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Convex mirrors, with their bulbous glass plates, have earned their place in interiors for centuries. In all their many guises, these mirrors are a tool for maximising light in our homes and providing a unique decorative touch.
Art forms, in more ways than one
The convex mirror dawned with the development of glassblowing in the 14th Century. Venetian glassblowers would hand-blow a large glass bubble and then cut off a small circular section. The resulting surface would be either concave or convex, with the inevitable imperfections that come with a handmade product. Nonetheless, the production of convex mirrors sparked excitement and a worldwide race to discover the secrets of Venetian glass-makers.
The form of a convex mirror plate makes them naturally divergent; when light rays strike the glass, they disperse without coming to a point. These distortive properties make them quite mesmerising and are an integral part of their charm. They also provide a great perspective tool, as medieval artists well knew.
Indeed, the first known reference to a convex mirror in an interior comes from Jan van Eyck’s Arnolfini Portrait, 1434. This portrait uses the placement of a convex mirror to show the wider context of the room. Girolamo Francesco Maria Mazzola (1503-1540) famously painted his own self-portrait as seen through a convex mirror, with the mirror itself also included in the scene. These unique reflective powers saw convex mirrors used for a variety of means.
Convex mirrors for security
Not only are they decorative, but convex mirrors have historically helped various groups to keep a watchful eye out. Indeed, this sleuthing past has earnt them a variety of nicknames over the centuries. From the 15th Century onwards, they were known as ‘banker’s mirrors.’ The likes of bankers and moneylenders placed the mirror in order to survey any dubious characters who might want to enter their premises. A primitive form of CCTV, if you like.
Later on, in the households of Regency England, they took on a new name- ‘the butler’s mirror.’ In artwork from this period, you will often spot a convex mirror or two in the grandiose dining halls. This allowed butlers to keep an eye on guests’ progress through courses without having to invade their privacy. They still serve similar functions today; you will see a convex mirror showing drivers what lies around a bend in the road.
On a less practical level, the French name for convex mirrors was oeil de sorcière – ‘witch’s eye.’ They believed that convex mirrors could ward off evil and bad spirits. A bit whimsical, perhaps, but convex mirrors undoubtedly have a magical quality.
Convex mirrors become fashionable
Convex mirrors continued to appeal once glass-making was more widespread. It was the Georgians who made these mirrors a must-have home accessory. Indeed, master cabinet-maker Thomas Sheraton described them as ‘universally in fashion.’ They took on an increasingly elaborate and ornate appearance, alongside evolving techniques. During the Regency, the ‘butler’s mirror,’ reached a grandiose peak, often crested with an eagle.
Few individual names are associated with convex mirror design, but Thomas Fentham is one to be held up in lights. Fentham, a carver and mirror-maker based in London’s Strand, produced some of the most excellent convex mirrors of the 18th and 19th Centuries. He favoured the eagle crest as well as more subtle designs.
Over in France, mirrors in all their forms enchanted King Louis XIV. He sought mercilessly to find out Venice's secret, and he did - recruiting his own band of Italian mirror-makers. His magnificent Hall of Mirrors at Versailles testifies to this obsession. He was fond of the convex mirror plate, and the self-styled 'Sun King' takes credit for the iconic sunburst frames they developed.
Styling antique convex mirrors
Over the years, everyone from moneylenders and goldsmiths to the French king has favoured convex mirrors. They are still a wonderful addition to interiors today, with a distinctive yet endlessly adaptable form. A convex mirror brings dimension, texture, and interest to a room. Their bulbous plates distribute light in those smaller, darker corners of the home – a decorative feature in itself.
Whatever interior scheme you have, there is an antique convex mirror to suit. Burnished and gilded sunburst mirrors have a contemporary and luxurious feel, and their immensely decorative frames will bring the feel of far-away destinations into your home.
For a period drawing room, a grand eagle-topped Regency convex mirror is the obvious choice for an authoritative and traditional feel. On a more minimalist level, a convex plate in a simple round frame brings a wonderful pared-back nautical touch to your interior.
Browse our collection of antique convex mirrors here.
Mirrors have always been a symbol of status and luxury. Antique mirrors, with their charm and opulence, constantly inspire modern interior design trends.
Vanity through history
Mirrors were not always the clean reflective glass they are today. Nature provided the first concept of reflection in pools of water and later in polished stones of volcanic glass. The Romans created the first primitive looking glasses, usually in the form of a hand held mirror.
As soon as they were invented, mirrors were associated with vanity. The ancient myth of Narcissus falling in love with his own reflection in the water is often seen as a moralising tale of human arrogance.
In the dark ages, the concept took a back seat as economic and cultural advancement slowed. These captivating objects couldn't stay away for long and came back with full force in the 17th Century, when the free-standing mirror arrived. From this point on, mirrors were an established tool and integral part of home décor.
Venetian mirrors
Venice led the way to create what we recognise as a mirror today. The craftsmen of Murano were considered master glassmakers and for centuries Venetian mirrors were the height of luxury. Their method evolved with time, experimenting with tin, silver and mercury amalgams and even rock crystals.
The Venetian government held the secrets of their success close to their hearts and leaking trade secrets was punishable by death. For over 150 years, Venice was Europe's leading exporter of the beautiful objects.
Of course, this monopoly couldn’t last for long and in France Louis XIV hired a rival band of glassmakers. The result is clear in the magnificent Hall of Mirrors at Versailles. 357 mirrors in one corridor was the ultimate display of economic propensity and French craftsmanship.
It wasn’t all beauty and glamour however, and serious health problems became associated with crafting mirrors. Louis XIV’s glassmakers began to die from health complications, most likely because of the heavy metals and toxic fumes they worked with. Medical understanding was limited, so Venice and France each thought that the other was trying to sabotage them.
The interior designer's best friend
As well as being physical demonstrations of wealth and status, mirrors have many other connotations. They have long been associated with magic and illusion. The looking glass was an object of fear and longing, with a hypnotic effect on the beholder. Although superstition has waned, the allure of mirrors hasn’t.
It is a well-known trick of the interior design trade to use mirrors to maximise space. Small rooms benefit from carefully placed mirrors which reflect the light. Placed between or opposite windows, they really are a saving grace.
Toby Lorford sees mirrors as an integral part of the home: 'mirrors fundamentally change not only our perception, but also what we physically see by increasing light levels in a room.'
