Latest Arrivals
Shop Now
The Windsor chair is known and loved far and wide, from its namesake town in England to the United States. This iconic chair represents all there is to love about antique furniture - from its rich history down to the simple, sturdy joinery that has allowed so many to survive.
A potted history
Windsor has not strayed far from our thoughts over the last month. The market town is on the River Thames just West of London and home to Windsor Castle, a royal residence and the final resting place of Her Majesty Queen Elizabeth II.
It’s generally accepted that the first Windsor chairs were made in the Thames Valley in the 1720s, and High Wycombe was actually the main producer. Windsor was the all-important trading ground for transferring the chairs to London, so it soon adopted the name Windsor chair.
While we usually picture a Windsor at the dining table or in front of the fire, it actually started life as an outdoor chair. The 18th Century brought immense change for the English landscape garden, marking a departure from the formal style of the 17th Century. The garden was suddenly more relaxed and leisure-orientated, a place to take tea or play a lawn game.
This prompted a need for garden furniture that was sturdy but light enough to move around, and from there came the Windsor chair. Originally, these chairs sported a coat of green paint to blend in with their outdoor setting. As the style grew popular, a distinction arose between painted chairs for outdoor use and stained versions for indoor use - with the latter more familiar to us today.
Joinery
The Windsor chair is as much defined by its construction as it is by its aesthetic. They were sometimes called ‘wedge’ chairs because of the wedge joinery that secured the legs and uprights into the seats.
Put simply, a wedge-tenon is a mortise-and-tenon joint without the glue. Instead of glue, small pieces of timber cut at an angle - the ‘wedges’ - secure the two parts together. It is a friction joint that relies on minimising any possible movement between the different parts. The survival of so many original Windsor chairs today testifies to the strength of this simple joinery.
Materials
Local workshops made use of the native woods that were abundantly available to them to make these common chairs. For instance, beech was plentiful in the hills surrounding High Wycombe, so this material usually formed some part of the chair. As steam-bending increased the popularity of curved backrests, yew and ash were chosen for their pliable nature.
Furniture makers often favoured elm to form the seat. They couldn’t rely on adhesives to join seats, so they had to use one solid piece of timber. Elm, a sturdy hardwood, fit the bill because of its firm yet malleable nature; the latter important for creating the saddle seat design.
Regional variations and evolution
The Windsor style inevitably spread far beyond the west of London. It migrated northwards, with prolific workshops in Nottingham and Yorkshire amongst other counties. Part of the charm of regional furniture is the variations that arise from local influences, with a gentle competitive spirit driving a need to stand out.
The backrest offered a canvas for creativity. Firstly, different regions and workshops had different preferences when it came to the overall shape of the backrest. As a result, you find hoop-backs, comb-backs, bow-backs, high and low backs, and everything in between.
The central back splat presented the opportunity to stand out and show off expert furniture-making techniques. Fretwork could be simple or elaborate, depending on the maker, and splats depicting a carved wheel were particularly popular throughout the Windsor's heyday.
Royal emblems
This humble chair would sometimes reflect national developments, too, as was the case with the Prince of Wales feathers.
You will occasionally come across Windsor chairs where the central splat bears these feathers - the heraldic badge of the Prince of Wales - in fretwork. While a long-standing emblem of the heir to the throne, it had particular resonance in the late 18th Century.
The Prince of Wales became Prince Regent in 1787 due to the declining health of his father, King George III. As the youth entered the national spotlight, furniture offered ordinary people the chance to recognise the monarchy in their own homes.
Look at the legs
When it comes to Windsor chair legs, two main styles align with national furniture trends at the time. 18th Century examples tend to feature stately cabriole legs, their graceful curve accompanied by equally elegant stretchers, which became popular under Queen Anne.
Moving into the 19th Century, furniture-makers favoured turned legs accompanied by turned stretchers. ‘Bodgers' were responsible for turning the timber to produce legs, stretchers and spindles for Windsor chairs. So valuable was their craft, bodgers had their own concentration of workshops in the Chiltern hills.
Legacy
While production slowed after the 19th Century, the Windsor chair has lived on in countless guises ever since.
Ercol put their distinctive stamp on the style in the Mid-20th Century, launching their own Windsor chair made with wedge-tenon joinery. Mid Century versions tend to be sleeker and more refined, yet the basic concepts of a saddle seat and decorative open back remain in almost all of them.
Modern manufacturers continue to emulate and draw upon this rich design history, demonstrating the timeless appeal of simple, well-made furniture. We’re not sure you can beat an original though…
A Windsor for every occasion
There are Windsor chairs to suit every room of the home and serve every purpose. You might choose stately examples with armrests and proud legs for a fireside chair, and simple hoop-backed chairs for dining. There are children's Windsors, captain's Windsors, and rocking Windsors.
When it comes to sets, don’t be afraid to mix and match Windsors for a more eclectic look. They will share a simple vernacular aesthetic and the strength of solid wood - the quirky variations are very much part of their charm.
Browse our collection of Windsor chairs here.
Edward Bulmer Natural Paint has recently opened the doors to its first flagship store in London. The pioneering paint company have long been admired in the pages of the interiors glossies, on the walls of beautiful homes and of course you will have seen how we at Lorfords use their exquisite colours.
Edward and the team are delighted to now have a ‘home’ in the design hub on Pimlico Road. More than just a ‘paint shop’, not only can you browse their range of colours on a huge colour wheel, Edward Bulmer Natural Paint is championing sustainable interiors, hosting exhibitions with creatives and exclusive, curated events.
Unsurprisingly the showroom is a colourful display of the natural paints throughout. Edward chose to paint the façade in his favourite deep, rich orange ‘Malahide’, paying homage to the area’s history. This eye-catching deep orange exterior, brilliantly inspired by Orange Square, where the showroom is located on the corner of Ebury St and Pimlico Road.
“Bringing further colour to orange square, we look forward to providing help with all things colour and paint in the heart of London’s greatest design quarter.”
---
Autumnal Palettes – Embrace Orange Tones
Orange tones, Edward says ‘are having a revival – with distinctly nostalgic notes, Malahide fuses modern with timeless so effortlessly.’
Deep, magnetic and exotic all rolled into one colour, it certainly stops people in their tracks as they walk by the showroom. @Farstud.o also uses our ‘Malahide’ with ‘Jonquil’ (pictured to the left), creating a tonal yet fresh and light palette, as a more peachy scheme.
If you are thinking about where or how to use ‘Malahide’ in your home, Edward suggests it to be a great spot ‘to cheer up a boot room or a dark passageway, especially with a two-tone scheme or dare we mention – a feature wall’. With Edward going on to say one special rule for this orange colour… ‘Don’t paint sparingly – if you use it, mean it. You won’t regret it.’
