Homes and Antiques
Take a look at any beautifully decorated home and you’ll find it’s usually filled with glorious patterns and textures, all of which are layered to great effect. Colourful wallpapers and richly patterned textiles not only give a room character and life, but they also act as foils for fine furniture, decorative antiques, vintage pieces and other collections you might have. Textile designer Molly Mahon, known for her exuberant block-prints, explains the enduring appeal of layering designs and colours: ‘There’s something nostalgic about using lots of pattern,’ she says, recalling the William Morris sofas at her childhood home. Frieda Gormley of House of Hackney thinks layering pattern on pattern and embracing colour is a wonderful means of expressing one’s individuality. ‘I see pattern as a chance to imbue a space with personality,’ she says. Many interior designers begin by selecting a primary fabric, which they then layer with more simplified versions of the design. Fabric and wallpaper designer Charlotte Gaisford says she always chooses her main fabric first. ‘Once I have my showstopper design I can find other fabrics to combine with my choice,’ she says. It amazes her that people focus only on choosing one fabric for a room. ‘It’s important to consider all the soft furnishings: cushions, upholstery, window seats, and so on. It would be boring if you used the same fabric for all of these. You need to think about the Interior designer and broadcaster Sophie Robinson recommends ensuring there are plenty of prints in varying sizes in the mix: from slim, ticking stripes to oversized florals. ‘I tie these together with a tight colour palette,’ she explains. ‘Often, I’ll start with a hero fabric like a detailed chintz and from that spin off the colours into stripes, geometrics and other florals. Seeing them all jostle next to one another just sparks joy for me.’ Molly Mahon agrees that scale is important. ‘It’s calmer on the eye to sit big patterns next to little patterns, rather than having lots of small designs.’ ‘The thing to understand,’ says interior decorator and antiques dealer Robert Kime, ‘is that on a fabric you won’t always see pattern the way you see it on a wallpaper. Patterns on wallpaper are viewed flat, so they have a different effect and impact than fabric, which is often gathered.’ Although it breaks the traditional rules of decorating, and takes confidence and a good eye, top-to- bottom entirely matching schemes are having something of a moment. This approach not only makes a serious statement, but it can result in a wonderfully cocooning effect, which is especially good in a bedroom or bathroom. ‘I’m a great proponent of covering all the surfaces of a room – walls, ceilings and upholstery – in matching wallpaper and fabric to feel enveloped in the most cosseting way,’ says Lulu Lytle of Soane Britain. Frieda Gormley is also a fan of this ‘surround-sound’ look. ‘Our approach is totally fearless,’ she says. ‘But if you’re on a budget, just wallpaper the ceiling and paint the walls – the effect will be dramatic, unexpected, and utterly mesmerising.’ The real secret to combining a number of richly patterned wallpapers and textiles successfully, Frieda says, is by ‘creating beauty and harmony through a cohesive colour palette Molly Mahon suggests choosing a selection of colours that are uplifting and to simply shrug off any so-called rules about colour combinations. ‘Some people can take colour more than others,’ she says. ‘I can live comfortably with lots of colour. I love red and pink. People say certain colours clash, but do they? Do they clash, or do they sing?’ If you keep differing patterns the same colour, you can clash these with bolder colours elsewhere in a room, says Charlotte Gaisford. ‘Although my drawing room has lots of pattern, I actually used a fairly simple concept. I chose contrasting colours of green, red and gold for a strong, dramatic effect, but I put together six different patterned fabrics in the curtains, cushions and lampshade, using the same colours.’ Texture is another part of the puzzle when playing with pattern, and it is the key to layering and essential for adding depth to a scheme. ‘It’s always good to try to incorporate patterns of different textures, such as weaves, heavy linens, stripes and florals,’ says interior designer Penny Morrison. ‘I always try to include some vintage textiles, maybe on the cushions or Accessories such as cushions and lampshades also allow for experimentation without a hefty price tag. ‘Pops of pattern and colour make a huge difference,’ she says. ‘This can be patterned lamps, or lampshades, cushions and rugs over the back of a chair or sofa. I like vintage Swedish rugs in particular, but any rug can pull a room together and they are so easily changed.’ Robert Kime agrees. ‘We start every project and room with the rug and Molly Mahon finds that people become braver and bolder as they begin to introduce more pattern to their interiors. ‘We always suggest that you start with a cushion or two Words: Rosanna Morris
Where to start when mixing print and pattern at home
whole scheme.’
