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When the mercury hit 40 back in July, many of us wished our homes were better equipped to deal with extreme heat. While we can’t transform a country cottage or London townhouse into a Provençal chateau overnight, we can still learn some design lessons from Mediterranean interiors.
‘Mediterranean design’ can be difficult to pin down - in part because this style actually borrows from all over the world. And yet certain features make it instantly recognisable, like swathes of natural light, a heady mix of natural materials, and a total embrace of the surrounding landscape.
A common misconception is that it means whitewashed. While you will see plenty of white both inside and out of Mediterranean properties, the true essence of the approach is rooted in colour - a palette inspired by the natural world surrounding the property.
Mediterranean interiors are laid-back yet considered. They're rooted in nature yet they feel contemporary. Below, we discuss a few ways you can bring this look into your own home - whatever the season.
Preparing your canvas
Some are lucky enough to inherit a Mediterranean feel when they move into a property. Ever since the years of the ‘Grand Tour’, British architects have looked beyond our island confines for property inspiration. Archways connecting indoor and outdoor spaces, or courtyard gardens stemming seamlessly from bedrooms or living spaces, provide a natural starting point for Mediterranean-inspired living. It's not all luck of the draw, though, and you can lean into this style through renovating or just decorating.
Mediterranean design relies on organic textures, and this starts at the base level of a space. For example, raw plastered walls, stone flooring and plenty of tiles naturally create a villa feel. Sometimes this is in cool, neutral tones, but not always. Indeed, anyone who visited Portugal this summer will have seen plenty of ‘azujelos’; their iconic royal blue and saffron yellow patterned tiles. Terracotta, too, is at the heart of the Mediterranean look, with its warm earthy tones exuding depth and character.
Terracotta flooring instantly bestows rustic chic on a property, while marble floor and wall tiles bring timeless palatial luxury. However, like with any design device, you can go big or small. Use decorative tiles to create a statement washbasin splashback or to surround a garden fountain or statue, and get your terracotta fix from indoor and outdoor planters.
Throughout the Cotswolds, you’ll often spot sage green shutters in the windows of traditional stone houses. These serve the practical purposes of keeping onlookers and the weather out, but shutters are also synonymous with Mediterranean style. Look to these as a simple way to transform the feel of your home without making any major changes.
Tactile textures
As we’ve already mentioned, texture is the crux of Mediterranean design. It relies on natural materials to bring a living, evolving feel to indoor spaces.
Timber is a key ingredient in this, and the more rustic the better. Natural wood brings much-needed warmth to Mediterranean interiors, especially where you do have an abundance of white or neutral shades. Think live edge dining tables and driftwood sculpture, complete with every knot, burl and medallion that speak to their long life.
Similarly, rattan has always brought a sense of warmer shores to our homes. This versatile, strong material is synonymous with laid-back living, whether it's used for a chair or just a lampshade. Rattan and wicker offer a ready canvas for soft furnishings, providing just enough structure while imbuing a space with a welcoming feel.
On that note, linen is your go-to material for softening such a space. The flax plant is native to the eastern Mediterranean, and creates a fabric that’s at once soft and textured - characterised by its raised slubs and flecks. Use a sheer linen for drapes that let dappled light in, or stronger blends for bedding or scatter cushion covers.
Relics of land and sea
The eclectic range of antiques that survive from this corner of the world testify to its diverse history. From furniture to objets d’art, these relics infuse our homes with character and intrigue.
Vernacular Spanish timber tables and benches with heavy, simple joinery ground interiors with their primitive aesthetic and sense of craft. Italian and French armoires, complete with remains of old paint, bring relaxed, farmhouse charm to a bedroom. You can also nod to this style with smaller decorative pieces, like French confit pots with their dripping glaze frozen in time.
Lighting is key to keeping Mediterranean interiors cosy and welcoming in dark winter months. Look to weighty cast iron candelabras and towering candlesticks for magical, atmospheric lighting. For more practical task lighting, choose gilded sconces or table lamps crafted from marble, travertine or ceramic.
We’re fortunate to have a host of sunburst mirrors brightening up our showrooms at the moment. Most originate from Spain or France, and some are by Chaty Vallauris - the Provence-based design house that made the sunburst their iconic legacy. These statement mirrors, with their mesmerising rays and glittering gold leaf, guarantee sunshine on even the bleakest midwinter day.
The Mediterranean embrace of the natural world extends to art and ornaments, too. From giant ammonite fossils to conch shells that whisper of the sea, nature’s sculptures bring a sense of the scale and history of our earth into our homes. They remind us of past travels and encounters and evoke the curiosity of our visitors.
The Mediterranean garden
When we think of the Mediterranean, the natural landscape is often the first thing that comes to mind - and not just the sea. From the vivid trails of Bourgainvillia that line Grecian streets, to French fields of lavender, each corner of the Mediterranean has its own chorus of mesmerising flora.
Mediterranean Sea Holly grows wild in this and other parts of the world, but you will also find the spiny plant in some British gardens. Recognisable for its blue, green and violet colours, this herbaceous perennial is as eye-catching as it is low-maintenance.
Olive and bay laurel trees are other staples of Mediterranean gardening, as are citrus trees - although these are better suited to an orangery during the British winter. Watching fruit grow from a mere seed is a rewarding antidote to seemingly endless grey days.
In the kitchen, keep rosemary, sage, or tarragon plants on your windowsill. If they don't spark culinary inspiration, they'll at least waft the scent of the Med your way.
Give your flowers and foliage a fitting home with bold planters. Whether you're drawn to classical stone urns or dramatic metal jardinières, the Mediterranean has plenty to offer in this area, too.
Soft touch
Some of us long for the warmth of a Mediterranean summer all year round, but British reality is… well, quite different.
While this style may feel more instinctive in the summer months, it's actually accommodating of all seasons. The trick is textiles - of every kind, in every room. These form a crucial layer in the make-up of any space, but especially in Mediterranean interiors.
Rugs and runners offer welcome respite from cool stone flooring, while window dressings will soften stone or tiled walls. Contrast is key for keeping your surroundings stimulating as well as comfortable; the coarse texture of a hemp rug softened by woollen throws or sheepskin, for instance.
Textiles offer an opportunity to satisfy our cravings for colour on grey days. The Mediterranean basin was once a vibrant trading ground for pigments, and these original colours offer a springboard for decorating. Blend jewel-like indigo blues and malachite greens with earthier tones of ochre and madder red to evoke Mediterranean interiors.
It can be hard to know where to begin when it comes to such a ubiquitous design style. Browse our lookbook to inspire your own Mediterranean journey.
'If you really love something and you can afford it, buy it. You will never regret it.' - Kate Earle
We chat to Suffolk-based designer Kate Earle, of Todhunter Earle, about what makes her tick and where she gets her fabulous style inspiration from.
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Some of my best ideas have come while driving, I drive a lot, in and out of London, site visits, school runs. I never listen to music, I listen to the radio and I think about the projects I am working on, occasionally I have a lightbulb moment, it’s the only time that I am ever on my own.
The thing I couldn’t do without is horses, they are a huge part of my life.
The place that means a lot to me is the North Norfolk coast, it is not too far away from Suffolk where we live. The beaches are the biggest and whitest in the world. Breath-taking scenery, space and calm.
The best souvenir I’ve brought home is an Italian marble-topped serving table with a painted and gilded base bought in Florence on our 10th wedding anniversary. It is in our dining room in Suffolk.
The last thing I bought and loved was the Japanese embroidery from Justin Evershed Martin, for a new apartment that I have just completed for myself in London.
