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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 include a striking 19th Century Italian enfilade of a bold architectural design and a beautiful pair of 19th Century Tuscan wall sconces, decorated in traditional cream and gilt.
19th Century Italian Painted Enfilade
Pair of 19th Century Tuscan Wall Sconces
Alice Hagues, General Manager
Alice's top picks include a classic 1930's design Lloyd Loom sofa in original French grey paintwork and a stylish Modernist textile screen in the manner of Edward Bawden.
Carly Watkins, Marketing Manager
Carly's top picks include a large black-and-white image of a Roman emperor in the style of Timney Fowler and a pair of Art Deco armchairs which have recently been reupholstered in an attractive monochrome colour palette.
Large Contemporary Image of a Roman Emperor
Pair of French Art Deco Armchairs
Heidi Hadfield, Sales Manager and Accounts
Heidi's top picks include an iconic wicker Harley Davidson motorcycle designed by Tom Dixon and a charming pair of carved oak cherubs dating to circa 1880.
20th Century Tom Dixon Wicker Motorcycle
Pair of 19th Century Carved Cherubs
Robert Evans, Logistics Manager
Rob's top picks include a luxurious blue velvet armchair paired with the perfect Christmas afternoon set-up; a fabulous brass drinks trolley and a Parisian-style silverplate cocktail shaker.
Late 19th Century Blue Velvet Armchair
20th Century French Brass Drinks Trolley
Large Parisian Style Silverplate Cocktail Shaker
Jane Body, Sales
Jane's top picks include a comfortable English Country House chaise longue with hidden storage and a charming 20th Century feather-filled carpet cushion.
20th Century English Country House Chaise Longue
20th Century Feather Field Carpet Cushion
Tom Valentine, Sales
Tom's top picks include a wonderful untouched George III secretaire estate cupboard and a superb English club fender of large proportions.
George III Oak Secretaire Estate Cabinet
Large 19th Century Club Fender
Hattie Icke, Logistics Coordinator
Hattie's top picks include an original 19th Century French carpet sofa from the Napoleon III period and a charming pair of silverplate Mr and Mrs napkin rings in their original box.
19th Century French Carpet Sofa
Pair of 20th Century Madame and Monsieur Napkin Rings
Kate Williams, Sales and Stylist
Kate's top picks include a wonderfully shaped two-seat sofa featuring a scalloped back, enclosed sides and sloping armrests and a fabulous pair of 20th Century clam shells.
Pair of 20th Century Clam Shells
Eleanor Buonaparte, Dealer Liaison and Stock Coordinator
Eleanor's top picks include a 20th Century lacquer and gilt Chinese screen, depicting cranes and gold-painted bamboo to the reverse, and a stunning 19th Century drop-end red Chesterfield sofa.
20th Century Chinese Lacquer Screen
Stephanie Ashby, Photographer
Steph's top picks include a fine early 19th Century complete circular tree seat from the Regency period, and a late 20th Century print of Liz Hurley by John Stoddart which rests on a stylish lucite and brass display tripod with adjustable blocks.
Regency Circular Wrought Iron Tree Seat
20th Century French Lucite Easel
Late 20th Century Liz Hurley Print by John Stoddart
Sophie Jones, Marketing Assistant
Sophie's top picks include a 19th Century French chaise longue in pink velvet and a beautiful framed black and white French scenic wallpaper depicting an attractive lakeside scene.
19th Century Upholstered Pink Banquette
Piers Ingall, Stock Vetter
Piers' top picks include a fabulous pair of Italian marquetry and ormolu bedside tables and a truly outstanding 19th Century folk art diorama model of Tower Bridge, London.
Pair of Italian Marquetry Bedside Tables
19th Century Model of Tower Bridge
Dave Jeens, Restorer
Dave's top picks include a 20th Century coffee table with a drawer and its original key, a lovely example of an early 20th Century Edwardian elbow chair and a stylish 20th Century opaline glass table lamp.
Small 20th Century Coffee Table
Giant Mid-Century Style Opaline Glass Table Lamp
Jordan Anderson, Logistics
Jordan's top picks include an elegant French Meridienne sofa and in the spirit of the World Cup, a pair of 19th Century medici lions.
19th Century French Meridienne Sofa
19th Century Carved Pair Medici Lions
Chris Butterworth, Logistics
Chris' top picks include a lovely buttoned and tufted sofa of small proportions and a wonderful large-scale French zinc clock face in its original iron frame.
Small 19th Century Swedish Buttoned Sofa
French 20th Century Zinc Turret Clock Face
Cody Roberts, Logistics
Cody's top picks include a lovely English golden oak occasional table with a single drawer and a superb pair of French 18th Century Louis XV bergéres.
19th Century English Golden Oak Occasional Table
Pair of French 18th Century Louis XV Bergeres
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.
The season for outdoor entertaining is in full swing... and the weather has come back to encourage us yet further! A show-stopping tablescape sets the tone for an event or celebration... but just a few minutes of table preparation will help the most simple of mid-week suppers feel that bit more special.
Why bother with a tablescape?
Tablescapes can have an intimidating reputation. Flicking through the pages of glossy magazines or Pinterest can make it seem like an impossible task. Highly curated examples, with an array of fine china and accessories to envy royals, shouldn't put you off.
