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The Ox Barn restaurant is part of Thyme's idyllic 'village within a village.' Under the direction of Head Chef Charlie Hibbert, they curate amazing dishes inspired by their rural surroundings. This week, the team shares a tagliatelle recipe that is elevated by a few special ingredients.
'Graceburn is a British feta-style cheese which is kept in oil as opposed to brine and spiked with peppercorns, bay, thyme and more. It's unctuous and creamy. It’s a staple in my kitchen and I always pull a jar off the shelves whenever I see it. You are welcome to use dried pasta for ease if you need to, and the pesto keeps well in the fridge with a splash of oil protecting it from the air. If making fresh, it’s best if you have a pasta-making machine.' Charlie Hibbert.
Serves 2
200g tagliatelle (we make our own at Thyme, but I’d recommend De Cecco fettuccine or tagliatelline)
For the cavolo nero pesto
1 large bunch of cavolo nero, leaves stripped from the stem (keep the stems for roasting or soup at a later date)
3 tbsp capers
250ml olive oil, plus a little extra for serving
100g Parmesan, freshly grated, plus a little extra for serving
Sea salt flakes & freshly cracked black pepper
1 jar of Graceburn
150g walnuts
For the pesto, place a large pot of water on to boil. Blanch the cavolo nero leaves in the boiling water for 3 minutes, before draining and rinsing under cold water. Once chilled, squeeze as much excess liquid out of the leaves as possible and roughly chop them. Place all the ingredients for the pesto except the Parmesan into a blender and blitz together. Decant the pesto into a bowl, stir through the Parmesan, and season.
Chop the walnuts and put them into a frying pan on low heat, and toast for 10 minutes-shaking them frequently so that they don’t burn. Leave to one side until you’re ready to serve.
Place a pan of water over high heat and bring to the boil. Drop the pasta in and follow the instructions on the package for cooking times. Once cooked, drain off the pasta and stir through the pesto. Add in the Graceburn and the walnuts, dress with a little extra olive oil and Parmesan and serve.
Thyme includes 32 bedrooms situated throughout the Georgian rectory, The Lodge, The Tallet and the buildings around the courtyard and gardens. Ox Barn (seats 62) offers a wonderful dining experience, with its own twist on seasonal British food.
Thyme also offers the Baa bar, meadow spa, pool, orchid house and botanical bothy. The piggery and balcony room boutiques stock Bertioli by Thyme's range of silkwear, tableware and bespoke homeware.
If that's not enough, their 'village within a village' also contains a cookery school, floristry and drawing classes, farm, kitchen gardens, orchards and water meadows. Cottages are available for private hire and you can also book the Tithe Barn for private events.
You can view our collection of Thyme recipes and our interview with Charlie Hibbert on L-Shaped.
Thyme’s room rates currently start at £335 (midweek) / £395 (Fri, Sat) per night. These are room rates include breakfast.
Thyme, Southrop Manor Estate, Southrop, Gloucestershire, GL7 3PW
www.thyme.co.uk | 01367 850 174 | reception@thyme.co.uk
Traditionalists have lamented the downfall of ‘brown’ furniture in popular taste for decades. But like all great things, antique dark wood is making a comeback – and for good reason.
Even the name is unfair, and frankly lazy. Brown furniture implies plainness and drudgery, when in fact it encompasses a brilliant spectrum of pattern and colour. Usually, brown furniture refers to solid dark woods like walnut, mahogany, rosewood and teak. It can also apply to any wooden furniture that has been stained dark at some point in its life.
‘Brown’ is a weak adjective though. These quality woods often feature a whole rainbow of browns, but also red, yellow, and black hues. A beautifully figured burr walnut table looks totally different to a mellowed oak refectory table, for example. 'Brown’ sells both short.
The wood itself aside, we commonly associate brown furniture with a certain style too. The heavy-duty furniture that adorned your grandmother's home, polished twice daily and kept out of reach of grubby hands, might spring to mind.
But centuries of cabinet-making produced reams of dark wood furniture in different forms. From slender and elegant Edwardian cabinets to bold and expressive Regency tables, brown furniture critics unfairly lump a vast range of styles into one bracket.
