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Art Design Fashion People

Marie Antoinette + Victoria + Albert Museum Kensington London

Tomorrow is Not Another DayHigh camp and high treason, glamour and gore, makeup stories and made up stories, big wigs and bigwigs, political incorrectness and incorrect politics, the Marie Antoinette show at the Victoria and Albert Museum is a fitting and well fitted tribute to la dernière Reine de France. It’s the first ever British exhibition dedicated to the anglophile royal.

Marie Antoinette is the most fashionable queen in history,” sparks curator Dr Sarah Grant so there are plenty of frocks on display. Long before she was incarcerated in Temple Gaol, Marie Antoinette was a prisoner of the largest gilded cage in history. Shipped off aged 14 from her home in Austria to be married to her cousin, becoming Queen at 18, she was never allowed to leave France. Courtiers updated her on the latest London trends.

“This was a woman whose choices practically generated the industry around couture and jobs for thousands of people,” barks Manolo Blahnik, one of the show’s sponsors. Hers was a rarefied vision unrivalled by subsequent regal patronage. Yet when she opted for simpler muslin dresses and straw hats in the 1780s over the ostentatious court gowns she had previously popularised, the silk merchants accused her of abandoning their industry.

More than 230 years after her death it’s hard to distinguish between the wild fiction and wilder truth. Myths are immortal. She almost definitely didn’t suggest the poverty stricken should stick to calorific sweet stuff but wouldn’t it be fun if she really did quip “I do take little care of my appearance”? Real letters trump fake news. Marie Antoinette’s mother, Empress Maria Theresa, admonished her in a letter of September 1776, “All the news from Paris is that … your finances are in disarray and weighed down with debt.”

Frivolity not form follows function when it comes to her choice of gardening tools. But hey a girl has to look good even when digging up soil! Her harpsichord is a reminder that Marie Antoinette was more than a clotheshorse. She was an accomplished musician and popularised the salon concert. A chair represents her interest in interior decoration: the Louis XVI furniture style is named after the wrong marriage partner. Seize that Seize!

But a headless dressed dummy is a harbinger of the horror ahead. Turn the corner into the penultimate exhibition space and in place of a crinoline is a smock. Next to a guillotine. A neon sign contains her words of August 1793 “Nothing can hurt me now”. She would be killed two months later. Aged 37, the Queen of Arts lived one year longer than the future Queen of Hearts.

Turn the next corner for a posthumous party. Today is a new day. True fashion never dies. Just ask John Galliano.

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Design Luxury People

Autumn Collection + Kartell South Kensington London

Intelligence Service

Trust Phillippe Starck to be ahead of the curve. The trailblazing French designer has collaborated with leading Italian brand Kartell to produce the first ever chair design to be conceived and drawn up by AI. Philippe asked the computer programme Autodesk: “AI, do you know how we can rest our bodies using the least amount of material?” The outcome is a stylish curvaceous seat based on an injection moulding production that uses 100 percent recycled plastic.

Generative design is an explorative technology that allows creators and engineers to input their goals along with parameters such as materials, manufacturing methods and cost constraints. Autodesk then explores all the possible permutations of a solution to generate design alternatives. The software tests and learns from each iteration what works and what doesn’t. The AI Chair is a fitting addition to the Kartell London store. Kartell’s Autumn Collection includes Philippe’s sleek super glossy HHH Chair. Also made of recycled plastic, the seat is available in reused leather or Liberty fabrics. The initials stand for Her Highest Highness. A dauphine worthy piece of furniture.

The flagship London store is fittingly opposite Brompton Square where Min Hogg, the innovative Founding Editor of The World of Interiors, once called home. There are instantly recognisable pieces on display (Philippe’s Louis Ghost and Victoria Ghost Chairs) as well as new pieces (his Cap Table Lamp). Other designers represented include Ludovica Serafini and Roberto Palomba (Albert Table) and Patricia Urquiola (Aaland Pouff). Rodolfo Dordoni, Ferruccio Laviani, Piero Lissoni and Fabio Novembre are the masterminds behind the Kartell Eyewear Design Collection.

AI continues to affect every aspect of modern life. Leana Wen wrote an opinion piece in The Washington Post 7 October 2026 “AI might be our best hope to fix healthcare”. She stated, “Now, however, the country has a new reason for hope: artificial intelligence. That’s the big idea in health informaticist Dr Charlotte Blease’s new book Dr Bot: Why Doctors Can Fail Us — and How AI Can Save Lives. ‘The medical community needs to show leadership here,’ Blease told me. ‘We’ve got to stop sticking our heads and stethoscopes in the sand.’” Philippe Starck and Kartell are sticking their heads above the AI designed parapet.

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Art Design People

Brompton Design District South Kensington London + Tender Revolution

Another Place

Sunday afternoon painters have their place – usually with still lifes and landscapes – but how riveting to see the cutting edge of contemporary art in Brompton Design District. A Softer World, this year’s curated strand, is directed by British Italian writer and gallerist Alex Tieghi-Walker. Exhibitions, installations, talks and workshops explore design through empathy, tactility and interdisciplinary collaboration. His emotionally resonant approach challenges how we experience and respond to the material sphere. In a world that often demands certainty and control, A Softer World posits: what if design moved with care and made space for us to do the same?

A most exciting exhibition – or is it multiple installations? – is at 237 Brompton Road. Tender Revolution showcases furniture, textiles and objects by designers, artists and makers from the Royal College of Art. It presents design as an act of care, connection and rebirth. The participating creatives challenge rigid systems that suppress complexity and erase stories beyond the binary. They embrace contradiction, vulnerability and embodied experience as powerful sites of renewal.

“The designer of today reestablishes the long lost contact between art and the public, between living people and art as a living thing. Instead of pictures for the drawing room, electric gadgets for the kitchen. There should be no such thing as art divorced from life, with beautiful things to look at and hideous things to use. If what we use every day is made with art, and not thrown together by chance or caprice, then she shall have nothing to hide.” Not a contemporary commentary but rather 29 years old relevance written by Bruno Munari in Design as Art. Tender Revolution succeeds by inviting us in thought provoking and sometimes even humorous ways to reimagine the role of design in shaping more compassionate futures – that are free of chance and caprice.

Featured exhibitors: Ana Maria Alarcón, Carmen Danae Azor, Alexander Clark, Avis Dou, Natalie Dubrovska, Ruwanthi Gajadeera, Audra Grays, Linlin Guan, Menghyan Guo, Miyuki Guo, Ruikun Guo, Lydia Hill, Shino Hitosugi, Sahym Hussain, Huili Jin, Patrycja Koziara, Hyein Lee, Maxim Lester, Lydia Lin, Alexandre Manko, Luca Maremmi, Eileen Morley, Ellen Nacey, Sofia Ortmann, Sarah Tibbles, Rosalie Valentino, Yang Xiao, Yidan Xu, Zhibo Yang, Chenrui Zhang, Zinjin Zhang, Shaming Zhang, Shumeng Zhang.

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Architecture Design Developers People Restaurants Town Houses

Rémi Lazurowicz + Comptoir Lazu + Restaurant Lazu Paris

Boulevardiers on the Boulevards

Due to circumstances within our control – Paris encore une fois – we’re heading for Queer Street adjacent. We’re not over the moon about it but such is the price of expended ebullient social energy. Well beyond the faded tapestry of dawn, long after lunch, we will witness the slow transition of dusk; silver planes will be seen escaping, bright in the last sun above the darkening city. The streets will lose colour to the night. “The French take their pleasures very seriously; French chic is a high art form,” writes Ada Louise Huxtable in The Eighties, New York Review of Books, 6 April 1995.

The 9th, to coffee in Lazu (Comptoir), lunch in Lazu (Restaurant), pray in Notre Dame de Lorette (Church) and play in the bars around the casual Place José Rizal, far away from the carefully pollarded symmetries of the Jardins des Tuileries. We’re here super early in this restaurant so it’s quiet: front of house is acting waitress and sommelier. She’s fab. This is going to be a terrific lunch. Les Vins Blancs list is divided into Provence, Savoie, Alsace, Jura and Corse. It might not be ski season just yet but we’re feeling Auvergne-Rhône-Alpes so order the perfect sip from that prefecture. Domaine Louis Magnin Roussette de Savoie 2018 is bright, fresh, smoky, sharp and very good. It appears nacreous in the soft noon light. Fly Me to the Moon sung by a chanteuse is playing in the background. This is going to be a totally terrific lunch.

