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'If you really love something and you can afford it, buy it. You will never regret it.' - Kate Earle
We chat to Suffolk-based designer Kate Earle, of Todhunter Earle, about what makes her tick and where she gets her fabulous style inspiration from.
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Some of my best ideas have come while driving, I drive a lot, in and out of London, site visits, school runs. I never listen to music, I listen to the radio and I think about the projects I am working on, occasionally I have a lightbulb moment, it’s the only time that I am ever on my own.
The thing I couldn’t do without is horses, they are a huge part of my life.
The place that means a lot to me is the North Norfolk coast, it is not too far away from Suffolk where we live. The beaches are the biggest and whitest in the world. Breath-taking scenery, space and calm.
The best souvenir I’ve brought home is an Italian marble-topped serving table with a painted and gilded base bought in Florence on our 10th wedding anniversary. It is in our dining room in Suffolk.
The last thing I bought and loved was the Japanese embroidery from Justin Evershed Martin, for a new apartment that I have just completed for myself in London.
The best books I’ve read in the past year are Orlando King by Isobel Colegate, Meet Me in the In-Between by Bella Pollen, my sister and I argue about Bella Pollen, I think she writes really well, she doesn’t! Just about to start Young Bloomsbury by my great friend Nino Strachey.
The podcast I’m listening to is The Airing Cupboard, real-life stories read by my friend Zoe Brown in her amazing, chocolatey Belgian accent.
I placed a Lorfords Contemporary piece in a TP Modern sofa in a very contemporary beach house on the Caspian Sea.
In my fridge, you’ll always find a bottle of Belvedere vodka and some parmesan.
The event that changed everything for me was a school careers lecture by Jacqueline Inchbald when I was 14 years old. That was it, I knew what I wanted to do and never swayed. I had set up my own business by the time I was 21.
An indulgence I would never forgo is ready salted crips, I could happily live on them.
The last piece of clothing I added to my wardrobe was a yellow straw hat by Jane Taylor, I bought it in about two minutes whilst double parked outside the shop. I could see two policemen bearing down on me and I had to move fast.
My favourite building is ooo, I have a few….the Pantheon in Rome, the Brighton Pavillion, our tiny Georgian fishing hut by the river in Herefordshire.
My favourite room in my house is my bedroom, it is huge. I have a proper dressing table (my grandmother's), sofas and chairs, a fireplace and views over the garden. It's quite colourful but tranquil and full of interesting things.
The best advice I’ve ever received is if you really love something and you can afford it, buy it. You will never regret it.
I do not compromise on attention to detail when designing, I am fanatical about design detail.
I often compromise on my clothes, I tend to wear the same thing, or a version of, every day.
My favourite object to include in a project is antique or one-off lighting and lamps, we make a big effort to source unusual and interesting lamps, when budget allows we love to commission bespoke ceramics by Kate Malone, Rupert Merton etc.
My favourite Lorfords Antiques piece is an antique green and sienna marble table that we have bought for a house in Suffolk, due to complete in the Autumn.
What I love about contemporary living is open-plan living spaces that allow the whole family to be in one room but doing their own thing. I don’t actually have one but maybe one day.
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Click here to read more L-Shaped interviews or click here to visit the Todhunter Earle website.
"Whether it’s the contents of a historic house or the collection of a movie star like Lauren Bacall, we love to go behind the scenes and this is exactly what house sales allow." Charlie Thomas is Director of House Sales and Private Collections at Bonhams. Charlie is currently working with us on the exciting Lorfords X Bonhams online sale, which is now live!
Q: It has been a tumultuous year or so for the antiques industry. What changes, due to the pandemic, do you think are here to stay?
The use of technology in the auction industry has advanced at a pace we have never seen before. Before the pandemic, we didn’t have an app and we could never have imagined selling to an empty room of just screens. The pandemic has made us look at how we interact with clients and we are better for it.
Q: What is your favourite furniture period? Why?
I love 18th Century country furniture. For me, antiques must be practical and comfortable as well as beautiful. 18th Century furniture ticks a lot of those boxes - plus with children and dogs, it has to be forgiving to damage, which luckily… it is!
Q: What drew you to antiques in the first place? How did you get started in your career?
It was auctions that first attracted me to this industry. I love every aspect of the job, from valuing and cataloguing to interacting with the sellers and buyers. Then, of course, the thrill of the auction itself! I joined the Bonhams furniture department as a junior cataloguer in 2002 and I haven’t looked back since.
House sales unearth all sorts of amazing treasures. A few highlights are the cache of letters between Lord Harlech (David Ormsby-Gore) and Jackie Kennedy. We found the letters in a Government dispatch box from the Bonhams sale of Lord Harlech’s estate.
Q: Do house sales require a degree of sensitivity? Is there an emotional dimension?
