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Does the 1970s deserve to be remembered as the decade taste forgot? Absolutely not, says antiques expert Chris Yeo. It was a time of bold experiments and high glamour.
There is, they say, nothing new in fashion. Is there anything new in design? Whatever your thoughts it can’t be denied that the lure of the past has always been a potent source of inspiration. The Romans took their style tips for everything from togas to temples from the Ancient Greeks, the Elizabethans got dewy eyed over the Middle Ages and the Victorians were besotted by anything Medieval (apart from Chaucer, who was far too dirty for them). Not much has changed except that, latterly, we have tended to take a leaf from the more recent pages of style’s back catalogue. Anyone who was around in the 1970s will remember that the 1950s held a powerful draw and now it’s the turn of the ‘70s itself to be the focus of our rose-tinted spectacles. Ah, the Seventies. They called it the decade taste forgot. Of course, “they” were the 1980s, which, if we’re talking taste, is nothing short of the pot calling the kettle black. But now the decade that brought us Abba, the hostess trolley and the three-day week is being mined by a new generation of tastemakers. Fashion has been nostalgic for the 1970s for the last few seasons, with tinted sunglasses, long floral dresses and straw handbags omnipresent on the high street and catwalks alike. However, when it comes to interior design, it’s been a different story. For years, the very mention of the word ‘Seventies’ was enough to strike fear and loathing into otherwise reasonable, aesthetically broad-minded people and it seems old prejudices die hard. Style pundits from Wallpaper magazine recently collated a shortlist of the most egregious design faux pas of the past half-a-century and guess which decade came top? But look beyond the avocado bathroom suites and macramé plant pot holders and a different picture soon emerges.
Decadence and glamour were the twin beats that throbbed throughout a decade that was bookmarked by Bowie at its beginning and Grace Jones at its end – oh, be still my beating heart! They were the torch bearers of the new mood that thrived in a world filled with the harsh realities of economic uncertainties and political strife. In a decade that saw two miners’ strikes, countless I.R.A. bombing campaigns, runaway inflation and powdered orange juice, what to do but loose yourself in a whirlwind of hedonism? A mood of defiant decadence was abroad, whether it was glam rockers “gender bending” – as contemporary parlance had it – on Top of the Pops or Bianca Jagger riding into studio 54 on the back of a white stallion (because, let’s face it, how else do you let people know it’s your birthday?) In London the mood was encapsulated, branded and retailed to perfection at Big Biba, opened on Kensington High Street in 1973. Biba had started life as mail order fashion outfit but over just a few years had come to dominate the UK fashion scene. Big Biba was the firms last great shout before bankruptcy in 1975 brought an end to its reign of fabulousness. Housed in Art Deco splendour at the former Barker’s department store, complete with live flamingos on the roof garden, Big Biba offered an interior vision that took elements of Hollywood’s Golden Age and mixed it louche colours, peacock feathers and peacock chairs, crushed velvets and Art Nouveau prints. It was bold, daring and worked perfectly a world jointly ruled by Marc Bolan and Pan’s People (ask your parents).
At the same time as Biba was refashioning homes in the UK, Willy Rizzo (1928-2013) was introducing a chic – not to say disco – sensibility into furniture design. Rizzo had started his career as a fashion photographer but, at the suggestion of his friends and clients – the great and the good of fashion and film, he took a sideways step into furniture design. He was soon swamped with orders and requests. Rizzo designed and produced more than thirty pieces of furniture: sofas, consoles, hi-fi furniture, coffee tables and lighting, all of which were handmade. Rizzo’s world is one where coffee tables rotate like a vinyl disc on a turntable and then open up to reveal an integrated ice bucket – perfect for those pre or post-club Campari. He opened boutiques across France and Europe and had points of sale in New York City, Miami and Los Angeles. However, in 1978, Rizzo gave it all up to return to photography, his first love. Rizzo’s furniture design channelled the sophistication of Mies van der Rohe and Le Corbusier, his pieces combining clean, simple lines with bold geometric forms and a delicate handling of materials. The result is classic modernism and very chic.
There is a wonderful team of people behind the scenes at Lorfords, many of which you don't get to see. What better way to introduce them than with their top picks in our Lorfords Christmas Gift Guide! From thoughtful gifts to extra seating, we're getting you ready for the festivities.