Malahide as featured in a Lorfords Antiques and Lorfords Contemporary photoshoot.
---
Exhibitions at Edward Bulmer Natural Paint
The Edward Bulmer Natural Paint showroom will also be hosting a series of exhibitions throughout the year where they will be sharing some of their favourite sustainable, like-minded brands. From art exhibitions and installations to curated collections, talks and exciting pop-up events; there is going to be something for everyone.
The brand aims to champion smaller sustainable brands and artists by providing a platform in the heart of London to help them tell and sell their stories. Current brands on show in the shop are Haines Collection and Hum London lamp shades and the plastic-free wall murals from Beautifully by George.
The Autumn line up at Edward Bulmer Natural Paint is not one to miss with events during London Design Festival 17th – 25th September, leading British landscape artist Pete Beckett, Edward’s own book launch ‘The Colourful Past: Edward Bulmer and the English Country House’ and a Christmas shopping pop-up with Sharland England and Louise Roe.
---
Edward Bulmer Natural Paint at London Design Festival
To celebrate the 20th anniversary of London Design Festival, Pimlico Road is very much on the map as one of the design districts for the week-long celebration of all things creative and design. Edward Bulmer Natural Paint will be hosting an immersive and quite extraordinary exhibition from some leading young artists using waste to make art, including waste paint!
The Crossover Project brings three creative industries together to collaboratively tackle waste in a bid for a circular economy. Harnessing waste from design and fashion brands, the project is connecting artists to this waste who will work with these unfamiliar materials, transforming them into bespoke artworks and diverting them from landfill.
Alongside the exhibition, there will be lampshade upcycling workshops with artist Jemima Sara and the founder of Haines Collection, Jules Haines. With a further talk at the showroom in the evening, where Edward Bulmer will host a talk with journalist and co-founder of The Crossover Project Roddy Clarke, Aurelia Isliyme and Jules Haines.
If you'd like to join Edward Bulmer Natural Paints for their workshops or talks then book via the links below - spaces limited!
Workshop – Thursday 22nd September 10-12pm
Workshop – Thursday 22nd September 2-4pm
Talk – Thursday 22nd September 6pm
Stay connected with Edward Bulmer Natural Paints
Visit their website and sign up to their newsletter, follow them on Instagram, pop into their London showroom or give them an email or call!
Website: https://www.edwardbulmerpaint.co.uk/
Instagram: https://www.instagram.com/edwardbulmerpaint/
New London showroom: 194 Ebury St, London SW1W 8UP
Email: info@edwardbulmerpaint.co.uk
Call: 01544 388535
The art of collecting antiques is a diverse one, spanning everything from film memorabilia to 18th Century mahogany furniture. The areas that often fascinate the most are those that relate to the lives of everyday people - from their cooking and eating habits to their romantic lives. Apothecaries, with their promise to heal one’s aches and pains before the dawn of modern medicine, have left behind objects that offer a unique insight into the lives of our forebears.
What is an apothecary?
What was would be a better question, as despite their best efforts to brand themselves as pharmacies, the modern-day equivalent would shrink from the association.
The word apothecary comes from apotheca - a place where wine, spices and herbs were stored - and it first came into our language in the 13th Century. Somewhat confusingly, 'apothecary' refers both to the salesperson and to their shop. For a long time, apothecaries were lumped in with grocers, spicers, and all manner of merchants. They were simply another group trying to sell their wares.
Quack medicine
Medieval medicine was based, for the most part, on the supernatural and superstitious. Apothecaries would swear that concoctions such as ‘Oil of Scorpion’ or ‘Balsam of Life’ could cure anything from boils to baldness. Their medical advice revolved around 'humoral theory' - the idea that we have four liquid humours in the body, and when these are out of balance you get disease.
‘Oil of Earthworms’ is an infamous example, promising to fix all manner of joint issues like arthritis and rickets. As the name suggests, it involved boiling earthworms in olive oil to apply to affected areas. While the oil was helpful, the role of the earthworms is dubious at best. It is perhaps not surprising then, that apothecaries were accused of 'quack medicine.' This phrase comes from the Dutch word quacksalver, meaning someone who falsely claimed medical knowledge in order to sell their wares.
Royal recognition
The lucky break for these early chemists came in 1617. That was the year ‘The Worshipful Society of Apothecaries of London’ - tricky to squeeze onto a business card - was formally incorporated by royal charter. King James I not only recognised apothecaries but separated them from grocers and gave them a level of medical credibility. This royal approval was driven partly by King James I’s fondness for his own apothecary, and he wasn’t alone - Samuel Pepys writes of loyally following the instructions of his when struck by illness.
Apothecaries didn't stop there - in 1704 the society won a lawsuit against the Royal College of Physicians in the House of Lords. The ruling declared that apothecaries could prescribe and dispense medicines - a significant turning point for the group. The Apothecaries Act of 1815 then gave the society the right to carry out examinations and grant medical licenses in England and Wales.
While it’s easy to dismiss this early medical practice as nonsense, that would be an oversimplification. The trial and error during these centuries undoubtedly paved the way for later breakthroughs. Many of those who worked in the apothecary trade were earnest in their pursuit of cures, and closely involved with botany. For example, the apothecary society founded the Chelsea Physic Garden in 1673 for the purpose of growing medicinal plants. Some of the most awe-inspiring botanicals that decorate our walls today were by eminent apothecaries - including those of Basilius Besler.
Inside the apothecary
Window shopping
Before you even set foot inside one of these establishments, a rather unique window display might have caught your eye. The ‘chemist’s carboy’ became a must-have for apothecaries in the 18th and 19th centuries.
These voluptuous glass bottles, often with elaborate cut glass stoppers, boomed in popularity alongside advances in glass production. While they were similar to the vessels you'd see inside, carboys were purely for advertising purposes. The owner would fill them with brightly coloured liquids to mimic chemical solutions and indicate their trade.
Carboys are a popular collector's item today, and they make for majestic decorative pieces. Leave them empty or fill them with corks, and keep them in the window to really pay homage to the apothecary.
Cabinet of curiosities
Once inside the apothecary, cacophonous sound would greet you. The apothecary trade revolved around grinding, pulverising and stirring to create its potions and lotions. It’s no surprise, then, that one of the objects we commonly associate with medical history is the humble pestle and mortar. Still a stalwart of today’s country kitchen, these are as decorative as they are useful.
The apothecary himself would be stood behind a counter, likely with a set of measuring scales in front of him. Indeed, scales are so synonymous with the trade that a measuring system was named after them - ‘apothecaries’ weights and measures.’ Many of these T-shaped balancing systems survive today and they bring quirky character to a kitchen.