There are four entrées, five plats and five desserts on the menu. Our new multitasking friend produces the favourites of the day board but we’re glued to the menu. We’re always versatile so go vegan starter, pescatarian main and vegetarian pudding. Holy cow! But first a creamed cauliflower on parmesan cracker amuse bouche to commence our culinary adventure. A sack of bread and cayenne dusted butter quoin stones put the rustic into rustication.

Tartelette sablée au parmesan, pickles de girolles, Romanesco, champignons séchés, courgettes au safran, carotte et vinaigrette algre doux. A noble theme. Wow! Fillet de cabillaud Skrei rôti, cocos de Paimpol, vierge de radis roses et noirs, emulsion raifort. Wow wow! And the Norwegian Atlantic Cod even comes with our favourite bow to Michelinism: foam. As Hervé This scribes in Molecular Gastronomy: Exploring the Science of Flavour (2002), “Low in fat because they are essentially made of air – foams came to prominence with the rise of Nouvelle Cuisine in France in the 1960s and then gained broader popularity as a consequence of the growing interest in lighter foods on both sides of the Atlantic. Today, with the advent of molecular gastronomy … they are very fashionable among connoisseurs.” Mousse au chocolat Lazu: éclats de chocolat, fleur de sel et piment d’Espeletter, huile d’olive. Wow wow wow! A coconut shortbread surprise, more nuanced than a triple entrendre, ends our gourmet voyage.

What does Monsieur Michelin have to say about Lazu? “The Chef, who was well schooled (Bruno Docuet’s second at Le Régalade), composes a well crafted bistronomique cuisine with judicious associations. While the menu changes every week, specialties such as carmelised sweetbreads and potato pâté en croûte have been enjoyed since the opening.” We say witness this materiality, solidity and substance! Well, well, how did we miss those favoured sweetbreads? Return visit required. The baked chocolate pudding served straight from the pan at our table with a side portion of olive oil is return visit worthy in itself. On y va!

Rémi Lazurowicz appears halfway through lunch for a chat even though the restaurant is now filling up with staff and customers. The charming Head Chef owner dashes across Rue Marguerite de Rochechouart from Le Comptoir to join us, full of the joys of comptoiring and restaurateuring and living. “I wanted to become a chef first and foremost,” he relates. “My cuisine is all about honesty, simplicity and freshness. I do want lots of textures and contrasts as well. I get quite a lot of English customers as we’re close to Gare du Nord.” With food, as with faces, there are moments when the forceful mystery of the inner being appears. Inwards and outwards, the lunch’s character with its inherent beauty, is in its portions and its sureness of style.

We’re entrenched in a metaphoric city continually reinventing itself to remain vital, a constant layering of cultural atrophy. Pushing beyond that immediate hinterland of desire, Eden restored. Everything tastes better in Paris. Wind inducing cauliflower becomes the breezy taste of autumn. Everything sounds better in French. Take “bricolage”: so much classier than “DIY store”. Valorisation is easy. Recalling our lunch in the 9th is like freeze framing that key moment in a film around which the whole of the narrative pivots before a spiral of hypnogogic descent. You witnessed it through us, dwellers in history. Now look: summer has turned, autumn has dropped. Lazu the moon.

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Architects Architecture Art Design People

Serpentine Galleries London + The Delusion + Danielle Braithwaite-Shirley

Human Engineering

Kensington Gardens is home to two exquisite pieces of sculptural architecture: one carved in stone; one moulded in coated glass fibre. The William Kent designed Queen Charlotte’s Temple is a 1730s symmetrical eyecatcher best viewed from the Serpentine Bridge. The Zaha Hadid designed restaurant added to the Serpentine North Gallery in 2013 takes an asymmetrical organic form which is echoed in the fluidity of the surrounding garden planned by Arabella Lennox-Boyd. Now Kensington Gardens is temporary home to an extraordinary piece of …

Enter Hans Ulrich Obrist, Artistic Director of the Serpentine, to talk about the latest exhibition in the North Gallery which pushes all the boundaries when it comes to definitions. He says, “We are thrilled to provide Danielle Braithwaite-Shirley with a platform for her groundbreaking live experiment. The Delusion embodies everything Serpentine stands for: a place of exciting experimentation where new connections between artists and audiences come to life.” Bettina Korek, CEO of the Serpentine, adds, “Braithwaite-Shirley’s visionary use of gaming and participatory performance to explore polarisation, censorship and hope reflects the urgent conversations shaping the world today.”

The gallery is divided into a series of dimly lit spaces like twisted takes on Victorian mediums’ parlours. Handwritten questioning messages written on doylies are pinned to cushions; framed cartoons of monsters hang on the walls. London born Berlin based Danielle provides instructions: “You can experience the exhibition through three different emotional states called Delusion Loops. Each loop presents scenarios inspired by the emotional states of hope, fear and hate. Which loop comes next depends on how visitors interact with the games in the exhibition space. Each loop is accompanied by its own soundscape, different versions of the games and changing elements in the gallery environment. You will find one multiplayer game in each room. Collaborate with other players. Three games. Three loops. Infinite ways to participate.”

Ever since Carsten Höller’s 2006 installation at Tate Modern – when visitors slid down self exploratory slides – interactive art has been a progressive component of London’s art scene. In place of the sheer physicality of Carsten’s work, The Delusion invites visitors to mentally engage in hot topics through gaming machines. While it’s not guaranteed to solve geopolitics, this crossover between video games and the visual arts sure is fun.

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Architecture Art Design Fashion Luxury People Restaurants

Supporters’ House + The National Gallery Trafalgar Square London + Christmas

The Art of Buying

In 2023 it was the reboot of the National Portrait Gallery. This year it’s The National Gallery which holds the world’s preeminent collection of paintings made in the Western tradition starting in the early 13th century. Following the landmark reopening of the Sainsbury Wing in May came the launch of Supporters’ House and two newly created retail spaces. The Christmas 2025 range features many products designed inhouse and available exclusively at The National Gallery. Consumerism with a conscious: every purchase directly supports the art collection

The entrance door to Supporters’ House is to the immediate left of the portico overlooking Trafalgar Square. A rabbit warren of offices, stores and stock rooms have been opened up into four large spaces: a lounge and bar, restaurant, private dining room and salon event space. Interior designer Job Hoogervorst of Studio Linse says, “We wanted it to feel like it’s always been there. The initial wish was that it has an echo from The National Gallery.”

Revealed internal arches add a strong sense of structure to the corridor and spaces. Deep colours inspired by the permanent collection are used to saturate each space from the walls and window shutters to the ceiling. Job comments, “The place is quite architectonic so it is as if each room has been dipped in a colour.” Furniture from the archives has been repurposed and reupholstered. The original parquet floor has been restored. Studio Linse’s cultural hospitality space designing experience includes the Rijksmuseum in Amsterdam.

The Gallery is also launching an international architectural competition for a new wing. This has already attracted £375 million of cash pledges including the two largest ever publicly reported single cash donations (£150 million each) to a museum or gallery. Director Sir Gabriel Finaldi states, “We are hugely excited by this development and are immensely grateful to our donors for their support – on an unprecedented scale – as The National Gallery steps into its third century. We look forward to an ever closer collaboration with Tate on this significant new initiative.”

The Painter’s Tree is a set of Christmas decorations handcrafted by Cambodian women. Felt figures include Caravaggio, Gainsborough and Rubens. The new scented edit offers soaps and hand creams traditionally made in Sussex with wrapping based on details from National Gallery paintings. Scents include Fig and Grape, Pine and Eucalyptus, and Jasmine. Details of paintings also feature on this season’s fashionwear such as Van Gogh’s famous hat embroidered on a jacket.

It’s the most wonderful time of the year … to visit The National Gallery and get shopping!