Mirrors and lighting are the ultimate combination to unlock your interiors. Consider wall lights or candle sconces either side of a large antique mirror to create atmosphere and illumination. If you really want to make a statement, it doesn't get much more opulent than a large gilt-framed mirror underneath a crystal chandelier.
An antique mirror is the perfect piece for an otherwise contemporary interior, because they are a simple way to introduce individuality and depth.
Antique mirrors
There are a huge variety of antique mirrors, reflecting the craftsmanship and tastes of years gone by. From the gentle femininity of Venetian mirrors to monarchial crested styles, incorporate a piece of history into your home.
Convex mirrors saw a resurgence of popularity at the beginning of the 19th Century. In pairs, convex mirrors are a great source of symmetry. They are small and neat, reflecting light outwards. A wonderful anecdote suggests they were first invented so that butlers could keep an eye on the progression of guests at dinner.
For a grander statement, consider investing in an overmantle mirror which will transport you back to the dining rooms of Regency England. Serve modern-day needs with traditional shapes, such as free-standing cheval mirrors or elegant dressing table mirrors.
A sunburst mirror is a wonderful statement piece to bring memories of warmer climates into your home. The sunburst motif originates from the Catholic Church during the 17th Century, but supposedly it was Louis XIV- 'The Sun King'- who invented the mirror itself.
Shape is just one aspect of the allure of an antique mirror and the glass itself is often a major attraction. Unlike the almost glaring clarity of a modern mirror, antique mirrors have a mellower, slightly grey tone to them.
Increasingly, contemporary companies are recreating foxed glass mirrors. This effect happens when hand-silvered glass has deteriorated or lost its clarity over time. The result is a more muted reflection, often with distressed patterning.
Instead of detracting from the appeal, foxed glass actually has a softer effect than modern glass and creates more visual texture in an interior. Use foxed glass for kitchen panelling or in a bathroom for a touch of vintage luxury.
The Lorfords treasure trove
If you stroll through our hangars at Babdown Airfield, you will catch sight of yourself more than a few times. We pride ourselves on our collection of antique mirrors, which is always expanding. Whatever your interior design needs, you are bound to find the right piece in one of our showrooms.
Toby Lorford explains why you need look no further than Lorfords: 'From 18th Century to contemporary art mirrors, from small convex mirrors through to three- metre- high styled pieces... we have over 500 mirrors in stock at any one time for you to choose from.'
Our website makes it easy, with all our mirrors in one place and categorised by different styles. If you're overwhelmed by choice, visit our lookbook, 'Hall of Mirrors,' so you can sample some of the pieces in our collection.
When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.
‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.
A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.
Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.
Preparing your canvas
Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.
Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.
Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.
Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.
Tactile textures
As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.
Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.
Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.
On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.
Relics of land and sea
The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.
Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.
Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.
We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.
The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.
The Mediterranean garden
When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.
Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.
Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.
In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.
Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.
Soft touch
Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.
While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.
Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.
Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.
It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.
Outrageous and witty, the Rococo movement’s flame burned brightly in the middle decades of the 18th Century. Chris Yeo looks at one of history’s most exuberant styles and poses the question: are you a Roundhead or a Cavalier?
The British, as we are always told, are a reserved people. Along with fish and chips, our stiff upper lip is what we’re most famous for. I must admit that whenever I hear this, I have to remind myself that, within this sweeping statement, they’re talking about me. I don’t know about you but I’ve never considered myself the shy and retiring type, if anything, I’m a bit of a Cavalier. A what, I hear you ask. Let me explain. According to a particular school of thought, we Brits divide into two camps – Roundhead and Cavalier. Students of history will know that these were the opposing sides in the English Civil War – the Parliamentarians aka Roundheads were known for their spartan tastes – banning Christmas carols and anything that looked even remotely pleasurable while, on the other side, the Cavaliers revelled in all that life had to offer and showed it with their big hair, Saville Row tailored uniforms and their all-round flamboyance and love of the good things in life. We have a saying that if someone has a ‘cavalier attitude’ it means they don’t care (like that’s always a bad thing). If ever someone accuses you of that just tell them to stop being such a Roundhead.
Anyway, so the theory goes, these opposing traits have become key aspects of the British character, battling for supremacy in every walk of life like it’s 1642 all over again. As a design historian, one of the things I love is being able to make connections between man-made objects and the wider world. I think, down the centuries, this Roundhead versus Cavalier tension has played out in the way we decorate our homes. Roundheads are all about straight lines and classical order, while Cavaliers are more laissez-faire and letting things go curly. Normally it works pendulum style – think of the florid excesses of High Victorianism being stamped out by William Morris and his smock-wearing acolytes, or those ‘Form Follows Function’ Modernists showing Art Deco exactly what it could do with its decorative flourishes - but occasionally those two forces fight it out at the same time. With this in mind, this week we’re taking a look at the curious affair that was English Rococo.
Rococo, it’s a word you’ll have heard before but what exactly was it? Quite simply, the most self-consciously decorative – cavalier - of all decorative styles. Developed in Louis XIV’s (it was known as “the French taste” in this country) it was the dominant style in northern and central Europe during the first half of the 18th century, affecting all the arts from furniture to fashion and sculpture to ceramics. The word rococo actually began life as a term of ridicule in the 1790s, when the style was already dead and buried. It sounds Italian but actually derives from the French rocaille (pronounced 'rock-eye'), describing the shells and rocks which were used as decoration in shell-rooms and garden grottoes.
There’s nothing straight about Rococo, it’s all about the curve. Flowing lines became obligatory. Think twirly-whirly, think wedding cake decoration, sinuous C and S-scrolls, garlands, ribbons, shells and sea monsters. Familiar objects lose their well-known outlines and, to quote the Bard, suffer a sea-change, into something rich and strange. In Rococo’s surreal world everything swirls, moves and writhes. Designers plundered the natural world for inspiration; crabs, eels, and crustaceans happily rub along with seaweed, mermaids and river gods. Rococo’s essential motif was the cartouche – an amorphous, unformed shape that was somewhere between a jellyfish and the human ear, which could be moulded into any shape. From this basic motif the great French ornemanistes – like Nicolas Pineau, who could take a console table and turn it into an all singing, all dancing gilded extravaganza – produced their extraordinary designs.