It’s not just the tools of the trade that appeal to collectors. Unique apothecary furniture is highly desirable for injecting personality into interiors. Apothecary cabinets seem to trap the magic of the trade in their many drawers, with the remains of old labels for all things weird and wonderful. Countertops pummelled by hard work, a deep-aged patina, and a curious history - what more could you want for a soulful interior? Use these as a decorative sideboard, or make use of the drawers in a painting or textiles studio.
Cupboards, too, were essential furniture for apothecaries. Some of these charming cabinets feature remains of old paint, while others are simple brown wood. All offer a welcome alternative to fitted kitchen or pantry cabinets.
Antique apothecary bottles
Perhaps the most enduring legacy of apothecaries is the many bottles and jars that have lived to tell the tale. Glass was used for making apothecary bottles from the 1600s onwards. These range from clear glass, to humble brown, to azure blue. Apothecaries favoured coloured glass over clear to protect the contents from sunlight. They come in different shapes and sizes which can, to the discerning eye, give hints of their former purpose. For example, apothecaries used wide-necked bottles for syrups, so the stopper wouldn't stick to the viscous liquid. These are just a few examples of how yesterday's pragmatism has become today's beauty.
Collectors pore over the remains of labels, which were often a shimmering gold with black print. The idea of ornate medical bottles seems absurd today, but it indicates the pride and showmanship that accompanied this trade. These labels revealed the contents, usually in full or abbreviated Latin. A coveted example, such as ‘Oil of Earthworm’, is a momentous find for the serious collector. Apothecary travelling chests are also popular. These portable cabinets were the first aid kit of yesteryear, containing several bottles of solutions the traveller couldn't go without. They often had fine wood exteriors and plush silk or velvet interiors.
But the wonderful thing about apothecary antiques is that the mundane is often just as desirable as the historically significant. Fill a cluster of simple, aged apothecary bottles with garden flowers to bring whimsical charm to kitchen or bathroom shelves. Alternatively, go for the ‘en masse’ approach, with reams of apothecary bottles assembled on open shelving for dramatic impact.
Where did all the apothecaries go?
Apothecaries peaked in the 1700s, but soon gave way to Victorian chemists around the turn of the century. As medicine became a more serious discipline and industrial revolution transformed production, apothecaries faded into the history books. While 'Oil of Scorpion' may not be a go-to remedy in our local pharmacy - thankfully - we can still celebrate the charming relics of this bygone era.
Shop the look and browse our collection of apothecary antiques, from grand cabinets to humble jars, here.
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.
Charlie Hibbert, our Thyme chef correspondent, is mad about picnics. With a fascinating French political association, the pique-nique was brought to England by escaping 'high-society' from the Revolution. In 1801, the Pic Nic society was formed in London where extravagant gatherings required each attendant to bring a dish and six bottles of wine! After dinner there was singing, dancing, gambling, and a play... somewhat less innocent and 'genteel' than the countryside connotation we now have!
Concentrating on the food, Charlie keeps to the original spirit by erring on the side of excess when it comes to catering for them, but he likes to keep things simple to reduce any potential stress from prepping.
- Go for crowd-pleasing tucker – photographed, you’ll see grilled chicken & homemade mayo (always a winner), courgettes, fennel & burrata (recipe below with photograph by Romas Foord for The Times), potato & roasted radish salad, Victoria sponge, Eton mess and a crusty sourdough loaf with lots of salty butter.
- Don’t prepare anything too oily or runny – it’s bound to drip or splodge. If you’re taking olive oil (and I’d strongly recommend it), decant a little into a jam jar or small Kilner bottle.
- Use the freshest possible seasonal produce – the flavours and aromas will definitely enhance your bucolic feast!
- Always pack good serving utensils.
- Keep lids or foil for leftovers.
- Don’t forget salt, pepper, bottle openers and a bin bag.
- Don’t forget the vegetarians & vegans!
- Wine and water need to be served cold, so bring your freezer blocks.
- Take a dog bowl for your dog (if you have one) – they need water too.
Charlie’s courgettes, fennel & burrata
(Image: Romas Foord)
Charlie says "This summery dish is exactly what I want to eat on a warm day. Creamy burrata, crisp vegetables, bitter leaves and salty almonds, all good things. If you can’t get hold of burrata, you could use a good buffalo mozzarella."
Serves 4
A good handful of blanched almonds (Valencia almonds are best), roughly chopped
2 tbsp vegetable or rapeseed oil
1 clove of garlic, peeled & grated
½ a lemon, zest (for the almonds) and juice (for the dressing)
2 courgettes, peeled with a vegetable peeler into strips
1 head of fennel, cut into thin strips with a spiralizer or knife, put the fennel in iced water until you are ready to assemble the dish (this keeps it nice and crunchy)
A good handful of bitter leaves, like rocket, nasturtium leaves or something similar
4 balls of burrata
Best extra virgin olive oil
Maldon salt flakes & pepper
Fry the almonds in a pan on a medium heat with the vegetable oil until they start to turn golden. Just before they are ready to come off the heat, add the grated garlic, a couple of grinds of black pepper and the lemon zest, and toss through the nuts. Carefully tip the almonds out of the pan onto a paper towel to drain.
If you can keep the dressing, almonds and rest apart until you get to the picnic – that’s the best way round, so nothing goes soggy. Just remember to take a good sized bowl with you to mix and serve it in. When you’re ready to serve, dress the courgette and fennel with plenty of lemon juice, season with salt and pepper, and gently combine with the bitter leaves. Tear the burrata open and season. Tumble over the courgette and fennel, scatter over the almonds and dress with a little olive oil.
For more recipes, please click here.
Charlie’s lunch and dinner menus at Thyme reflect all the goodness to be found in the gardens at Thyme, so if it really is too soggy to picnic and you happen to be in the Cotswolds – bag yourself a table at the Ox Barn for a lazy lunch.
Sean Symington is the Founder and Creative Director of a Bath-based interior design practice specialising in residential and boutique hospitality design. Defining his style as ‘classic with a fresh whimsy’, Sean brings a colourful and fun flare to the world of interior design. We asked Sean to share some of his expert advice on lighting our homes this autumn.
Lighting your home this autumn
As we move into the winter months, I think it is more important than ever to focus on the lighting in our homes. We were so fortunate this summer to have sunny, long days with glorious light flooding through our windows. As we transition into autumn, the sunlight depletes and the days become shorter, therefore we must rely on synthetic lighting more and more. It is for this reason that I try to incorporate varying levels and types of lighting within my interior schemes.