Somewhere around the 70s, we started to turn on this furniture. The forward-thinking Mid Century Modern approach quickly made traditional antique furniture look tired and dated. Luckily, trends are always cyclical, and the brown furniture renaissance is finally here.
The main reason why you shouldn’t dismiss brown furniture is its quality. Genuine period furniture from the Victorian, Regency and Georgian eras reflects expert cabinet-making. Manufacturers like Holland & Sons and Gillows of Lancaster set a high standard for craftsmanship in their fields.
Even simple country antique furniture demonstrates impressive skill. The charming bobbin-turning on a side table or chair stiles from the pre-industrial era reflect hours of handiwork at the wooden lathe. Such features are remarkably popular in contemporary furniture right now, so sourcing an original - probably for cheaper - is a no-brainer.
The sturdy construction speaks for itself; antique wooden furniture has served its purpose for over 100 years. If you need extra bedroom storage, an English 18th Century commode, made from solid wood with spacious drawers and working handles, is going to do the job just fine. Dining tables that have endured perhaps thousands of different family dinners in their lifetime aren’t about to let you down now.
But the best word to describe what brown furniture bestows on an interior is gravitas. A tall Georgian chest on chest, with gleaming colour and graining and decorative brass handles, demands respect. It commands attention and authority in a room, seeming to draw all the other elements towards it. This is the power of traditional antique furniture. One or two imposing brown wood pieces will mature any interior, even the shiniest new build property.
This sort of furniture can alienate people, feeling too stern or formal for their tastes. However, just because this furniture was designed for Georgian or Regency townhouses doesn't mean it won't look right anywhere else. Be imaginative with your styling and you can make antiques relevant for a 21st Century setting.
There is plenty of inspiration out there, as we increasingly see brown furniture in a diverse range of interiors. Majestic antiques are finding homes in contemporary flats, apartments and loft conversions. It all comes back to contrast, the greatest interior trick in the book.
We are not defined by one style. An antique mahogany dining table looks fantastic surrounded by abstract contemporary art, for instance. If you are limited on space, a well-chosen piece of antique dark wood furniture, like a walnut bookcase, instantly creates a mature space.
If your style is more modern, incorporate antique wood furniture sparingly and don’t fear juxtaposition. A tall mahogany cabinet in the same room as a glass and chrome coffee table adds depth and interest. Taking risks is essential for creating that friction that makes an interior successful. Equally, the Mid Century take on brown wood was all sleek lined and sculptural. A teak sideboard from this era will bring the same qualities as antique examples, just with a more contemporary feel.
For many, colour is a major consideration when it comes to choosing furniture. Those who aren’t a fan of colour in general tend to gravitate towards whitewashed interiors. Others will match their furniture colours to other interior elements like paint. Lots of us jump to paint a piece of brown furniture to make it fit into a wider scheme.
However, it is important to remember that brown IS a colour – it is not a blank canvas. Natural timber, beautifully aged and patinated, is one of the loveliest colours you can have in an interior. It also works well with a remarkable range of colours, patterns, and textures.
With light paint and minimalist furnishings, a mahogany commode in the living room will ground the scheme and add richness. Equally, brown furniture will look brilliant within a moody scheme paired with rich dark paint. Look at the dominant hues in the wood and use paint and soft furnishings to draw out those colours.
Dark wood furniture was designed to be well used and well-loved, and this should still be our approach today. Keeping it in check just requires a little TLC, as our in-house restorer Dave explains.
Our in-house restorer Dave knows all there is to know about restoring antiques and repairing any damage. He plays a crucial role in sustaining the life of our stock and making sure it can survive for future generations. He shares his dos and don'ts for materials we often encounter in the antiques world.
Dave says… ‘Caned seats and backs, as well as whole wicker pieces, gradually disintegrate over time with heavy use. If you have buttons on the back of a pair of trousers, for example, they will snag and aggravate the cane until one day – ping! The woven part will come loose. There are a few things you can do, however, to keep cane or wicker pieces in tip-top condition.’
DO: Treat the wicker to strengthen it. You can use a clear lacquer or shellac to do this, but be sure to read the specifications of your product carefully as not to affect the colour of the piece. A good quality clear shellac will put a sheen on the wicker without affecting the colour. This will help the cane to last longer and avoid fraying or breakages.