Toby's top picks include a striking 19th Century Italian enfilade of a bold architectural design and a beautiful pair of 19th Century Tuscan wall sconces, decorated in traditional cream and gilt.
19th Century Italian Painted Enfilade
Pair of 19th Century Tuscan Wall Sconces
Alice's top picks include a classic 1930's design Lloyd Loom sofa in original French grey paintwork and a stylish Modernist textile screen in the manner of Edward Bawden.
Carly's top picks include a large black-and-white image of a Roman emperor in the style of Timney Fowler and a pair of Art Deco armchairs which have recently been reupholstered in an attractive monochrome colour palette.
Large Contemporary Image of a Roman Emperor
Pair of French Art Deco Armchairs
Heidi's top picks include an iconic wicker Harley Davidson motorcycle designed by Tom Dixon and a charming pair of carved oak cherubs dating to circa 1880.
20th Century Tom Dixon Wicker Motorcycle
Pair of 19th Century Carved Cherubs
Rob's top picks include a luxurious blue velvet armchair paired with the perfect Christmas afternoon set-up; a fabulous brass drinks trolley and a Parisian-style silverplate cocktail shaker.
Late 19th Century Blue Velvet Armchair
20th Century French Brass Drinks Trolley
Large Parisian Style Silverplate Cocktail Shaker
Jane's top picks include a comfortable English Country House chaise longue with hidden storage and a charming 20th Century feather-filled carpet cushion.
20th Century English Country House Chaise Longue
20th Century Feather Field Carpet Cushion
Tom's top picks include a wonderful untouched George III secretaire estate cupboard and a superb English club fender of large proportions.
George III Oak Secretaire Estate Cabinet
Large 19th Century Club Fender
Hattie's top picks include an original 19th Century French carpet sofa from the Napoleon III period and a charming pair of silverplate Mr and Mrs napkin rings in their original box.
19th Century French Carpet Sofa
Pair of 20th Century Madame and Monsieur Napkin Rings
Kate's top picks include a wonderfully shaped two-seat sofa featuring a scalloped back, enclosed sides and sloping armrests and a fabulous pair of 20th Century clam shells.
Pair of 20th Century Clam Shells
Eleanor's top picks include a 20th Century lacquer and gilt Chinese screen, depicting cranes and gold-painted bamboo to the reverse, and a stunning 19th Century drop-end red Chesterfield sofa.
20th Century Chinese Lacquer Screen
Steph's top picks include a fine early 19th Century complete circular tree seat from the Regency period, and a late 20th Century print of Liz Hurley by John Stoddart which rests on a stylish lucite and brass display tripod with adjustable blocks.
Regency Circular Wrought Iron Tree Seat
20th Century French Lucite Easel
Late 20th Century Liz Hurley Print by John Stoddart
Sophie's top picks include a 19th Century French chaise longue in pink velvet and a beautiful framed black and white French scenic wallpaper depicting an attractive lakeside scene.
19th Century Upholstered Pink Banquette
Piers' top picks include a fabulous pair of Italian marquetry and ormolu bedside tables and a truly outstanding 19th Century folk art diorama model of Tower Bridge, London.
Pair of Italian Marquetry Bedside Tables
19th Century Model of Tower Bridge
Dave's top picks include a 20th Century coffee table with a drawer and its original key, a lovely example of an early 20th Century Edwardian elbow chair and a stylish 20th Century opaline glass table lamp.
Small 20th Century Coffee Table
Giant Mid-Century Style Opaline Glass Table Lamp
Jordan's top picks include an elegant French Meridienne sofa and in the spirit of the World Cup, a pair of 19th Century medici lions.
19th Century French Meridienne Sofa
19th Century Carved Pair Medici Lions
Chris' top picks include a lovely buttoned and tufted sofa of small proportions and a wonderful large-scale French zinc clock face in its original iron frame.
Small 19th Century Swedish Buttoned Sofa
French 20th Century Zinc Turret Clock Face
Cody's top picks include a lovely English golden oak occasional table with a single drawer and a superb pair of French 18th Century Louis XV bergéres.