Lighting within a room must serve a purpose and be appropriate to the room’s function, however, it must also transition from day to night and season to season. In the summer months, we may have opted to keep our curtains open and let the sunlight fill our rooms. We may have also decided not to turn on certain lamps in order to keep the house feeling cool. As we move into winter, we may want the curtains drawn and the lamps turned on with flickering candles and a roaring fire to evoke a sense of cosiness and warmth. It is with this in mind, that I put together my list of must-have lighting for autumn.
Varied levels of lighting
I think it is important to incorporate lighting at different heights within a room. I rarely turn on overhead downlights (especially in the cooler months) and rely much more heavily on low-level lighting like table lamps and wall sconces. Depending on the functionality of the room (i.e. if it is a kitchen versus a sitting room), one may want their downlights on at full capacity in order to cook or clean.
In my opinion, overhead lights are unnecessary for any other task and instead, I try to incorporate ample low and mid-level lighting which I can turn on at different points during the day. There is nothing nicer than warm table lamp lighting during an autumn evening.
Incorporate natural lighting
If possible, and especially in England, I think every sitting room needs a fireplace. The warmth of candlelight and the glow of a fire is my absolute favourite type of light during the autumn months. There is nothing cosier than a plethora of lit candles down a dinner table in the evening or a crackling fire in a sitting room at night. Candles add an amazing sense of atmosphere and calm within a room.
Browse our collection of lighting here.
Read more about lighting in our other articles 'The ultimate guide to vintage lighting' and 'Antique lanterns for autumn evenings'...
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.'
The rococo style, defined by its sinuous curves and natural beauty, swept through Europe in the 18th Century. Sweden was then something of a remote northern outpost, but its craftsmen were not to be underestimated. The Swedish Rococo period saw a new royal couple take to the throne and the Swedes' elegant take on the style flourish.
Sweden’s artistic ‘golden age’ spanned three design periods, which naturally followed fashions in Europe’s cultural heartlands. The dramatic Baroque period (1650-1750) gave way to Rococo (1750-1775), which was followed by the refined Gustavian era (1775-1810). All of these styles were influenced by trends in France and England but came later to Sweden due to its location and comparatively small population.
The historical context
Several events sparked Sweden’s design prowess in the 18th Century. King Karl XII’s wars came to an end in 1718, ushering in a new period of peace and prosperity. Sweden’s upper and middle classes were eager to beautify their homes, and those with the money to do so indulged in lavish interior decoration. Secondly, the Swedish government announced a ban on imported furniture in 1731. In the early part of the 18th Century, Sweden relied heavily on imports from England and France. This measure intended to support native craftsmen and encourage domestic excellence, a move that certainly paid off. Lastly, the fall of the Caroleans brought new royals to the throne. King Adolf Frederik and Queen Lovisa Ulrika of Prussia were a fashionable young couple, influenced by the ideals of the French Enlightenment.
When rococo arrived in Sweden around 1750, the style had already been thriving in France for 20-30 years. The architect Nicodemus Tessin the Younger was overseeing the build of The Royal Palace at Stockholm when he died in 1728, leaving the project incomplete. Luckily for Sweden’s cultural legacy, Tessin had chosen his successor wisely. He left the commission to his promising young student, Carl Hårleman. Hårleman demonstrated a mastery of architecture and became one of the most influential figures of the 1700s. Indeed, the grandest manifestations of the rococo style were in Sweden's great palaces.
Swedish Rococo in the royal palaces
Hårleman needed to complete and furnish The Royal Palace in Stockholm for the needs of King Adolf and Queen Lovisa. He largely followed Tessin’s designs, except in one crucial respect. Tessin’s plan revolved around the baroque style, but Hårleman – with a keen eye on fashions in France – adapted it to incorporate the new rococo trend. This was not necessarily a drastic change; we sometimes describe the rococo style as the final expression of baroque. Indeed, the late baroque period had already moved away from overly dark and imposing furniture. Softer designs, often with a painted finish, were increasingly popular. This transitional phase paved the way for rococo to take centre stage.
Queen Lovisa was far from a passive patron; she was one of Europe’s leading cultural monarchs and favoured the playful rococo style. Fortunately, The Royal Palace had many, many rooms to fill. French cabinet-makers came over to contribute designs and teach Swedish craftsmen their skills. One of Hårleman’s major contributions to Swedish cultural history was his insistence on educating others and subsequent generations in order to spread techniques and skills.
The Chinese pavilion on the grounds of the Royal Palace at Drottningholm.
At Drottningholm, where the royal couple resided until their new palace was ready, designers refurbished parts of the palace in the rococo taste. A major, and often overlooked, element of Swedish Rococo design was the chinoiserie style. The Swedish East India Company was formed in 1731, sparking enthusiasm for all things oriental. The Chinese Pavilion at Drottningholm, designed for Queen Lovisa’s birthday, is a fantastical palace in itself that combines European Rococo with exotic eastern taste. Examples of classic Swedish Rococo furniture adorn the rooms at Drottningholm to this day.
Nature's ornament
Rococo is certainly heavy with ornament and celebrates beauty for beauty's sake, but not without thought. The word rococo combines two French words: coquille (shell) and rocaille (stone). Nature’s innate beauty is certainly at the heart of this hedonistic style. Rococo reflects the natural world in both form and decoration. It has a gentle fluidity and embraces asymmetrical shapes and ornament. Any right-angles are softened with rounded corners to create welcoming designs.
We also recognise the rococo style for its decorative motifs. Popular iconography included shells - the style’s namesake - as well as dragons’ wings, vegetation and floral tendrils. Swedish Rococo mirrors demonstrate the many elements of this style beautifully. They feature elaborate gilded foliate frames and shell crestings. The master Swedish mirror-maker Johan Åkerblad spanned both the rococo and Gustavian styles during his career with great success. Surviving mirrors attributed to Åkerblad provoke great excitement today.
Swedish architects and designers naturally drew from French and English designs, but they also put their own stamp on the rococo style. Over in France, Louis XV's interpretation of rococo was at the frivolous and elaborate end of the spectrum. Meanwhile, the style propounded by leading architects such as Hårleman maintained the Swedish sense of refinement and conservatism.
The Swedish take on Rococo
Swedish Rococo cabinets feature pronounced bonnet-tops and doors with gracefully shaped panels. Chairs and tables exhibit beautifully carved friezes and rest on cabriole legs. The Swedish Rococo chair is one of the most famous chair designs in history and the model is still very desirable today. These chairs have simple carved wood frames, and the most popular design has an open fiddle-shaped back with a single gently carved splat. Many examples of rococo chairs remain today in Sweden's great palaces and country houses.