DON’T: Use a wicker piece to support heavy loads. You might think a very heavy box on a caned side chair works for a temporary storage solution, but this will gradually weaken the tautness of the cane.
DO: Use cushions. This will help to reduce the daily stress on a cane or wicker seat.
DON’T: Drag fully wicker pieces around, like a bamboo dressing table for instance. These pieces are usually only fixed with nails and pins, so a lot of dragging and heavy-handedness will weaken them. Lift the pieces up and move them instead.
You might have inherited a lovely Georgian or Victorian piece, with stunning colour and patina. How do you keep it looking that good?
DO: Use a wax diluted with a little white spirit to treat the piece. Do this a couple of times a year to preserve the finish.
DON’T: Expose it to direct sunlight or a very warm part of the home. This is how antiques fade and lose their striking depth of colour.
DO: Use a lint-free cloth to dust your antiques. This way, you won’t scratch the polish.
DON’T: Surround a great piece of brown furniture with plant pots or other water hazards. Watermarks are the devil for brown furniture and must be avoided at all costs.
Not sure why it is worth restoring an old piece of wooden furniture? Read our case, 'In defence of brown furniture' here.
In most cases, you want to consult a professional when it comes to upholstered furniture because there are considerable risks with it. However, Dave advises…
DO: Inspect the frame before you start taking anything off. Make sure the legs are intact and check for wobbles in the frame.
DON’T: Do anything in haste. In some cases, the upholstery will be keeping the whole thing together. This is where a risk assessment is very important.
Intricate veneers are often what makes a classic piece of antique furniture so beguiling. But after a long life this applied decoration can start to lift off. What can you do?
DO: Cut a small square or rectangle where the damage is and patch repair it, then match the colour after.
DON’T: Cut veneers in funny shapes! Matching it after will be a nightmare.
DO: If the lifting veneer is one piece, lift it up and glue underneath then put it back down. Run a flat knife along where it is lifting to see how extensive the problem is – there’s no point in patch repairing bit after bit, you may as well do it in one go!
DON’T: Attempt to patch repair if there are bits missing entirely or splintered. You will need to replace the whole thing.
Gilding gives anything from a commode to a mirror a majestic opulence. How do you keep it looking so good?
DO: Take care to match the exact colour of the gold leaf if you are going to touch up the gilding. Believe it or not, there are lots of shades of gold!
DON’T: Transport gilt antiques carelessly. Logistics is where most damage to gilding is done.
Dave's final piece of advice when it comes to tackling restoration:
‘If you are going to take up restoration or repair your own pieces, it is going to take a lot of patience. You need to juggle several skills. A risk assessment needs to be carried out for every piece, and you must think ahead.’
Restoring antiques and other furniture is key to an eco-friendly approach to interiors. Read our article 'Sustainable antiques for soulful homes'.
With its tall back and enclosing wings, the wingback armchair is a distinctive classic. It has established itself in the upholstered furniture lexicon with its offer of elegance and comfort. Whilst wingback armchairs now represent a timelessly stylish piece of furniture, their origins are very practical.
Today, with our central heating and carpets, it is difficult to fathom quite how cold the old English home once was. 'Wings' were added to seating to protect the sitter from blustery draughts, as well as from stray embers and ashes that might spit out of the roaring fire.
The wingback still offers this protection, but there is clearly less need in today’s home. So why are these chairs still so prevalent in our interiors? Their stately yet enveloping form has made them a true stalwart of classic English furniture.
The first record of any sort of wingback chair was made in the 17th Century. At this time, its purpose was likely wholly utilitarian and these chairs were used for the aforementioned reasons. It was probably entirely wooden, perhaps with an added seat cushion for comfort. Indeed, the wingback armchair shares its wings, or ‘saddle cheeks,’ with the settle. Both variations were orientated around warmth and, of course, having a place to rest.
During the Queen Anne years, the wingback evolved to become the classic English armchair we know today. Whilst Queen Anne only reigned from 1702 to 1714, the ‘Queen Anne’ style persevered for much of the first half of the 18th Century. This was the age of walnut and developing upholstery skills, which both elevated the wingback into something quite beautiful. Cabinet-makers combined these wings with the elegant new cabriole leg, with its curved knee and pad foot.