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Art Design Fashion People

Design Museum London + Blitz Club

Old Romantics  

In the late Nineties early Noughties it was The Frames in Belfast, The Pod in Dublin and The End in London. The definite article was a clue you were definitely going to have a good time. In the beginning, before these epochal nightlife venues tripped the light fantastic, there was Blitz Club. Or at least in the early Eighties. David Bowie, Siobhán Fahey, Boy George, Gary Kemp, Zandra Rhodes, Peter York … they all cut loose on its dancefloor in Covent Garden. Spandau Ballet was the house band. The latest show at the Design Museum London celebrates this tiny short lived yet influential Club (just 18 months of fun filled nights) founded by Steve Strange and Rusty Egan.

Clothing, textiles, artwork, records, music videos, ephemera and best of all an immersive nightclub complete with clubbers and discarded bottles of Blue Nun make for an escapist visitor experience.  Produced inhouse, Senior Curator Danielle Thom worked with many of the clubbers who loaned their belongings. “Almost all of the material in this exhibition has come straight from the original sources,” she confirms. “Take the dresses – they are not generic. They are things that were actually worn to the Club. That immediacy adds a valuable layer to the exhibition.”

Visitors can dial a rotary telephone to listen to interviews by Blitz Kids (the name given to frequenters of the Club by the media). Danielle says, “We are the Design Museum so are interested in design in all its facets – all its creative outlets. We wanted to capture that moment when visual design, fashion design, culture and the media start to shift at the opening of the decade.” She notes that cultural influences on Blitz ranged from architectural futurism to the Weimar Republic.

“The exhibition’s emphasis on fashion isn’t on the designer output that would emerge from the Club but on how people were actually styling themselves,” Danielle confirms. “Their clothes were gathered from jumble sales and theatrical costumiers and also pieces their friends would run up for them on sewing machines. It was necessarily very rough and ready because they had little in the way of money. But what they did have was ingenuity and creativity.”

ID and The Face magazines were birthed from this scene. Many of the editors, photographers and writers were Blitz Kids who featured clubbing contemporaries on their pages. Danielle highlights this symbiotic relationship of coverage creators and content. She says, “There was a shift in emphasis from fashion which is trend led and top down to style which is personal and idiosyncratic.” This individualistic marrying of stylistic and aesthetic awareness divorced from the mainstream with music would become the engaging singular legacy of Blitz Club.

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Architecture People

Quebec House Westerham Kent + Sarabande in D Minor

Handel With Care

Astounded, bedazzled and mesmerised are just some of the non hyperbolic reactions to the impromptu performance on the 1788 early English square piano in the first floor reception room. Such textural gossamer playing defies belief when combined with elevated clarity and determined dexterity of movement. Shooting up and down the dynamic spectrum pedal free, the pianist’s fingerwork of polyphonic transparency immediately strikes the balance between articulation and atmospherics. He finds an almost Celtic lilt in George Frideric Handel’s courtly triple time dance on John Broadwood’s tightly tuned instrument. The resultant robust soundscape ripples with Promethean masculinity. Monetising this concert level of piano playing will surely keep the Wolfe from the door.

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Art Design Luxury People

Raw Echo + de Le Cuona Design Centre Chelsea Harbour London

The Poetry of the Earth is Never Dead

“A love of linen and attention to detail first fired my desire to create beautiful fabrics,” says Bernie de Le Cuona. The Founder, Chief Executive and Creative Director of the luxury textile house de Le Cuona grew up in rural South Africa, developing an early love of nature. All of de Le Cuona fabrics are woven in European mills using the world’s finest natural fibres: alpaca, cashmere, flax, silk and wool. Established in 1992, there are now two showrooms in London (Design Centre Chelsea Harbour and Pimlico Road) and one in New York (Design Centre 200 Lex).

“This collection is called Raw Echo,” introduces Lisa Dunlop, Field Sales Executive at the Design Centre Chelsea Harbour showroom, “and it’s all about the juxtaposition in nature between something brutal and something soft. So if you think of the Sahara Desert it has beautiful soft sand but it’s a hard environment too – that’s the inspiration for the collection. All our colours are derived from nature. We don’t use unnatural dyes.”

Lisa explains, “Four of these eight new designs are sheers. We’re findings sheers are really popular for clients at the moment because they want that lighter look. They are all 97 or 100 percent linen. All our linen is from Belgium. Sustainability is a big thing for us. Linen itself is highly sustainable. It’s very biodegradable yet lasts a lifetime. That’s the cool thing about linen! You can use lots of our fabrics on the reverse. Sahara is a reversible stonewashed linen with subtle twills. It’s rub tested on the back at 20,000 rubs and 25,000 on the front.”

As well as Sahara, there’s Desert Etching which is a linen sheer with an eroded carvings style motif; Mirage, a jacquard sheer with a texture ombré stripe; Petra, a linen jacquard with space dyed warps; Saba, a linen alpaca blend sheer with rippling threads; Sandstorm, a sheer in multi shaded mélange yarns; Strata, a linen wool blend with twisted yarns; and Tumbleweed, a linen upholstery fabric with interlaced yarns.

The company also has a bespoke interior tailoring service which covers made to measure bedspreads, curtains, cushions, throws and upholstery. Everything is crafted in Britain by inhouse specialists. The sustainability ethos doesn’t stop with the original textile making. The company also has a revitalising service which transforms vintage de Le Cuona fabric furnishings and accessories into upcycled pieces.

Bernie de Le Cuona concludes, “Raw Echo is a collection about emotion as much as it is about materiality. It captures that moment in nature where everything is both powerful and peaceful, where the landscape feels alive but still.” The Design Centre Chelsea Harbour showroom of de Le Cuona, minutes from the busy Kings Road, is an oasis filled with exquisite fabrics inspired by ancient terrains, golden sands, wilderness landscapes and weathered stone.

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Architecture Design Developers Hotels People Town Houses

Charlotte Blease + Dr Bot + Yale University Press + Bedford Square Fitzrovia London

Hot Press

Bedford Square and Russell Square. The Duke of Bedford – family name Russell – still owns swathes of the golden postcodes of central London. Both developed in Georgian times, the former square is mainly intact; the latter, mostly rebuilt. Each side of Bedford Square was treated as a single unit in construction and design terms. The terraced houses have brick elevations, Coade stone quoins decorating the doorcases, and wrought iron balconies to the piano nobile. The centre of each terrace is stuccoed, pedimented and pilastered.

Eleanor Coade invented and produced the eponymous artificial stone which was one of the most widely used building materials of the late 18th and early 19th centuries. A ceramic material made of a secret recipe, Coade stone is exceptionally resistant to weathering and erosion. Such versatility made it popular for architectural details and sculpture. In later life Eleanor was an active philanthropist. She stipulated to women benefactors named in her will that none of their husbands were to touch the bequests.

Bedford Square now has prestigious occupiers such as the Architectural Association Bookshop, Consulate General of the Republic of Angola, Magg Brothers Rare Books and Manuscripts, and Spparc Architecture. The northeast side backs on to the British Museum with its Enlightenment Room celebrating the age of reason, discovery and learning. St Gile’s Hotel bravely raises its Brutalist head over the southwest corner of the roofscape of Bedford Square, contrasting with the neoclassical architecture below. Fitzrovia was and is an area of knowledge and culture.

Number 47 is the stuccoed midpoint of the southeast side and is the address of Yale University Press, especially known for Pevsner architecture guides. Printing, the art preservative of all the arts, takes centre stage on Bedford Square. Depth of classical knowledge, brutally honest expression of form, a female trailblazer in her chosen field … a segue is barely required such is the connective tissue to the launch of Dr Charlotte Blease’s latest book.

She is a Northern Irish philosopher of medicine whose research concentrates on the ethical, psychological and social dimensions of healthcare innovation with a focus on the use of AI technologies in clinical settings. Charlotte is currently an Associate Professor in the Medical Faculty at Uppsala University Sweden and a research affiliate in the Digital Psychiatry Programme at Beth Israel Deaconess Harvard Medical School.

Dr Bot: Why Doctors Can Fail Us – and How AI Could Save Lives has received glowing reviews from the right (Daily Mail) to the left (The Guardian). International coverage has included interviews on CNN Washington, The Times Radio London and Ireland’s most listened to radio show, Pat Kenny on Ireland AM. She explains, “There are very human problems with medicine. For example, keeping up to date with information. I made a calculation a couple of years ago that there’s a new biomedical article published every 39 seconds. If doctors were to read just two percent of these it would take them 22.5 hours per day. AI can crunch through information at breakneck speed. That doesn’t mean to say that AI is without problems.”