Across the channel, the British were grinding their teeth. Paris was the undisputed centre of European fashion and the French luxury trades set trends for all the other European nations. Despite being almost constantly at war with France throughout the 18th century, those thrifty Anglo-Saxon Protestants still craved the exquisite sophistications of the enemy. Rococo arrived in England just at the point when things were getting more square and architectural. Since the 1720s when Lord Burlington had led a campaign to revive the classical splendours of Palladio and Inigo Jones, the Palladian movement had been the dominant force in design. The watchwords were symmetry and balance and, as styles go, it was sober and serious – Roundheaded, even. For some, Rococo’s arrival was looked upon rather like the arrival of a flu pandemic. Frothing with indignation, one commentator had this to say:
They heap cornices, columns, cascades, rushes and rocks in a confused manner, one upon another; and in some corner of this confused chaos, they will place a cupid in great fright, and crown the whole with a festoon of flowers.
The Rococo first inveigled its way into England via the fashionable dining rooms of the aristocracy. Gastronomic success rested not only on the best ingredients, but also on the service, the convivial atmosphere, and the visual interest of the table and eating room. By the 1740s, the best dining tables were groaning with a prince's ransom of rococo silverware: a still-life centre piece or a branching epergne holding flowers and fruit surrounded by a flotilla of tureens, condiment sets and candelabra. The greatest Rococo silversmiths were Paul de Lamerie and Nicholas Crespin (who once found the perfect Rococo shape in a turtle’s shell and so mounted it in silver and turned it into a punch bowl) both of whom specialised in elaborate tableware that were swirling rocaille masterpieces, which must have ruined the taste of the soup for more Palladian-minded diners.
The outstanding English interpreter of Rococo was Matthew (or Matthias) Lock. He was a designer and cabinet-maker who had workshops in Tottenham Court Road but about whose life we know virtually nothing. Lock was an outstanding draftsman who, probably more than anyone else, understood the French style giving it his own, very English, twist. In his fantasy world – best seen on his mirror frames – a riotous assembly takes place; friendly goats confront surprised foxes; monkeys precariously perched monkeys blow bubbles; squirrels admire spring flowers; Chinaman in coolie hots and drooping moustaches cling to trees, the roots of which dissolve into icicles; all among a riot of fountains, shells and running water.
So did, England ‘go Rococo’? Well, for the answer to that, look around. Visit France, or southern Germany, or Austria or northern Italy and you’ll be tripping over Rococo palaces, churches and townhouses, try looking for the same in this country and your search will be in vain. The truth is Rococo made only a brief stay as a fashionable style and only touched the smart and the grand, even then, mostly in the form of small objects – vases, candlesticks, soup tureens, mirrors - rather than whole interiors.
As styles go, Rococo was elegant and charming but insubstantial. This was to sow the seeds of its downfall since it showed a lack of reverence for classical architecture which became unacceptable to the new generation of Rome-inspired architects, like Robert Adam who openly despised it. In fact, what was called Rococo in England bore little resemblance to the rich, creamy, wedding-cake heights it achieved in Europe. Done properly, Rococo was smart, urban and sophisticated it was also expensive and hard to master. Rococo designs demanded that each craftsman be also an outstanding artist as well. That was asking too much. John Betjeman, the great architectural historian, said that political history explains the style’s failure to launch. Because of the Civil War and gradual reform of Parliament, the aristocracy took a greater interest in politics here than on the Continent. Rococo required commitment and we were just too busy with other things. Perhaps it was a victory for the roundheads after all.
Styles never quite come to a full stop. In the early 19th Century the rococo impulse was revived under the flamboyant Prince Regent. Its last hurrah was at the turn of the century with Art Nouveau, when it made a flamboyant if brief return. While the austere geometry of modernism governed much of design thinking during the twentieth century, designers continually returned to organic, natural curves as a source of inspiration in the 1950s, and the psychedelic 1960s.
Fantastical, daring, highly decorative and never, ever sensible, it’s almost impossible not to be charmed by Rococo. There again, as a Cavalier, I suppose I would say that.
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 Lorford, Director
Toby's top picks
Scottish Oak Daybed or Psychiatrist's Couch
Gustavian Period Bureau Cabinet
Heidi Hadfield, Accounts
Heidi's Top Picks
Robert Evans, Logistics Manager
Rob's Top Picks
Omersa Leather Elephant Foot Stall
19th Century Gilt Convex Mirror with Eagle Crest
Carly Watkins, Marketing Manager
Carly's Top Picks
Pair of French Early 19th Century Botanical Engravings
Italian Round Silver Cocktail Tray
Jane Body, Sales
Jane's Top Picks
Collection of Nine British Tree Engravings
English Mahogany Wing Armchair
Hattie Icke, Logistics
Hattie's Top Picks
Early 20th Century Jali Screen
Large Dutch Still Life Oil on Canvas
Alice Hagues, Manager and Stylist
Alice's Top Picks
Set of Five Mid Century Dining Chairs
19th Century Bavarian Painted Cupboard
Piers Ingall, Sales
Piers' Top Picks
Pair of 19th Century 'Bejewelled' Candlebras
Tom Valentine, Sales
Tom's Top Picks
Set of Five Danish 'Uncle Harald's' Trains
Large Barley Twist Waterfall Shelves
Eleanor Buonaparte, Dealer Liaison and Stock Co-ordinator
Eleanor's Top Picks
French 19th Century Chandelier
Stephanie Ashby, Photographer
Steph's Top Picks
Original 1950's Route 66 Neon Café Sign
Original 1970's Gucci Light Sign
Sophie Jones, Marketing Assistant
Sophie's Top Picks
18th Century West Country Windsor Armchair
David Jeens, Restorer
Dave's Top Picks
Pair of Bristol Chemist Bottles
Cody Roberts, Logistics
Cody's Top Picks
Swedish 20th Century Pine Desk
Jordan Anderson, Logistics
Jordan's Top Picks
Large Mid 20th Century Terracotta Canova Lion
Chris Butterworth, Logistics
Chris' Top Picks
During September we were delighted to be asked to contribute to several fantastic events in London. From London Design Festival to RHS Chelsea Flower Show, Lorfords Antiques were at it all!
RHS Chelsea Flower Show, Jardin Blanc
When the organisers of Jardin Blanc at RHS Chelsea Flower Show contacted us to ask if we'd be interested in contributing to this year's restaurant, of course, we couldn't say no! We were delighted to lend the show two beautiful dining tables and chairs with glorious urns accompanying them, as well as a fantastic large French iron clock face and decorative French gilt mirror.
Belgravia in Bloom with Cox London
From France to Belgravia, this 19th Century French fairground horse has been showing off its beauty in a beautiful window display created by Cox London for Belgravia in Bloom. Belgravia in Bloom celebrated its sixth year this year and returned with a series of floral installations all themed around 'Floral Fairground'. Cox London walked away with the silver award and the wonderful horse has now returned back to his current home in our Hangars in the Cotswolds.