Yes. It’s a big decision to sell the contents of a house, whether the collection has been collected over many generations or just one, every object means something and tells a story, which is also why they are so popular.
Q: One piece of advice for someone new to attending auctions?
Don’t be afraid to come along and ask questions. Auction houses are nothing like the intimidating environments that many people expect. We are here to make the experience as easy as possible for the seller and the buyer. Also, we aren’t museums, and we encourage potential buyers to handle objects, learn and hopefully fall in love!
English late 18th and 19th Century painted pieces are becoming very popular and their prices are creeping up.
Armorial panels found in the Dunrobin Castle attics
Q: What is the most fascinating object that has passed through your hands?
So many! House sales unearth all sorts of amazing treasures. A few highlights are the cache of letters between Lord Harlech (David Ormsby-Gore) and Jackie Kennedy. We found the letters in a Government dispatch box from the Bonhams sale of Lord Harlech’s estate. Another highlight was the emerald pendant belonging to Tipu Sultan we found in the Lord Glenconner Collection. Most recently it's got to be the amazing carved 16th Century armorial panels we found in Dunrobin Castle's attics. These came from the Queen Regent's House in Edinburgh.
Q: You were recently involved in The Dunrobin Attic Sale, a highly anticipated event that didn't disappoint. Why are house sales so important to this industry?
The story and history behind the houses, the vendor, and the objects are fascinating and this is a huge draw for potential bidders. Whether it’s the contents of a historic house or the collection of a movie star like Lauren Bacall, we love to go behind the scenes and this is exactly what house sales allow.
Q: What period or style do you feel is having a moment right now?
I'm seeing a huge increase in demand for painted furniture. Swedish furniture is most associated with being painted, but English late 18th and 19th Century painted pieces are becoming very popular and their prices are creeping up.
Q: What is the most exciting piece in the upcoming Lorfords X Bonhams sale, in your opinion?
I think I’m most excited about the amount of Howard & Sons furniture featured in this sale. I’ve always dreamt of owning a Howard armchair to sink into whilst spending all day reading the papers. This sale has some AMAZING examples, and the best bit is that they have all been reupholstered so they are ready to go straight from saleroom to home.
Q: If you could choose a Lorfords piece that's not in the sale for your own home, what would it be?
Good question! Possibly all the remaining duck decoys!
Q: What object makes your house your home?
For me, it’s my George III bookcase. I’ve filled it with everything I love, including a collection of Japanese ivories, works of art, fossils, and pottery made by my children. It’s a bit of a Wunderkammer….
Q: As we emerge from lockdown, what are you most looking forward to?
I want to say hugs, but…. Skiing!
Q: Who is your dream dinner party guest?
Alive: if Toby wasn’t free, then it would have to be Sir David Attenborough. Dead: it's Sir Winston Churchill.
Q: Tell us something we would be surprised to know about you?
I’m very horsey!
Topiary has given our gardens a sense of structure for centuries. With their neatly clipped shapes, they also bring formality to an outdoor space. Lorraine Spooner is a Horticulturalist and Sales Advisor at Nicholsons. She talks us through different topiary planting techniques and which species to consider.
This article originally featured on the Nicholsons website.
Topiary is the horticultural practice of training perennial plants into clearly defined ornamental shapes by clipping the foliage. You often recognise topiary for its geometric shapes, but they can also take abstract forms. Artistic topiary might take the guise of anything from birds to chess pieces.
Indeed, Prince Charles gave the gardeners at Highgrove House (pictured above) free reign to customise his topiary to their own designs. The result has matured into an eclectic mix of unusual shapes, including a crown and a Christmas pudding! Levens Hall in Cumbria is another spectacular garden that features some of the oldest topiary specimens in the world, dating back to the 1690s.
Levens Hall Topiary Garden
For inspiration a little closer to home, the Nicholsons Plant Centre offers a diverse selection of topiaries. Topiary is an indispensable tool for enhancing the permanent structure of your garden.
Where to plant topiary
Whilst traditional topiary often acts as the main focus in a garden setting, you can also use it to complement other features.
Plant them at the foot of a pergola or the base of a water feature to draw attention to special garden elements. In a border setting, plant half standards or ‘lollipops’ at intervals throughout the length of a planting scheme. These plants will add permanent height and structure, whilst drawing attention to the more naturalised planting below.
Classic topiarised shapes, such as cones, balls and spirals, act as bold punctuation points at the corners of a scheme. This technique adds aesthetic interest to an otherwise ‘flat’ area.
Pathways are ideal for lining with topiaries. Use them along paths to the entrance of a property or lead visitors to a focal point such as a garden sculpture. Symmetrical rows of topiary cast an illusion of space, so they are great for smaller spaces.
Containerised topiary
Enhancing a front entrance is a popular use for topiary plants and they provide a regal welcome. This is effectively achieved with a matching pair of containerised specimens. Cones, spirals, cubes and quarter standard trees all suit this purpose. However, these topiaries will probably remain in situ, so your choice of plant species should suit the orientation of the sun throughout the day.