Heather McCallum, Managing Director of Yale University Press, opens the book launch: “Charlotte has a gift for making the very complex accessible. She is producing and digesting mountains of cutting edge work and translating it into a form for people to understand and be appreciate of the ideas. That is a huge talent! I think Charlotte is a luminary. She is also fun and charismatic. I was absolutely thrilled that she chose to commit her book to Yale to publish. This is a heartfelt book for today. Charlotte’s star is in the ascendant.”

Leading academic and former general practitioner Dr Richard Lehman is the guest speaker: “The great message of Charlotte’s book is it’s not because doctors are fallible beings and therefore should be dissed. It’s because they need support of the kind that has never been available before. This is an amazing opportunity. I think it’s absolutely marvellous that Charlotte has packed so much in that has real intellectual clout and depth and personal research together with a catchy title and this superb style which can be hilarious at times. This book deserves a conference in its own right!”

Charlotte posits, “The key issue is who or what could do a better job of delivering healthcare. My book isn’t, though, a love letter to technology. My background is philosophy so I’m thinking about this in a balanced way. We’ve got to consider the fact that AI can be people pleasing, it can be obsequious – there’s a whole cluster of biases that can persist. The opportunity here however is to see if we can find ways to debias these tools to reduce inequality in healthcare.” Patients are at the centre of this book: the reader is reminded that the care of the patient is the purpose of medicine. She poses and answers the key question: who or what might do a better job of delivering that?

Dr Bot is the first book to deeply consider the diverse range of physical and psychological pitfalls associated with traditional medical visits. Two underlying arguments are “The belief that we live in the best of all possible worlds takes the path of least resistance” and “To improve medicine, we should expect to do things differently”. The surveys underpinning her views are original (for example, investigating American psychiatrists’ use of commercial generative AI bots) and expansive (such as interviewing 1,000 British general practitioners about the future of their job).

There’s a smorgasbord of delicious titbits in this book. For starters, a delightful description of verbal discourse, “Among strangers, the flow of conversation can vary considerably: sometimes chatter courses like a bounteous brook, other times it sputters like a faulty faucet.” For mains, “Whether as a clinician or a patient, we enter the consulting room equipped with a suite of inbuilt algorithms sculpted for life on the savannahs of Africa.” And just desserts, “Medical doctors gulp down many bitter pills too.”

Drawing on patients’ and personal experience, heartwarming and sometimes heart wrenching stories are balanced with light heartedness. Lady Gaga’s lesson on the benefits of hard work (spoiler alert: it often leads to success) is an unexpected find in a book about doctors and technology. As is a well known American brasserie chain: “When a doctor introduces herself, she will not say, ‘Hi, my name is Sandra, I will be looking after you.’ This is not Hooters. In fact, it’s unlikely that she (or he) will use their first name.”

Charlotte’s stance is objective: this is neither a love letter to technology nor medical doctors. “The risks and benefits of what technology can offer, and how it can be tamed,” she opines, “will need to be pursued actively and robustly, with moral imagination.” Provocative yet respectful, cleverly written but highly readable, robust and entertaining, written with a “splinter of ice” (author’s words) while filled with uplifting anecdotes, Dr Bot is a gripping read and an intriguingly insightful vision of the future of healthcare.

There are quite a few blue plaques on the houses of Bedford Square dedicated to men of distinction: William Butterfield, architect; John Scott, Lord Chancellor; Thomas Hodgkin, philanthropist; Sir Anthony Hope, novelist; Sir Harry Ricardo, mechanical engineer; Ram Mohun Roy, scholar; and Thomas Wakley, reformer. A blue plaque to a woman of distinction is now required outside number 47: “Charlotte Blease, philosopher and writer. Birthplace of the publication of her literary masterpiece Dr Bot: Why Doctors Can Fail Us – and How AI Could Save Lives.”

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Architecture People Town Houses

Sir Winston Churchill + General James Wolfe + Westerham Kent

The Trials and Triumphs of Troublemakers

“Do not traffic in clichés,” warns the brilliant American commentator and author Maureen Callahan. “Writers and clichés: never the twain shall meet.” We’re in Westerham: such a chocolate box town, a Cadbury tin full of surprises. Lo these many years, a gift for the ages.  There are no statues of Buddha but there are sculptures of the town’s two most famous sons: General James Wolfe and Sir Winston Churchill. “People need to have more grit these days,” Maureen believes. Those men had grit in bucketfuls. They had plenty of nerve. The late Perpendicular St Mary the Virgin Anglican Church is perched high above its sloping cemetery. All the historic houses are restored to their former glory. General James Wolfe’s home Quebec House in the town centre. Chartwell, Obriss Farm and Squerryes Court and Sir Winston Churchill’s home Chartwell on the periphery. Just our opinion. Just saying.

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Architects Architecture Art Country Houses Design People

The Wellesleys + Stratfield Saye House Not Too Near Reading Hampshire

The Continuation of Humble Elegance

Henry James (1910), “You first discovered yourself in England, just as I first did myself.”

In the days before everything was organic, authentic and artisanal; when experience was lived by default; gaslighting involved illumination; ghosting had a supernatural connotation; deep dive involved water; extra referred to additionality; mankind included women; bad actors were thespians who weren’t good at their job; there was Caesar, Greek and Niçoise but no word salad; only trains were cancelled; and catfish was just an animal, hero projects were all about winning battles.

Let the poor eat carrot cake. Such a relief the architect Benjamin Dean Wyatt didn’t get to “out Blenheim Blenheim” with his dream of a palace of ceremonial pomp and circumstance. The 1st Duke of Wellington had a rather better idea after for the estate he bought in 1817, two years after his Battle of Waterloo victory. Keep the old house and add on a couple of bedrooms above the orangery wings. So in the end Benjamin only got to see his design for a porch realised – albeit a rather smart Greek Doric one. Ever inventive, in 1831 the Duke added secondary glazing, central heating and WCs to the existing house (the latter naturally lit by tiny single pane casement windows like the type you get in 20th century Berlin flats). Stratfield Saye House is large by most people’s standards but it’s not ducal in style or scale. Fit for a baron and all the better for it. Tate Britain has Tracey Emin’s installation My Bed. Stratfield Saye has the Great Duke of Wellington’s Campaign Bed.

Mark Girouard comments in Historic Houses of Britain (1984), “One can see why Wellington developed an affection for Stratfield Saye. It is certainly not a stately home but it has a great deal of character and charm. It was originally a long, low, red brick house, built in about 1650 by Sir William Pitt, James I’s comptroller, and decorated with the so called Flemish gables (with curved sides and pedimented tops) which were in fashion at the time. Two matching stable blocks front the house and give it a forecourt and a pleasant air of formality.”

An elephant used to mow the lawn. The stables are now apartments, an archives office and a museum to the 1st Duke. There are a few false windows on the entrance front. The external walls were once painted buff and the window surrounds green. And so they remain. Clocks chime indoors. Apollo magazines sit on chests in the Entrance Hall. That room is the volume of a five bay three storey house. Well stocked drinks trolleys are in the corridors. Country Life magazines sit on chests in the Library. When you’ve finished browsing the back issues there are 3,000 books to read. The silk wallcovering dates from 1953. A jib door in the Study with its Chippendale desk and replica of the chair on which the 1st Duke died in Walmer Castle in Kent leads through to a private suite of a bedroom and spa bathroom.

The centrepiece of the museum is the 1st Duke’s catafalque made of bronze cast from melted down French cannon captured at Waterloo. It was designed and constructed in just 18 days by the wonderfully named Department of Practical Arts. The height of the car was limited to 5.2 metres to pass under Temple Bar on its procession through central London. It was drawn by twelve black dray horses leaving Horse Guards at 9.25am on 18 November 1852 and arriving in the yard of St Paul’s Cathedral at noon.