19th Century English Golden Oak Occasional Table
Pair of French 18th Century Louis XV Bergeres
Charlie Hibbert, Head Chef at Thyme's Ox Barn restaurant, shares a delicious recipe that everyone will love - a grilled cheese toastie, the perfect autumn weekend lunch!
I can’t deny it – like most people on the planet, I’m pretty much addicted to melted cheese. There’s just something about it. I use this recipe probably more often than I ought – on account of it being (a) delicious and (b) super easy. You can also whip it up when you think you’ve got nothing for supper or weekend lunch… just so long as you have Cheddar and some leafy greens in your armory. I use chard, but you could use spinach or other leafy greens you may have.
Serves 4
For the rarebit
350g best Cheddar cheese
1 heaped tsp English mustard powder
1 tbsp Worcestershire sauce
1 egg yolk
3 dashes of Tobasco
6 leaves of chard
8 slices of sourdough
Gently pull the leaves from the stalks and wash them. Slice the stalks thinly and place them in a pan with 30ml water. Cook them over high heat with the lid on whilst roughly chopping the leaves, before adding them to the same pan. Continue to cook until all the liquid has evaporated, then set to one side and allow to cool.
Place all the ingredients for the rarebit into a food processor and blend until smooth. Spread the cheese mix onto 4 of slices of toast and cover with the chard. Top with the remaining slices of bread. Butter the outside of each side of the sandwich. Fry on each side for 3 minutes or until golden brown, then cut in half and serve.
Thyme includes 32 bedrooms situated in the Georgian rectory, The Lodge, The Farmhouse and the cottages around the courtyard; the Ox Barn restaurant (62 seater); Baa bar; meadow spa, orchid house, pool, botanical bothy & Bertioli beauty products; balcony room & piggery boutiques selling Bertioli silk wear, tableware & bespoke homeware; cookery school; farm, kitchen gardens, orchards & water meadows; Old Walls self-catered cottage; Tithe Barn for private events
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.
‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.
A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.
Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.
Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.
Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.
Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.
Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.
As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.
Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.
Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.
On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.
The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.
Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.
Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.
We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.
The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.
When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.
Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.
Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.
In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.
Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.
Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.
While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.
Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.
Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.
It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.
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 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.
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.
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.
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.
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.
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.
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.
We talk to ‘Antiques Roadshow’ expert Chris Yeo about collecting Mid-Century glass. He says ‘dancing with light and alive with colour, Mid-Century glass makes a bold statement, just try not to get too hooked’.
When I tell people I work in antiques the question I’m invariably asked (after “When do you hope to get a real job?”) is “What do you collect?” and my answer is absolutely nothing. Although I’ve lived, eaten and breathed antiques since childhood the idea of amassing a collection of any one thing or group of things has never held any appeal. With one exception, that is.
Roughly twenty years ago, on a typical Saturday morning mooch around an antiques market (remember them?), I came across something that stopped me in my tracks. It was a glass vase, a sleek, weighty number in rich shades of blue and turquoise. It was love at first sight and, of course, I bought it. About a month later I bought another piece of glass, shortly followed by another and another – you get the picture.
For the next few years, I hoovered up every piece of studio glass I could find. It was a labour of love and an obsession which bordered on an addiction. Put a piece of studio glass in front of me and I would find it near impossible to ‘just say no’. I won’t be too hard on my younger self. There is, after all, something undeniably seductive about mid-century art glass: a perfect marriage of art, craft and design that melts the hearts of even the most ardent minimalists. Richly coloured and beautifully made, fine quality glass introduces just the right note of luxury, colour and sophistication into any interior.
The Europe that emerged from the Second World War was a grey and dismal place. War-time shortages and rationing of “luxury goods” meant that people had been starved of colour for years. There was a huge demand for anything bright, fresh and modern, especially among young people setting up home for the first time. Ceramics, textiles and wallpaper manufacturers all ramped up the colour quota but nowhere was this appetite for colour better nourished than amongst makers of studio glass. And, when it came to glass, no one understood colour better than the Italians.