Interiors underwent a great deal of change during this period. As large-scale fireplaces and bigger windows emerged, there was a natural demand for furniture with similar proportions. Cabinet furniture became large and imposing and chairs had more generous proportions. Social change was underway too, and gatherings required plenty of sociable furniture. So, the wingback became the ultimate ‘easy chair’ during the Queen Anne years, and its use extended far beyond protection.
From Queen Anne thereafter, the wingback had firmly earned its place in the English home. Georgian interpretations used walnut and mahogany frames with tall, shaped backs and wings. Wingback armchairs also found their way across the pond to France and elsewhere in Europe. Wings were a natural adornment for French bergères, particularly the curvaceous feminine examples seen under Louis XV.
The early 19th Century brought about an upholstery revolution, which swept the wingback armchair along in its tide. Prolific makers of the period, such as Howard & Sons, produced their own examples of the style popularised by Queen Anne. Comfort became a keen priority in Victorian Britain, and the wingback developed a perfect combination of comfort and aesthetic. By the time the English country house style was truly codified a century or so later, the wingback was already a classic in its own right.
The remarkable thing about these chairs is their never-ending appeal. From their primitive beginnings for warding off draughts, wings still appealed to designers of the mid to late 20th Century. Indeed, many modern furniture companies still produce the style. Over the years, wingbacks have sported everything from velvet to leather coverings – depending on current fashions.
At the heart of this enduring appreciation is the organic shapely feel wings give to a chair. Post-war designers across Europe adapted the feature to suit their sleek and functional designs. For instance, in 1957, Ottorino Aloisio designed a wonderful wingback which was manufactured in Pier Luigi Colli’s workshop. This chair appears to have almost nothing in common with a classic Queen Anne wingback; it has a simplistic silhouette with a metal frame and ergonomic feel. And yet, wings are such a distinct feature that wingback armchairs from all walks of life feel related.
These chairs are high and mighty, yet also comforting and welcoming. As a result, wingbacks have a place in all interiors. Wings give a chair an automatic sense of structure and presence. Their shape means they look brilliant from any angle, with a particularly striking side profile. Angle one or two beside the fire or incorporate them into a suite for a full English drawing room feel. Wingbacks and Chesterfield sofas share a respected legacy and complement each other wonderfully. Camelback sofas are another great match for these armchairs, due to their common s-curve form.
All armchairs feel at home in the living room, but a wingback will accentuate any corner of your home. Their cosiness is perfect for a bedroom chair, or to welcome guests in a foyer or hallway. The high back, deep seat and wings of a classic wingback make it a supportive reading chair for the library or home office.
The wingback style has truly stood the test of time. With their charming utilitarian history, these armchairs somehow feel both timeless and contemporary. They will sit proudly within a range of interior schemes and offer an opportunity to combine their classic silhouette with vibrant fabrics of your choice. Pair extravagant colours with a neutral setting, or vice versa place a simple wingback in front of floral wallpaper or brightly painted wall.
Browse our collection of wingback furniture here, and all of our armchairs here.
"The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art." During the lockdown, we spoke to Countess Alexandra Tolstoy about her cottage in Oxfordshire, home-schooling, and how she reflects her Russian roots in her interiors.
Q: How are you finding home-schooling your children? Have you got any tips or tricks?
A: I can’t say I love it! My children go to French schools, but my French is only GCSE standard, so it’s a huge struggle helping my older son to read Rabelais and Moliere- not to mention binary long division! We never seem to get everything done but I often read out loud to my children. Recently it’s been King Solomon's Mines, The Arabian Nights, and the Narnia series. I hope this is giving them another layer of education that can’t be found at school. I also make sure they go outside every day. We are lucky to be in lockdown in our cottage so they can whizz around on their bikes or go up into the woods and make camps.
Q: You grew up in the Somerset countryside but spent long periods in Moscow and London. Do you feel most at home in the city or the countryside?
A: I love both equally. People often assume I prefer the countryside but I adore the city- both London and Moscow- and couldn’t live without it. I need the inspiration and creativity that I find from being with others and I’m not a solitary person!
As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting.