The best books I’ve read in the past year are Orlando King by Isobel Colegate, Meet Me in the In-Between by Bella Pollen, my sister and I argue about Bella Pollen, I think she writes really well, she doesn’t! Just about to start Young Bloomsbury by my great friend Nino Strachey.
The podcast I’m listening to is The Airing Cupboard, real-life stories read by my friend Zoe Brown in her amazing, chocolatey Belgian accent.
I placed a Lorfords Contemporary piece in a TP Modern sofa in a very contemporary beach house on the Caspian Sea.
In my fridge, you’ll always find a bottle of Belvedere vodka and some parmesan.
The event that changed everything for me was a school careers lecture by Jacqueline Inchbald when I was 14 years old. That was it, I knew what I wanted to do and never swayed. I had set up my own business by the time I was 21.
An indulgence I would never forgo is ready salted crips, I could happily live on them.
The last piece of clothing I added to my wardrobe was a yellow straw hat by Jane Taylor, I bought it in about two minutes whilst double parked outside the shop. I could see two policemen bearing down on me and I had to move fast.
My favourite building is ooo, I have a few….the Pantheon in Rome, the Brighton Pavillion, our tiny Georgian fishing hut by the river in Herefordshire.
My favourite room in my house is my bedroom, it is huge. I have a proper dressing table (my grandmother's), sofas and chairs, a fireplace and views over the garden. It's quite colourful but tranquil and full of interesting things.
The best advice I’ve ever received is if you really love something and you can afford it, buy it. You will never regret it.
I do not compromise on attention to detail when designing, I am fanatical about design detail.
I often compromise on my clothes, I tend to wear the same thing, or a version of, every day.
My favourite object to include in a project is antique or one-off lighting and lamps, we make a big effort to source unusual and interesting lamps, when budget allows we love to commission bespoke ceramics by Kate Malone, Rupert Merton etc.
My favourite Lorfords Antiques piece is an antique green and sienna marble table that we have bought for a house in Suffolk, due to complete in the Autumn.
What I love about contemporary living is open-plan living spaces that allow the whole family to be in one room but doing their own thing. I don’t actually have one but maybe one day.
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Click here to read more L-Shaped interviews or click here to visit the Todhunter Earle website.
For over 20 years since its inaugural show, on form has captured the imaginations of visiting collectors, professional artists and local naturalists.
Asthall Manor’s owner Rosie Pearson started something incredible in 2000, which has grown into the extraordinary exhibition we see today. It is more than just an outdoor gallery. It is a series of installations that speak to us without words, connecting people to their surroundings and allowing them to experience the captivating tension between garden and stone.
Every other year, sculptures have adorned the gardens at Asthall Manor for on form since the turn of the century. In 2016, the exhibition expanded into the river meadow for the first time, cutting meandering paths through the wild grassland and giving visitors surprising long-distance views of the sculpture. It was also in the same year the ballroom and indoor spaces were furnished in collaboration with Lorfords Antiques for the first time.
Since 2006, on form has been curated by Anna Greenacre. We caught up with Anna as she prepares for the 2022 exhibition which opens on 12 June and ends on 10 July.
Anna, you have been curating on form since 2005. How do you create a new dynamic at each event?
“There are so many factors involved. Primarily, it is about creating a balance between new sculptors and previous exhibitors, and also finding new ways of showing the work within the landscape and the buildings. It is always one of my fears that we might not live up to the last exhibition, but somehow we do and I believe this year is no exception.
As a team we are always looking for fresh ideas and this year we are really excited to be showing 35 sculptors at Asthall, 6 of whom are coming from Europe.”
You have a reputation for thoughtful placement that is sensitive to the relationship between sculpture and landscape. How will you bring the landscape alive for this exhibition?
“Thank you! Creating a sense of fun and surprise for our visitors is one of my top priorities. I want to find spots which make the sculptures zing both in isolation and in relation to other exhibits and their surroundings.
The natural world of the garden both contrasts with and complements the carved stone. Sculptures bring contours, texture and intrigue whilst the garden’s plants and trees have a lovely way of softening and framing each piece. The combination will, I hope, provoke thought and conversation as well as simple aesthetic enjoyment.”
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- Alyosha Moeran, The Dreamer, Honister slate, 62 x 108 x 40cm
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- Peter Randall-Page, Envelope of pulsation 1-3 , Granite, sizes vary
Asthall Manor has been the permanent home of on form. The beautiful and intriguing house and gardens must feel very familiar to you now, you must know every nook and cranny?
“I really do! Once the process of creating a new exhibition begins, I start dreaming about the placements of sculpture, quite literally. We have giant maps of the garden, river meadow and churchyard, and of the interior spaces in the church, office and ballroom. These are a wonderful visual aid. And when I get stuck or overloaded with ideas I walk through the familiar but still magical landscape and imagine the sculptures in situ.
I try to be mindful of scale, stone colours, the play of light and shadow, and the relationship of the sculptures to the garden and Cotswold architecture.”
What can visitors expect from this year’s exhibition?
“350 stone sculptures to enjoy for a start! I don’t know of any other show which installs hundreds of stone sculptures for just a month. We have giant clouds, origami animals, a feast of vegetable-inspired sculptures and so much more, both figurative and abstract. We want to delight, surprise and engage our visitors and because of our “do touch” policy our visitors are encouraged to stroke, smell, and feel the ancient surface of each stone. This multi-sensory experience affects people in deep-rooted and unexpected ways which can be really quite emotional.
Alongside the exhibition itself, there will be Garden Talks as well as walks with sculptors, gardeners, the curator, and geologist Philip Powell plus painting workshops with Kieran Stiles. There’s lots going on."
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- Jordi Raga, Everything is going to be ok, Portuguese marble, 170 x 300 x 260cm
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- Tania Mosse, Tentacled Creature II, Hornton stone, 34 x 62 x 25cm
This year, you are creating the sense of a sculptor’s studio in the Ballroom which is an exciting addition to the exhibition. Will this be an interactive area?
“Yes, we are paying homage to the intensely physical and dusty life of the stone-carver. On my studio visits over the last 6 months, I have been collecting hammers, chisels, models, buckets, gloves, shells, seeds, postcards, and even a marvellous pair of size 12 boots to help create a sense of what it is like in a studio. There will also be the ubiquitous wood burner stove, chipped mugs and all-important tea and coffee!”
And finally, what are your top tips for choosing a sculpture for one’s own garden?
"First, ask yourself what you want the sculpture to do. Should it draw the eye down the garden, break up the space or simply be something to look out on?
Don’t assume it needs to go in the middle of your lawn or patio. Sculpture works well in flower beds, on a garden table or against a wall or hedge.
Scale is important, but small gardens don’t have to mean small sculptures. A large piece can add a sense of energy and fun to a space.
Think about light. This is especially important for wall reliefs. In the right place, the sun can act as a natural spotlight.
Enlist friends or family to help you work out the best spot. Think about views from a distance, but also about being up close. Stone is tactile, and sculpture is made to be touched; make sure it’s accessible."
Paul Vanstone, Circular Passion, Portuguese marble, 270 x 180 x 40
Information
To visit on form, you can book tickets here. Ticket bookings are essential (unless you are a season ticket holder).