Italian design came of age in the post-war years with a welter of colourful designs in both glass and plastic, materials which share the same malleable qualities. The magical process of transforming a bubble of molten glass into a vessel or piece of sculpture is a test of skill and artistry but the Italians took up the challenge with gusto and, of course, style. Highly individualistic designers celebrated colour for its own sake, applying it in ever more bold and dramatic combinations. Italian glass is more properly Venetian glass. Venice has always been the heart of the Italian glassmaking industry with a history of glass-blowing unparalleled anywhere else in the world. From the thirteenth century onwards Venice had held a monopoly on glassmaking in Europe, and its products—often extravagantly coloured, enamelled, and gilded—were treasured luxuries. Originally, Venetian glass was made - as you would imagine - in Venice, but the workshops were moved to the small lagoon island of Murano in 1291, in part because their kilns constituted a fire hazard to the city, but also to keep the glassmaking process a secret by isolating the makers on their own well-guarded island.
Now, I think it’s fair to say that for many of us our idea of Murano glass will have been “coloured” by a trip to Venice. You’ll have done the circuit of St Marks, paid through the nose for a coffee and then, along with ten thousand others, you will have been funnelled off into the narrow alleyways that lead off the square. You shuffle along passed shop after shop – each one dedicated to relieving you of as much money as possible - crammed with all manner of gaudy clowns, fish, dolphins and more Mickey Mouse figures than even Disneyland would want - all sold under the banner “Murano”. If this has been your only encounter with Italian glass you’d be forgiven for wanting it to stay that way but there really is so much more to Murano.
From the 13th to the 18th century Murano glass was one of the wonders of the world with an unrivalled reputation for innovation, its glassmakers having developed, among other things, ways of incorporating threads of gold into their creations and techniques for the famous millefiori (multicoloured) and lattimo (milk) glass. Amongst the myriad workshops that make up the Murano glass industry the most highly regarded and arguably the best known is Venini.
The firm was founded in the early 1920s when an enterprising Milanese lawyer, Paolo Venini, established a new glass company on the island with a Venetian antiques dealer, Giacomo Cappelin. Their breakthrough innovation was to copy the French fashion industry’s tradition of appointing an artistic director to create new designs and then drive them forwards. This was a stroke of genius which instantly put Venini at the forefront of fashion. The firm collaborated with artists who transferred their skills from canvas to glass, combining bright vibrant colour with flair and confidence that’s the very essence of Italian style. As a strategy, it took glassmaking to new heights of excellence and kick-started the Italian studio glass movement.
By the early 1930s, Venini was attracting the cream of Italian designers including Carlo Scarpa, Gio Ponti and Tyra Lundgren. The post-war years were Murano’s most dazzling and creative period. With its bold palette, Italian glass of the 1950s and ‘60s is instantly recognisable. Shapes have an easy asymmetry and a looseness of form reminiscent of folded fabric. In fact, one of the most popular shapes was the ‘fazaletto’ or ‘folded-handkerchief’ vases first made by Venini in the 1940s.
With its vibrant colour combinations and top-quality design credentials, the Italians dominated the glass scene but they weren’t the only nation on the colour spectrum. In the UK the prestigious London-based firm of Whitefriars had been making glass since the 17th century and had a centuries-old reputation for restrained and elegant glassware but in the 1950s its fortunes changed when, like Venini, it engaged the services of an artistic director, Geoffrey Baxter (1912-95).
Baxter was a young graduate fresh from the Royal College of Art, at that time a powerhouse of ideas about art and design. At Whitefriars, Baxter took the forms of Scandinavian glass – thickly-walled, with curving organic shapes and highly sculptural vessels – but, unlike the Nordic versions which used either clear glass or subtle, muted shades – Baxter used bright, rich colours to create something youthful and very British. Colourful things were also coming from behind the Iron Curtain.
In Czechoslovakia, the glass industry was nationalised in 1948 and continued the centuries-old tradition of glassmaking in the Bohemian region. Bohemian glass had a reputation for excellence and the new Communist government did not deem glass to be an art form that was ideologically threatening, meaning that designers could work largely free of official control. This resulted in the creation of highly innovative modern designs that updated traditional methods of glassmaking and put Czech glass on par with the best that Italy had to offer.
Following on from its 1950s heyday, studio glass is once again riding the crest of a wave of popularity. If you’ve never thought of having glass on display, think again: the allure of light playing on coloured glass can be just as compelling as a strikingly painted canvas. That said, some people remain a little nervous about living with glass – “It’ll get knocked over and smashed!” Truth is, most glass is more robust than you think and, so long as you’re not flinging it against the wall, it’s no less durable than pottery.
