In conversation with Louise Wicksteed at Sims Hilditch

Ahead of her collaborative project with Philip Mould gallery, we caught up with Sims Hilditch design director Louise Wicksteed, who gave us an insight into her interior design must do’s (and don’ts). We chatted about the Sims Hilditch style, their ethos that distances itself from trends and the benefits of using local craftspeople.

Louise, we have been admiring your work for so long! Where do you begin when working on a new project? And how would you describe the ‘timeless, English style’ that you are known for?

"Thank you! Well our aim is to create interiors which will stand the test of time using the finest materials and makers, both physically and in terms of enduring style. In all projects we begin by examining the building’s heritage and natural surroundings, considering how we might incorporate this sympathetically into our design.

Repurposing and reusing antiques and our clients’ existing furniture is a great way to nod to timeless English style. This gives pieces that are often steeped in English history a new lease of life.  Additionally, paints by Farrow & Ball tend to work well in traditional and contemporary English homes alike. We love their range of timeless whites. These work well as a beautiful backdrop to more punchy shades which can be used on furniture and joinery, such as De Nimes."

Your renovations often reveal natural, handcrafted pieces.

"Yes, we love to feature natural materials which are locally sourced in our interiors. Reclaimed wooden and stone flooring work well in kitchens, hallways and boot rooms and sisal carpet is great for sitting and bedrooms. We also retain much of a building’s existing material where possible if it has historic value."

You work on a wide variety of renovations, from manor houses to town houses full of natural character. How do you recommend adding character to a younger property?

"The key to creating character in a home is to ensure the interior feels that it has evolved over time. Layering an interior using a variety of textures, patterns and colours is a great way to achieve this. Each element works together to make the room burst with life. Incorporating antiques into a newer home is also a key consideration, as they bring gravitas and history to the design."

Family life is often at the forefront of your home renovation designs. What are your key essentials for creating a family space that also works for entertaining?

"An open plan sitting, dining and kitchen area is the ideal solution for creating a social space designed for entertaining. In many traditional homes, the kitchen is often cut-off from the rest of the house, making it difficult to host guests or socialise with family while preparing a meal. Knocking through the wall between a kitchen and sitting/dining area and sectioning off each space with a kitchen island is the ideal solution. Placing stools at the island creates an informal space for guests or family members to sit before the meal is served."

What do you focus on when designing a contemporary feel whilst retaining or adding character?

"The key to creating a contemporary style in a home while retaining character is to choose a carefully balanced blend of sharp lines, metal finishes and punchy colours and pair these with a selection of antiques. This might include artwork, furniture or even family heirlooms like a grandfather clock. The challenge here can be to maintain a curated, layered look while avoiding clutter."

It often pays to ‘go bold’ but it can be hard to know where to start. What are your tips on creating eye-catching interiors without overwhelming the space?

"Accent colours are a great way to be bold in your interior, without overwhelming it. A sofa upholstered in a bright colour, or lampshades and cushions in a yellow, red, or pink bring life to your interior in pleasing statements when threaded throughout a room with a neutral backdrop. For those tempted to be brave and opt for contrasting colours in a room, we recommend using the colour wheel for guidance. Typically, colours which sit on opposite sides of the colour wheel are contrasting but work well together (like blue and orange).

Do you have any tips for bringing light into a room and at the same time, attempting to create a cosy, warm feel?

"Layered lighting allows a variety of moods to be created in one room. This tends to be made up of floor, wall and overhead lighting. We often attach all light fixtures in a sitting or entertaining room to a 5 amp dimmer switch. This can be controlled from a single point, allowing the mood of the room to be altered easily."

What do you find inspires you the most when you start working on a project?

"Design inspiration comes from all around us. In particular, the English countryside, a building's history and heritage inspire our designs."

Do you have any favourite antiques pieces that you have used in any recent projects?

"We repurposed a beautiful commode in our Chelsea Townhouse project, into a vanity for the downstairs cloakroom."

What is the best way to add handcrafted pieces to a home?

"Hand-painted wallpaper and or tiles is a great way to incorporate handcrafted items into your interior. We love to use wallpaper by de Gournay and tiles by Marlborough Tiles. A great way to champion handcrafted pieces, is to research local artists in your area and incorporate their art into your home. This might be a painting of the landscape of your local area, or some beautiful ornaments or crockery that speaks to you in some way. A plate wall is a lovely way to display crockery."