The Illustrated London News reported at the time, “The eight cavalry bands, too, being in motion along the Mall, contributed their notes of measured grief. The ‘trumpet’s silver sound’ still discoursed Handel’s music, and the ear found a new beauty in every accidental combination by which the breeze or the distance imparted novelty to the effect. The soldiers having filed off, the Kings-at-Arms, in their gorgeous tabards, marshalled the mourning coaches in their due order of precedence.”

The 8th Duke inserted a swimming pool into the Orangery off the Library. Logs are piled up in the chimneypieces of the main rooms: the Wellesley family might call in at any moment. The wine box in the Dining room holds 250 bottles. The 7th Duke designed the Gold Room carpet which was made in 1946. Once the Housekeeper’s Room, the Breakfast Room is filled with 60 place china including arsenic blue Meisen. In Mrs Arbuthnot’s Bedroom upstairs there are two corner cabinets. One is a wardrobe, the other a WC. There’s a freestanding roll top bath in the bedroom. Someone has been using Ren shampoo. And reading Nancy Lancaster: Her Life, Work, Her Art (1996) by Robert Becker. The Print Room was created by the current Duke and Duchess using Boydell prints found in the attics.

John Cornforth writes about the 7th Duke in The Inspiraton of the Past (1985), “Lord Gerald Wellesley, one of the most interesting figures of his generation, who explained in his Collected Works (1970) that he had always wanted to be an architect, but his parents had considered it a hazardous and uncertain career for a younger son who had his own way to make; and it was only after World War I that he was able to fulfil his ambition. By nature a scholar and possessing a finely tuned, fastidious taste, he became involved in many projects relating to the improvement of the arts of design, public taste and later preservation, particularly of country houses, and through his friendships and his houses he had an influence on a considerable number of people. Indeed Mrs Lancaster says that he and Lady Juliet Duff were the people in England who understood the arrangement of furniture and works of art best.”

John continues, “Lord Gerald Wellesley was drawn to the Regency period both for aesthetic reasons and for personal ones too, because it was the period of his ancestor, the Great Duke of Wellington, but as an architect he was concerned with the present and the future, and it is interesting to see in his work and in a great deal of what Christopher Hussey wrote in the late 1920s and early 1930s that they were concerned with the future of classicism.” Gerald designed the tall cupola crowning the roofscape of Stratfield Saye.

The dashing moustachioed brunette Henry Valerian Wellesley wasn’t as fortunate as his famous ancestor, dying in battle aged 31. Born Earl of Mornington in 1912, he was styled Marquess of Douro between 1934 and 1941 before spending the last two years of his short life as the 6th Duke of Wellington. He was killed in action in World War II and is buried in Salerno close to where he died. His uncle Lord Gerald Wellesley would succeed him as the 7th Duke of Wellington.

In early Victorian times Chelsea was transmogrifying from a village into an area of London. St Luke’s Anglican Church celebrated its bicentenary last year. It was the brainchild of the Reverend Gerald Wellesley, the 1st Duke of Wellington’s brother, who held his office from 1805 to 1832. He conducted the marriage of Charles Dickens and Catherine Hogarth in 1836. The 1st Duke married Kitty Pakenham of Tullynally Castle, County Westmeath who attracted good, bad and ugly critique. Kitty’s rooms were in the northeast corner of the first floor of Stratfield Saye; the Duke’s, in the southwest corner of the ground floor.

Playwright Lady Elizabeth Yorke observed, “Her appearance, unfortunately, does not correspond with one’s notion of an ambassadress or the wife of a hero, but she succeeds uncommonly well in her part.” Novelist Maria Edgeworth commented, “After comparison with crowds of other beaux spirits, fine ladies and fashionable scramblers for notoriety, her graceful simplicity rises in our opinion, and we feel it with more conviction of its superiority. Philosopher Germaine de Staël thought Kitty was “adorable”. The Great Duke’s closest female friend Harriet Arbuthnot, who sounds like she had a vested interest, said Kitty was “a fool” and he had “repeatedly tried to live in a friendly manner with her but it was impossible and it drove him to seek that comfort and happiness abroad that was denied him at home”.

Kitty was a prolific letter writer. In a letter to Elizabeth Hume, daughter of the 1st Duke’s doctor, dated 22 August 1824, she mentions various animals including a canary called Crispino and her husband’s famous horse Copenhagen: “It was at Broadstairs that I was first called Viscountess Wellington. It was on a Sunday for the Gazette came out on a Saturday night. I recollect holding the plate at church on that day in my new character, for a charity sermon. I have nothing more to say dearest girl except that little Crispino is quit ewell, so is the emew and as for Copenhagen he trots after me eating bread out of my hand and wagging his tail like a little dog. Are you very good? What are you reading?”

The Heritage of Great Britain and Ireland edited by Melanie Bradley-Shaw and Jacqui Hawthorn (1992) records, “On each side of the house lie the Pleasure Grounds with may rare and interesting trees with a particularly fine group of Wellingtonias, named in honour of the Great Duke in 1853. In the Ice House Paddock lies the grave of Copenhagen, buried with full military honours after living out his days in retirement at Stratfield Saye, frequently ridden by his master and a multitude of children. The spreading Turkey Oak which shelters his grave grew from an acorn planted by Mrs Apostles, the Duke’s housekeeper.”

A 550 metre straight avenue leads from the gatelodges to the forecourt in front of the northwest facing entrance front of the house. The southeast elevation looks across a vast lawn stretching down to the River Loddon which acts as a haha. A rustic wooded Roman Temple built in 1846 to commemorate a visit by Queen Victoria is an eyecatcher in the North Pleasure Gardens. The South Pleasure Gardens stretch out in the direction of St Mary the Virgin Church and The Old Rectory. The Duke and Duchess-in-Waiting’s home, The Old Rectory is a highly attractive pale brick house with a late 18th century core. A lunette window over a Tuscan columned projection looks over formal gardens. The house was later twice extended so appears as three distinct phases of development. The Pheasantry Lodge is a larger than normal mid 19th century Italianate gatelodge marking the entrance to the St Mary’s and The Old Rectory. The Great Duke’s beautifully planted formal gardens are laid out on one side of the north avenue.

An Anglo Irish atmosphere somehow still permeates Stratfield Saye HouseCurraghmore (County Waterford) meets Mount Stewart (County Down). The Wellington connection lives on in Ireland. Annadale Grammar School for boys opened in south Belfast in 1950. It was named after the childhood home of Anne, Countess of Mornington, mother of the Great Duke, which had once stood on the school site. The school adopted the Duke’s motto Virtus Fortunate Comes: Fortune Favours the Brave. The family connection became even more apparent when Annadale amalgamated with Carolan Grammar School for girls in 1990 and Wellington College was formed.

Henry James (1905), “These delicious old houses, in the long August days, in the south of England air, on the soil over which so much has passed and out of which so much has come, rose before me like a series of visions.”

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Joia Restaurant + Rooftop Bar Battersea Power Station London

Yarden

It’s a table with one of the best views in London, rivalling that of Decimo in King’s Cross. The bricks of Battersea Power Station are practically within touching distance while PLP Architecture’s Nova development across the Thames in Victoria appears as an improbable pyramid. On the 15th floor of Art’otel, the chain with a penchant for lower case font and upper end modern art, Joia brings Portuguese food to the English Capital. Head Chef Henrique Sá Pessoa is known for his two Michelin starred Alma restaurant in Lisbon.

The Joia vibe is The Great Gatsby or at least Baz Luhrmann’s film version of the novel. Luxury hotel specialist Russell Sage Studio uses a peach and pink led palette of pastels which works especially well under the glow of sunset. It’s an updated Twenties look chiming with the construction date of the Power Station. Porthole like circular mirrors reflect the view. The curved northeast wall is distractingly fully glazed. A sweeping staircase fit for Daisy Buchanan to descend in style links the 85 cover restaurant to the double height bar.

Stretching the literary metaphor, the food is up to East Egg meets West Egg party standards with a heavy dose of Iberian flavour. Somehow the modish plates (as opposed to three standard courses) work in this setting. As the mercury lowers Henrique’s kitchen proves its salt with Padron peppers, asparagus, monkfish, patatas bravas, and crema Catalana with burnt orange ice cream. Surely Henrique will be awarded coveted étoiles en Angleterre. A rooftop bar and infinity pool above Joia is straight out of a Jazz Age book.