- on form 22 - Asthall Manor, Asthall, Burford, OX18 4HW, 12 June to 10 July
- Opening Times: 11am to 6pm Wednesday to Sunday (closed Mondays and Tuesdays)
- Ticket Price: £12.50 | Season Ticket £25 | Disabled & Students £6 | Free - Under 12s, Carers, over 90
What’s On
A series of special events, from stone-carving workshops to dance, will enhance the on form experience. Please refer to the events page for updates on this programme.
https://www.onformsculpture.co.uk/whats-on-list/
An absolute must is the Potting Shed Café, in Asthall Manor’s walled garden, featuring food inspired by the vegetable garden. Adding another exciting element, there is also the Madhatter Bookshop in the swimming pool pavilion.
Laura Muthesius and Nora Eisermann of Design Tales are inspired by nature. The Berlin duo shares their home and gives you their five top tips to create your very own Scandinavian interior.
Laura and Nora's five top tips
- Use natural materials like wood, linen, stone and marble instead of plastic and polyester. We love the use of linen curtains, bed linens, wool and linen pillows or sofa covers, wooden furniture and of course, marble side tables!
- Mix different materials in a way that create a vivid tension between different furniture items.
- Use a natural colour palette. Using natural paint such as chalk paint gives a calm but lively look and atmosphere which helps to create a relaxing environment but highlights the architecture.
- Respect the original details of your home, in fact, don't just respect them, save and highlight them! Not everything has to be perfectly new, it adds more charm and character if it's not.
- Cherish the craftsmanship. Quality over quantity, invest in handmade, good quality pieces instead of going with every trend. Scandinavian designs are often classics making them timeless and a great investment!
About Design Tales
With homes in Skåne and Berlin, Laura and Nora love to travel! Nora studied fashion design but is now working as a (food-)stylist, and Laura studied photography and currently working as a photographer. The duo shares their passion for food, good design and interiors over on their website and on their Instagram.
Inside the home of Design Tales
Onlookers all over the world have long admired the French art de vivre. The French bistro is a core part of this 'art of living,' alongside their leading fashion houses and pâtisseries. Although modest in price and relaxed in atmosphere, bistros are effortlessly chic.
Defining the French bistro
The French bistro’s cultural significance extends far beyond the food. Indeed, these establishments are as much a part of Parisian culture as the Eiffel Tower or Notre Dame. That’s the argument of those who want them to be awarded intangible cultural heritage status by UNESCO. For loyal customers, their regular bistro offers comfort and authenticity. This is especially important amidst the rise of big chains and gentrification.
Bistros sit somewhere between a café and a restaurant. They have a relaxed atmosphere and serve moderately priced food, wine and coffee throughout the day and evening. We recognise them for their courtyards and terraces, crowded with small circular tables and folding chairs. Yet, the bistro is so much more than the sum of its parts.
These spaces have acted as melting pots throughout history, bringing together people from all walks of life. You will find a close relationship between owners and customers, with diners often returning on a daily basis. They have served as writing meccas; the famous Les Deux Magots attracted Hemingway and Sartre amongst other literary greats. Their walls have overheard fevered discussions on politics, philosophy, romance and gossip.
Today, bistros are a spot for dining alone, with close friends, or for making new acquaintances. They are a people-watching haven, with seats arranged side by side rather than opposing, so everyone can take in the bustle of the cobbled street. Aside from anything else, the French bistro is a major social institution. So, where did this vast cultural legacy begin?
The start of the French restaurant scene
French café culture sprung from social upheavals and entrepreneurialism. The French revolution and the industrial revolution solidified the bistro concept we know today. This is not to say that restaurants didn’t exist before, however. The oldest Parisian café is thought to be Café Procope, which opened in the early 1600s. It was defined by its small tables with marble tops – now staples of French bistro style. Voltaire was rumoured to drink around 40 cups of coffee a day in this famous café.
Nonetheless, before the French revolution there were estimated to be fewer than 50 restaurants in the city. When the households of the rich were dispersed following the revolution, lots of talented chefs were left looking for work. Many returned to their home villages, whilst others flocked to the poorer parts of cities and towns. It was these individuals, through their changing fortunes, who became the first French bistro and restaurant chefs. The impact was major; one French travel guide listed 3,000 dining options in the city in 1814.
The bistro concept evolves
The bistro concept would continue to evolve in light of new advances. In their infancy, bistros were very modest and informal in comparison to the grand Paris restaurants. Indeed, some early bistros started with landlords, who already offered board to tenants, opening to the paying public too.
Bistros operated on a menu of about four or five dishes that could be prepared in large quantities and ahead of time, such as cassoulet, confit, or stew. They would serve some wine, usually from a barrel rather than a bottle. The bistro has evolved, but its core principles have remained more or less unchanged. The name itself supposedly came from the Russian and Cossack officers who occupied Paris in 1814. These unruly men would bang on restaurant tables, yelling bistro! (quickly!) at the long-suffering servers.
Not all cultural developments came out of war and revolution, however. In the 1800s, courtyard and sidewalk bistro seating really took off. This was down to the urban planning of one Baron Haussman, who designed wide boulevards with spacious pedestrianised pavements. The bistro started to expand onto the street – now a crucial part of its culture.
Later, the jollities of the Belle Époque saw bistros become more decorative to suit the zeitgeist. Indeed, plenty of wonderful mirrors and glassware survive from this period. However, it was the industrial revolution that really transformed the bistro in one defining aspect – the furniture.
French bistro furniture
Bistros are at the humbler end of France’s art de vivre, in comparison to, say, the Christian Dior flagship store. Nonetheless, the French taste for finer things required bistro furniture to be attractive as well as functional.
Marble-topped tables remain an emblem of French bistro furniture. Industrial revolution brought decorative iron bases to these tables, often with cross-stretchers so that you could fold them away at the end of the day. You find plenty of wrought-iron chairs, too, but styles varied depending on the bistro’s personal aesthetic.
The names behind the designs
Bistro chairs and tables are not just mass-produced functional pieces, but often important pieces of design too. For example, Thonet’s bistro chair, designed in 1859, is an industry icon. He made it using just six pieces of wood, held together by two nuts and ten screws. Not only was it in high demand for bistros, but it also won a gold prize for design excellence at the Paris Exhibition in 1869.
Articulated furniture was widely sought after. By stacking away courtyard furniture at the end of the day, business owners could avoid paying the rent for a fixed terrace. Manufacturers like Fermob led the way in producing this furniture en masse. Fermob's bistro collections still follow Edouard Leclerc’s 1889 ‘Simpex’ patent to this day. This metal folding chair has become a staple, spotted everywhere you go in France and elsewhere in the world.
Exotic woods were coveted in Europe during the 19th Century. Rattan became a prevalent material for bistro furniture, with its lightness and durability ideal for outdoor use. Maison Louis Drucker, founded in Paris in 1885, were the main producers of rattan bistro furniture. The company is still in operation today and a stalwart of fine French craftsmanship.
Keeping it personal
Regardless of style and material, bistro furniture provided an opportunity for branding. So many beautiful eateries line the streets of France, clamouring for the attention of passers-by. Lots of bistros adopted a signature look to help them stand out on these busy sidewalks. Some furniture sets were very ornate and others much more pared back. Some show remains of old vibrant paint, whilst others kept the wood or iron bare. Whilst some examples may feature the name of the bistro painted on, others might have incorporated a logo or name into the wood or metalwork itself.
Bringing the bistro style to you
When customers returned to the terraces of Parisian bistros after French lockdowns, the heart of the city was restored. It is hard to capture the spirit of these social hubs, but you can bring the French bistro style closer to home. Because bistro furniture sets have been prevalent since the 19th Century, many antique examples survive. Furniture companies today seek to replicate this iconic style - a testament to its longevity - but you can’t beat the character of the originals.