Creating a tablescape should be a simple and enjoyable experience for both host and guest. Setting the table with your favourite things makes an occasion feel special. Here at Lorfords, we argue that there is no hierarchy when it comes to dining. Whether it is a simple midweek family dinner or an extravagant birthday event, an eye-catching tablescape is never a wasted effort.
The key element in an effective tablescape is expressing your own personal style, meaning there is no ‘one size fits all’ solution. The only real rule is to bring together things you love – nothing is too precious or too out there. The secret ingredient is, of course, antiques.
Chaotic harmony
Don't try to create a flawless tablescape with perfectly matched pieces - it will almost certainly take the joy out of the process. Instead, bring together a range of styles and contrasting elements. This approach is not only easier, but it creates a more stimulating aesthetic.
See your table as a blank canvas to build upon. Layers are important for creating an eye-catching result, so start with the first, a cloth or covering of some sort, and go from there. Adopt the mindset that mismatching is your friend, not foe. Different colours and materials create friction, which is essential to any successful design. Each guest will feel special if each setting is different and it makes sourcing for your table a whole lot easier! All your beloved pieces have a seat at the table, whether it is a plate you picked up in Sardinia many moons ago or a hand-made bowl from a local market.
Of course, dining does have a practical element and it’s not all lawless creativity. Don't forget any platters, tureens and dishes that might need a space on the table and be aware of space. Your guests will appreciate the quirky features, but they will also appreciate an easy dining experience.
When alfresco dinners turn into long balmy nights of drinks and laughter, you’re going to appreciate some soft lighting. Candlesticks offer a gently flickering light, or perhaps you prefer the steady glow of a lantern. Either way, antique lighting will bring a magical quality to your tablescape.
To unify your scheme, create some sort of centrepiece. This doesn’t have to be an elaborate affair – it might be a simple vase or urn filled with flowers. Centrepieces are great for establishing a seasonal theme. You could fill a trinket bowl with dried flowers, or a large vessel with fruit and vegetables.
Use those antiques!
It’s not just in the lighting that you should look to antiques. Not only do they nail the tablescape aesthetic, but antique pieces will also bring a personal feel to the table.
Don’t be afraid to use that silverplate dinner service you inherited from a loving grandmother, but has since been gathering dust in a locked cupboard. It is in the dinner party setting, with its peals of laughter and loving toasts, that life returns to antique pieces. Equally, use those shabby chic and ‘seen better days’ pieces in your collection. They bring an informal elegance and a sense that they have been well-loved. Some wear and tear will encourage guests to properly enjoy themselves, without worrying that they are going to chip the china.
The tablescape offers an opportunity to embrace those quirky relics. A pair of 'his and hers' antique napkin rings – once gifted to newlyweds centuries ago – provide a great talking point. What about a set of knife rests in the form of dachshunds? These features are sure to make your hosting stand out amongst all the summer garden parties.
Antiques are an essential ingredient in the tablescape tapestry. Blend them with new contemporary wares to add interest and texture to your scheme.
We're all a little weary after the last year and a half of rules, so let setting the table be a liberating experience. Invite loved ones back with a tablescape that stimulates all the senses. Just don't forget about actually feeding them!
Become a tablescape expert...
Inspired by this magical tablescape filled with antiques? Discover all our antiques for the tablescape on our website.
The beautiful tablecloth is from Bertioli by Thyme’s wonderful collection and it provides the perfect backdrop. Getting started with your own tablescape is made easy with their linens, which are designed by Caryn Hibbert and inspired by nature.
Read Caryn's top tips for vibrant table lays.
Forecasted climate projections predict that average temperatures in the UK could rise by 2-6°C over the next century. This stark fact might dramatically change what we currently consider a typical English country garden. We need not sacrifice the beauty of our outdoor spaces, however. Francesca Lawes of Nicholsons explains how to design a more futuristic and sustainable garden.
This article was originally featured on the Nicholsons website.
The rolling lawns and billowing herbaceous borders that are so integral to English garden design today are unlikely to persevere in a warmer climate. Mediterranean plants, such as palms and eucalyptus, might spring up in their place. Adapting to a sunny and warm Mediterranean climate may sound like an ideal scenario for many, but we can also expect far rainier winters. As a result, the future English garden must be tolerant and resilient in the face of both warmer summers and wetter winters.
How can we make our gardens more resilient?
There are some simple steps that we can all take to create a futuristic and sustainable garden design. Firstly, create a good supply of harvested water. You need to also ensure that any irrigation system using this water supply is both conservative and targeted. Growing plants ‘lean’ ultimately leads to them being more resilient. Watering infrequently and heavily will encourage the plant to establish a deeper root system.
You can also prepare your garden for the future by reducing carbon emissions. The simplest way to do this is to cut your reliance on petrol and diesel-powered equipment. Use alternatives such as peat-free growing media for your sustainable garden.
Sustainable garden types
If you are looking to make a more total change to your garden, there are several genius options.
Dry meadows:
Converting traditional lawns to dry meadows is a great approach to sustainable gardening. The naturalised bulbs will extend the flowering period and ensure that water is not wasted keeping a lawn alive in the hotter summer months. A beautiful example of this can be seen at the Cambridge University Botanic Garden, which exhibits species especially suited to the Cambridge climate. This sustainable garden combines drought-tolerant and temperate species that can withstand long periods without rain in the summer. The final effect showcases soft, naturalistic flowers from spring through to autumn - the majority of which were grown from seed.