Q: Your cottage in Oxfordshire is the definition of Cotswolds charm. How do you go about decorating a smaller space?
A: I think, contrary to common belief, small spaces can (and for me should!) be full of layers and details. I always try and be authentic and respectful to the building I’m decorating. As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting. All the children sleep in one room- I just found extra narrow Victorian brass beds on Ebay!
Q: How is the cottage coping with the demands of serving as a family home during lockdown?
A: It’s amazing, rather like a tardis! I have an outside office that my son has made into his classroom. The younger two don't have many live lessons, so I work with them at the kitchen table a lot whilst cooking and trying to do my own work. I love the feeling of spilling from inside to outside and they run in and out all day long (bringing far too much mud in!). We brought minimal clothes so I’m constantly washing, but we don’t have a problem with storage. The children are very good about playing with their Lego in a small space in front of the fire.
It’s lovely that we’ve been able to spend so much time here, it's usually a holiday rental and we spend a maximum of two weeks here at a time. I’ve loved watching the winter months go by and having fires every day.
Q: How are your Russian roots reflected in your interiors?
A: I think they are reflected most in our London home. The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art. We have icons, of course, and lots of touches of gilt that probably reflect Russian churches. I love embroidery and have collected beautiful silk Uzbek chopans (coats) on my travels that hang in my bedroom. I suppose it’s an eclectic mix of all my life- Russian, English and Central Asian.
Q: Your style has a folkloric feel which we love, where does this stem from?
A: I suppose from my travels. I spent many months riding through remote Russian villages in Siberia and southern Russia. I was enchanted by the colourful, whimsical wooden houses with their huge stoves and intricately carved windows. They were like something straight out of the pages of Pushkin’s fairytales. But I also think my English family has influenced me. My mother is one of seven children, and they were brought up to do everything by hand- knitting, sewing, smocking, embroidery, painting etc. They all grow their own vegetables and are great cooks, with a love of the land and traditions. I experienced this from early childhood and it has definitely been a great influence.
I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: You have faced many challenges in recent years, where do you turn to for comfort and joy?
A: I am Russian Orthodox and my faith has given me a lot of strength. I think I also built resilience through travelling. I had to be so independent and overcome many obstacles alone, which has served me in good stead. From an early age, I also read and read romantic 19th Century European literature, which I believe gave me the imagination and scope to see past my own experiences. I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: The Christie's sale of the contents of your London home was a breath-taking reflection of the interiors, designed by Colefax and Fowler. What piece were you saddest to see go?
A: I was very sad to lose a wooden model of the Sergiev Posad Monastery, the oldest monastery in Russia, as this was a personal belonging. But overall I wasn’t sad at all- these are only things and it was liberating to realise I could let go and our lives have only moved onwards and upwards.
Q: Are you a minimalist or a maximalist at heart?
A: A maximalist for sure!!!!!
Q: You have a distinctive sense of style, and The Tolstoy Edit is a hive of inspiration. Do you consider yourself a trend-setter?
A: Oh no! I don’t like trends and don’t follow them myself. I think if you like something, you like it- irrespective of the era. Fortunately, I know exactly what I like and these days I don’t feel like I make huge mistakes, but that took many years to hone!
Q: Your love of horse-riding is well-known, has this been a passion since childhood?
A: I did love ponies in my childhood but my passion is more about travelling in these wild places- horses are the most wonderful way to see unspoilt corners of the world.
Q: What is your favourite room in the home? Why?
A: I think it has to be the kitchen. I adore entertaining and baking and everything seems to happen there. I’m a sociable person so the pandemic has been testing. I adore having people over for dinner and making an occasion of anything and everything!
Q: What is your ultimate comfort food dish?
A: Hmm, it probably has to be my freshly baked carrot and walnut cake!
Read all of our Q&As on L-Shaped.
The 18th Century writer Savary des Brulons described marquetry as 'paintings in wood.' He refers to the process of creating a decorative image by applying thin pieces of wood over the surface of an object. This intricate process can transform a piece of furniture into a masterpiece.
The Italians were the first to use marquetry in the 13th Century, but the Dutch perfected and spread the art throughout Europe. The first English examples arrived in the Stuart period and it was in full swing by the late 17th Century. Over in France, Louis XIV was keen not to miss out on this new European trend, ordered a Marqueters Guild be set up in 1743.
