully for 50 years and went from strength to strength, with Eleanor acting as direct manager from 1771. The Georgian period certainly didn't champion female business leaders, let alone in the manufacture of artificial stone. From 1799, for a period of fourteen years, Eleanor was in partnership with John Sealy. Pieces from this period are stamped 'Coade Sealy' rather than 'Coade Lambeth.' Otherwise, Eleanor oversaw every element of the business up until her death in 1821.
Eleanor Coade never married, but 'Mrs' was the courtesy title for single women in Georgian England. She spent much of her later life engaged in philanthropy and was particularly keen to help women in need. She left a few bequests to women in her will, which stipulate that the funds remain untouched by their husbands.
Coade's recipe for success
Coade stone ornamentation on the beautiful Georgian-style buildings on Bedford Square in London.
Coade did not invent artificial stone, but they were enormously successful in producing it. Eleanor's triumph came from her desire to make something that closely resembled the original in every respect. Nobody could fully decipher this recipe until the 1990s, when it was rediscovered and successfully reproduced. Coade stone was a ceramic that combined terracotta, clay, silicates, and glass. This mixture was fired for four days at a time in incredibly hot kilns. Eleanor's own name for her product was 'lythodipyra'- twice-fired stone.
The result was something malleable enough for detailed sculpture and ornamentation, but also incredibly tough. During firing the stone had a very low shrinkage rate and hardly any distortion occurred, so the results were very fine. It was also resilient against the harsh winters of Northern Europe, and dispelled the effects of frost and freezing weather. Because it was fired, it was possible to incorporate high levels of detail into the pieces. Unlike terracotta, which has a matte finish, Coade stone has a slight shine which makes it more damp-resistant. It also had the perfect colour for emulating stone, with the grey shades making it almost indistinguishable from limestone.
Fortunately for the company and clientele, the arrival of Coade stone coincided with changing tastes in architecture. In the second half of the 18th Century, the likes of Robert Adam were looking to add more and more detail to architectural ornaments. Coade answered his prayers, as this new artificial stone was much easier to manipulate than real stone. Indeed, amongst Coade's other reliable clients were Sir John Soane, James Wyatt, and Sir John Nash.
The Coade legacy
Lion statue made from Coade Stone, which is located on the Southern end of Westminster Bridge in London.
Leading up to her death, Eleanor handed over to a distant relation- William Croggan. The company continued to operate up until 1840 when they sold their moulds. Coade stone was enormously popular in the 18th and 19th Centuries and has endured well because of its winning formula. Later on, as Coade's secrets became public, manufacturers and individuals rushed to reproduce the stone. However, these attributes are also Coade's downfall when it comes to identification. Coade sculptures can look like anything from granite to marble, and this chameleon quality means many evade classification.
Nonetheless, some pieces are unmistakable. Coade's lasting bequests are visible at Stowe, Chiswick House, Anglesey Abbey, and many other great houses. Their offering was wide, thanks to the versatility of the material, and the Coade legacy is embodied in everything from statuary to garden furniture.
You will see several Coade sculptures at Chiswick House, including replicas of the Medici and Borghese vases. The large lion statue found near the Houses of Parliament on Westminster Bridge is a Coade creation. The lion's animated face is a testament to the malleability of Coade stone, and his survival of World War Two is a testament to its durability. William Woodington of Coade made three of these lions. One of the triplets has disappeared and the other, opulently gilded in 1991, now fittingly resides at Twickenham.
We increasingly recognise the true extent of Mrs Coade's achievements today. Her work revolutionised statuary and sculpture production, and the pristine results will hopefully pepper the British landscape for centuries to come.
Feeling inspired? Read our guide to garden antiques here.
Are you a minimalist or a maximalist at heart? Both approaches create stunning interiors, but this year we're making the case for a maximalist Christmas. It certainly hasn’t been an easy ride, so embrace the festive season in all its visual glory.
There is a good reason why many of us have fixated on what this season will entail this year, and what we can and can’t do. Whether you start Christmas planning in August or dread the whole affair, it’s one of life's consistencies. Although it’s a different festive season this year, the period still offers some guarantees and one of the best of these is bringing your home to life.
Christmas through history
Christmas can feel prescribed in today's society, and we are compelled to follow all manner of conventions. But in fact, Christmas has transformed over the centuries and taken on many different guises- even the religious meaning came later than the first festive celebrations.