Rain gardens:
Rain gardens are likely to become a common feature in the future - especially in dense, urban spaces. Expanding urbanisation combined with increased rainfall during the winter results in increased surface runoff. During periods of peak rainfall, this runoff can cause urban flooding. The design of rain gardens allows them to capture surface runoff from nearby roads, pavements and rooftops. These sustainable gardens reduce the flow rate and clean the water of pollutants. Rain gardens also increase infiltration and percolation back into the soil beneath the planting, returning it to the natural system.
As well as their SuDs (Sustainable Drainage Systems) capability, rain gardens also increase urban biodiversity and create wildlife corridors in otherwise ‘grey’ landscapes. By planting resilient trees in rain gardens, we can also achieve urban cooling to combat rising summer temperatures. Nigel Dunnett’s ‘Grey to Green Scheme’ in Sheffield is a prime example of how impactful such measures can be within an inner city.
In praise of the gravel garden:
Derek Jarman’s Prospect Cottage in Dungeness, pictured above, proves that you can create a beautiful and sustainable garden in even the most barren landscape. Beth Chatto’s gravel garden experiment in a car park is now famous for never needing to be watered.
And yet, we often overlook gravel gardens in the gardening world in favour of other styles. This is a shame because gravel gardens can work at all scales and with any mix of plants. Herbs are suited to the conditions typical of a gravel garden. Herbs provide ingredients for cooking and fill the garden with their scent.
Texture also adds to the impact of a gravel garden, with silver-leafed plants automatically creating a more Mediterranean feel. Leaf colour, texture and form are important in creating the desired look for the overall garden and help create a rich plant tapestry. People often perceive gravel gardens as being barren, dull landscapes with sparse planting that does not provide much colour. On the contrary, you can create the same beauty as a traditional garden full of perennials, with the added benefit of considerably less maintenance.
Beth Chatto's tribute garden at the 2019 RHS Hampton Court Palace Garden Festival showcased an abundance of colour, texture and form. Many of the plants were drought-tolerant species, whilst others are able to adapt to prolonged dry spells. These qualities proved invaluable when the garden stood unwatered and glorious for two months during a heatwave. At its heart was Beth Chatto's vision for a sustainable garden: 'right plant, right place.'
As the climate changes, we will have no choice but to change with it. This doesn't mean totally abandoning the English garden style, but rather adapting and evolving it.
About Nicholsons
Nicholsons provides a range of professional services, including garden design, garden construction, garden maintenance, forestry and agriculture. They are based on a 23-acre site in North Aston, and also offer retail services including Rosara Outdoor Style and their 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.
Read all of our gardening articles here.
The English country house is one of the most enduring and celebrated styles in the interior design lexicon. This scheme is hard to pin down because it doesn’t follow a fixed set of rules. Nonetheless, its powerful influence is blatant at every turn - whether you are conscious of it or not.
The country house interior is full of paradoxes. It feels quintessentially English, yet an American developed the scheme. The country house style is far from limited to England and celebrates cultures all over the world. Even the term ‘country’ house is no longer defining. In our recent interview with Turner Pocock, the interior design duo observed that this style is now as sought after for decorating London townhouses as it is for country piles.
Country house rooms are vibrant yet refined. They are curated yet lawless. Spaces look beautiful, yet they are inviting and comfortable. These wonderfully juxtaposed layers define the English country house interior.
A new English style is born
Grand English interiors often feel as old as time, which is an integral part of their charm. It is one of this scheme's great ironies of this scheme, then, that the style was only formally realised in the early 20th Century. The new approach to interiors glorified an old rural golden age and was the culmination of interwar sentiment. The bare bones of the style date back further, of course, with Georgian interiors laying the foundations. The stage was already set, but we owe one American lady an enormous debt for bringing the country house style to the fore.
Nancy Lancaster and the Colefax effect
In the 1940s, an American heiress was busy forging valuable connections in Britain. Nancy Lancaster was a prolific socialite who felt such a strong affiliation with England that she renounced her American citizenship in 1948. It was in this same year that she bought Colefax & Fowler, London’s leading interior decorating studio at the time. Together with John Fowler, Nancy began to spread the country house style through English interiors.
Lancaster herself inherited several properties that she wanted to respectfully maintain but also move on to suit her own tastes. Her innate flair for interiors became obvious through her work on her homes, those of friends, and those of Colefax clients. Nancy seized old English tropes and injected fun and imagination into them. Design movement was one of her key principles. For her, it was important that a room felt lived in and had space to evolve. This timeless feel became absolutely integral to the country house look.
Nancy Lancaster was not the architect of the English country house style. In fact, there wasn't one. Rather, numerous factors contributed to the style's evolution over centuries. The heiress, however, was the major facilitator needed to bring the style to the fore. Her key contribution was making the English home comfortable. She brought American luxuries like carpeted floors and central heating to grand old mansions, without detracting from their authentic value.
Colefax & Fowler shot to new prominence under Lancaster’s direction. She and John were a design force to be reckoned with and the company’s reputation flourished. Colefax & Fowler decorated Chequers and the Audience Room at Buckingham Palace, to name a few iconic interiors.
Key ingredients in the country house style
This interior style does not abide by any fixed rules and celebrates individualism. However, a certain essence makes the scheme feel familiar and recognisable. Comfort and easy living are integral; not only should a country house interior appear lived in- it should also BE lived in. The result is inevitably slightly dishevelled which is very much part of the charm- something John Fowler called ‘pleasing decay.’ Perhaps the reason this approach to interiors remains so unerringly popular is its forgiving nature. The house should feel like a home as opposed to a showroom. Parties, children, and dogs are all welcome.