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Always consider the scale of the prints and patterns that you choose
all from Colefax and Fowler.Observe how patterns behave on different materials
Combine patterned wallpapers and textiles for a harmonious look
in each room. Print-on-print looks great when the tones are similar. Alternatively, you could use the same print in contrasting colours to create depth and interest, say by toughening up soft pink with petrol blue or black.’ She also suggests picking out the tonal highlights in a print and painting woodwork the same shade.
Use different textures to add depth to a scheme
on a single armchair.’ Mix and match patterned accessories for an eclectic look
go up from there. An antique rug can carry a space and provide a kind of base – colour is more directional, but a rug fully sets the tone.’
and build from there. Then add a lampshade, which will add instant interest. It’s a good way to adjust to living with more pattern and colour.’ Charlotte Gaisford heartily agrees. ‘Add pattern slowly, and enjoy shopping for the different elements. Make the room an experience in its own right.’ 
The urge to collect is keenly felt by many of us. Whatever your lodestone happens to be, it’s often the thrill of the chase that drives us to want to acquire better and rarer examples. This month we celebrate this universal passion and meet six collectors whose delights range from antique porcelain to typewriters via vintage garden tools, taxidermy and jelly moulds. We also track the sale of exquisitely crafted pieces belonging to a keen appreciator of ‘extreme Georgian’. After running out of room in his Spitalfields home, he had no alternative but to sell 332 items of period furniture, art and objets. Our five houses this month are all beautiful in their individual ways, from a chateau in the Loire to a Georgian manor in Somerset. And, if you’re dreaming of tropical climes, we take you on a virtual sun-soaked tour of the Isles of Scilly.Take a tour of the April issue…
Maps are integral to our heritage. Their ancient paths and roads create such nostalgia in our minds that’s it’s hardly surprising they have become such a recurring theme in interior design. With antique map fairs surging in popularity and the high street awash with map-print accessories, this fascinating world of politics, curiosities and monsters is as collectable as ever. And it’s not difficult to introduce this wealth of ancient knowledge into your own home either! With these seven easy decorating tips, you’ll easily find yourself amid a collage of travel, history and adventure… The start contrast between fresh, floral blooms and worn antique maps adds a nostalgic touch to this coffee table display. Play with scale on a dividing wall and add height with a family of globes along a high shelf for impact. Or cluster smaller and less rare pieces on a coffee table for a display that you can pick up and hold. Distressed vintage furniture and an old ship’s locker sit wonderfully with a mid-century map made in Holland, for a travel writer’s retreat at home. Take inspiration from your globetrotting adventures by framing an old school chart to keep it preserved. Add a map decoupaged chest of drawers, drape the bed with sheer linen and add extra storage with a set of upcycled vintage suitcases. A map such as this Flemish cartographic design is a wonderful starting point for a room colour scheme featuring leafy greens, anemone pinks and summery sunflower yellows. To hold a 16th-century map in your hands is to be drawn into an era of discoveries and danger, of exploration and exploitation, and of unparalleled excitement in the advances of mankind. Here, art, science, geography and culture combine in a spectacular and unique way. ‘Antique maps vividly and graphically chart European man’s growing knowledge of the world,’ says Philip Curtis of The Map House. ‘They are one of the most direct ways of seeing their creators’ world view.’ The golden era of cartography began in the mid 15th century with the rediscovery of Ptolemy’s Ancient Greek Geographia. This coincided with the invention of movable type printing, which enabled maps to be reproduced more easily and circulated widely. This was the Age of Discovery, in which European sailors left for uncharted waters and, in wave upon wave of expansionism, ‘discovered’ the New World. From the early 16th century, improved geographical instruments and methods of survey allowed large areas to be mapped more accurately than ever before and, back home, the map makers enjoyed a boom. In 1507 Martin Waldseemüller’s immense world map was printed, the first to name ‘America’ (after accounts by the explorer Amerigo Vespucci) and the first to show North and South America clearly separated from Asia. Gerardus Mercator, cartographer and globe-maker, published his famous world map in 1569, drawn to what was later known as the Mercator projection. And in 1579, Christopher Saxton’s atlas set a standard for maps of England and Wales that was unrivalled for almost two centuries. The distant origins of antique maps can be found in 15th-century Italy. ‘The very first printed map was made in Bologna in 1477, using copper engraved plates,’ reveals Philip Curtis, Director at The Map House in Knightsbridge. ‘It wasn’t showing contemporary knowledge – it was recovering ancient knowledge that was already known to the Greeks and Romans.’ The Ancient Greeks created the first examples of globes, albeit celestial ones. The first terrestrial globe may have been made as far back as 140BC by Cratos of Mallos. We don’t know exactly what it depicted as the Greeks were only aware of a small part of the planet. The earliest surviving terrestrial globe was made by Martin Behaim in Nuremberg in 1492: it is believed to have inspired Christopher Columbus to sail west for the Orient. Many map makers also produced globe gores – specially printed tapering shapes that wrapped around to form a sphere. Globe production, often of pairs showing both the earth and the heavens, continued throughout the 16th century. Initially, possessing a globe was a status symbol for the very wealthy but gradually, as hand-painted wooden globes gave way to printed, paper-covered spheres, they became more and more widely available. By the 19th century, pocket globes had become a popular accessory for the middle-class gentleman. The 17th century saw a continuing development in geographical knowledge, and map makers kept pace. Many of them were based in Amsterdam, a reflection of the Dutch domination of world shipping routes. The great makers include Willem Blaeu and his son Johannes, Jan Jansson, Frederick de Wit and Jodocus Hondius, who provided maps of all kinds – from sea charts to town plans – to satisfy constantly growing demand. Major works by such key names are rare and expensive. In May 2008, a single 1664 world map by Johannes Blaeu that shows California as an island – a map maker’s misconception for much of the 17th century – was sold at Sotheby’s for £17,300. A year earlier, an 11-volume Atlas Major dating from 1665, also by Johannes Blaeu, sold for £264,000. The science of map making was inextricably linked with the artefacts’ beauty, whether in earlier woodcut prints or, from around 1550, fabulously detailed copper engravings. ‘Map makers were aiming for a combination of artistry and accuracy,’ says renowned dealer Jonathan Potter. ‘Accuracy was relative because at the time people didn’t really know whether something was three miles or five miles away.’ Gaps in knowledge left blank areas on maps, which were unhesitatingly filled in with images of mythological creatures, heraldic devices, compass roses, flora and fauna and ‘native’ inhabitants. Elaborate cartouches giving the title, the name of the cartographer and a dedication were common. Topographical details often included a swirled or stippled sea, shaded hills, and castles or church spires to indicate towns. These were all produced by the most highly skilled draftsmen and artists of their day and reflected the fashions of the age. It’s possible to buy an antique map for as little as £15 and you may even come across one for even less at a car boot sale or in a charity shop. Around £100-£250 will secure a good map of an English county by Robert Morden, a popular 17th-century publisher and cartographer. For a similar price, it’s possible to purchase an 1851 country map by London publisher John Tallis. Based on his world atlas and issued to commemorate the Great Exhibition, they are considered to be the last great series of decorative maps. By this time, mapping was a technically demanding skill and modern maps were required to be increasingly utilitarian – though some would say none the less interesting. Certain collectors even specialise in 19th- or 20th-century maps, such as those of American roads or the London Underground. Single European or British maps by the Blaeu family can cost less than £1,000, while a good world map is likely to be £1,500 or more. Globe prices are much higher, a reflection of the smaller numbers in which they were produced. ‘Although globes from the 1920s or 30s might cost £300 to £700, anything earlier than the 20th century will cost something in four figures, if not five,’ says Philip. Indeed, a pair of late 17th-century globes by renowned Venetian maker Vincenzo Coronelli sold at Christie’s in December 2007 for £58,100. From world maps, town plans, sea charts, celestial maps or curiosities such as maps that satirically depict countries in the shape of people, the potential map collector has a wealth of distinct areas to choose from. Antiques Roadshow expert Clive Farahar explains that most people start with a map that features where they live or somewhere they have visited. ‘The lovely thing about maps is that they are very useful things with which to decorate a room and to display your own part of the world. And their values don’t seem to come down, so they do it all,’ he says. Caroline Batchelor, of the International Map Collector’s Society (IMCoS), has been collecting antique maps for 40 years. She’s amassed hundreds of examples, mostly showing places that she and her husband have lived, from the Philippines to Africa. ‘My earliest map dates from about 1540, up to a 19th-century one of Sudan,’ she says. ‘I try to stick to Africa now but, if I see an attractive map of somewhere else, I may not be able to resist it. I have them scattered around the house but keep most of them in a plan chest. They also make wonderful presents – they have such visual appeal and although I am not terribly academic about the way I collect, researching is half the fun. Collecting has definitely enriched my life.’ Antique maps, framed and hung on the wall, can provide a striking evocation of world history, a reminder of family background or simply a memento of a happy holiday. As with paintings, smaller maps look best in groups using coordinating frames, while care must be taken that very large maps do not dominate a room. Older maps were printed in black and white, and then sometimes hand-coloured before being sold; some were coloured later. Jenny Harvey, another keen collector, has hung some of her 100-plus maps up the stairwell of her three-storey house. ‘I have a mixture of coloured and uncoloured,’ she explains. ‘It’s not as gaudy as if they were paintings, so it works well.’ She has been collecting for 21 years, starting with an impulse purchase of a map of Somerset, where she was born. Since then she has continued to collect maps of the county and has added town plans of London, where she lives now. ‘I am typical in that respect,’ she says. ‘I don’t collect in a technical way but in an emotional way – I want examples that appeal to me. Having said that, if you learn a little more about maps, you do get more out of looking at them. I love antique maps because of the stories they tell about history and geography and people and places.’ Scotsman John Ogilby, publisher of the first modern road atlas, was a man of many talents, whose life was a series of dramatic lurches from riches to poverty. He became a ‘sworn viewer’ or surveyor of the City of London after the Great Fire of 1666. This led to his most ambitious and successful venture: mapping the roads of England and Wales. In 1674, he received the title of ‘His Majesty’s Cosmographer and Geographick Printer’ and, the following year, his Britannia was published. It was the first national road atlas of any country in western Europe, the first to use a uniform scale, of one inch to a mile, and the first to establish the now-standard length of a mile as 1,760 yards. The atlas was an immediate commercial success and much-copied by other map-makers. Sheets from Britannia are widely collected and can be bought for less than £300 each. A first edition of the entire atlas was sold at Sotheby’s last year for £11,875. ‘In the map trade, from the earliest times, a print made from a particular woodblock or copper plate has been regarded as “original” and, until that block or plate was destroyed, “originals” could be printed from it,’ write Carl Moreland and David Bannister in Antique Maps: A Collector’s Guide. The blocks or plates could be used for a century or more, during which time details could be added or deleted. Some prints could be black and white, and others coloured. A strong, clear impression suggests an early edition. As to how many of each map were printed, it is almost impossible to say, and just as difficult to know how many have survived. Moreland and Bannister point out that an edition generally consisted of a few hundred examples, compared to the 68 million Penny Blacks that were issued in 1840. Buyers should be aware that both valid reproductions and forgeries are widely available and, if in doubt, consult an expert.Create a tabletop display on an antique coffee table
Curate vignettes with old maps and globes
Create a distressed look with vintage wall charts and industrial furniture
Preserve an old map with antique frames, or try decoupaging a chest of drawers
Use antique maps to create a colour co-ordinated display
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John Ogilby, 1600-1676How to tell if an antique map is an original
Perfectly proportioned, with plump cushions and upholstered in a fetching fabric choice – nothing makes an antiques-filled living room sing quite like a beautifully crafted sofa. And now, family-owned furniture retailer Barker and Stonehouse has collaborated with antiques dealer (and star of Quest TV’s Salvage Hunters), Drew Pritchard, to design a collection of British-made sofas and chairs that fit the bill perfectly! Drawing on Drew’s passion for antiques and heritage designs, his collection brings together decorative elements from a range of historic periods – from English Regency to the 1960s. The range includes 10 different designs, including sofas, armchairs and footstools, which are available in an array of fabrics, such as dramatic velvets and heritage-inspired florals. Take a tour of the Methodist chapel in Conwy, North Wales, owned by the star of Quest TV’s Salvage Hunters, Drew Pritchard. ‘Barker and Stonehouse has a strong heritage and a wealth of knowledge that’s been passed down through the family over the last 75 years and that is something I greatly admire,’ explains Drew. ‘Being invited by the brand to use my knowledge to blend design cues from throughout history and combine them to create new styles was an inspiring challenge. ‘While the collection naturally alludes to seating designs of the past, I was also keen to widen the field of historical reference,’ he continues. ‘For example, the arm of the Harling sofa features a curved top which takes its cue from the windows and arches found in architecture from the English Regency period, which are themselves modelled upon much older classical styles from ancient Greece and Rome. ‘I like to mix styles and periods; they often work really well together and it’s a great way of creating a space that captures what you’re about. That’s what I wanted for the collection too – for people to be able to pair these sofas, chairs and footstools with everything, from the ultra-modern to the antique. It’s about having fun and mixing it up.’ The collection is made in the UK and is crafted with both affordability and quality in mind – each design is hand-crafted by a highly skilled team of artisans. Many of the pieces in the collection feature classic decorative touches such as button-backs or studding, all of which are added by hand and using traditional methods. ‘The way that we decorate our homes has changed,’ explains James Barker, Managing Director at Barker and Stonehouse. ‘It’s no longer about buying a matching suite of furniture from one collection, it’s about choosing individual pieces that work for you, and Drew’s approach to buying, and now designing furniture, echoes this mindset perfectly. ‘With more than 30 years’ experience in the antiques trade, his knowledge of historic styles, combined with his passion for good design, brings something unique to the collection that can’t be found elsewhere.’ The collection will be available to buy online, in Barker and Stonehouse stores and from Drew Pritchard from March 2021.