Sweden’s painted furniture defines its legacy, and the Rococo period was no different. We are fond of Swedish antiques for their pastel colour palettes, yet the popularity of black-painted rococo furniture is less well-known. Craftsmen also adopted rich and exotic Chinese hues, so a diverse range of painted furniture survives from this period. There is always a difference between furniture produced in Stockholm, Sweden's capital and cultural centre, and country pieces. Stockholm rococo pieces might have more finesse, but country versions with those tell-tale rococo curves are charming in their own way.
The transition from rococo to Gustavian was similarly subtle to that of late baroque to rococo. Queen Lovisa's place in the royal household continued, as she served as Queen Mother to King Gustav. In addition, many prominent designers of the rococo era fused old and new fashions in their designs. It wasn’t until the end of the 18th Century that rococo's distinctive curves fully gave way to straight-lined neoclassicism.
Rococo for today's home
Design in Sweden underwent exciting development and change throughout the 18th Century. The result is a plethora of stunning antiques, offering furniture and decorative pieces for every taste. Swedish Rococo furniture and furnishings are an excellent choice for today’s home. The graceful curves and fresh paint colours make rococo suitable for traditional and contemporary interiors alike. The soft femininity of the style is perfect for a bedroom or dressing room, whilst the flora and fauna themes lend themselves to a conservatory or orangery setting.
Browse our collection of Swedish Rococo antiques here and all of our rococo-style pieces here. View our lookbook 'Sinuous curves' for a little inspiration.
Delicate gold leaf has elevated buildings, furniture, frames and other treasured objects for millennia. This opulent finish results from gilding; a complex process that taxes the craftsman and mesmerises the beholder.
Gilding, in its simplest definition, involves applying gold leaf over the surface of an object to emulate gold. Gold leaf is gold, of course, albeit an extensively hammered and light form of the metal. But when the gilder expertly applies this delicate leaf over a whole carcass of wood or metal, it can emulate solid gold in colour and texture.
Gilding refers to the process, whilst gilt describes a gilded object. Meanwhile, gilt metal is called ormolu - frequently used to adorn furniture or decorative objects.
As with so many art forms, it was the ancient Egyptians who left behind the first evidence of gilding. For them, gold was the colour of the gods, and gold leaf was seen as a fitting adornment for icons and sarcophagi. It was also commonly used in the Far East and ancient Greece - later copied by the Romans, of course. Ever since, the shimmering grandeur of gilding has offered craftsmen the opportunity to elevate their design into something special.
Different gilding methods
Since the ancient world, the basic premise of applying gold leaf to the surface of an object has adapted and evolved in the face of new technologies.
Foil and leaf gilding
One of the most basic historical methods for achieving a gold effect is foil gilding. This relied on no chemical nor physical bond between the gold and the receiving surface. Gold foil is simply pressed to the surface of an object and held in place by inserting it into grooves, riveting, or burnishing.
The only difference between foil and leaf gilding is the thickness of the gold itself. Gold leaf is extremely thin and only developed alongside advances in gold purification. Only pure gold or gold-rich alloys, without certain impurities, can produce a suitably thin leaf through hammering. A sheet of gold leaf will never stay intact if you handle it with your bare hands. However, it is a paradoxical material; despite its fickleness, it is incredibly strong in a chemical sense. As a result, so long as you apply the leaf carefully and the receiving surface remains stable, the gold will neither tarnish nor deteriorate with time.
However, it is in the application that problems arise. Gold leaf cannot support its own weight and must be stuck to a surface with an adhesive of some sort. Historically, organic adhesives such as animal or vegetable-based glues have been used for this purpose. Whilst this method successfully embellished objects in antiquity and beyond, these adhesives naturally decay and cause losses to the gilding over time.
Two main gilding methods, oil and water, emerged over the years. Oil and water gilding account for most gilt antiques we encounter today.
Oil gilding
In oil gilding, an oil-based glue adheres the fragile gold leaf to the surface. The glue then needs to dry and oxidise in a dust-free environment until it reaches the appropriate level of stickiness, at which point it is ready for the gold leaf. This method is the only option if the piece is going to weather the outdoor elements. Therefore, you commonly find oil gilding on external surfaces such as statues and architectural ornament. Oil gilding can provide a good matte covering of gold, but it will never have quite the same level of refined sheen as water gilding.
Water gilding and gilt gesso
Water gilding is the more laborious of the two methods. As a result, craftsmen have usually reserved it for their finest furniture and decorative objects. The application of gold leaf requires any receiving surface to be completely clean and smooth. Before applying this delicate gold to wood or stone, a layer of gesso is laid down. Gesso is a type of plaster, usually combining a binder with chalk, gypsum and pigment. This layer is a key element in water gilding.
The gesso is layered on and smoothed to create an ideal receiving surface. At this point, the gilder can chip, carve and mould any decorative details into the object. The next step is applying yellow pigment all over to account for any nooks or crannies that might escape from the gold leaf. The gilder then paints and smooths a reddish clay mixture, bole, onto the surface. You might notice this red ground showing through gilding, which gives a piece beautiful texture and depth. Finally, water is brushed over the top and the gold leaf is applied. The surface is then burnished using an animal’s tooth or stone.
Gilt antiques
Gilt gesso first emerged in English design towards the end of the 17th Century. The furniture historian R.W. Symonds later said of the technique, 'it possessed a quality which no carving in wood could emulate.' Gilding has served as a mirror for royalty and nobility since the ancient world. It is fitting, then, that gilt furnishings first emerged in England at Hampton Court and Kensington Palace. Jean Pelletier, a Huguenot craftsman with royal patronage, spread the craft in England. Pelletier excelled at both gilding and carving in a time when they were usually the responsibility of different guilds.
Gilding continued to flourish in the 18th Century, and royal cabinet-maker James Moore took the craft to lavish heights. Moore was a master of the gilt gesso technique and he provided fine gilt furnishings for Kensington, St James's and Blenheim Palace. Gilding remained at a height of popularity throughout the Georgian and Regency periods. Gilt furniture was especially appealing because it emulated the ever-in-fashion opulent French style.
Gilding has never truly disappeared from design. Even in periods of more minimalist taste, a gilded accent here or there is an oft-revived tool for the craftsman. Whether the style of the moment was neoclassical or baroque, gilding provided a valuable resource. No wonder then, that the art persisted throughout the 19th and 20th Centuries. Indeed, it was perfect for that sense of luxury that characterised movements such as Art Deco and Hollywood Regency.
Gold's timeless allure
It is not hard to fathom why craftsmen have gone to such lengths to gild objects. Gold leaf has a bewitching reflective quality and gilt accents will complement one another spread throughout an interior. Gilding also makes a statement about the piece itself, giving a chair or console a sense of nobility and importance that draws the eye.
One of the most popular outlets for gilding throughout history has been mirror and picture frames. An ornately carved and gilded frame is a work of art in itself and elevates the status of the mirror or painting. Today, there is a high demand for anyone able to restore or recreate an antique gilded frame or object.