Wonderful indoors or out, marble-topped bistro tables and folding chairs suit a range of styles. They are particularly useful when you have an influx of guests and need a few more seats. To truly transport yourself across the channel, use bistro mirrors and signage indoors. Outdoors, create your own Parisian courtyard with a few sets of bistro tables and chairs and antique lanterns. Bistro glassware has a classic timeless aesthetic, without the airs and graces.
Visit our lookbook 'French bistro chic' to spark your imagination. You can browse all of our bistro style antiques on our website.
If you love all things French, read our articles on collecting confit pots and Arras iron furniture.
The outdoors provides enormous pleasure for many of us. Throughout the last year or so of lockdowns, we have never appreciated these spaces more. Whether your canvas is a city balcony, a suburban courtyard, or a rolling landscape garden, garden antiques bring texture and interest.
Seeking Arcadia
Gardens, in their private and public capacities, have existed in some form since the ancient world. Their uses have evolved, of course, from the ancient Hanging Gardens of Babylon to modern sculpture gardens. However, at their essence gardens have always been a space for beauty, relaxation, solitude, and worship.
Various developments have transformed gardens over the years. Urban planning descended on Europe in the 17th Century, and cultivated gardens were seen as a way of regulating nature. By the 19th Century, demand for public outdoor spaces gave rise to more and more furniture, including the humble park bench. Industrialisation played a huge role, and the mass production of materials like cast-iron brought about a wide range of garden features.
Despite these common developments throughout Europe, countries across the continent developed their own unique approaches to gardens. Much of our collection of outdoor antiques originates from France and England, and these countries had quite different takes on the ‘garden’ concept.
Jardin à Françoise
The formal gardens at Versailles, designed by André le Nôtre.
The French garden style is a majestic feat of design and engineering. Symmetry, cohesion, and straight lines typify the Jardin à Françoise and this formality still characterises French gardens today. The Sun King, Louis XIV, commissioned what would become the pinnacle of French gardens. The extraordinary and vast gardens at Versailles exemplify the formal French style.
Versailles was executed by André le Nôtre, principal gardener to the King of France. Le Nôtre was not only faced with a dull and uninspiring landscape but also a capricious and unpredictable master. This makes the end result all the more impressive.
Taming nature
Indeed, Louis XIV wanted his chateau and their gardens to reflect his total dominance over everything- nature included. André le Nôtre took this brief and ran with it, and his name is synonymous with the apex of French garden design. He began work on Versailles in 1662, and it would take him until the end of the century to finish his project. The design focussed on subordinating nature whilst also appreciating its natural beauty. Gardeners manipulated water into over 50 water features, including fountains, pools, and canals. Similarly, endless topiaries are tamed into neat aesthetic shapes which give the overall look a mesmerising cohesion.
Despite the scale of gardens like Versailles, French gardeners wanted the beholder to appreciate certain features in the landscape. French gardens were designed to highlight a centerpiece, which is often the château or house. They were intended to be viewed from a distance so that nothing is obscured and your eyes are trained to the main attraction. Symmetry and geometry allow for this focus whilst also giving the impression of endless depth and scale. This is the magical paradox at the heart of the Jardin à Françoise.
The English landscape movement
The Temple of Ancient Virtue on Elysian Fields at Stowe, Buckinghamshire.
Across the pond, Britain followed in the footsteps of their counterparts on the continent for a while. In the 17th Century, gardeners adopted a similarly magnificent and grand approach. In particular, the reign of William and Mary saw an overhaul of the gardens at Hampton Court to incorporate features inspired by the Dutch and French, including the Great Maze. When Charles II ascended to the throne, he asked André le Nôtre to oversee the designs for Greenwich Park in London.
But the style didn’t find permanence in England like it did in France. In the 18th Century, there was a groundswell against formal landscape gardening. The French style mirrored an absolutist monarchical government, and British sentiment was leaning away from this. In Horace Walpole’s 1750s essay The History of the Modern Taste in Garden, he captures this attitude clearly. He describes Britain as, ‘an Empire of Freemen, an Empire formed by Trade, not by a military conquering Spirit, maintained by the valour of independent Property.’ He goes on to champion a new natural garden style, that he claimed the English had invented.
Much of the inspiration behind this new natural landscape garden came from art as well as politics. Romantic paintings depicted landscapes that were much more natural than English gardens at the time. The growing desire for something freer, something less prescribed, led to a gardening revolution.
Kent's revolution
One name is heavily attached to the new approach: William Kent. Kent already had a reputation for his prowess with classical architecture, and he began to incorporate the classical Arcadian feel into gardens. Chiswick House is often described as having the first ‘natural’ garden, designed by Kent under the direction of his mentor Lord Burlington. The gardens offer sloping lawns, a serpentine lake, and a rustic waterfall. Clipped hedges and heavily formulaic gardening are notably absent.
Kent’s name is also attached to the stunning landscapes at Rousham House, Stowe, and Badminton House amongst others. Classical buildings, such as temples and monuments, sprung up in his gardens. In his essay, Horace Walpole delights in the way Kent ‘leaped the fence, and saw that all nature was a garden.’
Structured informality
The revolution did not begin and end with Kent, and many consider Lancelot Brown as Britain’s most prolific country garden designer. His nickname, 'Capability Brown,' comes from his oft-repeated phrase that a site had great ‘capability’ for improvement. Despite early collaborations between the two, Brown moved Kent’s style on in the face of new commercial and practical factors. For example, the rise in hunting birds with guns demanded more areas of cover in the landscape and Brown incorporated clusters of trees into open spaces. He did, however, share Kent’s fondness for buildings in the classical style. Brown's landscapes were peppered with rotundas, temples, and monuments- his Grecian Valley at Stowe is most notable.
It was Brown who truly codified the natural landscape garden. He worked at over 250 sites and had the majority of the House of Lords on his client list. It is important to note that this revolution was never about doing away with design completely. In fact, meticulous planning is behind every great English landscape garden- you just cannot tell.
Conversations with the past
Whilst different countries evolved their own approaches to gardening, they also produced beautiful furniture and statuary elements to adorn their landscapes. Royals and nobles raced to keep up with fashions across the continent and source beautiful garden statues and sculptures. Stone has always been very popular, and the rich also commissioned marble and cast lead pieces.
Genuine 17th and 18th Century examples of these items are hard to come by and often very expensive. But in the 19th and 20th Centuries makers reproduced many popular styles with great results. These pieces often appear older than they are because of years of exposure to the elements.
French foundries produced some of the finest iron furniture. The town of Arras in northern France produced reams of wrought iron pieces in the 19th Century. This durable yet very pretty garden furniture is still highly sought after today. The organic curves of an Arras piece will bring texture and whimsical appeal to any garden setting. Val D'Osne was one of the most prolific cast iron art foundries, producing everything from street furniture to majestic statues. England has an enormous legacy of makers who crafted iconic designs. Work by the likes of Coade, Coalbrookdale, and Pulham & Sons is still coveted today and can be seen at many prominent sights around Britain.
Styling garden antiques today
Blending antiques with nature. One of our tables at the on form exhibition in 2018.
Times have changed of course, and the function of gardens continues to evolve. We may not be dealing with the same amount of space (nor budget) as The Sun King, but garden antiques have a magical effect on a space. The garden and its features have a certain timelessness to them and you don’t have to inhabit an ancestral estate to create a wonderful garden. Adding weathered features to a newly planted garden will give it a more established and mature feel.