It is also important to select planters that complement your property's period and harmonise with existing hard landscaping materials. Beware that containerised topiary requires regular watering and feeding. Copper or brown-tipped foliage is a sign of nutritionally depleted soil.
Nicholsons stock a range of plants that are perfect for containerising. Suitable specimens include...
Taxus baccata (yew), Elaeagnus ebbingei, Euonymus japonica (spindle), Ilex crenata (Japanese holly), Laurus nobilis (bay), Ilex aquifolium (Holly), Ligustrum jonandrum (Privet), Osmanthus burkwoodii, Phillyrea angustifolia, Teucrium fruticans, Viburnum tinus, Prunus lusitanica (laurel) and Cryptomeria japonica (Japanese cedar).
Living architecture
If you are feeling bold, why not create a tiered topiary plant? When executed well, these topiaries provide living architecture in your garden. The best plants to use are evergreens with finely textured small foliage that can withstand regular clipping. A trio of young plants potted close together will provide initial density. Place a wire frame over the plants to facilitate clipping into your desired shape.
The Nicholsons Plant Centre stocks wire frames in ball and cone shapes to help with the pruning process. They also offer specialist topiary shears which are the best tools for achieving a neat finish.
Alternatively, you can manipulate chickenwire to create a more unique masterpiece.
The highly skilled Japanese art form of cloud pruning, or ‘Niwaki’, involves shaping a shrub or tree into a series of rounded spheres which resemble clouds. The Japanese holly, Ilex crenata, is often used for this, as pictured below in our polytunnel. Other suitable plants for this type of pruning would be Taxus baccata, Ligustrum japonicum, and Pinus.
Contact lorraine@nicholsonsgb.com to find out more about the above plants and their potential uses.
About Nicholsons
Nicholsons are based on a 23-acre site in North Aston, Oxfordshire. Their team provides a range of professional services, including garden design, garden construction, garden maintenance, forestry and agriculture. Nicholsons also offer retail services including Rosara Outdoor Style and the Plant Centre.
A skilled garden designer can help sculpt your preferred ingredients into a cohesive garden design. This will deliver more useable space and give your garden a sense of purpose. Head over to the Nicholsons website or visit them in person to start bringing your garden dreams to life.
Read all of our gardening articles here.
"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 21st 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.
The Arts & Crafts movement touched every corner of the design world. From furniture to textiles to jewellery, designers adopted a holistic approach to manufacture. At the very heart of every surviving piece is the craftsman himself.
Another cog in the machine
Vintage engraving from 1860 of a jacquard weaving machine.
By the end of the 19th Century, the industrial revolution had utterly transformed Western society. Industries boomed as new technologies emerged, and handicrafts dwindled. Vast factories emerged to accommodate these changes, and productivity and efficiency were the new watchwords.
The industrial revolution brought many elements of our lives today into fruition. In lots of ways, this was a momentous step forwards. Society underwent a dramatic change and standards of living improved for many. However, it was not so for those on the frontline of machine-led production.
The underbelly of factory work was tedious, gruesome, and dangerous. Unskilled labour was in high demand because the process required scores of workers to perform repetitive tasks. Certainly, the skilled craftsman conceiving, designing, and producing a piece became mere nostalgia.
The counter-revolution
Fine art is that in which the hand, the head, and the heart of man go together.
For some thinkers, critics, and designers, these developments were unsettling. John Ruskin was a vocal art critic in the second half of the 19th Century. He claimed a link between poor design standards and poor social health in England. Ruskin suggested a return to handicraft: 'fine art is that in which the hand, the head, and the heart of man go together.' This idea that art serves a moral purpose would later become a fundamental principle of the Arts & Crafts movement.
Let's go back to 1851, the year of the highly anticipated Crystal Palace exhibition in London. This exhibition celebrated the finest corners of Victorian design and pieces from as far away as India. It was a majestic display of talent and wondrous furniture, but it also exposed the excesses of industrialisation. A nauseating range of revival styles was on display, and much of it was heavy-duty furniture that was rich with ornament. It was no coincidence, then, that the following years of the 1850s sowed the seeds for a different sort of revolution.
The pre-Raphaelite brotherhood
Excitement about machine-led production side-lined the decorative arts, and discontent mounted. The antidote to this artificial excess was a return to medievalism. The gothic was a popular Victorian revival style, and reformers hailed 16th Century methods. In his 1851 text, The Stones of Venice, John Ruskin praises gothic architecture and saw its roughness as evidence of the craftsman’s personality and freedom.
Pugin was another gothic advocate, and he believed in the importance of a piece's construction. He was in favour of exposing joints and other methods in the manner of a Medieval carpenter. This school of thought found its voice in the Pre-Raphaelite Brotherhood, formed in 1848.