For all its fragility, gold leaf has a resilient permanence that only gets better with age. Restored or excellently preserved gilt furniture gleams with all its original grandeur, whilst other pieces have a more worn appearance that speaks to their history and age. Above all, gilded antiques reflect a complex craft that craftsmen all over the world have honed and practiced.
View some of our finest gilt antiques here.
Convex mirrors, with their bulbous glass plates, have earned their place in interiors for centuries. In all their many guises, these mirrors are a tool for maximising light in our homes and providing a unique decorative touch.
Art forms, in more ways than one
The convex mirror dawned with the development of glassblowing in the 14th Century. Venetian glassblowers would hand-blow a large glass bubble and then cut off a small circular section. The resulting surface would be either concave or convex, with the inevitable imperfections that come with a handmade product. Nonetheless, the production of convex mirrors sparked excitement and a worldwide race to discover the secrets of Venetian glass-makers.
The form of a convex mirror plate makes them naturally divergent; when light rays strike the glass, they disperse without coming to a point. These distortive properties make them quite mesmerising and are an integral part of their charm. They also provide a great perspective tool, as medieval artists well knew.
Indeed, the first known reference to a convex mirror in an interior comes from Jan van Eyck’s Arnolfini Portrait, 1434. This portrait uses the placement of a convex mirror to show the wider context of the room. Girolamo Francesco Maria Mazzola (1503-1540) famously painted his own self-portrait as seen through a convex mirror, with the mirror itself also included in the scene. These unique reflective powers saw convex mirrors used for a variety of means.
Convex mirrors for security
Not only are they decorative, but convex mirrors have historically helped various groups to keep a watchful eye out. Indeed, this sleuthing past has earnt them a variety of nicknames over the centuries. From the 15th Century onwards, they were known as ‘banker’s mirrors.’ The likes of bankers and moneylenders placed the mirror in order to survey any dubious characters who might want to enter their premises. A primitive form of CCTV, if you like.
Later on, in the households of Regency England, they took on a new name- ‘the butler’s mirror.’ In artwork from this period, you will often spot a convex mirror or two in the grandiose dining halls. This allowed butlers to keep an eye on guests’ progress through courses without having to invade their privacy. They still serve similar functions today; you will see a convex mirror showing drivers what lies around a bend in the road.
On a less practical level, the French name for convex mirrors was oeil de sorcière – ‘witch’s eye.’ They believed that convex mirrors could ward off evil and bad spirits. A bit whimsical, perhaps, but convex mirrors undoubtedly have a magical quality.
Convex mirrors become fashionable
Convex mirrors continued to appeal once glass-making was more widespread. It was the Georgians who made these mirrors a must-have home accessory. Indeed, master cabinet-maker Thomas Sheraton described them as ‘universally in fashion.’ They took on an increasingly elaborate and ornate appearance, alongside evolving techniques. During the Regency, the ‘butler’s mirror,’ reached a grandiose peak, often crested with an eagle.
Few individual names are associated with convex mirror design, but Thomas Fentham is one to be held up in lights. Fentham, a carver and mirror-maker based in London’s Strand, produced some of the most excellent convex mirrors of the 18th and 19th Centuries. He favoured the eagle crest as well as more subtle designs.
Over in France, mirrors in all their forms enchanted King Louis XIV. He sought mercilessly to find out Venice's secret, and he did - recruiting his own band of Italian mirror-makers. His magnificent Hall of Mirrors at Versailles testifies to this obsession. He was fond of the convex mirror plate, and the self-styled 'Sun King' takes credit for the iconic sunburst frames they developed.
Styling antique convex mirrors
Over the years, everyone from moneylenders and goldsmiths to the French king has favoured convex mirrors. They are still a wonderful addition to interiors today, with a distinctive yet endlessly adaptable form. A convex mirror brings dimension, texture, and interest to a room. Their bulbous plates distribute light in those smaller, darker corners of the home – a decorative feature in itself.
Whatever interior scheme you have, there is an antique convex mirror to suit. Burnished and gilded sunburst mirrors have a contemporary and luxurious feel, and their immensely decorative frames will bring the feel of far-away destinations into your home.
For a period drawing room, a grand eagle-topped Regency convex mirror is the obvious choice for an authoritative and traditional feel. On a more minimalist level, a convex plate in a simple round frame brings a wonderful pared-back nautical touch to your interior.
Browse our collection of antique convex mirrors here.
Chippendale: the greatest cabinetmaker of all time? A sweeping statement, certainly, but not far-fetched. Thomas Chippendale is among the most important, recognised and emulated of any designer in British history.
Born in Otley in 1718, Yorkshire would remain significant to Chippendale for the rest of his life. We know little else about his early days and can only assume he arrived in London to pursue a cabinet-making apprenticeship. The rest is history, as the young man would go on to become a key player in a golden age of furniture design - the Georgian period.
The Gentleman and Cabinet-Maker's Director
Thomas Chippendale statue in Otley
Chippendale set up a workshop on the prolific St. Martin’s Lane and his business grew quickly. A major turning point came when he published a pattern book, The Gentleman and Cabinet-Maker’s Director, in 1754. Comprising 160 engraved plates, Chippendale presented the book as: 'The most Elegant and Useful Designs of Hous(e)hold Furniture.' This pattern book swiftly secured his reputation. Georgian England had a flourishing middle class who desired practical yet fashionable furnishings. Interiors were rapidly changing, and cabinet-makers were high in demand. Chippendale answered the call, and his Director served as a catalogue of sorts.
The Director covered everything from highly fantastical designs to essential 18th Century domestic furniture. Chippendale even included designs specifically for country craftsmen, hence the parallel ‘country Chippendale’ style that emerged. Indeed, The Gentleman and Cabinet-Maker’s Director was enormously well-received and ran to various editions. High levels of production ensured that it was distributed far and wide, catering to the upper and middle classes and providing a textbook for provincial carpenters.
This was a clever publicity move. As more and more copies of his book sold, Chippendale’s prowess became famous throughout the country. Hence, commissions flooded in from society's elites as everyone wanted a piece of this man's expertise.
Recognising Chippendale antiques
Master of all styles
Perhaps Chippendale’s most important skill was his adaptability. The 18th Century was an exciting period of developing styles and Chippendale acted as an incessant facilitator. He intercepted every new fashion and taste and swiftly made them his own. He is most noted for his anglicised take on the rococo style. Chippendale's British rococo furniture drew inspiration from French Louis XV femininity but insisted on a more English refinement. One of the most famous Chippendale chairs, the ribband back with its cupid’s bow cresting rail, demonstrates his mastery of this style. Remarkably, he spanned two vastly different styles during his career - rococo and neoclassicism - with ease.