Inside the home of Salvage Hunter Drew Pritchard
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On 23rd June 1995, Drew Pritchard, the star of the Discovery and Quest’s Salvage Hunters, moved into a Methodist chapel in the Conwy countryside in north Wales. He was then just 25 years old and it was the first property he’d ever owned. ‘Oh, it was a total mess,’ he says. ‘Completely derelict. There was no water, no drains, no planning permission. A friend told me I’d be better off pulling it down and starting all over again.’ But he wasn’t to be put off. ‘It’s the highest church in the valley and was built in 1812. I was determined to turn it into a home even though I had no money at all. My bath, for instance (a Victorian claw-footed affair) came from a friend who was using it as a planter in his garden. I bought it for 80 quid.’ Over twenty years later – with the chapel now completely renovated and every corner crammed with lovely things – and the man the press calls the ‘junkyard genius’ has now sold this property and moved elsewhere. ‘I’m not sentimental,’ he explains. ‘It’s a mistake to be sentimental in my business. You end up hanging on to things you should be selling, with the result that you make no money at all.’ Pritchard’s Conwy chapel was filled with all manner of extraordinary antiques, including a lavatory that once belonged to Mick Jagger (Pritchard bought it from his plumber). A beautiful late-Victorian painted screen with a large flamingo on it (discovered in the kitchen of a house he was clearing, where it was stuck between cooker and fridge to protect the latter from spitting fat). But above all, a vast amount of reclaimed ecclesiastical pieces: crosses, statues, pews, kneelers, even an altar. ‘In the last 20 years, I’ve cleared more than 500 religious buildings. I own so many kneelers, I hardly know what to do with them. When my kids were small, they would use them to climb up to the dining table,’ he laughs. Pritchard grew up in Glan Conwy. His father was a sign writer. ‘The family would go away in our VW camper van and, from the age of eight, my parents would take us around museums. It was my father who taught me how to look at things. Even as a young child I couldn’t understand why people would buy new things. I used to think, “Are you mad? Why not buy something old?”’ He left school as soon as possible and was apprenticed as a stained-glass restorer. It was this trade that led him, eventually, to the antiques business. He began working for himself at 23. His clients now include Ralph Lauren and the chef Marco Pierre White. He also sells via his website and North Wales antiques showroom. Among the recent arrivals are a 19th-century pawn brokers sign, exquisite antique plaster masks and a magnificent mahogany breakfront bookcase, plus his recent collection of heritage-inspired sofas and armchairs designed in collaboration with Barker and Stonehouse. How does he know what he likes? It’s a gut thing. ‘It’s hard to explain. I just have to have something. It’s a Christmas-morning feeling. I have an imaginary house in my head and when I see things, I put them in it. I’m not an antiques dealer so I’m not interested in an object’s age; it could be 16th century or 21st century. I’m not interested in its value either; it could be worth £50 or £50,000. All I care about is how it looks. The patina of something or how tatty it is, that’s all part of what I’m looking for. When it’s right, it’s right and you do get better at knowing that over the years.’ He gets what he calls an ‘artistic kick’ out of odd juxtapositions, the placing of unlikely objects next to one another. So what would he most like to own in all the world? ‘I collect old cars, so it has to be a type 35 Bugatti.’ For a practical man, he sounds almost dreamy at the thought… Words: Rachel Cooke
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Josiah Wedgwood was instrumental in making English pottery a leader on the world stage. One of his greatest inventions was Jasperware. The smooth, hard stoneware, fashioned in a neoclassical style, rivalled Chinese porcelain in its allure and was snapped up by Georgian consumers, ensuring Wedgwood became a household name. Still produced by the company today, it remains as recognisable now as it was 200 years ago. From the second half of the 18th century, Britain was gripped by neoclassical fever. Excavations at Herculaneum and Pompeii had unearthed captivating treasures, and the architect Robert Adam was designing buildings influenced by ancient Greece and Rome. In Burslem, Josiah Wedgwood was similarly entranced and worked to refine his stoneware into something that might match the artefacts of the ancients. In 1774 he hit on the formula for a hard, finegrained stoneware that could be stained