London Design Festival with de Gournay
de Gournay's crisp rendition of the ‘Chatsworth’ Chinoiserie on White Metal gilded paper creates a glittering backdrop for an imagined bathroom at their London showroom in celebration of London Design Festival. An elegant setting composed around a majestic bath from Drummonds overflowing with gypsophila – its gleaming copper the perfect foil to the hand-gilded walls, illuminated with a pair of plaster standing column lamps from us.
The Decorative Antiques and Textiles Fair
The Decorative Fair returns after a year of postponements and cancellations and we weren't going to miss it! With many of our dealers attending this year's show, it proved to be an event not to miss with the finest treasures from all over the world.
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.
Wicker
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.
Brown furniture
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.
Upholstered furniture
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.
Repairing veneers
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.
Gilt antiques
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.
Restoring antiques
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'.
Onlookers all over the world have long admired the French art de vivre. The French bistro is a core part of this 'art of living,' alongside their leading fashion houses and pâtisseries. Although modest in price and relaxed in atmosphere, bistros are effortlessly chic.
Defining the French bistro
The French bistro’s cultural significance extends far beyond the food. Indeed, these establishments are as much a part of Parisian culture as the Eiffel Tower or Notre Dame. That’s the argument of those who want them to be awarded intangible cultural heritage status by UNESCO. For loyal customers, their regular bistro offers comfort and authenticity. This is especially important amidst the rise of big chains and gentrification.
Bistros sit somewhere between a café and a restaurant. They have a relaxed atmosphere and serve moderately priced food, wine and coffee throughout the day and evening. We recognise them for their courtyards and terraces, crowded with small circular tables and folding chairs. Yet, the bistro is so much more than the sum of its parts.
These spaces have acted as melting pots throughout history, bringing together people from all walks of life. You will find a close relationship between owners and customers, with diners often returning on a daily basis. They have served as writing meccas; the famous Les Deux Magots attracted Hemingway and Sartre amongst other literary greats. Their walls have overheard fevered discussions on politics, philosophy, romance and gossip.
Today, bistros are a spot for dining alone, with close friends, or for making new acquaintances. They are a people-watching haven, with seats arranged side by side rather than opposing, so everyone can take in the bustle of the cobbled street. Aside from anything else, the French bistro is a major social institution. So, where did this vast cultural legacy begin?
The start of the French restaurant scene
French café culture sprung from social upheavals and entrepreneurialism. The French revolution and the industrial revolution solidified the bistro concept we know today. This is not to say that restaurants didn’t exist before, however. The oldest Parisian café is thought to be Café Procope, which opened in the early 1600s. It was defined by its small tables with marble tops – now staples of French bistro style. Voltaire was rumoured to drink around 40 cups of coffee a day in this famous café.
Nonetheless, before the French revolution there were estimated to be fewer than 50 restaurants in the city. When the households of the rich were dispersed following the revolution, lots of talented chefs were left looking for work. Many returned to their home villages, whilst others flocked to the poorer parts of cities and towns. It was these individuals, through their changing fortunes, who became the first French bistro and restaurant chefs. The impact was major; one French travel guide listed 3,000 dining options in the city in 1814.
The bistro concept evolves
The bistro concept would continue to evolve in light of new advances. In their infancy, bistros were very modest and informal in comparison to the grand Paris restaurants. Indeed, some early bistros started with landlords, who already offered board to tenants, opening to the paying public too.
Bistros operated on a menu of about four or five dishes that could be prepared in large quantities and ahead of time, such as cassoulet, confit, or stew. They would serve some wine, usually from a barrel rather than a bottle. The bistro has evolved, but its core principles have remained more or less unchanged. The name itself supposedly came from the Russian and Cossack officers who occupied Paris in 1814. These unruly men would bang on restaurant tables, yelling bistro! (quickly!) at the long-suffering servers.
Not all cultural developments came out of war and revolution, however. In the 1800s, courtyard and sidewalk bistro seating really took off. This was down to the urban planning of one Baron Haussman, who designed wide boulevards with spacious pedestrianised pavements. The bistro started to expand onto the street – now a crucial part of its culture.
Later, the jollities of the Belle Époque saw bistros become more decorative to suit the zeitgeist. Indeed, plenty of wonderful mirrors and glassware survive from this period. However, it was the industrial revolution that really transformed the bistro in one defining aspect – the furniture.
French bistro furniture
Bistros are at the humbler end of France’s art de vivre, in comparison to, say, the Christian Dior flagship store. Nonetheless, the French taste for finer things required bistro furniture to be attractive as well as functional.
Marble-topped tables remain an emblem of French bistro furniture. Industrial revolution brought decorative iron bases to these tables, often with cross-stretchers so that you could fold them away at the end of the day. You find plenty of wrought-iron chairs, too, but styles varied depending on the bistro’s personal aesthetic.
The names behind the designs
Bistro chairs and tables are not just mass-produced functional pieces, but often important pieces of design too. For example, Thonet’s bistro chair, designed in 1859, is an industry icon. He made it using just six pieces of wood, held together by two nuts and ten screws. Not only was it in high demand for bistros, but it also won a gold prize for design excellence at the Paris Exhibition in 1869.
Articulated furniture was widely sought after. By stacking away courtyard furniture at the end of the day, business owners could avoid paying the rent for a fixed terrace. Manufacturers like Fermob led the way in producing this furniture en masse. Fermob's bistro collections still follow Edouard Leclerc’s 1889 ‘Simpex’ patent to this day. This metal folding chair has become a staple, spotted everywhere you go in France and elsewhere in the world.
Exotic woods were coveted in Europe during the 19th Century. Rattan became a prevalent material for bistro furniture, with its lightness and durability ideal for outdoor use. Maison Louis Drucker, founded in Paris in 1885, were the main producers of rattan bistro furniture. The company is still in operation today and a stalwart of fine French craftsmanship.
Keeping it personal
Regardless of style and material, bistro furniture provided an opportunity for branding. So many beautiful eateries line the streets of France, clamouring for the attention of passers-by. Lots of bistros adopted a signature look to help them stand out on these busy sidewalks. Some furniture sets were very ornate and others much more pared back. Some show remains of old vibrant paint, whilst others kept the wood or iron bare. Whilst some examples may feature the name of the bistro painted on, others might have incorporated a logo or name into the wood or metalwork itself.