Chippendale period mahogany bookcase
Everything Chippendale came across enchanted him. He experimented extensively with the chinoiserie and gothic styles in particular. Indeed, the Chinese Chippendale style was synonymous with chic in the 18th Century. This was a time when the western world found all things oriental fascinating, and Chippendale never let an opportunity pass. He expertly incorporated pagoda-style pediments, fretwork, and other intricacies into his designs. The Chinese Chippendale chair, with its lattice back and faux bamboo and lacquer structure, was intensely popular in its time and remains iconic today.
Chippendale was unrivalled when it came to chair backs, and he expressed the gothic taste with pointed arches and s-shaped curves. Whatever he turned his hand to, he tapped its beauty and executed the designs with grace.
Chippendale's patrons
It wasn't long before Chippendale's reputation preceded him, and he received no shortage of high-profile commissions. In the late 1750s, the 5th Earl of Dumfries needed to furnish the majestic Dumfries House. He really wanted to impress; the Earl was heirless and needed to attract a new bride. Upon a visit to Chippendale's store on St. Martin's Lane, the Earl fell in love with the craftsman's work. He ended up ordering in one of the largest collections of Chippendale furniture on record, much of which still resides in Dumfries House today.
In 1767, he received a huge commission to furnish Harewood House. Returning to his roots, the neoclassical interiors of this Yorkshire house are some of Chippendale's very best work. Chippendale held the hand of his patrons right through the process. Surviving invoices for his project at Nostell Priory charge for everything from large-scale furniture to a chopping block. Indeed, when we think of Chippendale we often think of his most grandiose work. However, evidence and anecdotes suggest that the more mundane aspects of furnishing an interior were not beneath him. Remarkably, the cabinet-maker never received a royal warrant for his work - unlike some of his competitors.
Marquetry writing table, designed by Chippendale for Harewood House
A formidable legacy
Chippendale furniture has a classic elegance that we never tire of and will surely grace our interiors for more centuries to come. His furniture appeals to period and more contemporary schemes alike. His legacy lives on in every ribbon-carved chair and camelback sofa. It is also in the details, like his preference for a ball-and-claw foot or a set of glazed astragal doors. Period Chippendale furniture commands high prices today, but there are plenty of replica examples and pieces in his style. This is no bad thing, so long as you know what you are getting and it is well-made.
Statues in his hometown of Otley and on the facade of the V&A museum recognise Chippendale's extensive contributions. In so many ways, the craftsman encapsulates why antique furniture is so desirable. His work reflects a period of true excellence in pre-industrial cabinet-making, when the individual held a close relationship with a piece right through from its conception to its placement in a home.
To learn more about Chippendale's era, read our article: 'Spotlight on: Georgian furniture.'
Since the ancient world, we as humans have felt compelled to explore and document our natural surroundings. Over the course of a mere few centuries, revolution after revolution in printmaking produced botanical prints in a variety of forms. Not only do antique botanicals represent early scientific progress, but they also offer a stunning form of wall art.
Nature printing
We are always aware of our origins as hunter-gatherers. We once depended on our knowledge of the natural world to survive, and this has never truly dissipated. The earliest and most primitive forms of botanical prints date to the ancient world. From then until well into the Middle Ages, nature printing was invaluable for recording the medicinal value of different plants. Might this herb cure a fever, or serve as a death sentence?
This utilitarian purpose gave rise to nature printing. This simple practice uses the surface of a natural object, such as a leaf, to produce a print impression. Leonardo Da Vinci’s Codice Atlantico is well-known for his singular print of a sage leaf, along with instructions for nature printing. All that was required for this method was the beauty and detail presented by the natural world itself, an inky substance, and a receiving surface.
Colonial exploration
It wasn’t long before nature printing became entwined with evolving colonialism. As empires expanded and expeditions were sent further and further afield, knowledge of new species grew rapidly. In one instance, botanical printing was even harnessed to create paper money societies in American colonies.
In 1723, an ambitious 17-year-old boy arrived in Philadelphia to seek a career in printing. Benjamin Franklin was dissatisfied with the financial chaos he found in the city. Shrinking metal coinage was putting a halt to Philadelphia's economy. Franklin realised that this physical payment method could be replaced by little more than a promise. Amazingly, the founding father’s experiment worked. He circulated paper money throughout various states with great success. But paper money presented one major issue- counterfeiting.
Franklin was good friends with the talented botanical artist Jacob Breitnall. He was impressed by Breitnall’s very detailed drawings of leaves and flowers. The two worked out that, by transferring leaf images onto banknotes, each would have its own unique signature. And so, using different plants, Franklin transferred the images onto his paper money using the old technique of rolling ink onto a leaf and pressing the surface onto the banknotes.
The experiment worked, and the four colonies that used nature printed notes experienced far less counterfeiting than those which did not. In 1775, the Continental Congress authorised the creation of a new national currency.
Electrotyping: a revolution in nature printing
Contributions to nature printing came from far and wide, and perhaps the most seismic development occurred in Austria. Alois Auer became Director of the Austrian National Printing Office in 1841, and under his leadership, it became a centre of excellence in nature printing.
Auer kept the essential method of making an impression in a soft material. He first experimented with gutta-percha, a gum-like tree sap. His innovation was using electrotyping to create a duplicate copper printing plate and make many more copies of the print.
Electrotyping was a revolutionary technology at the time, as although it was quite laborious it meant that the number of copies that could be produced was infinite. When the quality of one copper printing plate started to deteriorate, a new one could be made.
Gutta-percha was still quite a messy material for creating the impression, like soft lead before it. Auer adapted the process further by using a rolling press in place of the gum. This method, whereby the specimen passes through plates of polished lead and steel, makes a cleaner impression to take an electrotyped copy from.
This new method was used extensively for large-scale botanical projects. Auer patented the process, but it wouldn’t go unrivalled…
Henry Bradbury
Henry Bradbury 'Ferns of Great Britain and Ireland' prints
The age-old case of the student becomes the master. Henry Bradbury, the son of an established British printer, was curious about developments over in Austria. He asked Auer if he could visit and learn about this new printmaking process. Auer showed Bradbury how electrotyping worked, perhaps in slightly too much detail, and the student mastered the technique.
Back in England, Bradbury took out his own patent on what he claimed to be a new and improved technique. Naturally, Auer argued it was essentially the same and a great deal of bad blood developed between the two.
In the midst of this dispute, Bradbury produced several stellar works- most notably The Ferns of Great Britain and Ireland. This folio, edited by Thomas Moore, demonstrates the suitability of Bradbury’s method for reproducing ferns- an ever-popular topic for botanical prints. Regardless of who true credit is due to, both Alois Auer and Henry Bradbury made enormous contributions to the field.