In Britain, its popularity would ebb and flow but England's love affair with neoclassicism produced some particularly stunning examples. Thomas Chippendale, along with his force of about 50 artisans, was an undisputed master of marquetry.
He collaborated with Robert Adam on the interiors of Harewood House, which still holds brilliant examples of his furniture. Chippendale's Diana and Minerva commode is particularly famous and featured beautifully intricate marquetry on a satinwood ground. His marquetry writing desk, now housed at Temple Newsham, is perhaps one of the most important pieces in English furniture history.
Exquisite cabinet-making
Very thin layers were key, so craftsmen often used veneers or very thin sheets of material like hardwood. Having planned a design, they would then cut these layers into the necessary shapes and glue them to the surface. With painstaking care, this would bring the desired pattern to life. Most impressively, cabinet-makers carried out this complex and technical process by hand for centuries.
Using a variety of different woods was key to colour differentiation and creating a striking decorative effect. Cabinet-makers favoured maple, oak, mahogany, and satinwood for their rich and varied hues. Walnut often formed the background, because its richness allowed the lighter woods to stand out.
Marquetry created a range of imagery, from foliate borders to whimsical pastoral scenes. Generally, floral marquetry represents an earlier period and arabesque a later period. Floral involves acanthus foliate decoration, vines, flowers, and sometimes birds. Arabesque, or seaweed marquetry, generally only used two kinds of wood- holly for the decoration and walnut for the background. This method relied not so much on colour but on extremely fine scrollwork and other controlled decoration.
There is sometimes confusion between 'marquetry,' 'inlay,' and 'boulle.' The results can look very similar, but marquetry does not rely at all on the surface to form the desired image. Inlays use a recess in the surface to input another material, such as bone.
Andre-Charles Boulle, a prolific cabinet-maker in the court of Louis XIV, created 'boulle marquetry.' This technique achieved even more elaborate decoration out of brass, tortoise-shell, mother-of-pearl, and other inlays.
Marquetry naturally evolved as more materials and tools became available, but its decorative power has never truly fallen from fashion. Today, carpenters and furniture designers draw on legendary examples from the likes of Chippendale to create modern masterpieces.
View some fine marquetry pieces from our collection here.
No point in British history had such a profound and lasting impact on furniture design as the Georgian period. Let's take a closer look at this towering legacy.
The Georgian period counts for over a century of English history. Four consecutive George’s were on the throne, and it was a time of relative stability.
Beginning with George I and ending with George IV, Georgian England encompassed a wide range of design styles. The enduring legacy, however, is one of sturdy and high-quality furniture that exudes elegance.
There’s a certain vitality to the Georgian period, reflected in its furniture and other antiques. Democracy was growing and it was a time of relative peace and prosperity. This was the era when games tables came to the fore, and interiors revolved around entertaining. Grand homes, such as Chiswick House, needed furnishings for entertaining guests for days at a time. Pieces had to be functional, but also on-trend, and cabinet-makers delivered to that brief.
The ‘early Georgian’ period refers to the reigns of George I and George II. Under George I, the elegant furniture of Queen Anne continued, whilst Rococo style flourished under George II.
The ‘late Georgian’ period correlates with George III, who reigned from 1760 to 1820. This was the heyday of Chippendale, Hepplewhite and Sheraton and neoclassicism took off. George IV, as Prince Regent, reigned on behalf of his father for the last nine years before taking over as King.
George IV pioneered the well-known Regency style. Our previous blog explored the Regency in-depth, so we will focus on the prior period in this article.
Georgian furniture did not just make use of mahogany as a material- the timber dictated design in this period. This exotic wood was not a new discovery; designers had long admired it and used it for the finest of pieces.
The timber of choice up until this point was walnut, but several factors side-lined it in favour of mahogany. England had been heavily reliant on France for importing walnut, until France banned its export in 1720. Shortly after, in 1721, Sir Robert Walpole as British Prime Minister lifted the tax on mahogany.
Thus, the mahogany revolution began, offering an indispensable resource to the cabinet-makers of the 18th Century. The timber was sourced mostly from Jamaica at first, and then Honduras.