Head Sommelier David Nunes explains, “Our wine list offers a wide selection that celebrates the rich heritage, diverse terroirs and centuries old winemaking traditions of Portugal and Spain. Each bottle tells a story of craftmanship and passion from the sun drenched vineyards of Douro valley to the rolling hills of Rioja. Each bottle tells a story of craftmanship and passion. Savour the bold structured reds of Ribera del Duero. Explore Portugal’s distinctive varietals from the deep complexity of Touriga Nacional to the crisp freshness of Vinho Verde.” Or Gaintza Txakolina, Basque rosé colour coordinating with the pink sunset.

Local estate agent Gabriel Cunningham of Dexters sums up the 17 hectare regeneration site, “The Battersea Power Station redevelopment is now the epicentre of the wider area. It ticks every box in terms of bars, restaurants, shopping, children’s activities and social events.” Monumentality on a modest scale is a contradiction so everything about the blocks surrounding the Power Station is big. Really big. Frank Gehry’s two trademark tipsily topsy turvy twisting towers are like his Düsseldorf RheinHafen Arts and Meda Centre on steroids.

Adam, Pugin, Wyatt … the great British architectural dynasties. Plus the Gilbert Scotts. Sir George Gilbert Scott (1811 to 1878) designed St Pancras Renaissance Hotel which has been recycled and upcycled. The output of his grandson Sir Giles Gilbert Scott (1880 to 1960) has fared just as well. Liverpool Anglican Cathedral still serves its original purpose. His Bankside Power Station on London’s Southbank is celebrating its 25th anniversary as Tate Modern. After closing in the Eighties, Battersea Power Station is now one of the largest multipurpose buildings in Britain.

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The Wallace Collection Marylebone London + John O’Connell

Quotes of Armour

Despite being a Sèvres urn’s throw from London’s Oxford Street, The Wallace Collection at Hertford House always radiates an air of calm and civility. Perhaps it’s the sylvan setting of Manchester Square. Maybe it’s the muted acoustics of the Courtyard Restaurant. But most likely it is the dignity – even with some daring moments – of the interiors that secures this aura of being far from the madding crowd. The latest room in the former home of the Victorian collector Sir Richard Wallace to shine once more is the Great Gallery. It’s December 2014 and John O’Connell, Founder and Director of John J O’Connell Architects, is about to give a private tour of The Wallace Collection. The municipal museum is once more a sumptuous townhouse. Over to John:

“Sir Richard Wallace planned the internal spaces around the main staircase which has a balustrade from the Hôtel de Nevers in Paris. In principle, each room is enhanced to stress the domestic or private mansion aspect of the main house. For example interconnecting doors between rooms have been reinstated and indeed in the Study we have introduced an entirely new false door to visually balance the existing doorway on the other side of the fireplace. Our main purpose is to provide an augmented setting for the Collection. It is not about re-creating rooms as they were, no, but rather re-presenting them for today’s visitors and scholars. The colour of the Dining Garden Hall is a quieter silver grey. You can’t have hectic colours all the time! Curtains should cascade and be three dimensional: they should come forwards and backwards.”

“This is the size of a city block, the Great Gallery, so it’s an extraordinary beautiful room and what we’ve done is gone and looked at the archived photograph of the room as it was with this lovely laylight which had to be abolished at a certain moment and now with modern technology we can again have this great laylight. This is where you have studio glazing at the top of the roof and it in turn lets light down onto this magnificent daylight so in other words it has a huge amount of natural light falling into the room.”

“It’s not wallpaper on the walls. It’s the most wonderful possible fabric, silk, and it’s not just damask, it’s a brocatelle, so it’s got even more silk in it! I think that to, as it were, bring the gallery forward into the modern age, you need to get the best possible conditions: lighting, climate control, security, fire safety compliance, decorative effects, so you can bring all of that into this great space. You could only do that if you go right back and lift the roof off because that’s what happened here. You see, the entire roof of the Great Gallery was taken off and what we have here is a whole new room within the gallery space because this has the technology almost of a railway terminal, when you see the supporting structure, and yet inside it is so beautiful.”

“Architectural features must do at least three jobs. The oculi in the latticed cast plasterwork punch through the cove: vertical stop, start, stop, start, all the way round the room. They also let more light into the room and act as the return path for the air conditioning. Reinstating wainscoting has curatorial importance. The paintings come to life against coloured fabric above the dado rail and the light coloured wainscot is appropriate as a backdrop to furniture. The gilt fillet of the wainscot is more pronounced than in the preceding galleries. If it was too small it would look titchy; if it was too over the top it would look bonkers. The wainscot must flow along. The Great Gallery enshrines everything we have learned during our 19 years working at the Collection. Everything bar the floor is new.”

“I think first of all The Wallace Collection is so multifaceted, the armour, then of course furniture, particularly Boulle, as an architect we love Boulle furniture, this is what we really want! The great thing is here the parameters are set. You can move everything but you cannot acquire and you cannot dispose which is marvellous, so it’s like a game of chess all the time. Everything is of equal importance. The placement of objects is just so important.”

Earlier that year Country Life had featured the Great Gallery in its 10 September edition hailing the “triumphant revitalisation”. The hang has long been recognised as one of the world’s best displays of Old Masters. Only two of the principal galleries attached to aristocratic London townhouses survive: Apsley House in Piccadilly and Hertford House. But it was John’s work which really enthralled the magazine. Michael Hall writes in Gallery Tour: The Great Gallery at The Wallace Collection:

“The present restoration – which forms a climax, but not the conclusion, of a comprehensive programme of refurbishment of the galleries begun under The Wallace’s former Director Dame Rosalind Savill in 2000 – has been paid for by a single donation of £5 million by the Monument Trust, in memory of the Honourable Simon Sainsbury, a major donor to The Wallace and a former Trustee. As with the other galleries, the design work has been carried out by John O’Connell Architects.”

“At first glance, it may seem that nothing has changed, but, in fact, almost everything has. Even the gallery’s two doors, at the far ends of the south wall, are not in their original places. They were formerly close to the corners of the room, creating a dead space in the angle; now that they have been moved closer together, there is room to hang large pictures on either side of them. In the 1978 to 1982 restoration, the walls were hung with a coral coloured fabric, which, by 2012, had faded. It has been replaced by a small patterned crimson damask woven by Prelle in Lyon.”

“Inspired by the great Victorian private picture galleries of London – continuing a tradition that goes back to the 17th century – it provides a satisfyingly rich and deep toned backdrop to the paintings. The main seat furniture in the room, an early Louis XVI set of chairs and settees, has been reupholstered to match. One subtle but striking improvement is the addition of a chair rail and dado, which the room had never possessed before. This anchors the furniture to the setting, but, more significantly, provides a strong architectural base for the hang of the paintings, preventing any feeling that they are floating on these huge walls.”

“Most impressive of all is the coved ceiling. An entirely new design by John O’Connell, it reintroduces indirect sunlight by means of oval laylights in the cove and a large laylight in the centre of the room. This has been made possible by advances in air conditioning technology: the new system installed as part of the refurbishment is very much smaller than its 1978 to 1982 predecessor. Daylight brings the room alive, and lends sparkle to the paintings, enhanced by an entirely new lighting scheme – predominantly LEDs – by the engineers, Sutton Vane Associates.” Michael Hall describes the Great Gallery as “one of London’s greatest rooms”.

Ros was Director from 1992 to 2011. Her appointment was approved by Prime Minister John Major because The Wallace is a national museum. She had the dual task of creating the optimal 21st century museum visitor experience and meeting the expanded expectation of the Government. Ros breathed light and life into the museum, excavating the basement and glazing over the courtyard. Two temporary exhibition galleries, a theatre, a learning studio, a library, a meeting room and rows of individual bathrooms were inserted into the basement. The new spaces combine the practical with the scholarly. Most of all, Ros wanted the objects to sparkle and to bring a new domestic intimacy to the staterooms. And so she called upon John and together they embarked upon the golden age of transformation – at pace. Visitor numbers more than doubled.