Pull up a seat
Classic deep-seated upholstery of the sort that rose to prominence in the 19th Century is front and centre of country house interiors. Antique frames from the Queen Anne, Georgian and Victorian periods still appeal today, often upgraded with fresh upholstery. More is more, and you needn't limit upholstery to living areas. A cosy armchair in the bedroom provides a classic country home feel. In general, a range of seating of all shapes and sizes is key to crafting a welcoming space.
Classic antique pieces are the bread and butter of an English country house interior. Commodes, chest furniture, large cabinets, and other such timeless pieces provide useful storage and a traditional look. Layering time periods is key, and antiques will take pride of place in any successful scheme to make it feel established. Indeed, inherited possessions were at the core of these interiors when they first emerged. Country house interiors shouldn't feel like a showhome where you have carefully planned and sourced. Acquire pieces that you love and when it comes to styling them mismatching will only add to their charm.
Bookcases often form the architecture of a country house living or drawing room. Whether it’s a majestic breakfront piece, built-in shelves, or a matching pair of low-lying cabinets, bookcases are indispensable for achieving this look. Besides providing a beautiful piece of furniture, having treasured books and collectables close at hand and on display gives the country house its lived-in look.
Embrace the quirky, niche, and eccentric
Certainly one of the best things about the English country house style is its room for personality and eccentricity. Nancy Lancaster herself saw this as crucial: 'One needs light and shade because if every piece is perfect the room becomes a museum and lifeless.' Indeed, the origins of country house style were in florals, chintz, and china. For some, these details now feel dated and passé. However this is an unapologetic style, and there is plenty of room for ‘Granny chic.’ We all have antiques or collectables that we love in spite of them being a bit ‘kitsch.’ Souvenirs from our travels, our grandparents’ silver, Staffordshire pottery, an old family portrait… this maximalist interior scheme embraces it all and is better for it.
Much of the success of this scheme is in the details. Whether it’s a ball and claw foot, a fabulous gilded frame with the red bole showing through, or the blue and white patterns of a ginger jar, these decorative and intriguing accents draw the eye and make a space feel exciting.
Colour and pattern
The English country house style is far from drab and dreary; it is actually often daring and eclectic. When Nancy Lancaster bought a set of rooms above Colefax & Fowler on London’s Avery Row in the 1950s, John Fowler encouraged her to paint the drawing room bright yellow. The famous ‘Yellow Room’ set the tone for grand living rooms and is far from dull. Floral fabrics, plentiful wall art, and opulent chandeliers all complement the yellow beautifully. Colour has always been at the heart of the English country house style and it is becoming even more prominent in today's interiors.
Statement antiques, upholstery, bright colours, and due prominence to books and collections. The final key ingredient in this scheme is textiles. Not only do they bring colour and pattern to rooms, but textiles also give the English country house its crucial homely feel.
Rugs, runners, and carpets are vital for rooms with wooden or stone floors. There’s an increasing urge to bring far-flung destinations into our homes at the moment and fabrics are a brilliant way to achieve this. Our collection includes Swedish flatweaves, beautiful kilims, and vast carpet rugs.
Bedrooms ought to be the most comfortable and welcoming spaces in the home. Soften a traditional four-poster bed with antique linens galore- maximalism is the only way with furnishings. Pillows, quilts, bedspreads, and throws will make a bedroom feel charming and loved. Blending plenty of materials helps to achieve the layered tapestry that typifies an English country interior.
Make the English country house style your own
Contemporary designers have grabbed the reigns of the English country house style and are steering it in a new direction. The essence of the style will likely stand forever, but it's sufficiently versatile to welcome new interpretations. These adaptations and variations on this scheme reflect the powerful appeal of country house interiors and the desire to make them work with modern requirements.
Those who wish to live a less cluttered life can pare this style back and go for fewer but just as impactful pieces. When styling a smaller house or apartment, colourful paint, gallery walls and sconces will bring character whilst saving space. However, don’t fear large statement pieces either because playing with scale can transform a space. When it comes to bringing colour and vibrancy, the outdoors is your untapped resource. Bringing foliage and flowers indoors has a transformative effect on an interior.
Whilst grand English houses may have provided the original canvas for this style, today it is achievable in pretty much any home. This versatility is a testament to the design ideals at the heart of the country house style. It encourages fun and colour, it mixes historical pieces with new influences, and it reflects our human nature to seek joy and comfort.
Get inspired with our lookbook, 'Life well lived.'
"I'm looking for drama in my interiors. That means pieces with great shapes, rich textures, and patina, patina, patina!" This week, we chat to none other than The Antiques Diva herself, Toma Clark-Haines.
Q: The antiques industry has rapidly evolved during the pandemic. What key lessons have you taken away?
A: People do business with people. The world may have gone virtual, but buyers want to connect with the people behind the brands and customer interaction is more important than ever. One of the things we teach in our Antique Dealer Training and Mentoring Program is that dealers need to be the face of their brand in order to connect with their buyers. The connection is important. As a result, video content is key- especially when working with the American market. We work with dealers to develop a video content strategy that connects with their target audience.