Among the group's members were Dante Gabriel Rossetti, William Morris, and Ford Madox Brown. The Pre-Raphaelites opposed the High Renaissance, which they saw as frivolous and insincere. Instead, they sought moral seriousness and integrity, and this group was in many ways a precursor to the Arts & Crafts movement.
Madox Brown was one of the first to transfer the group’s shared ideals about design into furniture. He shared Pugin’s vision of flat surfaces and linear profiles that had more in common with Medieval carpentry than refined 18th Century cabinet-making.
Arts & Crafts established
Arts & Crafts societies sprung up to centralise this growing group of individuals. The biggest of these, the Arts & Crafts Exhibition Society, was formed in 1888. This society held regular shows up to and beyond its 50th anniversary in 1938. They gave the decorative arts a stage and spread the beauty of Arts & Crafts. In 1960, the society merged with the Cambridgeshire Guild of Craftsmen to form the Society of Designer Craftsmen which is still active today.
There was a strong sense of community amongst these different organisations. 'The best tastes are to be found in those manufacturers and fabrics wherein handicraft is entirely or partially the means of producing the ornament.' These words of Richard Redgrave, a prominent reformer at the London School of Design, describe their shared sentiment. Significantly, many of the early members of this movement were architects. This meant that they held a shared interest in the gesamtkunstwerk- the 'total work of art.' For example, Charles Voysey was foremost an architect and then a major contributor to Arts & Crafts furniture and textiles.
Exhibitions put Arts & Crafts on display for all to see and escalated the movement. Journals such as The Studio helped to spread the word internationally. America's own movement was well underway, but with a slightly different approach. Unlike UK reformers, US practitioners were indifferent to the machine. They saw it merely as another tool at the craftsman’s disposal and necessary for commercial success. Under Gustav Stickley the American 'mission style' emerged. The mission style used sturdy oak and promoted democratic values, but Stickley was more than happy to use machinery to produce the furniture.
William Morris
Have nothing in your houses that you do not know to be useful or believe to be beautiful.
Although he was already a prolific designer, William Morris only became fully involved with Arts & Crafts later on. Nonetheless, his influence was monumental and he played a central role at the beginning of the Arts & Crafts heyday in the 1880s. His focus was on a return to small-scale workshops, whereby the craftsmen involved could oversee the design process from beginning to end. The Medieval Guilds inspired Morris and offered a model for the personalised craftsmanship that he craved.
As an upper-class man himself, the impact of the factory system on the working classes shocked Morris. He drew on Ruskin’s teachings and shared his nostalgia for a pre-industrial world. Morris loved nature, and flora and fauna are front and centre of the 50+ wallpaper designs he produced over his career. The designer realised that to live in his perfect home, he would have to design every aspect of it himself. His famous Red House embodies his trademark quote: ‘Have nothing in your houses that you do not know to be useful or believe to be beautiful.’
Arts & Crafts design principles
Designers wanted to create furniture that was useful to ordinary people and free from fussy decoration. Nonetheless, this movement was about reviving the decorative arts and aesthetics were still important. But crucially, designers did away with the ‘artificial’ ornamentation that had been front and centre of the Great Exhibition.
The Arts & Crafts umbrella was wide-ranging, but the majority of designs are united by a few simple features. Tables, chairs, and cupboards would have rectilinear shape and rely on simple vertical forms. The construction was a return to basics and most joints exhibit mortise-and-tenon or dovetail joinery. Arts & Crafts practitioners were unconcerned with hiding hinges or other aspects of a piece's mechanism. The movement proved that practical and aesthetic elements could happily coexist in design.
19th Century engraving showing the interior of the Crystal Palace in London, UK, which housed the Great Exhibition of 1851.
Substance over style
Craftsmen preferred darker woods, such as stained oak. They would use the wood itself as an aesthetic factor, with the grain, flecks, and rays often on display. It was not always solid wood, and some craftsmen took a more decorative approach than others. Some pieces might exhibit veneers and intricate carvings, but these elements never sacrifice the piece's utilitarian value.
The ‘through tenon’ provided another decorative touch, whereby the tenon extends through the mortised piece and projects out of the other side. Craftsmanship itself is visible in the end product of an Arts & Crafts piece, in a way that had formerly been lost to the machine. ‘Truth to materials’ was the mantra, and the results had a sense of integrity.
Upholstery would involve leather or simple cloth, in order to keep the overall look as plain as possible. Hand-sanding and pigment-staining gave pieces of furniture the best possible finish. Hand-rubbing exposed the different layers in the wood and began a piece's journey to having a wonderful patina.