Gardenalia connects us to our ancestors as well as our natural surroundings. Often practical features and tools, such as lead cisterns and tethering blocks, are just as charming as purposely decorative benches. Antiques have a symbiotic relationship with the flora and fauna that surrounds them. Natural processes, such as the oxidisation of copper and weathering of a stone statue, transform an object into something arguably much more beautiful.
The French were masters of playing with scale, and this is where the secret to a beautiful garden lies. With an open mind, a grand statue can look fantastic in a small leafy corner and other carefully placed pieces can really change the beholder's perception. Don’t fear a clash of styles; you can unite a wide range of pieces, materials, by their common texture and colour.
Garden antiques at Lorfords
Because these pieces were designed to endure in the first place, we are lucky to have a plethora to choose from. We covet garden antiques because of their wear and tear, rather than in spite of it. Lichens, moss, weathering, and patination give a garden piece its beauty and appeal.
If you're not quite ready to start moving outside, our previous article, 'Where home meets garden,' explains how can you bring garden pieces into your interiors.
Here at Lorfords, we believe our outdoor spaces deserve the same love as our interiors. Our extensive collection of garden antiques brings the beautiful history of European gardens to you. Choose from our planters and urns, garden seating and tables, architectural elements, and more.
Some names are rightfully revered in our industry, and Eleanor Coade is certainly one of them. The legacy of Coade stone is a just reflection of the impressive lady at the helm of the business.
Entrepreuner, inventor, and philanthropist
Eleanor Coade (1733-1821) was the daughter of a wool merchant. Born in Exeter, the family later moved to London in the mid-1760s and Eleanor set up shop selling linen. This experience nurtured her entrepreneurial spirit, and around 1769 she bought the premises of a struggling business that was making artificial stone. These premises, in Lambeth in London, laid the foundations for Eleanor to start making her own artificial stone.
We cannot underestimate the achievements of Mrs Eleanor Coade. Her factory operated successfully for 50 years and went from strength to strength, with Eleanor acting as direct manager from 1771. The Georgian period certainly didn't champion female business leaders, let alone in the manufacture of artificial stone. From 1799, for a period of fourteen years, Eleanor was in partnership with John Sealy. Pieces from this period are stamped 'Coade Sealy' rather than 'Coade Lambeth.' Otherwise, Eleanor oversaw every element of the business up until her death in 1821.
Eleanor Coade never married, but 'Mrs' was the courtesy title for single women in Georgian England. She spent much of her later life engaged in philanthropy and was particularly keen to help women in need. She left a few bequests to women in her will, which stipulate that the funds remain untouched by their husbands.
Coade's recipe for success
Coade stone ornamentation on the beautiful Georgian-style buildings on Bedford Square in London.
Coade did not invent artificial stone, but they were enormously successful in producing it. Eleanor's triumph came from her desire to make something that closely resembled the original in every respect. Nobody could fully decipher this recipe until the 1990s, when it was rediscovered and successfully reproduced. Coade stone was a ceramic that combined terracotta, clay, silicates, and glass. This mixture was fired for four days at a time in incredibly hot kilns. Eleanor's own name for her product was 'lythodipyra'- twice-fired stone.
The result was something malleable enough for detailed sculpture and ornamentation, but also incredibly tough. During firing the stone had a very low shrinkage rate and hardly any distortion occurred, so the results were very fine. It was also resilient against the harsh winters of Northern Europe, and dispelled the effects of frost and freezing weather. Because it was fired, it was possible to incorporate high levels of detail into the pieces. Unlike terracotta, which has a matte finish, Coade stone has a slight shine which makes it more damp-resistant. It also had the perfect colour for emulating stone, with the grey shades making it almost indistinguishable from limestone.
Fortunately for the company and clientele, the arrival of Coade stone coincided with changing tastes in architecture. In the second half of the 18th Century, the likes of Robert Adam were looking to add more and more detail to architectural ornaments. Coade answered his prayers, as this new artificial stone was much easier to manipulate than real stone. Indeed, amongst Coade's other reliable clients were Sir John Soane, James Wyatt, and Sir John Nash.
The Coade legacy
Lion statue made from Coade Stone, which is located on the Southern end of Westminster Bridge in London.
Leading up to her death, Eleanor handed over to a distant relation- William Croggan. The company continued to operate up until 1840 when they sold their moulds. Coade stone was enormously popular in the 18th and 19th Centuries and has endured well because of its winning formula. Later on, as Coade's secrets became public, manufacturers and individuals rushed to reproduce the stone. However, these attributes are also Coade's downfall when it comes to identification. Coade sculptures can look like anything from granite to marble, and this chameleon quality means many evade classification.
Nonetheless, some pieces are unmistakable. Coade's lasting bequests are visible at Stowe, Chiswick House, Anglesey Abbey, and many other great houses. Their offering was wide, thanks to the versatility of the material, and the Coade legacy is embodied in everything from statuary to garden furniture.
You will see several Coade sculptures at Chiswick House, including replicas of the Medici and Borghese vases. The large lion statue found near the Houses of Parliament on Westminster Bridge is a Coade creation. The lion's animated face is a testament to the malleability of Coade stone, and his survival of World War Two is a testament to its durability. William Woodington of Coade made three of these lions. One of the triplets has disappeared and the other, opulently gilded in 1991, now fittingly resides at Twickenham.
We increasingly recognise the true extent of Mrs Coade's achievements today. Her work revolutionised statuary and sculpture production, and the pristine results will hopefully pepper the British landscape for centuries to come.
Feeling inspired? Read our guide to garden antiques here.
As rattan enjoys another heyday, we explore the appeal of wicker furniture and how to style it in your home. Indoors or out, in small doses or entire schemes, this versatile material continues to permeate our interiors for good reason.
The rattan advantage
Rattan has been harvested throughout history in the tropical jungles of Australia, Africa, and Asia because it is both strong and malleable. A member of the palm family, this trailing vine plant takes the form of a long and thin stem that grows tall. In fact, it is very sustainable, being the quickest developing tropical wood and taking only 5-7 years to renew.
Rattan is similar to bamboo, but crucial differences make the former easier to work with. Whist the bamboo stem is hollow, rattan stems are dense through to their core. Bamboo is certainly strong, but it is more likely to crack and split under pressure. The outer core of the rattan stem is one of the hardest plant materials in the world, yet it is soft and porous inside. The ecological prowess of this plant and its pliant qualities help to explain its popularity throughout history.
Wicker throughout the ages
Rattan and steel drinks trolley, designed by Raoul Guys.
Talking about rattan and wicker can cause confusion. Wicker refers to the process of weaving raw materials to create an object, and it is one of the oldest methods of furniture-making. Wickerwork was integral to the formation of civilisation, from China to Egypt. Basketware was the main outlet, and beautiful examples survive from ancient communities. The Egyptian craft inspired the Romans, who adopted wicker as their own and spread it throughout their Empire. In these early stages, wickerwork in lots of countries often relied on weaker materials like rush and palm. It wasn't until the 'Age of Exploration' in the 15th Century that a far more suitable material began to spread around the world.
By the 17th Century, wickerwork in Northern Europe increasingly began to resemble what we see today. Wicker was particularly popular for cribs, bassinets, and other such baby items. Over the next two centuries, rising trade with Asia brought rattan to the West. This brought Europe and America a new, stronger material for wickerwork and the desire for a tropical look and feel became more popular. The Victorians were particularly enamoured with this material, considering it exotic but just about civilised and refined enough for their tastes. Rattan furniture was then imported from Britain's colonies in the Far East during the late 19th and early 20th Centuries. It boomed considerably in America, with the Wakefield Company and Haywood Brothers & Company offering large-scale manufacture of rattan furniture. Our love affair with woven furnishings was in full swing.