At her Memorial Service in St Marylebone Anglican Church in May 2025, the Reverend Canon Dr Stephen Evans said, “Rosalind is not only renowned for her services to the study of ceramics, but also someone once described as ‘the most distinguished woman museum director of the western world’. Not only the keeper who transformed The Wallace Collection. A trusted advisor. A wise, exciting and imaginative teacher. An engaging meticulous writer whose public service was enlivened by ebullience, verve and passion.”

It’s August 2025: asparagus and feta mousse followed by orange and poppyseed cake are being served in the Courtyard Restaurant. A time for reflection in and on and about a monumental cultural legacy. The late great Dame Rosalind Savill was an inspirational scholar of European decorative arts, a visionary museum director, and a human being of such intelligence, empathy and grace. She called John “my genius architect”. His practice would later be responsible for redesigning major country house estates such as Montalto in County Down. What Ros and John achieved together at The Wallace Collection remains a touchstone of excellence for museums everywhere. Dancing to the music of time.

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The McCauslands + Drenagh Limavady Londonderry

Jericho’s Retina

“The house looks lovely in the sun: we want you to come and visit us! The gardens are open seven days a week and you can do lots of walks. There are walks from five minutes to 45 minutes. We have a Walled Garden, an Italian Garden, an Arboretum and lots of fun stuff. It’s poignant for me because having almost lost everything I now want to make a legacy for my children. Sometimes it is overwhelming because when I look at other gardens that are successful and how well they do it, I look at the number of staff they have and I think – it’s just Daniel and me! That’s it at the moment. When you’re in the house and you see all these 12 generations of McCauslands looking down at you, you can’t help but feel they’re watching you. The café and shop are the first building work on the estate in a century.” So says owner Conolly McCausland.

Welcome to Drenagh, one of the three Sir Charles Lanyon designed statement country houses of Ulster. The other two are Ballywalter Park in County Down and Dundarave in County Antrim. In 2014 two of the three were for sale. Dundarave and its 485 hectare estate were sold through Savills to an investor company for around £10 million. Drenagh and its 400 hectare estate went on the market through Simon O’Brien for the same price. It was the end of a centuries’ long era for the McCausland family: the main lender Leeds Clydesdale Bank had withdrawn its support for Drenagh and the associated farm. But the following year, Conolly raised £5 million with the sale of land which more than covered the reported bank debts of £3.2 million. Drenagh was taken off the market.

The Honourable Dorinda Lady Dunleath and Sir Charles Brett and their cohorts spent much of the second half of the 20th century Listing the heritage of Ulster. Walter Girvan compiled the unusually titled North Derry (the accepted norm is Derry City in County Londonderry) List in 1972 to 1974. It’s quite the entry and worth quoting in its entirety for fullness. So here goes. “Drenagh House stands in a commanding position in the centre of well wooded parkland to the east of Limavady. The family home of the McCauslands, it was originally called Fruithill; as at Dundarave near Bushmills, it seems to have assumed a new name with its final rebuilding in the late 1830s. Its predecessor appeared to date from the 1730s; the Ordnance Survey comments that it was ‘an old fashioned looking house, which looks extremely well when seen partly through the trees by which it is surrounded’. It probably was similar to Streeve House and, in spite of extensions, was already by the 1820s thought to be too small, so John Hargrave was asked to produce drawings for an entirely new house. Elevations and plans survive and show a chaste neo Greek design, which bears a resemblance to Seaforde House, County Down. Hargrave was not given the job and there the matter rested until Charles Lanyon arrived in County Antrim as County Surveyor in 1836. The present building appears to be Lanyon’s very first commission for a country seat of major proportions, and it is interesting to watch his progress from the relatively restrained neoclassicism of Drenagh, through the greater flamboyance of Laurel Hill in Coleraine of 1843, to the sumptuous Italianate of Dundarave in 1847. In retrospect, the superb assurance of Dundarave is lacking in the earlier building, although there are typical Lanyon touches.”

Born in Cork in the 1780s, John Hargrave’s office was on Talbot Street in Dublin. He was especially active in the northwest. One of Omagh in County Tyrone’s most prominent landmarks, the Courthouse, is by his hand. One of Omagh’s most obscure buildings is another of his designs, the Prison Governor’s House. He brings the former’s strong string courses and the latter’s polygonal geometry to his design for Drenagh. The house that never was has a long five bay two storey “Elevation of Principal Front” with tripartite windows at either end of the ground floor. The entrance door is also treated in tripartite form with flanking sidelights. Clerestory windows below the cornice light an attic floor. At first it’s hard to reconcile this front with “Elevation towards the Rear” as the latter is narrower, higher with an exposed raised basement, and treated differently with a canted bay window either side of the central three bays. Column and pilaster free, John proves himself to be master of astylar architecture.

Why the McCauslands dropped John Hargrave’s proposal is lost in the mists of time. Sir Charles Lanyon’s executed main block is more regular in footprint, a deeper and narrower rectangle. It is a mirror image of John’s: the ancillary wing stretches to the left, not the right, of the main entrance door. The basement is not externally visible. Both designs have two canted bay windows on the elevation facing away from the entrance although the built version are much shallower.

Back to William Girvan, “The house, of two stories, is of finely dressed sandstone. As at Dundarave, each of the main facades is treated differently. The entrance front is five bays wide, the central bay recessed in the usual Lanyon way. While the lower windows are plain, the upper have shallow surrounds, curving into the string course which acts as a sill. The hipped roof is concealed behind a balustrade, and weight is given to the central bay for blocking out the balusters. A hexastyle portico of unfluted Ionic columns, surmounted by a balustrade, enclose the entrance door, which has a semicircular fanlight and sidelights, an idea reused at Laurel Hill and Dundarave. The double string course between storeys units each façade. The southwest front is more awkward – six bays long; the central two bays step forward and are framed by shallow giant pilasters; the surmounting pediment is not strong enough to dominate. The northwest front is managed better. Canted bay windows rise through the two storeys and frame a French window which has a mock segmental fanlight. A lower block of offices extends north eastwards.”

“The interior plan is similar to both Ballywalter Park and Dundarave. An entrance hall with a shallow dome set on Soanesque pendentives opens into a central hall from which all the reception rooms lead. More intimate in scale than its successors, it has a screen of richly decorated Corinthian columns. For ceiling and overdoor and ornaments Lanyon used classical mouldings. A shallow coloured glass dome lights the room. The effect is Roman in its weightiness. The stair, rising between one of the columned screens, divides at the half landing; it has particularly fine cast iron balusters, clad in ivy tendrils. The stairwell ceiling is richly moulded with a scalloped design, bordering an acanthus roundel. Each of the reception rooms is treated differently; the Drawing Room ceiling is the most splendid with an enriched gilded cornice, containing a device Lanyon used elsewhere in the house and at Bellarena – a continuous pipe, encircled by acanthus leaves; the rest is panelled, with a flower bedecked roundel. The Morning Room and Dining Room ceilings are simpler; a nice original Victorian wallpaper of tangled flowers still hangs in the Saloon. Each room has a lavish marble fireplace, all of different pattern and hue. The first floor bedroom passage has unusual and attractive plaster ribbed vaulting, rising from corbels; on the side opposite the stairwell, the pattern changes to a series of shallow domes.”

“The courtyard behind the house is entered by a shallow segmental archway; above is a pediment with clock inserted. The two storey stable courtyard lies beyond; a simple design of six wide coach arches, the centre two pedimented and stepping forward; the side wings, seven bays long have round headed fanlights over the doors. All is in dressed sandstone. Adjacent to it is a second court of rubblestone: this is probably the stable block of the older Fruithill.”

“The house is surrounded by lawns, enclosed by balustraded terraces. Beyond are well wooded shrubberies and a stately flight of steps leading to a massive balustraded vantage point, which looks over a dell, laid out formally with ponds; under it is a fountain exedra. The remains of the old house have been laid out as a walled garden. The northern gatelodge by Lanyon is an exceptionally refined three bay by three sandstone cottage with minuscule tetrastyle Ionic portico – a foretaste of the big house. It has a fine set of piers and gates. The southern lodge dates from 1830 and is a charming L shaped sandstone cottage with pretty paired Gothick lattice pane windows set in simple reveals. It is known as Logan’s Lodge.”