The Arts & Crafts legacy
In the cities, Arts & Crafts gathered momentum through exhibitions and print promotions. Soon, the philosophy turned into commercial success. Designers forged good working relationships with manufacturers who could sell their wares. William Morris set up Morris & Co in 1875. The major Oxford Street store stocked other designers too, and they also sold through Liberty and Heals. Suddenly, the Arts & Crafts movement was reaching a much wider audience and it moved into the mainstream. It was the dominant design force in Britain up until the 1910s, and its influence spread across Europe, America, and Japan.
At the turn of the 20th Century, Arts & Crafts migrated out of the city and into the countryside. Lots of the designers celebrated simple rural ideals and the rolling hills naturally held great allure. Workshops sprung up across Britain, and many designers settled in the Cotswolds. These workshops became their own schools of sorts and each had its own take on design.
Sturdy structure, compelling patina, and timeless aesthetic appeal. These are just some of the qualities offered by Arts & Crafts designers. From cupboards to metalwork, every piece has the social history of this movement behind it. We are privileged to have the Arts & Crafts legacy around us in the Cotswolds. Our dealers are always sourcing Arts & Crafts gems so that we have wonderful pieces in stock. Our collection includes big names and makers, from iconic Heal's pieces to Gordon Russell's fantastic works. Visit our lookbook, 'Truth to Materials,' to explore a sample.
'Work from home.’ It’s the phrase that has defined the last ten months or so of our lives. Whether or not home has always been the natural habitat for your work, many have rushed to transform part of their house into a workspace. The Lorfords collection is full of unique pieces that will bring your dream Mid Century Modern home office to life.
The psychology of our interiors
Studies show that the more personal control we have over our office space, the happier we are. The ability to get creative with our workspace and have our favourite furnishings close at hand is a silver lining of the current circumstances.
One of the biggest challenges of staying at home has been drawing a line between work time and our personal lives. This gives you all the more reason to invest in your office space and create an environment you want to spend all day in, before returning to those parts of your home that you associate with relaxing.
Calm, uncluttered surroundings encourage efficiency and productivity. This can be difficult to achieve at home, but by dedicating a space for work you are halfway there, and Mid Century Modern design will do the rest.
It can be easy to feel as though you are ‘playing office’ whilst working from home, so it’s important to get creative with your space and invest in it. Stylish and useful furniture is conducive to your productivity, as well as your happiness.
A la mode
Media and popular culture have made Mid Century design an object of fascination. From the smooth teak and glass of the Mad Men office to the contemporary prints and low chairs of Miranda Priestley’s office in The Devil Wears Prada, the understated glamour of a Mid Century Modern office is well-known.
The post-war period was a new age of prosperity, and many migrated to urban and suburban areas. After the horrors of war, there was a desire for more human, organic and natural design. Inspiration was sought from America and Scandinavia, and designers eagerly embraced new materials like plywood and plastic. Manufacturers had machinery and mass production at their disposal, so luckily many fantastic pieces survive today.
Furnishing newly built homes and smaller living spaces saw design take on new priorities, and functionality was a top priority. Designers didn’t skimp on style, however, and the iconic designs they brought to life have timeless appeal.
Mid Century designers
Designers of the Mid Century Modern period wanted to make furniture accessible to everyone, not just the very wealthy. The contributors to this new democratic style were many, including Arne Jacobsen and Harry Bertoia. Ray and Charles Eames were the design power couple of their day, and it's their executive desk that graces Don Draper's office in Mad Men.
Far from dull, design in this period was full of juxtapositions. Designs were extremely varied, and you might struggle to spot what a marshmallow sofa and a teak sideboard have in common. However, there were certain principles that united these designers in their plight: fine craftsmanship, quality, and chic style.
The straight-lined silhouettes of Mid Century Modern furniture make it the perfect choice for an office. Manufacturers of the period, such as Herman Miller, focussed in on office furniture and produced desks, chairs, and savvy storage solutions. George Nelson was a key mover and shaker in Mid Century Modern design. His iconic Storagewall design captured attention far and wide and he is credited with designing the first L-Shaped desk.
Redefine 'office'
There’s more to working life than a desk and a chair. Nobody wants to work amongst empty cups of tea and a teetering stack of paperwork, but many of us do. It may be a cliché, but it’s difficult to argue with the concept of ‘tidy desk, tidy mind.’
It's often unrealistic to reimagine a whole room of the home in one style, but a few key pieces will transform a space. Credenzas and sideboards were already furniture stalwarts, but they were revolutionised in this period. Fitting unobtrusively against the wall, they provide storage and a surface for display. Most importantly, a sideboard or low cabinet means you can keep stress-inducing clutter out of sight.
When it comes to designing an office space, the mood can tend towards the clinical. Mid Century Modern is the perfect antidote to monotony because designers reinterpreted basic furniture with innovation and creative flair. Designers made chairs that were lower and broader, often supported on splayed UFO-style legs. They made many office-style chairs, with reclining and swivel functions. You've got your pick when it comes to desk chairs and should indulge in a big upholstered armchair for when you need a break.