Early in the pandemic, I made the bold move to share my personal diary during quarantine on republicoftoma.com. In my blog posts, I spoke about day-to-day life in quarantine. I was vulnerable, open, and real. I confessed the struggles I was going through being alone in lockdown in Italy. It seemed a strange "marketing move," but my business doing antique buying tours has been really disrupted, so I needed to find a way to stay relevant. I stayed relevant by being real. I discussed what was going on in my life at the time.
Also, I pivoted The Antiques Diva to incorporate virtual tours, long-distance buying and selling services, brand-coaching, and more. When you can't go outside, you go in. I started painting again and will be launching a fabric collection in June 2021 at High Point Market. One of the most important lessons I've learned has been about supply and demand. Between Brexit and the pandemic, there is a shortage of inventory on the market. Brits are having problems securing inventory from France because the French are having problems securing inventory from house clearings due to Covid restrictions. Auction houses are experiencing higher volumes of traffic and prices are surging.
In these times, dealers need to think smart. They have to be strategic. I often speak about the gentrification of antiques. What's on the market at a lower price point? Antiques dealers are the arbiters of style- what they sell, interior designers buy, and home décor trends emerge.
Q: Your finger is always on the pulse when it comes to interior trends, are you predicting any revivals in the near future?
A: Asian antiques are killing it right now. With Brits facing difficulties sourcing antiques on the continent, and normal trade routes drying up during the pandemic, our British buyers are relying upon Antiques Diva Asia to bring South East Asian Antiques into Europe. We are watching a global movement of inventory in a different fashion to previous years. For three years I've been predicting this will be the trend, and based upon sales my predictions have finally come true. Combine Brexit sourcing difficulties with a pandemic that doesn't allow people to travel and we've all got island fever! Americans have been embracing this wanderlust vibe for the last several years. Buying exotic touches from faraway places allows us to travel in our own homes.
Speaking of homes, we are selling more practical items. Tables, chairs, sofas, side tables, and even armoires. Remember when armoires were all the rage? And then dropped out of fashion with the advent of the flat-screen TV? Well, they are back as people are seeking storage spaces, particularly for their home office. Tables that can be converted into desks have also been big sellers. Art sales have also increased significantly... perhaps we're all tired of looking at the same four walls?
In these times, dealers need to think smart. They have to be strategic. I often speak about the gentrification of antiques. What's on the market at a lower price point? Antiques dealers are the arbiters of style- what they sell, interior designers buy, and home décor trends emerge.
Q: Furnishing an interior, especially from scratch, can be daunting. Where should you start?
A: In the last 20 years, I've moved eight times within four countries. I always start with the lighting in a new home. Lighting is the jewellery of the room and sets the vibe of a space. When it comes to lighting, it's got to be Italian. From lighting, I then look at pieces with fabulous lines. In love- as well as in antiques- opposites attract. I love a low-slung sofa combined with sexy legs on a French bergère, or the long voluptuous lines of a chaise longue. I'm looking for drama in my interiors, and that means pieces with great shapes, rich textures, and patina, patina, patina!
I always start with the lighting in a new home. Lighting is the jewellery of the room and sets the vibe of a space. When it comes to lighting, it's got to be Italian.
Q: The Antiques Diva is more or less global and pre-pandemic you travelled a lot. What made you settle in Venice?
A: Love. No, not a man. Venice itself. I fell in love with Venice. When I was a child I dreamt of Venice. I had a black and white swimming suit I would wear standing in my bathtub with a yellow broom and I would swish the water and pretend I was a gondolier. When I first moved from America to Europe 20+ years ago, I visited Venice and was disappointed. It was crowded and hot and I hated it. Years later I returned for work with The Antiques Diva & Co and made Venetian friends. They let me inside Venice. The real Venice. There are two Venices. The city the tourists know and the city that lays beyond. Venice is like an onion- you have to peel back the layers to get to the core of the city. I liked the adventure of peeling back the layers.
When I divorced, I found myself frequently going to Venice because it made me happy. I would wander the canals and alleys and get so lost. In getting lost I found myself again. I was living in Berlin at the time and realized that because my job was global, so long as I had a laptop and a plane ticket I could live anywhere. Moving to Venice was the best decision of my life.
Q: When did your passion for antiques start?
My parents didn't have much money, but my mom had great style. She would scour the flea markets, thrift stores, and second-hand markets for fabulous finds from the past. One of her most prized possessions was the silver her grandparents- my great-grandparents- brought with them on the boat when they moved from England to America. I joke I was born with a silver spoon in my mouth- literally. We used the "good silver" every day because my mom's dad always said that there is no silver polish like the patina of daily use. My mom was a second-generation American. Meanwhile, my father's family fought in the Revolutionary War.
I moved to Europe 20+ years ago- first to Paris, then Amsterdam, then to Berlin, before moving to Venice three years ago - I brought the family silver with me and continue to use it every day. I've always seen antiques as another way of travelling; they take you on a voyage to other times and other places.
When I was young I would go with mom to garage sales and she would give me four quarters- $1- to spend. I was rich. For four quarters I could buy a Barbie doll, or a fantastic REAL teapot to play tea party with. I realised at a young age that you could get more for your money at garage sales. I never understood why I would buy new when there were such fabulous treasures for a $1. And more to the point- I could sell what I bought at a garage sale for the same price I paid! If I bought a new Barbie it immediately lost value and had the same value as the used one I purchased.