Our furniture brand Lorfords Contemporary produces traditionally constructed and upholstered furniture in our Cotswold studio. Made in Britain with sustainability at the core, do you feel that handcrafted British furniture is the future?

"Absolutely. At Sims Hilditch, we champion the highest quality in terms of the products and materials we use. We love to work with companies that share these values.

Small artisans and independent brands are often made up of smaller teams who are passionate about their brand. They are incredibly knowledgeable about what they do, making them real experts in their field. These handcrafted techniques are steeped in history, so it is important to support these artisans. These skills could die out if there is no longer a demand. What’s more, these techniques often produce the highest quality pieces which will last for generations."

For more information on Sims Hilditch interiors click here.

To read more from L-Shaped on interior design, please click here for our interiors section.

*Images courtesy of Sims Hilditch.

There is no denying that antiques elevate our interiors in more ways than one. They connect us to the past and create unique spaces full of character. The often forgotten but equally important point is just how sustainable antiques are.

The fast furniture crisis

We spend a lot of time showing off our beautiful antiques here at Lorfords and too little time sharing how good for the planet they are. This may seem like an obvious statement, as antiques are in essence sustainable. And yet, in an age of climate consciousness around food, clothes and single-use plastic, the fast furniture crisis is on the backburner.

This doesn’t mean the crisis is not there, nor that it hasn't been exposed. A study commissioned by Antiques are Green found that a new piece of furniture lasts for an average of 15 years. Meanwhile, an antique piece of furniture is resold once every 30 years. This study concludes that the environmental impact of an antique piece is six times less than that of a new piece of furniture. Stark statistics indeed.

What is fuelling this crisis? Throwaway culture has become the norm. In 2019, the North London Waste Authority found that 22 million pieces of furniture are binned in the UK each year, with much of that going straight to landfill. Super low prices and the flatpack revolution have simply made it too easy for us. We’re on a conveyor belt of buying a piece of furniture, getting bored of it or it breaks, throwing it away and then buying another to replace it.

Conscious interior design

It’s not all bad though. A younger generation, the same age group we have labelled the ‘flatpack generation’ in years past, are waking up when it comes to their interiors. This is partly because they want to live an eco-friendly life and understand that fast furniture has a big impact on their carbon footprint.

But it is also because they are seeking soulful interiors – and the same can increasingly be said for all of us. The fast furniture culture resulted from modern living demands, the rent revolution and constantly changing fashions. The result was minimalist, functional… uniform.

The theory that such interiors aid our busy lives started to show cracks in lockdown. The Marie Kondo approach felt stark when our homes acted as a permanent base and refuge. This generation is seeking interiors with personality, character and soul. They want novel furniture and decorative pieces that provide a talking point. Our interiors are a reflection of us, so looking the same as everyone else isn’t cutting it anymore.

Why are antiques sustainable?

Antiques create more sustainable interiors - that's a fact. But why, exactly?

By definition

Antiques are one of the most forgotten forms of recycling, and yet one of the most obvious. To classify as an antique proper, an object must have survived for over 100 years. This is no mean feat and often a credit to the original craftsmanship. We already mentioned the statistic that antiques are resold every 30 years on average. They were crafted to last and be passed down through generations and that trend continues today.

Through materials and craft

Before the industrial revolution, cabinet-makers did everything by hand with a limited range of tools and techniques to hand. There was no MDF, nor any laminated chipboard.

Makers had to be invested in their product; if a piece fell apart after a few weeks, they would be the talk of their community – and not in a good way. There was a personal responsibility for good craftsmanship, a sense of ownership. It can feel like eco-consciousness is a relatively new development, but this is not the case. Back in the 19th Century individuals were striving to counteract the excess and waste of the industrial revolution.

One such pioneer was William Morris. His enduring mantra ‘have nothing in your home you do not believe to be beautiful or know to be useful,’ is more relevant than ever. The Arts & Crafts movement put moral responsibility back into furniture and interior design. Ernest Gimson made his Windsor chairs from ash, beech and elm sourced from local woodland. Given the fact that antique Windsor chairs are still very popular today, it is hard to get more sustainable than that.