In medieval England Christmas didn’t revolve around just one day; it was a full twelve days of celebrating up until 'twelfth night' on January 6th. After a pretty miserable year, why not make this festive season last? Savvy decorating choices will see the cheer through into January so you can keep the winter blues at bay.
Winter solstice
In a couple of days, the Earth will be tilted further away from the sun than at any other point in the year. The winter solstice is how Christmas celebrations began, in eager anticipation of the sun's return. The solstice may be the shortest and darkest day of the year, but it is also the beginning of a new chapter. This moment has special relevance this year, as we look forward to better times.
Whilst the solstice has been somewhat lost in Christmas celebrations today, it was quite crucial for the holiday’s development. The Roman festival of Saturnalia was a hedonistic spree of celebrations leading up to this event. Take note from the ancient Norsemen of Scandinavia, who celebrated ‘Yule’ from the solstice all the way through January, while the yule log burned to symbolise the return of light.
'We are not amused'
Queen Victoria’s reputation does not immediately bring to mind joyous festivities. But in fact, it was the innovations of the Victorians that led to the Christmas we know and love today. From the beginning to the end of the 19th Century, Christmas transformed from a lowkey event to the biggest celebration of the year.
The Victorians believed in the importance of celebrating Christmas with family, which is a concept we all hold close to our hearts today. Many of our favourite traditions stem from the royal couple themselves, Victoria and Albert. Prince Albert's childhood in Germany had a big influence on the British Christmas, and he popularised the indoor Christmas tree. An illustration of the royal family gathered around their tree appeared in the Illustrated London News in 1848, and a Christmas tree has been integral to Christmas ever since.
This period also introduced the sending of Christmas cards to friends and acquaintances, as well as the joyous Christmas cracker with its novelties and gifts inside. So, perhaps raise a glass to Queen Victoria this Christmas?
Reclaim Christmas as your own
There’s plenty of inspiration to draw from tradition and how Christmas has been celebrated over the centuries. This year, take only what you love from this and make the rest your own. Whether you can be with loved ones, or it's a quiet affair this year, surround yourself with your favourite things and give them a bit of a festive revamp.
Breaking the rules has long been a part of Christmas tradition. This time of year has a rich history of reversing social hierarchies, and it was once known as the season of 'misrule.' The violation of social conventions got a bit out of hand at one point, and the Victorians stepped in to bring about more order. The concept of reversal still manifests today, as officers of the British Army wait on their soldiers on Christmas Day. We're not advocating that your children become the boss this year, but do embrace doing things differently.
We all have our guilty pleasures. That piece that’s a bit kitsch, a bit out there… but we love it all the same. This year we haven’t been entertaining and Christmas guests are going to be limited, but there is a silver lining to these circumstances. Christmas is often a time of immense stress, no matter how organised you are. Let go of the considerations that come with entertaining this year. Fuel your nostalgia at Christmastime, and let festive cheer reign unshackled.
Mismatching design is full of character and that eccentric antique you keep tucked away in the attic is ready to have its day. Yes to red and green, if you love the colours, but also yes to yellow, blue, orange, and purple. Etiquette and convention are not on the menu for this Christmas period.
Add a little sparkle...
With limited events to attend this festive season, we must bring the party to us. There is no better time of year to embrace opulent home furnishings. Put beautiful gilded furniture in the spotlight, and make sure everyone has a comfortable seat. Get inventive with the furniture you see every day; sideboards present the perfect worktop for creating a wintery scene which will keep you cheerful until the Spring.
Christmas is brought to life through light, and you simply can't have enough candles. We stock antique candelabra, wall sconces, and candlesticks so that you can create an enchanting atmosphere at home. Bring the Christmas sparkle with your own unique take on decorations, such as a glass witches ball. Heavy and shining with rich history and tradition, these decorations are a fitting accessory to a maximalist Christmas.
Natural decoration also serves as a wonderful accent to your favourite antiques. Garland your statues and sculptures, and fill glass vessels with pine cones and oranges. The fireplace forms the focal point for festivities and offers plenty of scope for creative decoration. Layer the mantelpiece with holly and ivy, and quirky antiques. Browse our fireside furniture to bring this spot to life.
Eat, drink and be merry
Tablescapes offer one of the greatest creative opportunities at Christmastime. This is where you can afford the most artistic license and think outside the box to bring your table to life. Antiques are the perfect antidote to the ‘norm.’
Often, there is great pressure to colour coordinate at Christmas. Throw out the rulebook and combine all your favourite tableware and glassware. Use urns and vases to create wonderful, unusual centrepieces that will have everyone in awe. If you love it, it works.