in a variety of colours. The clay was shaped into vases, urns, plaques and tableware, and decorated with applied figures and motifs, inspired by classical art. At the time, the most famous classical artefact was the cameo glass Portland Vase, made in the first century. Josiah worked for many years to replicate it, a feat he finally achieved in 1790. The Georgian era was a golden age for craftsmanshop and design. Here we explore some of the most influential movements and trends of the era. It’s hard to overstate Josiah Wedgwood’s (1730-1795) contribution to pottery. Born into a family of potters in Burslem, he was the youngest of 12 children, and showed early promise as a potter until smallpox left him unable to operate the wheel. He turned instead to design and experimentation and it was this instinct to find new ways of doing things that led to his success. He embraced the innovations of industrialisation and, by the 1770s, his factory was the most successful pottery in England. Today he is seen as a visionary, who transformed pottery from a cottage craft into an international industry. How to create covetable displays using old and new Wedgwood Jasperware designs… A modern homage to Jasperware is Wedgwood’s new range of Burlington pots (from £55 each). Featuring the iconic Wedgwood blue and white colour scheme, these will bring the spirit of Jasper with a contemporary twist into your home. For best effect, group a few on a window sill and fill with flourishing house plants or herbs. A modern homage to Jasperware is Wedgwood’s new range of Burlington pots (from £55 each). Featuring the iconic Wedgwood blue and white colour scheme, these will bring the spirit of Jasper with a contemporary twist into your home. For best effect, group a few on a window sill and fill with flourishing house plants or herbs. Wedgwood Burlington pots pale blue on white, £55, Wedgwood Buy it now Wedgwood Burlington pots white on black pot, £75, Wedgwood Buy it now Wedgwood Burlington pots pale blue on white pot, £95, Wedgwood Buy it now For a striking display in your kitchen or dining room, arrange your pieces of Jasperware with other collections of vintage ceramics and glassware. Mixing practical and pretty pieces from different styles and eras creates a fresh, eclectic look better suited to a contemporary home than a more formal arrangement of a unifying style. Classic Jasperware is instantly recognisable and brings a touch of neoclassical elegance to any setting. For subtle impact go for simple, unshowy pieces, like the vase in this picture, and dress with a loose arrangement of flowers. Magnolia blossom Jasper bud vase, £85, Wedgwood Buy it now Magnolia blossom large Jasper vase, £175, Wedgwood Buy it now Wedgwood’s Blue Pebble tableware (from £85) is another reimagining of Jasperware, updated for the 21st-century table. The blue and white stoneware, made from the company’s Jasper formula, is inspired by water-washed pebbles and beautifully complements the natural textures of wood, linen and stone. Blue pebble shallow bowl, £50, Wedgwood Buy it now Blue Pebble bowl, £50, Wedgwood Buy it now
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What could be a nicer afternoon treat than a beautiful vintage-style cake stand laden with scones, sandwiches and petit fours? Luckily, Sainsbury’s and Argos have just launched an exclusive afternoon tea collection designed by Escape to the Chateau’s Angel Strawbridge. We’ve loved watching Dick and Angel restore and renovate their 19th-century chateau in the Pays de la Loire region of France on Channel 4’s Escape to the Chateau. And now you can recreate the covetable vintage and antiques-filled look of their home – and glamorous events business – with your very own slice of chateau style. The star of Channel 4’s Escape to the Chateau tells us about her most prized antique possessions and her decorating triumps. Afternoon tea is the trend of the moment, with grandmillennial style and interiors inspired by Netflix period drama Bridgerton encouraging us to seek a slower, more traditional pace of life. Data from Google Trends also shows that searches for afternoon tea more than tripled in January! Angel’s collection for Sainsbury’s and Argos is inspired by this regal renaissance, and combines her affinity for entertaining with her passion for all things vintage. The afternoon tea range includes a beautiful tiered cake stand, dainty cutlery and serving platters, plus pretty cups and saucers. The collection features a potagerie-inspired floral print, which stems from Angel’s love for wildflowers and her own walled garden at the chateau. The collection also comes in beautiful packaging, making it the perfect Mother’s Day present! The Escape to the Chateau afternoon tea range is available in selected Sainsbury’s stores now and launches online at Argos in March.Escape to the Chateau’s Angel Strawbridge on her passion for vintage and antiques