It wasn’t just wooden furniture, either. Bamboo and rattan, both rapidly renewing plants, boomed from the Mid Century onwards. Leading designers of the age transformed them into stylish wicker furniture and homeware. Sustainable production certainly didn’t sacrifice style then, and it doesn’t now.

Through timeless appeal

Antiques are not bound by style, however. They are sustainable because they are not subject to the whims of fashion. Modern furniture companies jump on emerging trends and overhaul their collections when they are no longer fashionable. Antique and vintage designs, on the other hand, have a very enduring appeal. Take the iconic Chesterfield sofa, for example. Since its conception in mid 18th Century, the mighty button back has never been considered passé.

Likewise, a 17th Century oak refectory table has survived for over 300 years and lived to tell the tale. Such a piece may have characterful grooves and a deep aged patina, but its solid construction means it will likely go on for hundreds more. Aside from anything else, these are investment pieces. An antique dining table will serve you and probably your children and grandchildren too. It won't ask for much in return other than an occasional polish or reinforcement. A small price to pay, we think.

You need only flick through this month’s interiors magazines to see that we are moving in the right direction. Ethical sourcing and a ‘period meets contemporary' aesthetic are top of the agenda for an increasing number of interior designers. This sway is not only good for the planet, but for the end result. When you hire an interior designer, you don’t want them to present you with something akin to a department store showroom. You want something layered and lived in; this is what antiques provide in spades.

Making antiques work for you

For some, antiques feel too special, too majestic, for their lifestyle. But respecting antiques doesn't mean having no relationship with them. You can still be careful whilst making bold choices. We are seeing something of a ‘recovering revolution,’ whereby contemporary fabrics breathe new life into period pieces. This is a great way to adapt antiques to your taste. You might love the imposing proportions and design of a Victorian armchair, but the faded and dated covering? Not so much.

Part of the reason for the current throwaway culture is our reluctance to put a bit of work in. Less than 1 in 10 people are willing to repair an item to extend its life – a fact I’m sure would horrify our ancestors. Restoration and upcycling are not only satisfying, but they also connect you to your interiors in a personal way. If DIY is not for you, many talented experts are on hand to help. Read some tips for the amateur restorer from our in-house professional Dave.

The truth is there is a vast spectrum of antique and vintage pieces out there. Our collection offers something for every soul, from traditional Georgian furniture to cool vintage memorabilia. Not only are our pieces an antidote for flat interiors, but they are also an ethical choice. The best thing? There is no flatpack assembly involved.

Get inspired with our latest lookbook, 'The conscious interior.'

"You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up." Tim Butcher and Lizzie Deshayes of Fromental have been creating bespoke wallcoverings for 16 years. We chatted to the inspiring duo ahead of the launch of their new sister company, Studio by Fromental.

Q: You can find Fromental wallcoverings in some very cool locations. What project are you proudest of?

Custom Bucolic wall-covering by Fromental in The Goring Hotel

I think it's got to be the lobby of The Goring Hotel. It was such a personal piece. The Goring has a wonderful balance of classicism and eccentricity and we hope we managed to capture that in the design. The wallcovering shows an Arcadian landscape peopled with walruses, banqueting pigs and other hidden creatures.

Q: It looks like you have been busy over lockdown. Tell us about the launch of your new brand Studio by Fromental and how it came about.

A: We believe that walls are surfaces for decoration and self-expression — art needn’t be framed. That being said, we understand that commissioning a truly bespoke wallcovering can be daunting, so wanted to use our skills and knowledge of the craft to create wallpapers that have a similar bold beauty but are easier to purchase and use.

Our intention for the new diffusion line is to empower more people to be brave with their walls and express themselves creatively.

Every element of a Fromental project is bespoke, whereas Studio designs are supplied as ‘ready to hang’ sets of four panels. Each design is based on an original, hand-painted artwork which is then hand-finished to order. This method honours Fromental’s craft and finesse and works beautifully with the papers and textured grounds we print on.

Q: Studio contains nine new designs, with 38 possible colourways, Where do you get the inspiration from? 