This wood was durable and tough, with a very fine grain that resisted scratches and bumps. Mahogany blended seamlessly with ornament and lent itself well to the elegance that defined this period of furniture design.
Mahogany wasn't the only exotic timber coveted in this period; designers also exalted the boldly striped figuring of rosewood and satinwood.
Both the excellence of furniture in this period as well as its varying styles are down to the master cabinet-makers of Georgian England.
The Georgian period saw a growth of the middle and lower upper class in England. This created a thirst for possessions and furniture, which provided a strong market for the cabinet-maker. And what an era for cabinet-making it was!
Thomas Chippendale was the first on the Georgian furniture scene in London, the centre of high society. Entrepreneurial by nature, he is widely regarded as one of the finest furniture designers in English history. In 1754, he found some fame with The Gentleman and Cabinet- Maker's Dictionary. With numerous reprints and editions, this pattern book was sourced by fellow cabinet-makers, architects and noble gentleman.
Chippendale was a man who found inspiration and wonder in everything he saw. He drew upon French Rococo style, more classic French style, the Gothic and the Chinese. The Chippendale legacy is aligned with English Rococo style, though he spanned so many styles with ease. William Kent was another designer who enthusiastically embraced Rococo as well as Palladianism.
Chippendale catered to swelling demand for functional yet stylish furniture. He accepted commissions to provide interiors totally in the Chippendale style for wealthy households. Chippendale pieces are famous; the camelback sofa, ribbonback chairs, and shell and acanthus decoration feature heavily. Collectors exalt his chairs, sofas, mirrors, and serving tables as some of the finest furniture in the world. He was known for bold brass hardware, fretwork moulding and cabriole legs with ball and claw feet.
‘Country Chippendale’ and ‘Irish Chippendale’ emerged in the second half of the 18th Century. Rural craftsmen emulated his designs, using native woods rather than mahogany. These are wonderful pieces in their own right, but the quality does not compare with his original designs.
Where Chippendale pushed the boundaries, experimenting with new fashions, other designers brought furniture back to basics. Hepplewhite and Sheraton later joined Chippendale as key players in the furniture design of this period. The combined influence of these three men upon English furniture was nothing short of monumental.
As we move into the mid-late Georgian period, neoclassicism begins to dominate furniture design. These designers were of the 'Grand Tour' generation and drew inspiration from Greek antiquity. Robert Adams was undoubtedly the most significant proponent of English neoclassicism. Along with his brother James, the Adams' personal take on Palladian architecture and furniture sent shockwaves through design circles.
Chippendale became aware that change was underfoot, and so he took neoclassicism and ran with it. Some of his greatest successes were in this later period, and the neoclassical Harewood House is still home to some of his best furniture designs.
However, neoclassicism was Hepplewhite and Sheraton's guiding principle from the outset. Despite his huge legacy, George Hepplewhite the man is something of a mystery. He died in 1786, leaving his estate and business to his widow, Alice Hepplewhite. Alice carried on under her own name: A. Hepplewhite & Co. It was his widow who published The Cabinet-Maker and Upholster's Guide in 1788. This book would catapult Hepplewhite to the centre of furniture design.
Hepplewhite pieces draw upon French neoclassicism under Louis XV and Louis XVI. This pair of French salon chairs exhibit his style perfectly.
Hepplewhite was the 'master of the sideboard,' and his designs were light, well-proportioned and beautifully polished. You might recognise them for their splayed feet and stunning inlay decorations.
Chippendale and Hepplewhite had passed on before Thomas Sheraton arrived on the London furniture scene in 1790. He very much continued in Hepplewhite's vein, and the beholder can confuse the two men's pieces. However, Sheraton pieces went the extra mile when it came to refinement. Known for his rectilinear shapes and often opting for straight or tapering legs, Sheraton used neoclassical motifs such as reeding and rosettes.
And so, as the Georgian period came to an end, Hepplewhite and Sheraton finished up on a neoclassical note. Their ornament was in contrasting woods and beautiful inlaid decoration. Hence, in the evolution of the Georgian period, you witness a trajectory that builds up to extravagant heights before cooling down to simpler designs.