When I moved to Paris in my 20s with my then-husband, it was second nature to shop the brocantes and vide-greniers. I decorated my fifth-floor walk-up apartment with Paris flea market treasures. I was hooked. Bitten by the fleas.
Q: What prompted you to start your podcast, The Business of Antiques?
When people ask me what I do, I say "I'm in the business of antiques." My company, The Antiques Diva & Co, has always had a mission: to make antiques fun, sexy, modern, relevant, accessible, and PROFITABLE. Most of our clients in America are trade clients and buying for re-sell. If my clients sell well, they buy well, so I began giving clients tips on how to increase their sales. I realised quickly that most people who go into antiques go into the profession because they love antiques- NOT because they understand how to run a successful business.
I launched my Antique Dealer Training and Mentoring Program as well as our Antiques Diva marketing services. We help dealers to build websites, create marketing templates, and offer social media services. We introduce dealers to potential buyers to help them be more successful in their business. The podcast was developed to continue to support our audience and help them to make antiques more profitable.
Q: How do you unwind when you're not running your Antiques Diva Empire?
Pre-Covid I would have said hopping on a plane and going someplace warm and sunny, with a good book and a great spa. Post-Covid, it's simpler times. I live in Venice, so I take long walks in the fog in the early morning. I am learning Italian and take classes four days a week. My mouth is learning the acrobatics required to pronounce those Rs! I love to cook and always set a gorgeous table (even when dining for one). I read and write a lot!
I've been fortunate because even though gyms are closed throughout Italy due to Covid, my gym allows you to book private sessions so you have the entire gym to yourself and your trainer. I have weekly calls with my dear friend Gail McLeod- our head Antiques Diva agent in the UK and founder of Antique News and Fairs. Somehow, when you talk to a friend you feel like anything is possible. Friends and cats! Those are great solutions for unwinding. I have two cats named Fortuny and FIorella, and they are the naughtiest kittens in Venice- but also the most fun. I've trained them to walk on leashes so they go with me on my strolls. One of the nicest things about Venice at this time is that I have the city to myself. It's a magical experience to be alone in Venice.
Q: What's your favourite location for an Antiques Diva buying tour?
Ooo la la. That's got to be the most difficult question I am asked. I LOVE all my tour countries. It's got to be France. Paris prices are at rock bottom at the moment. Provence is always king... or shall I say, Le Roi! Britain also delights because of the wide variety of inventory. Many British dealers have become dear friends and understand the American market so well- even better than the Americans. I love Chaing Mai Thailand for sourcing antiques and Bali is also beyond wonderful. Mamma Mia... did I forget Sweden? How can you ask me to choose? This is like asking a mother to choose her favorite child.
Q: Do you ever get creative or writer's block?
This past year I took a break from blogging on antiquesdiva.com for exactly that reason. During the pandemic, I lost my vision and needed time to think about where we were going next as a company. I took the decision to take a step back from blogging for antiques and focus on blogging on my website for our parent company republicoftoma.com. Only now, one year into the pandemic, do I feel like I'm getting my groove back! In general, my solution for writer's block is to do something else entirely to "forget" about what I'm trying to do. Once I stop forcing it, the words come naturally.
My favourite thing is my desk. It's a desk for a Diva- a French 18th Century marquetry bureau plat, with the most gorgeous ormolu mounts with the faces of women on all four corners. It's feminine yet powerful and reminds me of one of my favorite quotes by Yasmin Mogahed. “Being both soft and strong is a combination very few have mastered.” It also reminds me of how I want to run my business and what type of CEO I want to be.
Q: What's your most treasured antique?
I mentioned my great-grandparents' silver earlier. My house is positively filled with antiques. But my favourite piece is my desk. It's a desk for a Diva- a French 18th Century marquetry bureau plat with the most gorgeous ormolu mounts, with the faces of women on all four corners. It's feminine yet powerful and reminds me of one of my favorite quotes by Yasmin Mogahed. “Being both soft and strong is a combination very few have mastered.” It also reminds me of how I want to run my business and what type of CEO I want to be.
Q: What would our readers be surprised to learn about you?
I only pretend to be a Diva. Really I am a farm girl. Growing up, I lived on a ranch 30 miles from the nearest town. I learned to drive a pickup truck when I was 12 and a tractor when I was 14. I love adventure and I love horses, but I don't ride dressage- I ride Western. Although I once played polo in Buenos Aires, and it gave me a new respect for the thighs of English-style riders! I've played polo in Buenos Aires and jumped out of aeroplanes. I've gone elephant trekking in Myanmar and learned to steer my own elephant. Contrary to what you might expect, guiding an elephant is NOTHING like guiding a horse!!!
Q: What's your go-to comfort food dish?
Mamma Mia. I may live in Italy, and I may have attended cookery school in Paris in my 20's, but when it comes to comfort food I am a true American. I am a rancher's daughter. Give me a really rare steak and fries any day and you've got a very happy girl!
Q: What has been your best lockdown purchase?
A: Okay this question makes me realise I've been seriously remiss. I don't think I've made any indulgences (other than too much wine) in more than a year. Come to think of it, my wine cellar may be the benefactor of my best lockdown purchases. I decided mid-Covid life is too short to drink bad wine. After our first lockdown ended in the summer, I went to my favourite wine shop in Venice- Cantine del Vino già Schiavi- and informed them I needed to learn about wine. Rather than me choosing the wines, I asked them to prepare some palette teasers for me. The next day they delivered 36 bottles, each with a special nuance I need to taste. I'm working my way through their recommendations in a self-study wine course.