A: As designers, we take our inspiration from all around us. We visit galleries and exhibitions and we have a deep love of the history of the decorative arts. This continual research into pattern and process informs all of our creations.

The debut collection for the brand is called 1st Edition. Each design within the collection has its own individual style - its own story to tell. We drew inspiration from a breadth of art forms, so two threads run through the collection. One is our ongoing exploration of stylised floral motifs, with a strong influence from Asian arts and culture. Another is experimenting with abstract architectural forms and texture.

Some examples to illustrate this:

‘Flock’ is a bold scale scene of cranes dancing across the room. Designed by Emma, this pattern is a modern take on the Rinpa School style.

Inspired by the leather inlaid bookbinding of Georges Cretté in the 1930s, Andrew composed the powerful architectural piece that is 'Deco Arches'. This arresting pattern recalls the era's modernist style, fine craftsmanship and use of rich materials.

'Edo Springs' is a painterly mix of delightful shades, which ensure that this abstract floral pattern is both balanced and bold. The design itself is a contemporary rendition of a classic Japanese screen with trailing flowers climbing the walls.

Q: Do you have a personal favourite in the new collection? 

A: It is always difficult to choose a favourite, and this often changes over time depending on the spaces used and the architectural surroundings, but if we must -

Tim -  'Bamboo Lights.' There is an inherent challenge in designing something abstract and minimal because there is a deceptive simplicity to it which can easily slip into something very pedestrian. Andrew, who designed Bamboo Lights, has managed to create a design that is simple yet versatile, abstract but still has character, graphic but with a real sense of movement and flow. Our US team seem to particularly love it!

Bamboo Lights, Studio by Fromental

Lizzie - 'Coquilles.' I love the simplicity and elegance of this design. The shape and texture bring to mind wonderful Deco era tiles. Scale and proportions really attract me in wallpapers, and Coquilles is skilfully designed to balance both perfectly.

Coquilles in the Lettered Olive colourway, Studio by Fromental

Q: How was Fromental born? 

A: We launched Fromental in 2005 with the simple aim to make the world’s most beautiful wallcoverings. Our more audacious aim was to create the defining decorative arts of our time. Lizzie was and is an accomplished craftsman and she had developed a series of designs that offered a 21^st Century slant to traditional scenic papers. I had been working with classical chinoiserie papers for several years and was working closely with artists in China. We established our own studio and Fromental began.

Our artists are trained in the traditional skills and styles of Chinese painting, paper-craft and embroidery. We were the first to introduce traditional embroidery into wallcoverings, fusing two ancient crafts for a new medium. Over the years we have worked to move beyond the forms of traditional figurative styles to create more conceptual designs.

One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and the prismatic play of light are unique in the history of wall surfaces.

Untitled 1 in the colourway Sachs, Fromental

Q: How do you see your brand evolving, both now and in the future? 

A: We have never considered ourselves followers of trends or followed traditional launch cycles. Our philosophy has always been to launch a design when we feel it is relevant. We are restless and simply want to continue our exploration of materials, techniques and patterns to always produce something new and surprising.

We work very closely with the designers who use our wallcoverings and this establishes a creative relationship. This has naturally lead to collaborations. We love the creative energy generated by these projects, where both parties learn from each other. So, we definitely envisage more of those.

One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and prismatic play of light are unique in the history of wall surfaces. To be able to work closely with such a decorative design icon was incredibly inspiring. It was fascinating to learn more about René Lalique the man, and to work side by side with the generations of craftsmen behind their production. It was clear that René Lalique combined art and industry through relentless creativity – that was a real inspiration for what we want to achieve through Fromental.

Q: Your designs are bold and vivacious. Why are colour and texture important in an interior?

A: At best an interior is an expression of our own unique personality. To me, colour, texture and pattern are the languages of that expression. Combing these elements can create further resonance and energy between the elements. This can amplify and add nuance to the language. When you create an interior that expresses this personality and mood, it becomes a great gift that reflects back this mood when you need it.  You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up.

New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that.

Hand-embroidering Clef des Champs, Fromental

Q: Each bespoke Fromental design is handmade at great lengths. Why are these long and laborious processes worthwhile? 