Striking forms and colours make the piece a work of art in its own right and a real talking point. Art glass, displayed as a single statement piece or grouped together, brings warmth and colour to an interior as effectively as any painting and can also be a good way of introducing an accent colour into a room scheme.
The sinuous, organic shapes and jewel-like hues so beloved of mid-century glass artists work as a counterpoint to the tailored interiors of today. Arranging collections of glass in groupings of similar colours and shapes create a strong visual impact.
Remember, when it comes to glass, less is always more, don’t clutter shelves and tabletops with pieces. Instead, give each one space to breathe. You’ll find your art glass a source of inspiration as well as beauty.
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Browse our collection of Mid-Century glass:
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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.
(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.
Choosing a favourite was tricky. Dessert tuition was intense in the Hibbert household, and one that has become a perennial favourite is Granny’s meringue cake – the perfect vehicle for seasonal fruit throughout the year, served with lashings of cream. Chocolate mousse, crème caramel, lemon cream puff and all the tarts (quince, custard, Tatin) were all serious contenders, but it was his strawberry shortcake that won the day.
He thinks that the Queen would rather enjoy eating this. Nothing says Great British like strawberries, and we have a sneaking suspicion that Charlie may be right.
Serves 4 (freeze any spare shortcake mix for future use)
Method
Next...
Method
Place a small dot of cream on the plate and push a shortcake into it. The cream will stop any slipping. Next add a small spoonful of cream and a scoop of ice cream. Arrange the strawberries around the ice cream, then top everything with a spoonful of lemon curd and an extra spoonful of cream. Finish with a second shortcake to complete the sandwich, dust with a touch of icing sugar, adorn with a flower or two and serve. Et voilà, your strawberry shortcake may be served.
Assuming that other British favourite – the weather – is on side for the Queen’s Jubilee, the Ox Barn terrace at Thyme will be swinging into action. Tables on the terrace are not bookable – they’re available on a first come, first served basis, but prioritised for people who’ve booked in to dine. Open for lunch and dinner, Monday to Sunday, book the Ox Barn at www.thyme.co.uk | 01367850174 | reservations@thyme.co.uk
To see other delicious recipes, please click here.
With summer fast approaching, we asked our friends at Thyme to put us in the mood for the (hopefully!) balmy months ahead. They had the perfect answer. Greek-inspired orange, almond and olive oil cake – what could be more Mediterranean?
Serves 8
4 free range eggs
300g + an extra 50g golden caster sugar
250g whole blanched almonds
120g plain flour
180ml olive oil (you can use light or extra virgin – extra virgin gives a more distinctive flavour)
2 oranges (we used blood oranges as this was created in winter but use good quality normal oranges any time)
100g golden caster sugar
Preheat the oven to 180°C (normal) | 160°C (fan) | gas mark 4 and line a 24cm / 9” cake tin with parchment paper.
For the cake, beat the eggs and 300g sugar until light, fluffy and doubled in volume – 10 minutes should do it. Then, grind the almonds in a food processor until fine. Grinding your own almonds gives better texture to the cake as opposed to shop-bought ground almonds. Sift the flour into the egg mixture and fold together along with the almonds with a spoon (if you use the mixer, you’ll bash out all the air). Fold through the olive oil to finish the cake batter.
Slice one of the oranges very thinly with a sharp knife and line the base of the tin in circular rings. Scatter over the other 50g of the caster sugar, then fill the tin with the batter. Bake in the oven for 1 hour. Check the cake with a skewer or tip of a paring knife; if it comes out clean the cake is ready. Allow the cake to cool in the tin before turning out.
For the syrup, combine the juice of the remaining orange with 100g of caster sugar. Bring it to a boil over a medium heat then turn off the heat. Turn the cake out carefully onto a large plate, removing the parchment, and gently pour over the syrup.
Serve with plenty of whipped cream.
The Ox Barn at Thyme is open all week for lunch and dinner.
Click here to see a Charlie Hibbert recipe for a delicious light lunch recipe.
Image courtesy of Thyme.
We’re happy to have Thyme back in L-Shaped this month and to celebrate, Chef Director, Charlie Hibbert has given us a fresh and vibrant late spring recipe of pea shoots, asparagus, coppa, soft boiled egg, which will be featuring on his new lunch menu at Thyme’s Ox Barn.