Trust our one-of-a-kind antiques to bring your home to life this season and all year round. If you're keeping it lowkey this year and plan to come back with a bang in 2021, it's never too early to prepare!
For a little added inspiration, visit our lookbook "Merry and Bright."
Merry Christmas, from the whole team at Lorfords Antiques!
On the 22nd September, at 2.30pm, the autumn equinox will occur as we go about our Tuesday afternoons. Light and dark will be in balance and the new astronomical season will begin.
The science and spirituality of the equinox
For the Northern Hemisphere, the autumn equinox takes place in September. At the same time, the vernal equinox marks the beginning of Spring for the Southern Hemisphere.
Before the dawn of clocks for telling time, ancient cultures paid close attention to these astronomical movements and found symbolic importance in the equinox. In ancient Greek mythology, it signified the return of the goddess Persephone to the underworld where she is reunited with her husband Hades.
Chinese and Korean cultures have celebrated the full moon closest to the autumn equinox for millennia. This involved giving praise for a successful rice harvest and making offerings to the moon.
The equinox is still widely celebrated by Pagan and Wiccan communities today. They celebrate the Festival of Mabon on the equinox, Mabon being the 'Child of Light' in Welsh mythology. The symbol of Mabon is the cornucopia, the horn of plenty.
Fresh beginnings
The resonance of autumn is multi-faceted and very powerful. As the leaves change colour and begin to fall, we are reminded of change and impermanence. This is not a time to be morose however and the autumn is a wonderful time for self-reflection and cultivating a safe, comfortable home.
F. Scott Fitzgerald famously said, 'life starts all over again when it gets crisp in the fall.' Harvest is about reaping what you have sown and preserving and enjoying it. The crops will begin to die and animals start to hibernate. The process then starts all over again, in a cycle of renewal. Indeed, the word 'aftermath' is used to describe a new batch of cuttings or mown crops, signifying that there is more to come.
Take the symbolism of fresh beginnings, marked by the autumn equinox, as an opportunity for change and improvement. The home should never be stagnant; just as we start dressing differently and eating differently as the seasons change, your home is ready for a refresh.
Autumnal design
Fear not, it's not yet time for full winter hibernation. In fact, there's a certain frugality to autumn which stems from traditions of preservation after the harvest.
Inevitably, we begin to spend more and more time indoors during the autumn. However, it is still important to bring elements of the outdoors into the home and autumn has some of the most beautiful natural offerings.
Decoration need not be excessive. Because the changing of the seasons is as old as time, there are beautiful antiques perfect for marking the autumn equinox. Combine sculptural or ceramic representations of the cornucopia with wheat sheafs, apples and pumpkins for a seasonal display.
At this food orientated time, consider investing in some unique antique tableware and kitchenalia. We stock wonderful serving dishes, glasses, decanters and much more so that you can host with effortless style.
Don't feel constrained to a minimalist, stripped back look. Autumn signifies renewal and starting over, as well as preserving. Combine antique and contemporary trends and don't be afraid to incorporate heavy materials and bold colour. Simply crafted, heavy woods make a beautiful contrast with brass and bronze accents such as sunburst mirrors and candle sconces.
Rustic charm
This time of year is traditionally about food. The harvest has been brought in and its all about maximising ingredients. The kitchen should be full of warmth, food and family at this time of the year.
Bleached oak and other fresh timbers look wonderful in the kitchen, perfect for holding colourful produce and decoration. Due to the age old traditions of the equinox and harvest, here at Lorfords we have some fantastic pieces for this time of year.
Incorporate the concept of balance, so integral to the spirituality of the equinox, into your interiors. As the nights get longer, have multiple sources of soft lights with compelling light fittings.
In our collection of antique lighting, we have a wheat sheaf chandelier and a decorative harvest chandelier, which are perfect for the kitchen or dining room. Striking light fittings such as these make for an effective contrast with simple natural materials. More subtle choices, such as lanterns and wall lights, always bring effortless charm and atmosphere to interiors.
Of course, textiles always play a part in setting the perfect tone in your home. Soften minimalist rooms with upholstered furniture and soft rugs, using the fireplace or kitchen table as a focal point.
If you are stuck for inspiration, our hangars at Babdown Airfield offer two amazing showrooms filled with unique antiques that can revolutionise an interior.
Visit our lookbook, 'Shifting seasons,' to browse our autumnal antiques.