Escape to the Chateau cake stand, £20, Sainsbury’s
Escape to the Chateau cake plates, £16 for 4, Sainsbury’s
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Escape to the Chateau cake forks, £12 for 4; Escape to the Chateau tea spoons, £12 for 4, both from Sainsbury’s
Escape to the Chateau mug and coaster set, £14, Sainsbury’s
We’re all for celebrating any event or occasion at the moment (hello Valentines Day, Pancake Day and Easter!) but you can’t beat treating your mum, friend, sister, grandma or aunt to a brilliant Mother’s Day celebration. Mother’s Day this year falls on Sunday 14th March and regardless of whether we’re able to celebrate around the dining table or in the back garden, hosting a celebratory vintage tea party is certainly something to look forward to. Here we share our top tips for hosting a tea party that’s extra special – from creating a show-stopping floral centrepiece, to laying the perfect vintage table. Did you know that Mothering Sunday wasn’t originally to do with celebrating mothers at all? Originally it was the Sunday on which people returned to their mother church (or the main church in their area) to celebrate the middle Sunday of Lent. Of course, because people were returning to their local area, this also meant that people had a chance to go home and see their mums and so Mother’s Day as we know it was born. Whatever the reason, we always love to treat our Mums. And what better way than to sit her down with a nice cup of tea and a slice of cake… We all know that few things are more cheerful than a colourful front door, and a spring wreath is the perfect finishing touch! Whether you buy a ready-made example – or get creative with willow, twigs and spring foliage – a wreath like this one will enchant your tea party guests as soon as they arrive at your door. Don’t fancy making your own? Here are some beautiful spring wreaths available right now… Wildflower spring wreath, £58, Not on the High Street But it now 43cm flower spring wreath, £27.99, Lights4Fun Buy it now Spring wreath making kit with dried flowers, £59, Etsy Buy it now What could be more charming than a Mother’s Day afternoon tea served on antique and vintage china? Hunt-down a complete tea set for a cohesive feel, or keep things eclectic by mixing and matching colourful cups, saucers and serve ware. It’s easy to pick up an array of vintage floral or patterned china at flea markets, charity shops or online. For investment pieces, Gentle Rattle of China has some excellent antique examples, or find updated versions of heritage designs via Spode or Wedgwood. Transform your Mother’s Day tea into a real occasion by laying the table with glittering antique silver! Whether you serve tea in a pretty silver tea pot, dig out the silver cake forks or adorn linen napkins with antique silver napkin rings, your guests are sure to be impressed. But don’t forget to give everything a quick clean before they arrive! Now that you’ve chosen the vintage china and polished the silverware, all that’s left to do is lay the tea table to perfection! To ensure your vintage tea party goes without a hitch, we recommend doing this the night before. Opt for linen and napkins in a single colour palette for a look that’s simple and sophisticated, or go bold with kitsch vintage florals and antique embroidered table linen. You could even get crafty with some personalised place settings, like those pictured below. Nothing says Mother’s Day like a sweet-smelling display of hyacinths, tulips and daffodils straight from the garden! If you’re short on vases, why not raid the other vintage or antique vessels in your home? Old pudding bowls, flour bins, bread crocks or jelly moulds are perfect for creating unusual seasonal displays when stuffed with floral foam or chicken wire. No vintage tea party is complete without cake! We love the look of these sweet iced fairy cakes topped with edible spring flowers, and this indulgent chocolate and ginger cake is also a real crowd pleaser. A beautiful cake also calls for a beautiful cake stand! And we love these examples… Cake stand by Angel Strawbridge, £25, Sainsbury’s Home and Argos Buy it now Add vintage charm to your afternoon cuppa with the latest homewares collection from Escape to the Chateau’s Angel Strawbridge. Skye McAlpine splatter cake stand, £98, Anthropologie Buy it now V&A Alice in Wonderland 3 tier cake stand, £38, Dunelm Buy it now Wedgwood Butterfly Bloom 3 tier cake stand, £135, John Lewis & Partners Buy it nowMake the front door look beautiful
Our favourite spring wreaths
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Our favourite vintage-inspired cake stands