Q: What makes your house your home?
A: I fill my house with objects from my travels. The word 'souvenir' in French means 'travel memories.' And that's what you will find in my home. Memories. Memories of places visited, people whose lives have intersected with mine. The architecture of life. My house becomes a home when it's filled with living things- my cats, plants, friends, family, and laughter. My home is about long dinners and late nights. Lazy mornings in bed. The smell of coffee in the morning.
As Valentine’s Day approaches, we unpack some of the history behind courtship, betrothal, and marriage. The spontaneity of romance has been lost to the current era of social distancing, but a measured approach to courtship was the norm for centuries. At its heart was one very practical consideration: the dowry.
The marriage market
As obvious as it seems today, the notion of marrying for love is a fairly new development. Writings on ‘the art of love’ date back to ancient Rome, but love was a distinct matter from marriage for a long time. If anything, families encouraged the couple to work towards an emotional connection once they had married. Husbands expected loyalty from their wives, whilst they would often pursue romantic relationships outside of marriage.
The latest drama to capture the nation's attention, Bridgerton, revolves around the ‘marriage market’ in Regency England. The series lays bare the financial considerations that dictated courtship. This contrived dance is familiar to us from Jane Austen’s novels, and the fact that the author herself chose not to marry is significant. In an 1814 letter to her niece, she states: ‘nothing can be compared to the misery of being bound without Love. If his deficiencies of manner strike you more than all his good quality, give him up at once.’ Austen tries to save her niece from the fate many women faced at the time, including her fictional characters.
For love nor money
"The great virtue of parents is a great dowry." So said Horace, a Latin lyric poet and satirist living in ancient Rome in the 1st Century BC. His observation was accurate for its time; the best thing parents could provide for their daughter was financial backing. Britannica defines the dowry as, 'the money, goods, or estate that a woman brings to her husband or his family in marriage.' This package distinguished a potential bride from the rest and increased her chances of marrying into a high-status family.
For society's elites, marriage revolved around combining status and influence, and the dowry involved a large-scale transaction. It was, in essence, a practical safety net. When the dowry included properties, territories, and vast sums of money, the bride’s family needed to safeguard their assets. If relations soured between man and wife, the husband had to repay his wife's dowry so that her finances were left intact.
The unfortunate tale of King Louis VII illustrates the dowry's significance. When the French King married Eleanor of Aquitane, she provided the territory of Aquitane as part of her dowry. The relationship failed and the pair divorced in 1152. Eleanor moved on swiftly and married Henry Plantagenet, Duke of Normandy, just two months later. Plantagenet received Aquitane from Eleanor and went on to become King of England. Poor King Louis VII suddenly faced a formidable foreign power.
The dowry chest
The long-held role of the dowry created dowry chests of all shapes, sizes, and designs. The allure of antiques is undoubtedly tied up in the personal histories they represent, and we are lucky that many of these boxes survive. These 'hope chests,' as they were also known, are a wonderful example of this. The boxes were designed to carry the bride's goods to her marital home. Some mothers would start prepping this box as soon as they had a daughter, to slowly build upon as the years went by. This might include silverware, jewellery, blankets and linens, kitchen items, and baby goods. The contents reflect the idea that a wife’s desirability came from her ability to run a household.
It was not all doom and gloom, and dowry chests were not without sentimental meaning. Much like wedding presents today, they were a way of helping a young couple set up their new household. To keep the contents sweet-smelling, cedar was the timber of choice for these coffers and it was widely available.
For the bride's family, sending their daughter off to her next chapter, these chests were a form of good wishes. For example, couples were commonly provided with linens and other cloth for use in case of troubled times. Because these often stayed rolled up in the chest and never used, an abundance of antique linens survives today.
Pandora's box
So, the contents of these chests varied in value and significance depending on the parties involved. Nonetheless, the notion of providing a dowry chest of some sort was a given for most, and the practice was widespread. Examples survive from Central Europe, Asia, and Africa. Syrian chests inlaid with mother-of-pearl and raised up on bracket supports are particularly stunning examples.
Poorer families would not be handing over huge sums of money and acres of land, but they often still sent a dowry box. Indeed, the folk art tradition produced many charming marriage coffers. Local craftsmen often used pine due to its affordability and availability, and then painted them. The decorative painted designs which marked the occasion are what makes these boxes so magical.
The iconography painted onto dowry chests is full of symbolism. Sometimes this would include the initials of the betrothed, and/ or a date. On this charming 18th Century Scandinavian box, one set of initials and a date commemorate the nuptials. Goldfinches, doves, and orioles were popular for their connotations with fertility and prosperity.
Dowry chests speak to a long history of marriage and betrothal. To own one is to bring a piece of personal history and character into your home. Smaller folk art style pieces make for whimsical and highly decorative accents in the home. Larger blanket caddies and monumental dowry chests are fantastic statement pieces for storing today’s blankets and linens.
To explore antiques relating to love and marriage, visit our lookbook 'Under Lock and Key.'
'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.
Are you a minimalist or a maximalist at heart? Both approaches create stunning interiors, but this year we're making the case for a maximalist Christmas. It certainly hasn’t been an easy ride, so embrace the festive season in all its visual glory.