Bringing the bistro style to you
When customers returned to the terraces of Parisian bistros after French lockdowns, the heart of the city was restored. It is hard to capture the spirit of these social hubs, but you can bring the French bistro style closer to home. Because bistro furniture sets have been prevalent since the 19th Century, many antique examples survive. Furniture companies today seek to replicate this iconic style - a testament to its longevity - but you can’t beat the character of the originals.
Wonderful indoors or out, marble-topped bistro tables and folding chairs suit a range of styles. They are particularly useful when you have an influx of guests and need a few more seats. To truly transport yourself across the channel, use bistro mirrors and signage indoors. Outdoors, create your own Parisian courtyard with a few sets of bistro tables and chairs and antique lanterns. Bistro glassware has a classic timeless aesthetic, without the airs and graces.
Visit our lookbook 'French bistro chic' to spark your imagination. You can browse all of our bistro style antiques on our website.
If you love all things French, read our articles on collecting confit pots and Arras iron furniture.
Over the last year or so, we have all looked at our own four walls differently. Many of us have longed for more – more space, more freedom. Combined with the rise in home working, garden rooms have flourished out of this desire for change. For creatives, a garden studio offers a space for refuge and inspiration.
Why invest in a garden studio?
We have learned the hard way how difficult it can be to find some solace within our own homes. Whether it’s working from home or pursuing new hobbies, it is always more difficult than you think to escape from domestic demands. Garden rooms offer a perfect balance; we are at home and in familiar surroundings, yet we feel we have left the house. They offer a space for productivity, whilst enjoying the peace and serenity of the great outdoors.
For as long as we have created art, we have embraced the concept of working in blissful peace. The garden studio may feel like a relatively modern luxury, but these swanky spaces were cropping up in Chelsea as early as the 19th Century. Chelsea was one of the first places in England to see a real concentration of artists, who chose to live near their consumers and each other. It was also an area with plenty of ready building space, and so bespoke studios flourished.
Indeed, ‘shed working' has always appealed to creatives. Roald Dahl wrote his beloved children’s books from his garden studio. Cunningly, he told his own children that wolves lived in it so he wouldn’t be disturbed. Genius, no? Unsurprisingly, today's successful creatives are also looking to the garden studio, including block-printing extraordinaire and textile designer Molly Mahon.
The attraction is obvious. Natural light, a space designed just for you, and all the inspiration of the great outdoors close at hand. Whether your art revolves around writing, textile production, painting, or printing, these spaces are adaptable to any need. If this sounds like the stuff of your dreams, we are here to guide you in creating the perfect garden studio.
Choosing the right garden room for you
Alongside this blossoming demand for garden rooms, we have a growing number of options at our disposal. Choosing the right structure for you depends on various factors. Permanent bespoke builds can really add value to your home, whilst you can take a charming shepherd’s hut on wheels with you wherever you may go next. Companies can tailor a whole design to your needs, or you can get creative with the old shed that has gone untouched for decades. Perhaps you even fancy tackling your own project from scratch.
DIY garden studios
Consider using architectural salvage if you are renovating an existing building or building a bespoke design from the ground up. Not only are they much more eco-friendly, but salvaged pieces will also inject character and uniqueness into your studio. Build around antique doors and windows to avoid the structure looking too brand new, as time-worn architectural features often blend more seamlessly with the garden than a modern design. If you’d rather just add a few adornments to a building, then decorative panels, over-door frames, and finials are sure to make it feel special.
Creating a new space outside gives you the freedom to express your style beyond the four walls of your home. We have a large selection of architectural elements to help you start planning your project.
Furnishing your garden studio
Once the basics are established, it’s time to get creative with your studio. It is worth putting time and effort into the interior, as you are likely to spend lots of time here. Investing in your workspace is proven to pay off in efficiency and results. The first priority is having everything you need close at hand, depending on what you will use the studio for. Shelving and storage, a desk or an easel, and craft supplies are likely to be essential.
But nobody wants all work and no play, of course. The most effective garden studio should mean you don’t need to traipse back and forth to get things from the house. Avoid interruptions with a bar cart for refreshments and a storage chest with blankets and candles in for a rainy day.
Consider a range of furniture to meet your working and relaxing needs. Rattan never fails to capture that blend between our home and garden. Wicker furniture suits a garden room because it is sturdy yet light and moveable. You want to be able to pull up a chair for a guest or repurpose your work table for lunch, so choose versatile pieces. We often fear upholstered furniture anywhere near the garden, but a comfy armchair, a small sofa, or a daybed will be protected in a garden room and offer some much-needed respite.
Mirrors will make a smaller space feel bigger, especially with light streaming in through the windows during the day. But don’t forget about lighting – natural daylight can only go so far! Desk lamps and specialist lighting for up-close work are essential, whilst candles and table lamps for dark evenings will add an atmosphere. Make room for a few of your favourite decorative pieces and art; nothing will get the inspiration flowing quite like some wonderful sculpture and glassware.
The room outside
The garden room is a versatile concept. Many of these principles can apply to an entertaining space, a home office, or just a room for reading and relaxing. Garden rooms of all sorts offer the opportunity to extend your living area and create a bespoke room all of your own. The only danger is you may never want to go back into the house!
Get started on your own garden studio design with our lookbook, 'Your garden room oasis.'
The rococo style, defined by its sinuous curves and natural beauty, swept through Europe in the 18th Century. Sweden was then something of a remote northern outpost, but its craftsmen were not to be underestimated. The Swedish Rococo period saw a new royal couple take to the throne and the Swedes' elegant take on the style flourish.
Sweden’s artistic ‘golden age’ spanned three design periods, which naturally followed fashions in Europe’s cultural heartlands. The dramatic Baroque period (1650-1750) gave way to Rococo (1750-1775), which was followed by the refined Gustavian era (1775-1810). All of these styles were influenced by trends in France and England but came later to Sweden due to its location and comparatively small population.
The historical context
Several events sparked Sweden’s design prowess in the 18th Century. King Karl XII’s wars came to an end in 1718, ushering in a new period of peace and prosperity. Sweden’s upper and middle classes were eager to beautify their homes, and those with the money to do so indulged in lavish interior decoration. Secondly, the Swedish government announced a ban on imported furniture in 1731. In the early part of the 18th Century, Sweden relied heavily on imports from England and France. This measure intended to support native craftsmen and encourage domestic excellence, a move that certainly paid off. Lastly, the fall of the Caroleans brought new royals to the throne. King Adolf Frederik and Queen Lovisa Ulrika of Prussia were a fashionable young couple, influenced by the ideals of the French Enlightenment.