Mid Century meets rattan
Pair of French Mid Century rattan and wrought-iron armchairs.
Like other 70s trends, rattan has resurged with a vengeance in the 21st Century. We see its prevalence on the antiques and vintage market, but also in modern homeware and garden stores. Rattan use has varied greatly depending on periods and styles, proving its adaptability. We owe much to Mid Century designers for redefining the use of the material in design. In the late 40s and 50s, the world was still reeling from war and there was a desire for furnishings that reflected a more casual lifestyle.
Rattan was utilitarian, comfortable, and aesthetically pleasing. Suddenly, it was everywhere and it stood for stylish and understated sophistication. Designers and collectors realised that rattan, far from being dated, was actually very well-suited to modern life. Paul Frankl was one of the first major designers to experiment with the plant in modern design. Frankl used rattan for his sleek Art Deco designs, and it was a perfect complement to his ergonomic shapes.
In the later 20th Century, the likes of Gabriella Crespi proved that woven furniture could be both functional and glamorous. The iconic Italian designer drew her inspiration from the Far East and combined rattan and bamboo with everything from tubular steel to African red marble.
The 80s came and a demand for more high-tech design left rattan in the shadows again. But this certainly wouldn’t be the last time we saw it…
Styling wicker furniture
Wicker furniture is in the midst of another zenith, and this time it might just be here to stay. Indeed, following the latest hit BBC drama, The Serpent, searches for rattan furniture have surged along with other 1970s trends. As its popularity continues to endure, open-mindedness is key to styling rattan in your home.
Whenever wicker has fallen from favour, it has been unfairly associated with dated décor and clichéd garden furniture. But it is far from boring, and far from passé. On a practical level, rattan is breathable, comfortable, and easy to clean. But it is also a versatile visual treat. Woven furniture can be used in whole suites, or just use a couple of one-off pieces to bring texture and interest. Rattan is a natural partner for everything from dark wood, to bold modern light fittings, to polished brass. As a result, it looks at home in every room. Elegant wicker pieces are your trusty design saviour, whether you are looking for bathroom shelves or a drinks trolley for the home office.
There's also a presumption that rattan only suits a fresh white minimalist scheme. Not so; the natural patina of the wickerwork sings against punchy paint colours and vibrant accessories. It works wonderfully with bohemian or shabby chic styles, but there are also Mid Century examples that gave rattan a smart, sleek-lined facelift. From the sprawling country pile to the minimalist townhouse, a scattering of wicker is welcome in any style of interior. Of course, the qualities and look of wicker furniture make it well-suited to outdoor spaces too. Combine rattan with bright textiles in a conservatory or patio setting to welcome in the Spring.
To view our collection of rattan furniture and accessories, click here.
Out with the old, and in with the new. Happy New Year from the team at Lorfords Antiques! Every January offers a welcome chance to start afresh, but this year feels particularly momentous after an unusual 2020.
We hope you had a relaxing festive period and managed to share some happy moments with family and friends. Despite the many obstacles faced by the industry in 2020, it was a great year for Lorfords and we are so grateful for your support. The arrival of a vaccine heralds an even stronger 2021 and we are excited for what’s to come.
Giving back to our homes
When we reflect on the pandemic in years to come, we will remember the seismic change to our home lives. For many of us, the home used to be a place we returned to late in the evening, just to leave again early the next morning.
Yet during the months of lockdown, we witnessed our homes play host to family meals and birthday celebrations. Our houses transformed into offices, classrooms, and a creative hub. Rooms that never got much use came into their own, and we experienced the home as we never have before.
The link between our surroundings and wellbeing has long been established, but last year we witnessed it first-hand. Our homes passed the test and deserve some love as we enter a new year. Lorfords will be on hand, as always, to help you choose the perfect antique pieces to elevate your interiors.
The Lorfords service
We believe that decorative antiques are more than just a commodity, and our service extends beyond retail. We want to provide the best possible experience for our clients and offer you more than just a shopping destination.
As a result, we’ve worked hard to make our online presence as enriching as possible. Latest Arrivals keeps you updated with our latest stock, so make sure you’re signed up for our newsletter. Through L-Shaped, we are building a knowledge and resource bank as a way to share the joy of antiques with our clients. There you will find everything from in-depth articles on Regency and Gustavian furniture, to guides on decorating your bedroom and home office. Our regular shoots and lookbooks aim to contextualise our antiques and inspire your interiors.
The most beautiful homes combine the finest antiques, fabrics, paint, and wallpaper. We really value our relationships with other creative businesses and want to strengthen these collaborations and develop others this year.
Business updates
We have decided to repurpose our shop in Tetbury from the Spring, but we will remain a presence on the high street. We’re incredibly lucky to have 30,000 square feet of showroom in our two hangars at Babdown Airfield, just outside of Tetbury. With 60 dealers supplying a vast range of decorative antiques, we truly believe that Lorfords offer an unbeatable location.
We have plans in place to expand further this year and add more dealers to our ranks. There’s always room for change and improvement, and we are eager to make the hangars a warmer and more comfortable experience.
For a little inspiration to get going in 2021, have a browse of our latest lookbook 'Roaring Twenties.'
Once again, a very Happy New Year!
Whilst revolution brewed, a majestic furniture style emerged in France. Louis XVI and his infamous wife, Marie Antoinette, oversaw a period of design that is still coveted today.
The Bourbon Dynasty
Louis XVI was the last of the Bourbon monarchs. He reigned from 1760 to 1789, ascending to the throne at just 20. Indecision and weakness of character plagued the King, who never quite lived up to the legacy of his ancestors.
Louis Seize was married to Marie Antoinette in order to assert diplomatic links with Austria. What the King lacked, the Queen made up for in many ways. She was the last Queen of France, and Marie Antoinette is remembered for her headstrong and extravagant ways.
The reigns of his predecessors were characterised by their own design preferences. The intention of his great-grandfather Louis XIV was simple: splendid, extravagant furnishings that reflected the monarchy in all its glory. Known as, 'The Sun King,' the sun was the royal emblem and the dominating principle of this reign was brilliance.
His grandfather, Louis XV, embraced the Rococo style and his furniture embodies femininity, comfort, and curving lines. Due to his string of mistresses, he asked for shorter chair armrests to accommodate their full skirts.
Whilst each King Louis had their own personal taste, certain pieces of furniture defined the whole dynasty. Furniture for specific functions became popular; Louis XIV introduced the commode and popularised writing desks and console tables. His reign was the apogee of giltwood furniture and his successors kept such features in their own design.
Looming tensions
In order to discuss Louis XVI design, we must delve into the socio-political tensions of his reign.
The King's life ended at the guillotine, accused of treason. Marie Antoinette's lavish tastes provoked the public and she met the same fate as her husband.
The royal couple was not ignorant of the angry masses, but their efforts to appease them were minimal. Pattern and design in furniture made use of the natural grain of the wood in an effort to identify with starving Parisians. The King once wore a peasant hat to sit for a portrait in an attempt to show solidarity, but the seeds of resentment were already firmly sown in the French people.
Louis XVI inherited financial problems and exacerbated them with his careless spending. Heavy taxation further alienated the people, particularly as the Queen ordered vast amounts of furnishings. Legend says Marie Antoinette once responded to news that the people had no bread with the classic remark, 'let them eat cake.'