There is a good reason why many of us have fixated on what this season will entail this year, and what we can and can’t do. Whether you start Christmas planning in August or dread the whole affair, it’s one of life's consistencies. Although it’s a different festive season this year, the period still offers some guarantees and one of the best of these is bringing your home to life.
Christmas through history
Christmas can feel prescribed in today's society, and we are compelled to follow all manner of conventions. But in fact, Christmas has transformed over the centuries and taken on many different guises- even the religious meaning came later than the first festive celebrations.
In medieval England Christmas didn’t revolve around just one day; it was a full twelve days of celebrating up until 'twelfth night' on January 6th. After a pretty miserable year, why not make this festive season last? Savvy decorating choices will see the cheer through into January so you can keep the winter blues at bay.
Winter solstice
In a couple of days, the Earth will be tilted further away from the sun than at any other point in the year. The winter solstice is how Christmas celebrations began, in eager anticipation of the sun's return. The solstice may be the shortest and darkest day of the year, but it is also the beginning of a new chapter. This moment has special relevance this year, as we look forward to better times.
Whilst the solstice has been somewhat lost in Christmas celebrations today, it was quite crucial for the holiday’s development. The Roman festival of Saturnalia was a hedonistic spree of celebrations leading up to this event. Take note from the ancient Norsemen of Scandinavia, who celebrated ‘Yule’ from the solstice all the way through January, while the yule log burned to symbolise the return of light.
'We are not amused'
Queen Victoria’s reputation does not immediately bring to mind joyous festivities. But in fact, it was the innovations of the Victorians that led to the Christmas we know and love today. From the beginning to the end of the 19th Century, Christmas transformed from a lowkey event to the biggest celebration of the year.
The Victorians believed in the importance of celebrating Christmas with family, which is a concept we all hold close to our hearts today. Many of our favourite traditions stem from the royal couple themselves, Victoria and Albert. Prince Albert's childhood in Germany had a big influence on the British Christmas, and he popularised the indoor Christmas tree. An illustration of the royal family gathered around their tree appeared in the Illustrated London News in 1848, and a Christmas tree has been integral to Christmas ever since.
This period also introduced the sending of Christmas cards to friends and acquaintances, as well as the joyous Christmas cracker with its novelties and gifts inside. So, perhaps raise a glass to Queen Victoria this Christmas?
Reclaim Christmas as your own
There’s plenty of inspiration to draw from tradition and how Christmas has been celebrated over the centuries. This year, take only what you love from this and make the rest your own. Whether you can be with loved ones, or it's a quiet affair this year, surround yourself with your favourite things and give them a bit of a festive revamp.
Breaking the rules has long been a part of Christmas tradition. This time of year has a rich history of reversing social hierarchies, and it was once known as the season of 'misrule.' The violation of social conventions got a bit out of hand at one point, and the Victorians stepped in to bring about more order. The concept of reversal still manifests today, as officers of the British Army wait on their soldiers on Christmas Day. We're not advocating that your children become the boss this year, but do embrace doing things differently.
We all have our guilty pleasures. That piece that’s a bit kitsch, a bit out there… but we love it all the same. This year we haven’t been entertaining and Christmas guests are going to be limited, but there is a silver lining to these circumstances. Christmas is often a time of immense stress, no matter how organised you are. Let go of the considerations that come with entertaining this year. Fuel your nostalgia at Christmastime, and let festive cheer reign unshackled.
Mismatching design is full of character and that eccentric antique you keep tucked away in the attic is ready to have its day. Yes to red and green, if you love the colours, but also yes to yellow, blue, orange, and purple. Etiquette and convention are not on the menu for this Christmas period.
Add a little sparkle...
With limited events to attend this festive season, we must bring the party to us. There is no better time of year to embrace opulent home furnishings. Put beautiful gilded furniture in the spotlight, and make sure everyone has a comfortable seat. Get inventive with the furniture you see every day; sideboards present the perfect worktop for creating a wintery scene which will keep you cheerful until the Spring.
Christmas is brought to life through light, and you simply can't have enough candles. We stock antique candelabra, wall sconces, and candlesticks so that you can create an enchanting atmosphere at home. Bring the Christmas sparkle with your own unique take on decorations, such as a glass witches ball. Heavy and shining with rich history and tradition, these decorations are a fitting accessory to a maximalist Christmas.
Natural decoration also serves as a wonderful accent to your favourite antiques. Garland your statues and sculptures, and fill glass vessels with pine cones and oranges. The fireplace forms the focal point for festivities and offers plenty of scope for creative decoration. Layer the mantelpiece with holly and ivy, and quirky antiques. Browse our fireside furniture to bring this spot to life.
Eat, drink and be merry
Tablescapes offer one of the greatest creative opportunities at Christmastime. This is where you can afford the most artistic license and think outside the box to bring your table to life. Antiques are the perfect antidote to the ‘norm.’
Often, there is great pressure to colour coordinate at Christmas. Throw out the rulebook and combine all your favourite tableware and glassware. Use urns and vases to create wonderful, unusual centrepieces that will have everyone in awe. If you love it, it works.
Trust our one-of-a-kind antiques to bring your home to life this season and all year round. If you're keeping it lowkey this year and plan to come back with a bang in 2021, it's never too early to prepare!
For a little added inspiration, visit our lookbook "Merry and Bright."
Merry Christmas, from the whole team at Lorfords Antiques!
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.