When rococo arrived in Sweden around 1750, the style had already been thriving in France for 20-30 years. The architect Nicodemus Tessin the Younger was overseeing the build of The Royal Palace at Stockholm when he died in 1728, leaving the project incomplete. Luckily for Sweden’s cultural legacy, Tessin had chosen his successor wisely. He left the commission to his promising young student, Carl Hårleman. Hårleman demonstrated a mastery of architecture and became one of the most influential figures of the 1700s. Indeed, the grandest manifestations of the rococo style were in Sweden's great palaces.
Swedish Rococo in the royal palaces
Hårleman needed to complete and furnish The Royal Palace in Stockholm for the needs of King Adolf and Queen Lovisa. He largely followed Tessin’s designs, except in one crucial respect. Tessin’s plan revolved around the baroque style, but Hårleman – with a keen eye on fashions in France – adapted it to incorporate the new rococo trend. This was not necessarily a drastic change; we sometimes describe the rococo style as the final expression of baroque. Indeed, the late baroque period had already moved away from overly dark and imposing furniture. Softer designs, often with a painted finish, were increasingly popular. This transitional phase paved the way for rococo to take centre stage.
Queen Lovisa was far from a passive patron; she was one of Europe’s leading cultural monarchs and favoured the playful rococo style. Fortunately, The Royal Palace had many, many rooms to fill. French cabinet-makers came over to contribute designs and teach Swedish craftsmen their skills. One of Hårleman’s major contributions to Swedish cultural history was his insistence on educating others and subsequent generations in order to spread techniques and skills.
The Chinese pavilion on the grounds of the Royal Palace at Drottningholm.
At Drottningholm, where the royal couple resided until their new palace was ready, designers refurbished parts of the palace in the rococo taste. A major, and often overlooked, element of Swedish Rococo design was the chinoiserie style. The Swedish East India Company was formed in 1731, sparking enthusiasm for all things oriental. The Chinese Pavilion at Drottningholm, designed for Queen Lovisa’s birthday, is a fantastical palace in itself that combines European Rococo with exotic eastern taste. Examples of classic Swedish Rococo furniture adorn the rooms at Drottningholm to this day.
Nature's ornament
Rococo is certainly heavy with ornament and celebrates beauty for beauty's sake, but not without thought. The word rococo combines two French words: coquille (shell) and rocaille (stone). Nature’s innate beauty is certainly at the heart of this hedonistic style. Rococo reflects the natural world in both form and decoration. It has a gentle fluidity and embraces asymmetrical shapes and ornament. Any right-angles are softened with rounded corners to create welcoming designs.
We also recognise the rococo style for its decorative motifs. Popular iconography included shells - the style’s namesake - as well as dragons’ wings, vegetation and floral tendrils. Swedish Rococo mirrors demonstrate the many elements of this style beautifully. They feature elaborate gilded foliate frames and shell crestings. The master Swedish mirror-maker Johan Åkerblad spanned both the rococo and Gustavian styles during his career with great success. Surviving mirrors attributed to Åkerblad provoke great excitement today.
Swedish architects and designers naturally drew from French and English designs, but they also put their own stamp on the rococo style. Over in France, Louis XV's interpretation of rococo was at the frivolous and elaborate end of the spectrum. Meanwhile, the style propounded by leading architects such as Hårleman maintained the Swedish sense of refinement and conservatism.
The Swedish take on Rococo
Swedish Rococo cabinets feature pronounced bonnet-tops and doors with gracefully shaped panels. Chairs and tables exhibit beautifully carved friezes and rest on cabriole legs. The Swedish Rococo chair is one of the most famous chair designs in history and the model is still very desirable today. These chairs have simple carved wood frames, and the most popular design has an open fiddle-shaped back with a single gently carved splat. Many examples of rococo chairs remain today in Sweden's great palaces and country houses.
Sweden’s painted furniture defines its legacy, and the Rococo period was no different. We are fond of Swedish antiques for their pastel colour palettes, yet the popularity of black-painted rococo furniture is less well-known. Craftsmen also adopted rich and exotic Chinese hues, so a diverse range of painted furniture survives from this period. There is always a difference between furniture produced in Stockholm, Sweden's capital and cultural centre, and country pieces. Stockholm rococo pieces might have more finesse, but country versions with those tell-tale rococo curves are charming in their own way.
The transition from rococo to Gustavian was similarly subtle to that of late baroque to rococo. Queen Lovisa's place in the royal household continued, as she served as Queen Mother to King Gustav. In addition, many prominent designers of the rococo era fused old and new fashions in their designs. It wasn’t until the end of the 18th Century that rococo's distinctive curves fully gave way to straight-lined neoclassicism.
Rococo for today's home
Design in Sweden underwent exciting development and change throughout the 18th Century. The result is a plethora of stunning antiques, offering furniture and decorative pieces for every taste. Swedish Rococo furniture and furnishings are an excellent choice for today’s home. The graceful curves and fresh paint colours make rococo suitable for traditional and contemporary interiors alike. The soft femininity of the style is perfect for a bedroom or dressing room, whilst the flora and fauna themes lend themselves to a conservatory or orangery setting.
Browse our collection of Swedish Rococo antiques here and all of our rococo-style pieces here. View our lookbook 'Sinuous curves' for a little inspiration.
Delicate gold leaf has elevated buildings, furniture, frames and other treasured objects for millennia. This opulent finish results from gilding; a complex process that taxes the craftsman and mesmerises the beholder.
Gilding, in its simplest definition, involves applying gold leaf over the surface of an object to emulate gold. Gold leaf is gold, of course, albeit an extensively hammered and light form of the metal. But when the gilder expertly applies this delicate leaf over a whole carcass of wood or metal, it can emulate solid gold in colour and texture.
Gilding refers to the process, whilst gilt describes a gilded object. Meanwhile, gilt metal is called ormolu - frequently used to adorn furniture or decorative objects.
As with so many art forms, it was the ancient Egyptians who left behind the first evidence of gilding. For them, gold was the colour of the gods, and gold leaf was seen as a fitting adornment for icons and sarcophagi. It was also commonly used in the Far East and ancient Greece - later copied by the Romans, of course. Ever since, the shimmering grandeur of gilding has offered craftsmen the opportunity to elevate their design into something special.
Different gilding methods
Since the ancient world, the basic premise of applying gold leaf to the surface of an object has adapted and evolved in the face of new technologies.