The new menu at Thyme this season is bursting with land-to-mouth deliciousness and the idea behind it is for people to share dishes. So, for your perfect spring gathering, start with nibbles like white asparagus and ricotta crostini, marinated anchovies and warm, crusty home-baked sourdough and butter. For a wonderful, stand-out spring dish, use the recipe below to create Charlie's perfect lunch.
Serves 4
4 free range eggs
12 slices of coppa ham*
12 asparagus spears
120g ricotta
4 slices of sourdough
½ lemon, juice
25ml olive oil with a little extra for brushing
Salt and pepper
500g pea shoots
Bring a pot of water to the boil over a high heat. When it is up to temperature, put the eggs into the water and boil for 6 ½ minutes. When the timer goes off immediately dunk them into iced water and allow the eggs to chill.
Next, bring the water in the pot back to the boil, this time with a good pinch of salt in the water. Snap off the tough ends of the asparagus and cook them for 2 minutes, until just cooked. Lift them out and place them on a plate to cool.
Place a pan over a medium heat and brush the bread with a little olive oil. Fry each slice of bread for 2 minutes on each side, until crisp and golden. Spread each with a little ricotta and put them on a plate. Next put the leaves into a bowl. Slice the asparagus lengthwise into strips and add to the pea shoots. Dress in the lemon and olive oil, with a little seasoning. Tumble the salad over the toasts. Finally peel the eggs and slice them in half. Season them and put two halves onto each salad. Lay a few slices of coppa onto the salads and serve.
* The coppa Charlie uses comes from a local supplier, based in Chipping Norton – the Saltpig Curing Company – who hand-make award-winning artisan charcuterie using whole, rare breed, mature pigs.
Image credits: Kirstie Young (Pea shoots, asparagus, coppa and soft boiled egg recipe dish) and GBCHEFS (Charlie)
The Ox Barn at Thyme is open all week for lunch and dinner.
Click here to see a Charlie Hibbert recipe for a delicious dessert option: Lemon Cream Puffs.
A fresh and delicious winter salad that delivers a wonderful crunch. Charlie Hibbert, the Head Chef at Thyme's Ox Barn restaurant shares a light and refreshing salad recipe perfect for dinner parties or a light lunch.
'This is an easy, fresh salad with plenty of crunch from fresh vegetables and my favourite bitter leaves, full of interest. We buy our hams from a local Cotswold company – Saltpig Curing Co – and the speck is a wonderful stalwart on the menu, amongst other fine things from them. You will need a vegetable turner or mandolin for this recipe. If you don’t have one, you can use a sharp knife, but it is harder to cut the vegetables into wafer-thin slices which fold through the salad.'
Serves 4
Ingredients
1 eating apple
1 kohlrabi
1 fennel bulb
8 slices of speck
60g hazelnuts
Assortment of bitter leaves, such as puntarelle, castelfranco, radicchio, tardivo etc
1 lemon
Olive oil for dressing
Sea salt flakes and freshly cracked black pepper
Method
Preheat the oven to 160°C (normal) | 140°C (fan) | gas mark 3.
Chop the hazelnuts and put them into the oven to toast for 8 minutes or until golden brown. Once done, put them to one side and allow them to cool.
Meanwhile prep and wash the leaves, allowing them to drain in a colander.
Now, peel the outer skin of the kohlrabi away. Using your vegetable turner, cut the kohlrabi and then the fennel into lovely thin strips and dink them into iced water.
Finally, halve and core the apple. Slice it into thin half-moons using a sharp knife.
Ensure all your salad ingredients are well-drained before assembly.
Place all the vegetable ingredients in a bowl and dress with lemon juice and olive oil, a good crack of pepper and salt.
Tear through the speck and scatter the nuts over the leaves then toss the salad.
Gently tumble the salad onto your waiting plates, serve and enjoy.
Andrea, who owns and leads Last Drop Wines on the King's Road in Chelsea, recommends two wines to accompany this fresh and delicious salad. Read her advice here.
Thyme includes 32 bedrooms situated throughout the Georgian rectory, The Lodge, The Tallet and the buildings around the courtyard and gardens. Ox Barn (seats 62) offers a wonderful dining experience, with its own twist on seasonal British food.