Botanical engravings
Lots of botanicals in our collection come from folios of engravings. Original, highly detailed drawings were engraved using copper plates and hand-coloured afterwards. Surviving prints made this way date back as far as the early 17th Century. Engravings turned botanicals into a true art form, and these prints are some of the most stunning on the market.
Basilius Besler
Basilius Besler 'Hortus Eystettensis' engravings
Among the most collectible antique botanical illustrations are those of Basilius Besler. Besler was an eminent horticulturalist and botanist, who was personally responsible for the gardens of Bishop Johann Conrad in Eichstätt, Germany. Inspired by these majestic gardens, Besler commissioned a team of skilled artists and engravers to document the extensive plant life. The end result was his Hortus Eystettensis, 'the garden at Eichstätt.' This folio, published in Nuremberg in 1613, represents the earliest large botanical compendium.
The work took over sixteen years to complete and depicts over 1000 different plants. It covered everything from European flowers to the newly discovered tobacco plant. Besler first published the work in black-and-white, but some ‘special editions’ were hand-coloured by Georg Mack. Among the lucky later owners of these rare coloured examples was George III.
Surviving prints from Besler’s Hortus Eystettensis demonstrate why botanical printing was about far more than classification. The drawings are incredibly accurate and include the root delineations of each plant, and they also have great beauty and character. Hortus Eystettensis prints have a wonderful liveliness that reflects true passion on the behalf of the patron and artists.
Elizabeth Blackwell
Despite being better informed than their counterparts in the Middle Ages, there was still a great thirst for medicinal knowledge in the 18th Century. A young woman called Elizabeth Blackwell faced an uncertain future as her husband spent two years in debtors prison. She undertook a considerable challenge, looking to provide the first definitive handbook for medicinal plants. The first volume of A Curious Herbal was published in 1738 and included over 500 plates. Elizabeth engraved her drawings on copper plates, and then hand-coloured the works afterwards. Elizabeth turned to botanicals out of financial desperation, but her pain-staking care is a common trait in so many botanical artists. Hence why the results are so breath-taking.
Johann Wilhelm Weinmann
Johann Weinmann engravings
Another vast collection of botanical engravings came from Johann Wilhelm Weinmann. Weinmann was a renowned apothecary in Regensburg and published his Pytanthoza Iconographia in 1737. The work includes no less than 1025 plates, depicting several thousand plant specimens in total. Detailed original paintings act as a source for engraving each plate. This monumental folio represents a near-complete record of all flowers, fruits, and vegetables cultivated in the early 18th Century. The colour revolution in botanical art happened around 1700, and Pytanthoza Iconographia represents the earliest example of multi-colour printing from a single plate. Weinmann's greatest asset was the young Georg Ehret, who was a major contributor to the work. Ehret used a new printing method, mezzotint, to produce lively and detailed images that he finished with hand-colouring. Ehret would eventually abandon the commission due to the rather measly payment he received.
Other botanical printing methods
Photo technology
We often underestimate how botanical studies were not just a matter for scientific gain, but also an absorbing hobby for many. During the late 19th Century, many young women spent long periods of time documenting plants. Seaweed and ferns were always major topics of interest.
In the mid 19th Century, a young Anna Atkins pioneered a new sort of printing - cyanotype - which made use of photo technology. Through her connections with the prolific Royal Society, she learned of a new photographic process under development- sun-printing. Sun-printing used acid, water, and sunlight, to create a print impression. This method, otherwise known as blue-printing, was particularly useful in architectural and engineering contexts.
However, Anna saw an opportunity to use sun-printing to create botanicals. Over the course of the 1840s and 50s, she produced two key works: British Algae: Cyanotype Impressions, and Cyanotypes of British and Foreign Flowering Plants and Ferns. These were pivotal works and the first likely represents the earliest publication of any form of photography. Anna's beautiful prints demonstrated the scientific and aesthetic power of this method.
Lithography
At the end of the 18th Century, the invention of lithography marked a seismic advance in printmaking. Lithographs rely on the basic premise that grease and water do not mix. It was actually the Bavarian playwright, Alois Senefelder, who stumbled across this simple concept. Senefelder found it difficult to reproduce his plays efficiently, so he experimented with different printing techniques. He hit the jackpot when he tried writing the play out in greasy ink and then printing it on a limestone surface.
Lithography took off in the 19th Century, presenting lots of advantages over previous methods. Because of the use of stone or another grained surface, it was possible to achieve far more variation in tone and texture. It also improved colour-printing, where one applies different colours to different stones and overprints them onto the same sheet.
Print-makers soon recognised the value of lithography for creating botanicals and it was particularly significant for colour differentiation. Whether the prints are originally black-and-white and later hand-coloured, or chromolithographs (printed in multi-colour), these results are vibrant, detailed and striking.
Styling antique botanical prints
We have seen botanical printing evolve from a utilitarian means to an end to a powerful academic resource. Not only do these prints represent a long history of scientific discovery, but they also have immense decorative power. You can hardly escape a wall of prints whilst flicking through an interiors magazine. Why are botanicals and other nature prints in particular so appealing?
We often talk about foliage and bringing the outside in, but this doesn’t always have to be literal. Fascinating botanical prints bring a sense of the natural world into our interiors, and prints will certainly last longer than a fresh bouquet! The magic of botanicals lies in the blending of art and science.
The styling opportunities for a set of prints are endless. Whether you have a full set of ferns or just a couple of floral engravings, botanicals are a wonderful decorative accent. Choose prints with subjects that appeal to you and a story that intrigues you.
The fundamental rule of collecting prints is to source ones you will enjoy looking at every day and to put them where you will see them the most. Create a staircase gallery wall you will walk past daily, or cluster them together at the end of a hallway. A larger set of framed prints is particularly useful when a room lacks an obvious focal point, such as a fireplace or a big window. Above a bed, a console, or a chest, colourful prints provide height and cohesion in a room.
The Lorfords collection
For centuries, botanical prints have appealed to physicians, scientists and gardeners alike. Those who contributed to the art, whether colonial explorers or pioneering women in science, have shaped its long and rich history.
Today, these studies of nature offer an important piece of history and an inspiring form of decoration. Prints from significant early botanical works are hard to come by, and we are lucky to have some special examples here at Lorfords. From vivacious Basilius Besler engravings to Henry Bradbury's revolutionary ferns, we are always excited by the botanical prints coming through our doors.
Looking at the prints themselves is by far the best way to understand the history of botanical illustration. You can browse our current collection of botanical prints here, and all prints and engravings here. Our lookbook, 'Where science meets art,' offers all the inspiration you could need for decorating with prints.