Lighting was the major triumph of Mid Century design, and designs are famous and sought-after today. From practical floor lamps to Sciolari's spectacular sputnik light, lighting is the ultimate flourish for a 20th Century home office. Maison Charles’ iconic palm standard lamps demonstrate how natural forms were embraced in this period, and they make a great statement in an office setting.
Punchy Mid Century modern accents
20th Century design was far from solely utilitarian. Designs from this period were full of creative flair, and this should be reflected in a Mid Century Modern office. This was the heyday of faux tortoiseshell, glass, contrasting woods, bright colour, and abstract art. Adorn a brass and glass coffee table with a lucite magazine holder, or fabulous colourful glasswork by Val Saint Lambert.
There’s no point in working in a space that won’t inspire creativity and progress. Surround yourself with fabulous contemporary art and sculpture that makes you feel content and calm. Colour and character are key to boosting your mood in a long working day. This was an age of bold and pioneering design, and by surrounding yourself with examples of it you encourage the same in your work endeavours.
Whatever your personal style, there is something to love in this spectacular period of design. Mid Century Modern pieces have the power to transform a space into the perfect home office. For further inspiration, have a browse of our lookbook: Office Envy.
The Regency was the pinnacle of British sophistication and a pivotal period in design. It was a time of fascinating architecture and elegant furniture, but the influences in this period were far from straightforward.
The Prince Regent
At the heart of the Regency was the Prince Regent himself. In 1810, George III became seriously ill and was deemed mentally unfit to rule. The Regency Act was passed the following year, which allowed his son to rule on his behalf. Technically speaking, this period is the nine years that George IV was Regent. 1820, the Prince Regent became George IV and King in his own right.
But in reality, Regency style and design was more enduring and covered more or less the first 30 years of the 19th Century. Nonetheless, it is rightly seen as a reflection of the character of the Prince Regent. He reacted against the frugality of his upbringing under his father, George III, with extravagance. George IV was seen as a hedonistic and gluttonous young man, ridiculed by cartoonists at the time.
The concept of The Grand Tour and broadening one's horizons was long gone. Britain was suffering a trade blockade due to its war with France, so young men wined and dined in London’s most prestigious venues. The ‘dandy’ emerged, and these men modelled themselves on the styles of the Prince Regent.
Yet, even more so than food and women, George’s great passion in life was building, designing and collecting. The Prince Regent spent the first few years of his reign commissioning vast amounts of furniture. The interests of the Regent, as well as the wider context of the Napoleonic wars, help us to make sense of the paradoxes of Regency style.
The eccentric Royal Pavilion in Brighton, as well the Prince’s city residence Carlton House, were two iconic expressions of Regency style.
Empire style
Regency coincided with Empire style across the channel in France. Napoleon’s successful campaigns in Egypt meant that Egyptian motifs frequented French furniture. The Prince Regent wanted to match, if not surpass, the architecture and design of his rival.
Neoclassical design was very much in vogue already, but Regency designers followed classical precedent in a far more prescriptive sense. They did away with the fussy ornamentation of Adam style and stayed true to classic simplicity of form.
Exact copies of ancient Greek, Roman and Egyptian pieces were made and classical motifs were incorporated into Regency furniture. Regency brings to mind heavy wood and this was certainly the heyday of mahogany and rosewood. There was a newfound appreciation for surface and beautiful patinas, particularly the bold figuring of exotic timbers.
Regency prioritised straight elegant lines and beautiful sabre or concave legs. The period did away with marquetry and intricate carving, preferring brass metalwork for ornamentation.
But no single set of characteristics can define Regency. In fact, it was a melting pot of foreign and home influences. It was refined British elegance juxtaposed against extravagance. Many styles were revived or imported. There is undoubtedly a strong oriental influence in Regency furniture. Chinoiserie and japanning were popular, Indian styles were copied and bamboo surged.
The Regency architects
So, who were the main players in this design revolution?
The strong classical influence on the Regency period was fuelled by new publications about classical art and architecture. Thomas Hope published Household Furniture and Interior Decoration in 1807, which was full of classical designs inspired by his extensive travels. The ideas in this book would have a profound influence on Regency style.
Hope wasn't alone, though. The architect Henry Holland sent designers to Rome to make drawings of classical objects. These were published in the book, Etchings of Ancient Ornamental Architecture, in 1799-80. Thomas Sheraton’s Cabinet Dictionary of 1803 shows Grecian couches, which introduced the daybed into Regency Britain. Animal motifs and ‘sabre’ design legs were engraved in this book- features that would become the distinctive characteristics of Regency furniture.