Thyme also offers the Baa bar, meadow spa, pool, orchid house and botanical bothy. The piggery and balcony room boutiques stock Bertioli by Thyme's range of silkwear, tableware and bespoke homeware.
If that's not enough, their 'village within a village' also contains a cookery school, floristry and drawing classes, farm, kitchen gardens, orchards and water meadows. Cottages are available for private hire and you can also book the Tithe Barn for private events.
You can view our collection of Thyme recipes and our interview with Charlie Hibbert on L-Shaped.
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These are room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
Our in-house restorer Dave knows all there is to know about restoring antiques and repairing any damage. He plays a crucial role in sustaining the life of our stock and making sure it can survive for future generations. He shares his dos and don'ts for materials we often encounter in the antiques world.
Dave says… ‘Caned seats and backs, as well as whole wicker pieces, gradually disintegrate over time with heavy use. If you have buttons on the back of a pair of trousers, for example, they will snag and aggravate the cane until one day – ping! The woven part will come loose. There are a few things you can do, however, to keep cane or wicker pieces in tip-top condition.’
DO: Treat the wicker to strengthen it. You can use a clear lacquer or shellac to do this, but be sure to read the specifications of your product carefully as not to affect the colour of the piece. A good quality clear shellac will put a sheen on the wicker without affecting the colour. This will help the cane to last longer and avoid fraying or breakages.
DON’T: Use a wicker piece to support heavy loads. You might think a very heavy box on a caned side chair works for a temporary storage solution, but this will gradually weaken the tautness of the cane.
DO: Use cushions. This will help to reduce the daily stress on a cane or wicker seat.
DON’T: Drag fully wicker pieces around, like a bamboo dressing table for instance. These pieces are usually only fixed with nails and pins, so a lot of dragging and heavy-handedness will weaken them. Lift the pieces up and move them instead.
You might have inherited a lovely Georgian or Victorian piece, with stunning colour and patina. How do you keep it looking that good?
DO: Use a wax diluted with a little white spirit to treat the piece. Do this a couple of times a year to preserve the finish.
DON’T: Expose it to direct sunlight or a very warm part of the home. This is how antiques fade and lose their striking depth of colour.
DO: Use a lint-free cloth to dust your antiques. This way, you won’t scratch the polish.
DON’T: Surround a great piece of brown furniture with plant pots or other water hazards. Watermarks are the devil for brown furniture and must be avoided at all costs.
Not sure why it is worth restoring an old piece of wooden furniture? Read our case, 'In defence of brown furniture' here.
In most cases, you want to consult a professional when it comes to upholstered furniture because there are considerable risks with it. However, Dave advises…
DO: Inspect the frame before you start taking anything off. Make sure the legs are intact and check for wobbles in the frame.
DON’T: Do anything in haste. In some cases, the upholstery will be keeping the whole thing together. This is where a risk assessment is very important.
Intricate veneers are often what makes a classic piece of antique furniture so beguiling. But after a long life this applied decoration can start to lift off. What can you do?
DO: Cut a small square or rectangle where the damage is and patch repair it, then match the colour after.
DON’T: Cut veneers in funny shapes! Matching it after will be a nightmare.
DO: If the lifting veneer is one piece, lift it up and glue underneath then put it back down. Run a flat knife along where it is lifting to see how extensive the problem is – there’s no point in patch repairing bit after bit, you may as well do it in one go!
DON’T: Attempt to patch repair if there are bits missing entirely or splintered. You will need to replace the whole thing.
Gilding gives anything from a commode to a mirror a majestic opulence. How do you keep it looking so good?
DO: Take care to match the exact colour of the gold leaf if you are going to touch up the gilding. Believe it or not, there are lots of shades of gold!
DON’T: Transport gilt antiques carelessly. Logistics is where most damage to gilding is done.
Dave's final piece of advice when it comes to tackling restoration:
‘If you are going to take up restoration or repair your own pieces, it is going to take a lot of patience. You need to juggle several skills. A risk assessment needs to be carried out for every piece, and you must think ahead.’
Restoring antiques and other furniture is key to an eco-friendly approach to interiors. Read our article 'Sustainable antiques for soulful homes'.