Foil and leaf gilding
One of the most basic historical methods for achieving a gold effect is foil gilding. This relied on no chemical nor physical bond between the gold and the receiving surface. Gold foil is simply pressed to the surface of an object and held in place by inserting it into grooves, riveting, or burnishing.
The only difference between foil and leaf gilding is the thickness of the gold itself. Gold leaf is extremely thin and only developed alongside advances in gold purification. Only pure gold or gold-rich alloys, without certain impurities, can produce a suitably thin leaf through hammering. A sheet of gold leaf will never stay intact if you handle it with your bare hands. However, it is a paradoxical material; despite its fickleness, it is incredibly strong in a chemical sense. As a result, so long as you apply the leaf carefully and the receiving surface remains stable, the gold will neither tarnish nor deteriorate with time.
However, it is in the application that problems arise. Gold leaf cannot support its own weight and must be stuck to a surface with an adhesive of some sort. Historically, organic adhesives such as animal or vegetable-based glues have been used for this purpose. Whilst this method successfully embellished objects in antiquity and beyond, these adhesives naturally decay and cause losses to the gilding over time.
Two main gilding methods, oil and water, emerged over the years. Oil and water gilding account for most gilt antiques we encounter today.
Oil gilding
In oil gilding, an oil-based glue adheres the fragile gold leaf to the surface. The glue then needs to dry and oxidise in a dust-free environment until it reaches the appropriate level of stickiness, at which point it is ready for the gold leaf. This method is the only option if the piece is going to weather the outdoor elements. Therefore, you commonly find oil gilding on external surfaces such as statues and architectural ornament. Oil gilding can provide a good matte covering of gold, but it will never have quite the same level of refined sheen as water gilding.
Water gilding and gilt gesso
Water gilding is the more laborious of the two methods. As a result, craftsmen have usually reserved it for their finest furniture and decorative objects. The application of gold leaf requires any receiving surface to be completely clean and smooth. Before applying this delicate gold to wood or stone, a layer of gesso is laid down. Gesso is a type of plaster, usually combining a binder with chalk, gypsum and pigment. This layer is a key element in water gilding.
The gesso is layered on and smoothed to create an ideal receiving surface. At this point, the gilder can chip, carve and mould any decorative details into the object. The next step is applying yellow pigment all over to account for any nooks or crannies that might escape from the gold leaf. The gilder then paints and smooths a reddish clay mixture, bole, onto the surface. You might notice this red ground showing through gilding, which gives a piece beautiful texture and depth. Finally, water is brushed over the top and the gold leaf is applied. The surface is then burnished using an animal’s tooth or stone.
Gilt antiques
Gilt gesso first emerged in English design towards the end of the 17th Century. The furniture historian R.W. Symonds later said of the technique, 'it possessed a quality which no carving in wood could emulate.' Gilding has served as a mirror for royalty and nobility since the ancient world. It is fitting, then, that gilt furnishings first emerged in England at Hampton Court and Kensington Palace. Jean Pelletier, a Huguenot craftsman with royal patronage, spread the craft in England. Pelletier excelled at both gilding and carving in a time when they were usually the responsibility of different guilds.
Gilding continued to flourish in the 18th Century, and royal cabinet-maker James Moore took the craft to lavish heights. Moore was a master of the gilt gesso technique and he provided fine gilt furnishings for Kensington, St James's and Blenheim Palace. Gilding remained at a height of popularity throughout the Georgian and Regency periods. Gilt furniture was especially appealing because it emulated the ever-in-fashion opulent French style.
Gilding has never truly disappeared from design. Even in periods of more minimalist taste, a gilded accent here or there is an oft-revived tool for the craftsman. Whether the style of the moment was neoclassical or baroque, gilding provided a valuable resource. No wonder then, that the art persisted throughout the 19th and 20th Centuries. Indeed, it was perfect for that sense of luxury that characterised movements such as Art Deco and Hollywood Regency.
Gold's timeless allure
It is not hard to fathom why craftsmen have gone to such lengths to gild objects. Gold leaf has a bewitching reflective quality and gilt accents will complement one another spread throughout an interior. Gilding also makes a statement about the piece itself, giving a chair or console a sense of nobility and importance that draws the eye.
One of the most popular outlets for gilding throughout history has been mirror and picture frames. An ornately carved and gilded frame is a work of art in itself and elevates the status of the mirror or painting. Today, there is a high demand for anyone able to restore or recreate an antique gilded frame or object.
For all its fragility, gold leaf has a resilient permanence that only gets better with age. Restored or excellently preserved gilt furniture gleams with all its original grandeur, whilst other pieces have a more worn appearance that speaks to their history and age. Above all, gilded antiques reflect a complex craft that craftsmen all over the world have honed and practiced.
View some of our finest gilt antiques here.
The outdoors provides enormous pleasure for many of us. Throughout the last year or so of lockdowns, we have never appreciated these spaces more. Whether your canvas is a city balcony, a suburban courtyard, or a rolling landscape garden, garden antiques bring texture and interest.
Seeking Arcadia
Gardens, in their private and public capacities, have existed in some form since the ancient world. Their uses have evolved, of course, from the ancient Hanging Gardens of Babylon to modern sculpture gardens. However, at their essence gardens have always been a space for beauty, relaxation, solitude, and worship.
Various developments have transformed gardens over the years. Urban planning descended on Europe in the 17th Century, and cultivated gardens were seen as a way of regulating nature. By the 19th Century, demand for public outdoor spaces gave rise to more and more furniture, including the humble park bench. Industrialisation played a huge role, and the mass production of materials like cast-iron brought about a wide range of garden features.
Despite these common developments throughout Europe, countries across the continent developed their own unique approaches to gardens. Much of our collection of outdoor antiques originates from France and England, and these countries had quite different takes on the ‘garden’ concept.
Jardin à Françoise
The formal gardens at Versailles, designed by André le Nôtre.
The French garden style is a majestic feat of design and engineering. Symmetry, cohesion, and straight lines typify the Jardin à Françoise and this formality still characterises French gardens today. The Sun King, Louis XIV, commissioned what would become the pinnacle of French gardens. The extraordinary and vast gardens at Versailles exemplify the formal French style.
Versailles was executed by André le Nôtre, principal gardener to the King of France. Le Nôtre was not only faced with a dull and uninspiring landscape but also a capricious and unpredictable master. This makes the end result all the more impressive.