When the monarchy was overthrown, royals and nobles had to forfeit their luxuries, and swathes of furniture from this period were lost. Therefore, a period Louis XVI piece prompts real excitement both for its beauty and historical context.
Louis XVI style
Design under Louis Seize was a mixture of continuity and innovation. The relationship between France and the classical world evolved over time and French neoclassicism was particularly aligned with the English style. English influence during this period is clear in the use of mahogany for chair backs and veneers.
Furniture design under Louis XVI consolidated previous eras in many ways. There was no dramatic overhaul or principled u-turn, but the changes transformed French furniture into a force of beauty. Louis XVI furniture is more angular than earlier periods, with straight lines and geometric patterns. Restrained, short tapering legs replaced the cabriole style associated with Louis XV.
Neoclassical influence already existed in France, known as goût grec or ‘Greek taste.’ The discovery of Pompeii and Herculaneum fuelled enthusiasm for this new architectural style. Marie Antoinette constantly commissioned pieces in this style for her quarters at Versailles. The classical influence was expressed through motifs as well as shape. Louis XVI pieces exhibit plenty of carved friezes, cornucopia, egg and dart, and oak and laurel leaf.
However, this was still the opulent French monarchy. Bronze fittings adorned almost every piece of furniture and ormolu mounts were common. Marquetry evolved away from florals and towards the geometric, so lots of beautiful games tables emerged. The commode, ushered in under Louis XIV, remained iconic under his great-grandson.
Louis XVI designers
Louis XVI’s reign is often considered the golden age of cabinet-making. Marie Antoinette imported many designers from Germany and Holland. The Queen's Austrian roots had a clear influence on design and these individuals outshone their French counterparts.
Jean-Henri Riesener held royal patronage from 1771 and is one of the most prolific designers of the time. He preferred exotic, luxurious materials for marquetry and ornamentation. His works feature gilded lacquer, mother-of-pearl and gilded ormolu mounts.
18th Century French furniture would not have reached its full potential without Georges Jacob. Jacob began working in the style of Louis XV, but swiftly adopted the style of the new King. This latter period is when his innovative designs reached their peak.
Georges Jacob's motif of triangles with rosettes adorn the joints between the arms and backs of chairs. In the late Louis XVI period, Jacob decorated the square section at the top of chair legs with daisies or small suns. This master cabinet-maker pioneered circular seat frames and spiral armrests, which became distinctive features of this period. His patrons included Marie Antoinette and the Prince of Wales.
The legacy of Louis Seize
Louis XVI furniture reflects a truly special period of design. Although his reign lasted just under 30 years, its influence on design continued into the Empire period. This period remains one of the most widely emulated furniture styles.
This style has charmed collectors for centuries and it's not difficult to see why. Whether you are looking for a few antiques to compliment a contemporary scheme, or want to perfect a period home, Louis XVI is the pinnacle of French design.
Louis XVI furniture suits modern interiors because of its simple elegance. Don't be afraid to mix ornate French furniture with modern art and sculpture, there is no need to stay in the confines of one style!
We have a large collection of Louis XVI pieces here at Lorfords. This was the heyday of iconic antiques, including the bureau plat, stunning armoires, and elegant giltwood chairs. Browse these pieces and more in our Tetbury showroom and hangars at Babdown Airfield.
For a taste of the Louis XVI style, visit our lookbook, 'The Last King,' to browse a selection of our pieces.
Gustavian style flourished in Sweden during the 18th Century. Inspired by the neoclassical French style, Sweden became major players in Europe’s age of elegance.
Gustavian enlightenment
When discussing Gustavian design, the individual behind the name matters. King Gustav III reigned from 1772 to 1792 and oversaw and encouraged the flourishing of the arts.
The King was shot at a masquerade ball in 1792 and died a short while later. This event inspired Verdi’s opera Un Ballo in Maschera.
Although he was loved by some and hated by others, King Gustav’s role in the Swedish Enlightenment is clear. He was an educated and cultured man who welcomed artists and writers to court. Despite the pressures he faced at home and abroad, his reign saw huge advancements in art, literature and design.
Marriage of design
Gustavian design fuses foreign influence with long-standing Scandinavian ideals.
In France, Louis XVI reigned during one of the most significant periods of French furniture design. His style was more refined than his predecessors, but maintained the opulence and grandeur. King Gustav spent a crucial period of time in Paris and at the royal palace in Versailles. This experience left him determined to make Stockholm the ‘Paris of the North.’
Today, Swedish design is generally associated with minimalism and muted colours. Much of Gustavian style did display these trends, but period pieces can actually be very splendid.
The entertainment rooms in palaces and noble houses during this period were full of gilded furniture and grand mirrors. At a glance, you might be in a French 18th Century palace.
Classical discovery
Across Europe, design was influenced by the discovery of Pompeii and Herculaneum in the early 18th Century. Artistic concepts were completely overhauled by the exposure of this clean-lined elegance.
At Stockholm Palace, you can view King Gustav’s Museum of Antiquities to get a sense of his fascination with the classical. The museum displays a large collection of sculptures which the King brought back from his ‘grand tour’ around Italy.
The Pompeian style is evident in Gustav’s Pavilion at Haga Park. The interiors of the Pavilion feature marble columns and rich detail. King Gustav commissioned Louis Masreliez for the design, who went on to define the style of the period.
The impact of neoclassicism is clear in Gustavian furniture. The pieces are architectural in form and display symmetry, columns and carved detailing. The classical inspired Swedish furniture's trademark restraint, as it moved on from the elaborate rococo period.
The Swedish touch
Despite all of these influences, Swedish style is inherently… well, Swedish.
French 18th Century design had a huge impact on King Gustav, but the Gustavian interpretation was more refined. In fact, Gustavian furniture is a loyal tribute to Swedish ideals.
Swedish winters are long and dark, which still shapes their interior design to this day. The priority has always been to bring light into rooms, through pastel colour palettes, giltwood and plenty of mirrors.
Although the décor in palaces and noble houses was grand, Gustavian style became more homespun as it spread throughout Sweden. Often the carved frames of chairs and sofas were left exposed and the furniture was painted. Local woods were used such as oak, beech and pine.
Although Gustavian designs were simple, they were well-executed and designed for their purpose. Function was a priority and lots of corner cabinets and console tables emerged.
Shape and detail helps to identify the Gustavian: bonnet topped cupboards; barrel-backed chairs; fluted legs and carved decoration to name a few. Some of the most distinctive carved motifs are guilloche (woven circles), rosettes and scallop detailing.
Gustavian interiors
So, why does this style have such a profound influence?
Even the most modern furniture store, IKEA, draws upon its Gustavian heritage. Interior designers constantly source antique and reproduction Gustavian pieces to transform homes with Swedish style.
The most obvious reason is that Gustavian furniture is easy to live with. It is equally suited to a grand London townhouse, a country cottage, a chalet or a villa. Curved lines and carved motifs make these pieces decorative, but the silhouettes and paintwork are simple.
There is also a certain magical quality to Gustavian period and style pieces. Furniture with its original paint gives a lovely fairy-tale finish, especially in a muted colour palette. It's feminine, but not overtly so. Gustavian pieces were often fairly small and mobile and they were meant to accentuate a space, not dominate it. This is a versatile style as a result, whether it's used in small doses or as an entire decorative scheme.