It is impossible to mention Regency without the name John Nash. Nash was court architect to George IV and their visions were very much aligned. With his remodelling of the Royal Pavilion in Brighton, Nash realised the Prince Regent’s dream of a lavish palace in the oriental style. This extraordinary building is clearly influenced by Indian and Chinese styles. Nash was also the brains behind modern day Regent Street and the terraces of Regent’s Park.
Furniture manufacturers of the time were eager to embrace this new style. Renowned cabinet makers Gillows led the charge, incorporating Regency traits including lion paws and reeded carving into their finely crafted pieces.
The Regency legacy
Furniture from this period is highly sought after and has a lasting legacy. Regency chairs are particularly renowned, with their crested rails, low curved backs, brass inlay and sabre legs. By the end of the period, cotton or linen upholstery became the norm and chintz flourished. The Prince Regent loved dining in style and prioritised these spaces in his homes. Because of this opulent attitude to dining, you can discover wonderful sets of Regency dining chairs.
Furniture companies began making lots of tables made for specific purposes. For example, extendable tables, nests of tables, kidney tables, sofa tables and side tables were all produced throughout the period. Regency tables are often round and pedestal bases with tripod legs are common.
However, it wasn't all about furniture and mirrors were a significant feature of Regency style. Circular convex mirrors were particularly prominent in this age, copied from France and seen as a symbol of wealth. These mirrors were supposedly put in dining rooms so that butlers could keep an eye on the progression of guests through each course. Indeed, convex mirrors were so popular in Regency England that they are the only type of mirror to be listed in the mirror section of Sheraton's Cabinet Dictionary. However, you also find beautiful overmantle mirrors from the Regency age.
Regency style has lasting attraction. It is full of unique features and yet still inherently classic. As a result, the architecture and design of this period is very influential and reflects socio-political movements.
The Lorfords collection 
Regency furniture is a delight to have in your home and new pieces are always coming through the doors here at Lorfords. Come and visit us in our hangars at Babdown Airfield and our Tetbury shop to see these pieces in all their glory.
Visit our lookbook, 'Regency flair,' to browse some of the Regency furniture we house.
For “Antiques Roadshow” expert Chris Yeo the latest exhibition at the Victoria and Albert Museum was just the starting point for a surprising journey following in the footsteps of one of the twentieth century’s outstanding designers – and a Soviet spy ring - to one of London’s most revolutionary and glamorous buildings. Who would have thought plywood could be so interesting?
When you think of plywood (as we all do from to time) what is it that comes to mind? If tea chests and cheap D-I-Y are all you can think of then the curators at the Victoria and Albert Museum are keen for you to pay a visit. As the museum’s latest exhibition Plywood: Material of the Modern World is quick to point out, despite its humdrum image, plywood used to be seen as a “wonder” material, favoured by engineers and avant garde designers at the cutting edge of technical and artistic innovation. The exhibition features a bewilderingly diverse array of objects - from bi- planes to skateboards -alongside design classics a-plenty by the giants of 20th century design, including Alvar Aalto and Charles and Ray Eames, to tell the story of how plywood made the twentieth century.
Plywood - the technique of layering cross-grained veneers to make a material stronger than solid wood - has been around for a long time; the ancient Egyptians were using it in around 2600BC. But it was only in the early twentieth century that designers began to exploit and celebrate its ability to be shaped into strong, curved forms, when plywood started to be seen as chic. Amongst the exhibits on show one piece stood head and shoulders above the rest; something so jaw droppingly beautiful that it stopped me in my tracks. A symphony of sensuous curves, the item in question could easily be mistaken for a piece of Modernist sculpture by Henry Moore, but was, in fact, a lounge chair. It was designed in 1936 by Hungarian émigré and Bauhaus golden boy Marcel Breuer and was manufactured by a British company called Isokon. This chance encounter was enough to make me hunger for more. I’ve always believed that every great piece of design has a bigger story to tell and, in this case, that certainly proved to be true. By the end of the day I had traversed London with all the assiduousness of one of Agatha Christie’s detectives. You’ll be hearing more of her later. In the meantime, let me tell you of the story of the incredible house that plywood built.
Let’s start with Isokon. The design studio was founded in 1929 by young husband and wife team Jack and Molly Pritchard. They were idealists and visionaries who passionately believed in the power of good design to change society for the better. Both had travelled widely in Europe where they were impressed by the new ‘international style’ of modernist design that was emerging there. The Pritchards probably qualify as the unsung heroes of 20th century design in England, mainly known today for the furniture they produced – design classics like the Long Chair and the’ Penguin Donkey’ (not, as it sounds, a nightmarish hybrid from the island of Doctor Moreau but a storage system for paperbacks) – all constructed from plywood. For most of the 1920s Jack Pritchard had been Sales Manager of Estonian company Venesta, at that point the largest manufacturer of plywood in the world and as a result ply was used almost exclusively by Isokon in the furniture it produced. Pritchard’s contacts within the European design scene meant that by the mid-1930s, as well as Marcel Breuer, Isokon’s payroll included celebrated ex-Bauhaus designers like Walter Gropius and Egon Riss and Isokon furniture was a must have amongst the capital’s in-crowd. But Jack and Molly had plans that went beyond furniture; their magnum opus was to construct a building the like of which England had never seen before; a vast Modernist block of apartments which would not only look revolutionary but which would also offer a radically new way of living. The Isokon building - also known as the Lawn Road Flats - was to be a bold experiment that would introduce the concept of communal living to the middle classes. They decided to bring the revolution right to the heart of respectable middle class Britain and a plot in the leafy north London suburb of Hampstead was bought.