Taming nature
Indeed, Louis XIV wanted his chateau and their gardens to reflect his total dominance over everything- nature included. André le Nôtre took this brief and ran with it, and his name is synonymous with the apex of French garden design. He began work on Versailles in 1662, and it would take him until the end of the century to finish his project. The design focussed on subordinating nature whilst also appreciating its natural beauty. Gardeners manipulated water into over 50 water features, including fountains, pools, and canals. Similarly, endless topiaries are tamed into neat aesthetic shapes which give the overall look a mesmerising cohesion.
Despite the scale of gardens like Versailles, French gardeners wanted the beholder to appreciate certain features in the landscape. French gardens were designed to highlight a centerpiece, which is often the château or house. They were intended to be viewed from a distance so that nothing is obscured and your eyes are trained to the main attraction. Symmetry and geometry allow for this focus whilst also giving the impression of endless depth and scale. This is the magical paradox at the heart of the Jardin à Françoise.
The English landscape movement
The Temple of Ancient Virtue on Elysian Fields at Stowe, Buckinghamshire.
Across the pond, Britain followed in the footsteps of their counterparts on the continent for a while. In the 17th Century, gardeners adopted a similarly magnificent and grand approach. In particular, the reign of William and Mary saw an overhaul of the gardens at Hampton Court to incorporate features inspired by the Dutch and French, including the Great Maze. When Charles II ascended to the throne, he asked André le Nôtre to oversee the designs for Greenwich Park in London.
But the style didn’t find permanence in England like it did in France. In the 18th Century, there was a groundswell against formal landscape gardening. The French style mirrored an absolutist monarchical government, and British sentiment was leaning away from this. In Horace Walpole’s 1750s essay The History of the Modern Taste in Garden, he captures this attitude clearly. He describes Britain as, ‘an Empire of Freemen, an Empire formed by Trade, not by a military conquering Spirit, maintained by the valour of independent Property.’ He goes on to champion a new natural garden style, that he claimed the English had invented.
Much of the inspiration behind this new natural landscape garden came from art as well as politics. Romantic paintings depicted landscapes that were much more natural than English gardens at the time. The growing desire for something freer, something less prescribed, led to a gardening revolution.
Kent's revolution
One name is heavily attached to the new approach: William Kent. Kent already had a reputation for his prowess with classical architecture, and he began to incorporate the classical Arcadian feel into gardens. Chiswick House is often described as having the first ‘natural’ garden, designed by Kent under the direction of his mentor Lord Burlington. The gardens offer sloping lawns, a serpentine lake, and a rustic waterfall. Clipped hedges and heavily formulaic gardening are notably absent.
Kent’s name is also attached to the stunning landscapes at Rousham House, Stowe, and Badminton House amongst others. Classical buildings, such as temples and monuments, sprung up in his gardens. In his essay, Horace Walpole delights in the way Kent ‘leaped the fence, and saw that all nature was a garden.’
Structured informality
The revolution did not begin and end with Kent, and many consider Lancelot Brown as Britain’s most prolific country garden designer. His nickname, 'Capability Brown,' comes from his oft-repeated phrase that a site had great ‘capability’ for improvement. Despite early collaborations between the two, Brown moved Kent’s style on in the face of new commercial and practical factors. For example, the rise in hunting birds with guns demanded more areas of cover in the landscape and Brown incorporated clusters of trees into open spaces. He did, however, share Kent’s fondness for buildings in the classical style. Brown's landscapes were peppered with rotundas, temples, and monuments- his Grecian Valley at Stowe is most notable.
It was Brown who truly codified the natural landscape garden. He worked at over 250 sites and had the majority of the House of Lords on his client list. It is important to note that this revolution was never about doing away with design completely. In fact, meticulous planning is behind every great English landscape garden- you just cannot tell.
Conversations with the past
Whilst different countries evolved their own approaches to gardening, they also produced beautiful furniture and statuary elements to adorn their landscapes. Royals and nobles raced to keep up with fashions across the continent and source beautiful garden statues and sculptures. Stone has always been very popular, and the rich also commissioned marble and cast lead pieces.
Genuine 17th and 18th Century examples of these items are hard to come by and often very expensive. But in the 19th and 20th Centuries makers reproduced many popular styles with great results. These pieces often appear older than they are because of years of exposure to the elements.
French foundries produced some of the finest iron furniture. The town of Arras in northern France produced reams of wrought iron pieces in the 19th Century. This durable yet very pretty garden furniture is still highly sought after today. The organic curves of an Arras piece will bring texture and whimsical appeal to any garden setting. Val D'Osne was one of the most prolific cast iron art foundries, producing everything from street furniture to majestic statues. England has an enormous legacy of makers who crafted iconic designs. Work by the likes of Coade, Coalbrookdale, and Pulham & Sons is still coveted today and can be seen at many prominent sights around Britain.
Styling garden antiques today
Blending antiques with nature. One of our tables at the on form exhibition in 2018.
Times have changed of course, and the function of gardens continues to evolve. We may not be dealing with the same amount of space (nor budget) as The Sun King, but garden antiques have a magical effect on a space. The garden and its features have a certain timelessness to them and you don’t have to inhabit an ancestral estate to create a wonderful garden. Adding weathered features to a newly planted garden will give it a more established and mature feel.
Gardenalia connects us to our ancestors as well as our natural surroundings. Often practical features and tools, such as lead cisterns and tethering blocks, are just as charming as purposely decorative benches. Antiques have a symbiotic relationship with the flora and fauna that surrounds them. Natural processes, such as the oxidisation of copper and weathering of a stone statue, transform an object into something arguably much more beautiful.
The French were masters of playing with scale, and this is where the secret to a beautiful garden lies. With an open mind, a grand statue can look fantastic in a small leafy corner and other carefully placed pieces can really change the beholder's perception. Don’t fear a clash of styles; you can unite a wide range of pieces, materials, by their common texture and colour.
Garden antiques at Lorfords
Because these pieces were designed to endure in the first place, we are lucky to have a plethora to choose from. We covet garden antiques because of their wear and tear, rather than in spite of it. Lichens, moss, weathering, and patination give a garden piece its beauty and appeal.
If you're not quite ready to start moving outside, our previous article, 'Where home meets garden,' explains how can you bring garden pieces into your interiors.
Here at Lorfords, we believe our outdoor spaces deserve the same love as our interiors. Our extensive collection of garden antiques brings the beautiful history of European gardens to you. Choose from our planters and urns, garden seating and tables, architectural elements, and more.