Despite the multitude of styles in this period, the majority had durability and beauty in common. For this reason, Georgian antiques have survived in high numbers and are still very desirable.
It was a widely emulated style for many years, particularly in the 19th Century. Although reproductions are still covetable in their own right, look out for the differences.
England and France revived Georgian design in the 20th Century, as the English Country House style emerged. Over in America, the Georgian legacy gave rise to Federal style. This is fashion that has truly stood the test of time and continues to influence interior design trends to this day.
Georgian tables, chairs, lighting, and cabinets adapt easily to the modern home. The pieces are unobtrusive and showcase the finest craftsmanship.
Lorfords is home to lovely Georgian pieces, which will ease seamlessly into your interior. Browse our lookbook ‘Georgian Golden Age' to breathe new life into your home.
When rumours of an impending lockdown were circulating back in March, office workers everywhere were hauling technical equipment home. As restrictions ease, it seems that the option to work from home will be part of our lives for the foreseeable future. Spending time curating your perfect home office is well worth it, for the sake of comfort and style.
Office life has been ingrained into modern society for decades and is a part of our culture. However, prior to the industrial revolution it was the norm to work from home. Humanity has always had some version of this concept, from medieval merchants operating from home, to women in post-World War II Britain who began the industry of in-home sales.
Indeed, working life was redefined by the success of Brownie Wise’s Patio Parties in the 1940s and 50s. Working in sales for Stanley Home, Brownie saw an opportunity for selling Tupperware by bringing women together in a social capacity.
There is a plethora of antique furnishings dedicated to working, reading and writing. Despite modern technology, the office doesn’t have to strike a jarring contrast with the rest of your home. The highly efficient laptop you work from may not resonate with the 18th or 19th Century study, but your desk and décor certainly can.
When the country was instructed to work from home if possible, there were some happy novelties- namely endless cups of tea and waking up ten minutes before your first meeting of the day. But then Zoom calls became exhausting, interrupted by children or pets, and the home WiFi cracked under the pressure. The line between working life and free time became increasingly blurred.
Love it or loathe it, working from home for lots of professions is going to remain prominent. Creating the perfect home office space is vital for the most productive and aesthetic work environment. A study ought to provide an oasis of calm amidst the chaos. Technical equipment is the interior designer’s worst nightmare and the key to reconciling cables and screens with attractive furnishings is storage and clever use of space.
A handsome secretaire can ease all your work-from-home woes. Introduced in the late 18th Century, these enclosed cabinets became a staple for middle-class homes. The secretaire, which translates literally as ‘writing desk,’ keeps your unruly paperwork, many notes-to-self and quirky possessions safe and out of sight. Archival boxes serve a similar purpose and will keep your desk clutter-free.
Just as important as an attractive, practical desk is the accompanying seat. Long days sat at the computer cry out for a good chair. A finely crafted antique chair will give you the support you need to get through a lengthy meeting or project at your desk. In addition to a desk chair, a good library chair is perfect for the coffee break or a morning meeting.
We have been given unprecedented insight into each other’s homes during this period, seeing our colleagues in a more personal light. On a video call, it seems as though people compete for the most extravagant house plant, the most diverse and
thoroughly stocked bookshelves or the finest painting in their background.
Excess decoration is often a distraction in an office environment. However, some décor is necessary and a good clock is a must for counting down the minutes until your next tea break. The odd attractive painting, sculpture or vase is worth including to provide something pleasing to the eye when you’re on your eighth Zoom call of the day. In the midst of a long working day, a few memoirs from travels and adventures can help to keep you motivated for your next trip.
The home office should have several sources of light; a desk light is vital and a floor lamp a pleasant decorative addition. A Maison Jansen palm standard light in the corner of the room will out-shine even the most over the top house plants.
Necessities aside, why not put a daybed in for when the constant stream of video
conferencing gets overwhelming? Lorfords even offer a bed for your (very small) dog or cat, so that they don't miss out.
Consider investing in a drinks trolley to keep nearby, Mad Men style, so that your 5pm drink comes that bit faster. Alternatively, stay true to the sober Victorian beginnings of the bar cart and use it to keep a constant stream of tea going.
Visit our new lookbook, ‘Curate the perfect antique home office’ to browse the pieces featured.