Escape to the Chateau’s Angel Strawbridge launches afternoon tea collection
We’re all for celebrating any event or occasion at the moment (hello Pancake Day, Valentines Day and Mother’s Day!) and Easter is absolutely no exception. Whether you create an eye-catching display on a sideboard or mantelpiece, create a DIY Easter tree or go all-out with a folk-themed Easter table, here, we show you how to incorporate spring flowers and cheerful folk art into your 2021 spring decorating scheme. This Transylvanian bench with a cheery floral design will bring a joyful mood to your hallway this spring. It doubles as a storage box, so is ideal for stashing shoes and other clutter! Celebrate Easter with a vibrant and colourful display of folk art pieces, vintage items with hand-detailed decoration, fresh spring flowers and a scattering of painted eggs. Give your dining room a pattern makeover with an array of different wallpaper designs, overlapping to create a patchwork. Polish Pajaki chandeliers also make eye-catching Easter centrepieces. Create a stunning display above your Easter table with one of these beautiful handmade Polish Pajakis… Coral and silver paper Pajaki chandelier, £25, Trouva. Bright Blossom chandelier, £36, Meri Meri. Pajak mobile chandelier DIY kit, £30, So Creative Company at Not on the High Street. Make an Easter tree using twigs gathered together and arranged in a large earthenware pot. Hang handmade decorations from the budding twigs and display on a sideboard with chocolate treats. A statement antique folk art piece like this handmade Russian cupboard is a decorative as well as practical addition to any living space. The top section opens to reveal a dresser-style display, where colourful dining and kitchenware accessories are gloriously on show. Create a folk-style bedroom by layering the bed with antique and vintage embroidered quilts, throws and a heap of cushions. A rustic stool makes a sweet bedside table and the pom pom tassel garlands add a celebratory touch. Create your dream area for sleep and relaxation with our guide to bedroom design and perfectly planned colour schemes, plus tips on how to choose the best bed for a good night’s sleep. Nothing makes a bed look more inviting than a collection of colourful bedspreads, blankets and eiderdowns! Here are some of our favourites… Printed quilted pink velvet double bedspread, £135, Oliver Bonas. Brynne quilt, from £168, Anthropologie. Cut out work cotton bedspread, £275, Raj Tent Club. Give your linen cupboard a spring spruce by arranging your collection of vintage eiderdowns, antique embroidered cloths and cushion covers on shelves tripped with lengths of decorative ribbon. Photographs: Katya de GrunwaldUse a colourful folk art bench as storage in a hallway or on a landing
Create a colourful Easter display with vintage ceramics and fresh spring flowers
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Styling: Selina Lake
Whether we can celebrate together or not this Easter, there’s no reason to miss out on giving (and receiving!) a delicious chocolate egg. These flat versions from Bettys cost £10.50 each and are just the things for popping in the post for friends and family to enjoy. Buy it now This egg-shaped gift box from Booja-Booja is a truly grown up Easter treat, and has been hand-painted by a community of artists in Kashmir, India. Filled with cocoa-dusted dark chocolate truffles, it would make a beautiful present for a friend or loved one. Buy it now This beautifully nutty Easter egg is crafted by chocolatiers in Tuscany. Cut in half, it reminds us of a beautifully ornate 17th or 18th century shell grotto! Perfect for an antiques lover… Buy it now Now, we love an egg that makes a statement. And this wrapped milk chocolate egg from Butlers Chocolates reminds us of the enormous eggs seen in corner shops and delis across Italy during Easter. Enrobed in a cloak of pearlescent recyclable wrap, inside find a dense chocolate egg filled with mini chocolates (flavours include caramel, raspberry, lemon, praline and a mix of milk, white and dark chocolate FYI!). It’s at the top of our Easter wish list… Buy it now What could be nicer than booze and chocolate? And this pretty pink-hued egg (it’s milk chocolate and strawberry-white-chocolate flavoured) from Hotel Chocolat is crammed with indulgent champagne truffles. Delicious!Milk chocolate flat egg, £10.50, Bettys
Organic hazelnut crunch chocolate Easter egg, £26, Farmdrop
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Sicilian almond and dark chocolate Easter egg, £35, Fortnum & Mason
Butlers Chocolates giant green wrapped milk chocolate egg, £22, Harvey Nicholas
Extra-thick champagne Easter egg, £29, Hotel Chocolat
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