A: Our clients are looking to create unique interiors. Not only do we want to produce something you won't see anywhere else, but also something with a very personal story. Working with these hand-made processes means that we are free from the usual constraints of production and this enables such a bespoke design service.

We have become known for our elaborate and hand-embroidered designs. Our artists spend up to 600 hours elegantly painting and stitching individual panels. I really do believe that when you have an item that has so much personal focus and attention, so much application of skill, the material is imbued with the quality of the craftsmanship in a way that is palpable. There are no shortcuts to achieving this.

Q: Wallcoverings were a staple of the 18th Century and were once considered 'out of fashion.' What do you think is driving their renewed popularity?

A: In our more recent history wallpapers did become unfashionable for a short time in the 90s, but these trends are cyclical. New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that. Maybe starting with one wall but as people have become more confident, wallpaper has gone from strength to strength.

It is always important to remember that no ‘trend’ is ever all-encompassing. Designers with bold visions were using maximalist patterns during any period where the ‘norm’ was minimal.

The fact is that wallpapers are the perfect medium to put your own personal stamp into your interiors. There are few ways of creating such a strong statement in any interior than with the use of a strong wallpaper.

Marta Sala's apartment featuring Raineri in the colourway Pavone, Fromental

Q: Some of your most beautiful wallpapers are in the chinoiserie style, which we often see in our furniture and decorative antiques. How can chinoiserie work in today's homes? 

A: Chinoiserie – that wonderful hybrid of European and Far East design – transcends fashion. It brings exoticism, colour, pattern and movement to a room of any size or style of architecture, which is why it has never been out of style. The themes found within chinoiserie designs, such as panoramic garden landscapes, ornate florals and delicately drawn birds, harness the restorative power of nature. These themes resonate strongly today with our sense of wellbeing.

Chinoiserie wallpapers are often used on all four walls, which creates that wonderful immersive feeling. It is also a versatile canvas – you can add contrasting elements for an ultra-modern interior or complementary furniture and accessories for a more classic look.

Q: What is your favourite room in the home? Why? 

A: Tim - my favourite room is one I do not have. But I think imaginary rooms are important. In Bleak House Mr Jarndyce introduces his ‘Growlery’; “When I am out of humour, I come and Growl here… When I am deceived or disappointed, and the wind is easterly, I take refuge here”. I shall have my own Growlery one day and I know exactly how I shall decorate it.

Lizzie - The studio. In the words of Virginia Wolf, it is a room of one's own.

When selecting colour and pattern you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result.

Clef du Champs, Fromental

Q: We're all feeling very familiar with our own homes after the last year. How can people escape a design rut? 

A: In our experience, the familiarity of their four walls has inspired people to change their décor. In the last year, we have had time to focus on that in a way that is seldom possible.

Events and venues we would normally frequent for our cultural fixes and inspiration have been closed. However, in this void, the design community has stepped up with talks programmes and virtual presentations. So, in fact, the interested consumer has had more inspiration at their fingertips.

Of course, book your tickets once the galleries, museums and exhibitions re-open. We know we will be!

Q: Your designs are wonderfully decorative - would you say you both have a maximalist approach to interiors? 

A: We do love the more is more approach to decorating! We feel that, when selecting colour and pattern, you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result. However, we would not describe our own homes as maximalist. Yes, every surface is filled with textures and pattern but we have created a space which is not overly layered. There is a richness to the result but I would say it is somehow more naturalistic. Even the patterns have a quality akin to organic materials rather than bold graphics.

Q: We have loved working with Fromental in the past. If you could pair one piece from our website with one of your new designs, what would they be? 

A: A few choices!

I love smokework and think this cabinet would be beautiful with Coquilles in Lettered olive.

https://www.lorfordsantiques.com/american-18th-century-painted-chest-on-stand-cb0910096

This fabulous Scandinavian cupboard with Edo Springs in Celadon rose. This definitely appeals to the maximalist in me …!

https://www.lorfordsantiques.com/scandinavian-cupboard-bk2510801

We also love this Amalfi headboard by Lorfords Contemporary with our Rocaille design in col Belvedere.

https://www.lorfordsantiques.com/the-amalfi-studded#

Read all of our Q&As on L-Shaped.

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 17^th 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 18^th 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 18^th 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 19^th 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.

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.