What the Pritchards needed was someone who could make their dreams concrete. In 1932 they found that person in the shape of a young Canadian architect, Gordon Wells-Coates. Wells-Coates turned heads wherever he went. He was good looking, dynamic, slightly eccentric and, according to Jack Pritchard, “cooked Eastern cuisine and was known to sit comfortably in the lotus position for hours”. Born in Canada to Methodist missionary parents, Wells-Coates spent his childhood in Japan and, as a young man during the First World War, had joined the Royal Flying Corps (where he had flown a Sopwith Camel – a plane largely made from – as if you didn’t know – plywood). After being demobbed, he studied at Whitehall’s Department of Scientific and Industrial Research. But ever the free spirit, instead of taking a job in industrial design, Coates became a writer for the Daily Express and became part of the 1920s Bloomsbury set; a Martini swilling fixture in the fashionable haunts of Soho and Fitzrovia. Alongside his appealing personal traits, the young architect shared the Pritchards’ vision of a modern world shaped by good design. It was a meeting of minds and the air between them positively crackled.
Wells-Coates had very little experience of designing buildings, certainly nothing on the scale of the Isokon building. But what he lacked in practical experience he made up for in charisma and the Pritchards were sold. Their confidence was not misplaced. A trip up the Northern Line showed me that Wells-Coates lived up to his promise and delivered with a super engineered, sleek, jaw dropping, timeless slice of beauty. Sitting among the Georgian terraces of leafy Hampstead the Isokon building was truly revolutionary when it first opened its doors in 1934. Built of reinforced concrete – the first time in Britain this had been used on a domestic building - with cement wash render (white with a hint of pink), the main elevation facing Lawn Road features a cantilevered stairwell giving access to cantilevered balconies that are carried the full length of the building. Today the streamlined apartment building still feels fresh with its crisp, sculpted outline and floating balconies suggesting a great ocean liner moored among the trees. Not surprisingly, plywood featured strongly, from plywood wardrobes and fitted kitchens to the penthouse flat – originally occupied by Jack Pritchard and his wife Molly - its walls and floors clad in Finnish birch ply.
Jack Pritchard labelled his brainchild ‘an experiment in new ways of urban living’; a bold claim but one which rang true. The flats were intended for young professionals: people who could not afford to buy homes and would otherwise be living in digs presided over by hatchet-faced landladies in curlers, prone to imposing curfews at nine and breakfast at eight. Residents were originally expected to dine and socialise in the communal restaurant –the Isobar - on the ground floor, rather than privately in their flats. It was the UK's first attempt at communal living. In 1930s Britain this really was revolutionary.
The Isokon building offered a raffish escape from grim inter-war reality: nude sunbathing on the roof terrace soon became de rigueur. While the flats were originally intended for the not so well-off, they quickly became the epicentre of North London's avant-garde scene during the 1930s and 1940s, populated by a fashionable elite of artists, writers and other free thinkers. Laurence Olivier and Vivienne Leigh could frequently be seen in the Isobar sipping cocktails and talking philosophy with Betrand Russell. Famous residents at this time included the sculptors Henry Moore and Barbara Hepworth; ex Bauhaus Head Walter Gropius lived there as did Marcel Breuer but perhaps its most famous resident was Agatha Christie, who wrote her only spy novel N or M?while she was living in the flats. Christie often said that she invented her characters from what she observed going on around her and at the Isokon building she would have found plenty of material. Communal living attracted communist sympathisers. Alongside its intellectuals and artists, the Isokon building became a haunt of some of the most prominent Soviet agents working against Britain in the 1930s and 40s, among them Arnold Deutsch, the controller of a notorious group of Cambridge spies and Melita Norwood, the longest-serving Soviet spy in British espionage history.
Glamour, notoriety and a whiff of revolutionary fervour, the Isokon building had it all. But from being a shining beacon of modernity the building’s fortunes slid and, by the end of the twentieth century it had fallen on hard times, a haunt of drug dealers and drop outs. Fortunately a few souls with all the visionary insight of Wells-Coates and the Prtichards saw beyond the graffiti. After an extensive restoration in the early noughties, the Grade 1 listed Isokon building is riding high once again: a tribute to its creators, it will always be the house that ply built.