No Gustavian interior is complete without the iconic Swedish Mora clock, which is a piece as rich in history as it is beautiful. Mora clocks are a testament to community craftsmanship. In the early 18th Century, the town of Mora suffered a bad drought and many people fled to Stockholm. Here they would learn new skills and trades, including clock-making.
Upon their return to Mora, a local industry started as families worked together to manufacture these iconic clocks. Mora clocks radiate the quiet peace and grandeur of Gustavian style and have a beautifully rounded shape. A Swedish Mora Clock is often the finishing touch in a Gustavian inspired setting.
Lorfords and Gustavian
Gustavian furniture has a valuable place at Lorfords and Swedish pieces are always coming through our doors.
Browse Gustavian daybeds, sofas, chairs, Mora clocks and other antiques on our website or come and see them in person.
Our two hangars at Babdown Airfield and showroom in Tetbury give Gustavian pieces the space and context they need to do them justice.
Visit our lookbook, ‘Swedish Enlightenment,’ to view our selection of Gustavian furniture.
Spring is springing up everywhere.
With the arrival of the first crocus, our thoughts inevitably turn to the outdoors and the garden - or the terrace, or the backyard, or the window box. Whatever the extent of your plot, one thing’s for sure, we love our gardens. It’s true to say that, over the last few years, the garden and all things horticultural have undergone a major image change. Gone are the days when having a nice garden meant little more than a well-tended lawn and herbaceous border. These days we expect our gardens to be every bit as stylish and distinctive as our homes – a Victorian style patio set and water feature just won’t cut it. Planting and landscaping might be a garden’s backbone, but it’s the added structures and embellishments that transform it into something really special. But, while many of us are used to furnishing our homes with antiques, how many of us would consider buying period pieces for the garden?
Our love of gardening is as old as civilisation itself. The ancient Greeks were the first people in Europe to create gardens and adorned them with marble and bronze effigies of gods and mythological heroes. The Romans were equally keen on their gardens; some of the oldest surviving examples of garden furniture are in the gardens of Pompeii. Our Celtic ancestors cultivated small enclosures and the Tudors had their knot gardens – tightly clipped box hedges laid out in intricate patterns. But it was in the late 1600s that the fashion for decorating gardens really took off in England. This period saw the fashion for highly formal French-style gardening, modelled on the works of Andre Notre, Louis XIV’s gardener at Versailles. When Charles II regained the English throne in 1660, one of the first things he did was to ask King Louis if he might borrow Le Notre. The aristocracy were keen to follow suit and before long, grand parterres and avenues, complemented by numerous statues designed to invoke classical settings and terminate views, were the order of the day. At first the taste was for statues depicting figures from Greek and Roman mythology – the Borghese Gladiator and Hercules swinging his club were particularly popular. The earliest ornaments were carved from stone, or, for the very wealthy, marble or cast lead. As the fashion for French style gardens took hold amongst the Francophile aristocracy and those eager to copy them, a vast repertoire of ornaments were introduced into the garden, including classical vases, fountains, obelisks, balustrades and furniture. By the middle of the eighteenth century the strict formality of the French garden had yielded to something softer. Designers now sought inspiration from the landscape itself. Rolling lawns and serpentine ponds became the order of the day and, in the hands of designers like William Kent, the garden became a complete work of art. Ornaments in the form of statues, temples or follies took centre stage with every element carefully chosen to work in harmony with its neighbour. Iconography was the order of the day and the positioning of garden ornaments often had a deep symbolic meaning which, although less decipherable today, would have been easily understood by most educated people at the time. This period saw the creation of the celebrated gardens at Stowe in Buckinghamshire and Stourhead in Wilstshire. Garden “ornaments” might include a replica of the Pantheon in Rome, a temple dedicated to Apollo or an underground grotto, containing that mid-Georgian garden essential: a live hermit, who would be employed full-time as a curiosity for visitors. The job of a hermit could be fairly lucrative but there were strict conditions attached to the job description – a hermit wasn’t allowed to speak and nor could he cut his hair or fingernails.
Whilst few of us have the sort of garden that can accommodate miles of gravel paths and numerous classical temples (or hermits), a well-placed statue or urn can bring a flavour of eighteenth century grandeur to a modern day garden, acting as a focal point and adding a sense of drama.
Early examples from the 17th and 18th centuries are rare and, on the rare occasions they do appear on the market, command high prices. More easily available are statues from the nineteenth and early twentieth century. Many of these were made of composition stone or terracotta both of
which became popular in the Victorian period as way of producing good quality garden ornaments that were cheaper than stone. Henry Doulton started making terracotta garden ornaments in the late nineteenth century and by 1900, Doulton were England’s main manufactures, with a range that included window boxes, fountains and sundials. Terracotta is highly durable and has the advantage of being frost proof, enabling it to survive the rigours of an English winter. Composition stone was invented by the Romans but also took off for garden ornaments in the Victorian era. Figures and ornaments are moulded rather than carved, so multiple copies of the same piece could be produced relatively cheaply. Properly weathered, a piece made from composition stone is difficult to tell apart from a carved-stone original.
Garden furniture only started to appear widely in the nineteenth century. Before then the only seating used in a garden would have been benches of marble or stone and these would have only have been within the reach of the upper classes. In the early nineteenth century, as gardening for pleasure started to become a pastime of the middle class, wrought iron seating started to appear. This would have been made to order by the local blacksmith and, for this reason, no two pieces of wrought iron furniture will be identical. Wrought iron fell out of favour as the century progressed but remained popular on the Continent, particularly France where furniture by Arras was made for use in public parks well into the twentieth century.
The Victorian era saw a return to formality with terraces, elaborate flowerbeds and manicured lawns, complemented by a plethora of ornaments 
once again being de rigeur. Mass production, thanks to the Industrial Revolution brought garden furniture within the reach of an aspiring middle class, eager to ape the taste of the gentry in the big house. The invention of cast-iron made their dreams an affordable reality. There were many foundries making cast-iron garden furniture but perhaps the best known is Coalbrookdale. Based at Ironbridge in Shropshire, the firm began by making architectural ironmongery, such as drainpipes and gutters but by the 19th century it was producing a vast number of garden seats, plant stands, urns and fountains, and all manner of other paraphernalia for the well-dressed garden. Leading designers of the day were commissioned to produce designs and, in its day, Coalbrookdale was a by-word for quality. The foundry is still in business and, as the maker of the Aga stove, still plays a big part in middle class aspirations.
It’s often the case that the most distinctive garden ornaments are made from objects that weren’t originally intended for the garden. If it’s a quirky, original look you’re after, you need to think outside the (window) box. All that’s needed is a bit of lateral thinking: for example, a gargoyle head 
can make an excellent wall fountain. Stone troughs, originally used for animals to drink from, were at one time a feature of every village. Bedded out with plants they make an imposing statement and are highly sought after today. Beaten coppers vats, originally used for boiling laundry or making cheese, are solidly constructed with rivets and take on a wonderful patina with age. They are now enjoying a new popularity, not for laundry but as vast bedding planters. It’s not just large items that make a statement. Vintage garden tools used for gardening can be used as smaller decorative elements leaned against fences or left on tables. Wheelbarrows and old carts are the perfect containers for planting out vivid summer blooms, while garden rollers simply need propping up against an old brick wall to look good. Terracotta flower pots, trowels made of metal from the 1950s, rakes with handmade teeth and branch handles and early 20th century metal buckets and enamelware watering cans all add a distinctive personal touch.
Rolling acres or roof terrace, rustic or urban: antiques offer a stylish way of decorating the “room outside” and there’s not a gnome in sight.