Taken for Granted, compiled by Alistair Coey and Richard Pierce in 1984 for a specialist audience, was described by its authors as “a celebration of 10 years of historic buildings conservation”. The entry for Drenagh confirms, “Charles Lanyon’s first large country house commission. Built in 1836 on the site of an earlier house dating from the 1730s. The house is neoclassical two storeys of finely detailed ashlar sandstone with three different main elevational treatments. A balustraded parapet conceals the roof. The interior is planned around a large central hall lit by a circular leaded light. Phase one: grant assistance of £263 given towards repairs to leadwork. Approximate cost of work: £640. Carried out in 1976. Contractor: Dickie and Hamilton, Coleraine. Phase two: grant assistance of £1,400 given towards repairs to chimneys, roofs, rainwater goods and stonework. Redecoration of remedial items. Approximate cost of work: £2,868. Carried out in 1978. Contractor: Dickie and Hamilton, Coleraine. Phase three: grant assistance of £250 given towards repairs to leadwork including clocktower. Approximate cost of work: £513. Carried out in 1980. Contractor: Dickie and Hamilton, Coleraine. Phase four: grant assistance of £680 given towards treatment of wood rot and subsequent reinstatement. Approximate cost of work: £1,363. Carried out in 1980. Phase five: grant assistance of £3,800 given towards repairs to leadwork. Treatment of extensive dry rot and repairs to internal plasterwork. Approximate cost of work: £7,615. Carried out in 1981. Contractor: William Douglas, Limavady. Timber treatment: Rentokil, Belfast.”

The footprint of the main block is deeper than in it is wide. Perpendicular to the five bay southeast facing entrance front, the southwest front is a generously spaced six bays. An even number is unusual: an odd number of bays allowing for a central feature is conventional in classical architecture. Sir Charles Lanyon came to own it though: Ballywalter Park has a six bay garden front (excluding the wings) and Dundarave has a six bay entrance front. The Entrance Hall of Drenagh leads into a central Corinthian columned Hall naturally illuminated by a circular rooflight. The triple flight staircase rises to one side of the Hall. The architect was a master of the flow: the main reception rooms – Billiard Room, Morning Room, Library, Drawing Room, Salon and Dining Room (going anticlockwise) – all open off the Hall.

On the first floor, a continuous bedroom corridor circulates around the void over the circular rooflight. Still going anticlockwise, Work Room, Blue Room, Balcony Room, South Room, Green Room, Rose Room, Orange Room, Monroe Room and Bow Room all have glorious views across the gardens and parkland. The footprint of the wing, which is formed around a courtyard and stretches towards the stable block, is as large as the footprint of the main block. The storey heights of the wing are much lower as befits its status. Drenagh is built on a grand scale: the Drawing Room measures 11 metres into the bay window by 6.6 metres wide. The Orange Room above it measures 6.7 metres by 6.6 metres. To put that in context, at 44.22 square metres the Orange Room is just shy of the recommended size of a one bed flat in the 2021 London Plan which is 50 square metres.

There are lots of other residential properties on the estate. Bothy Flat, Clock Flat, Laundry Flat and Upper Garden Flat are in the wing. Forester’s Cottage, Garden Cottage, Logan Cottage, Kitty’s Cottage, The Pheasantry, Shell Hill Cottage, Streeve Hill and Yard House are standalone buildings. Killane Lodge is a gatelodge: the main house in miniature. So the farmland continues to be farmed and the estate dwellings tenanted.

Conolly launched Drenagh as a wedding venue in 2012. A ceremony for up to 60 guests can be held in the house or a marquee in the Walled Garden for a maximum of 200 people. He says, “The romantic Moon Garden and the elegant Morning Room are inspirational places for couples to tie the knot. We can accommodate 16 overnight guests in the main house and 12 in the wing. Drenagh can also be rented and is proving popular, especially for American guests. Our housekeeper will look after arrangements.” Helicopter flights can be arranged to pick up guests arriving at City of Derry Airport and set them down on the lawn outside the house. Or a limousine can be despatched.

A lot has changed since 1991 when Conolly’s mother and stepfather took the first steps towards estate diversification by opening the house to large group tours and for bed and breakfast as part of the Hidden Ireland group. Back then the Italian Garden was a mass of bamboos. The remote northwest of Northern Ireland has some catching up to do with the touristy east coast. There are no National Trust country houses nearby. The nearest country house, Bellarena, which was partially remodelled by Sir Charles Lanyon, remains unopen to the public. Drenagh fills the cultural void, flies the heritage flag, and provides fabulous quiche in The Orangery café inside the Walled Garden.

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Architects Architecture Country Houses Design Luxury People Restaurants

Squerryes Court + Winery Westerham Kent

The Summer Garden of England

Apart from the parkland surrounding the house, the rest of the 1,000 hectare estate until the beginning of this century was used for agriculture. Now 21 hectares are under vine. Our joyful vintner explains the vineyard uses the double fermentation Champagne method for the sparkling wine it produces. She says, “We blend Chardonnay, Pinot Noir and Pinot Meunier to create our balanced and complex final signature wines. Chardonnay brings elegance and finesse; Pinot Noir delivers structure and depth; and Pinot Meunier adds a fruity profile.” Located high on the North Downs in Kent, the vintage wines of the Squerryes Estate are a distinct expression of the terroir – such a great French word – and winemaking methods.

But first we spin by Squerryes Court to get a glimpse of the house and lake and parkland. The house is at the top of a gentle rise to the south of Westerham (the Winery is to the east). The two most famous sons of this historic town are General James Wolfe and Sir Winston Churchill. Both gentlemen were friends with the owners of Squerryes Court. John Warde and Anne Warde signed the interwar visitors’ book at Chartwell, the Churchills’ nearby residence. Squerryes Court is the quintessential English country house. The Pevsner guide to Kent: West and the Weald by John Newman (1980), states, “The epitome of the hipped roof house, as popularised by Sir Roger Pratt’s Clarendon House, Piccadilly, handsome in its proportions and unusually craftsmanly in its warm red brickwork.” Sir Nicholas Crisp bought the estate in 1681 and completed the house five years later. In 1731, John Warde bought the house and estate.

We head off to the Squerryes Winery Restaurant in time for the last of the summer sparkling wine. Our ebullient vintner tells us the Head Chef is from the west of Ireland. Seamus McDonagh trained at the Galway Mayo Institute of Technology. “A lot of my food is based around the French cooking classics,” he shares. “I just like to add a bit of a modern twist.” We’re fine wining and dining and reclining on the terrace on a sunkissed evening watching shadows creep across the vines. Marmite butter, smoked cod roe, Scottish King Scallops, barbequed aubergine marinated in chimichurri, chocolate sponge cake … everything we love.

Vintage Rosé 2021 is the perfect accompaniment to our meal. This vegan wine disgorged in August last year is 75 percent Pinot Noir and 25 percent Pinot Meunier. Laura Evans, Squerryes Master of Wine, describes its tasting notes, “Delicate pink. On the nose crunchy red fruits, redcurrant, sun ripened strawberries and raspberries. On the palate, notes of strawberries and cream pink grapefruit and minerality.” The warm climate and chalk soil of Kent are ideal for such high quality sparkling winemaking.

Henry Warde is the eighth generation of the family to live in Squerryes Court. He relates, “‘Licet Esse Beatis’ is our family motto, meaning ‘permitted to be joyful’, so we like to say that we’re in the business of creating joy! Treasured letters tell how my ancestor Sir Patience Warde traded wool from the Estate with the French for red wine which he then sold to the hardworking people of London bringing some pleasure to their days.”

He continues, “It felt like the tides were changing when centuries later a very well known French Champagne house came to Squerryes looking to buy some of our land on which to grow their vines. My father John and I decided to walk away from those negotiations and instead set about planting 36 acres of vines ourselves back in 2006. The ‘long thirsty wait’ that my father spoke of when the first vines were planted has been well worth it. We are already enjoying recognition for the quality of our vintage wines.” Our jubilant vintner tells us the Winery now sells 100,000 bottles a year.

Wine GB’s 2025 Industry Report states that there are now 1,104 vineyards (totalling 4,489 hectares under vine in England and 91 hectares in Wales) which together produce 9.1 million bottles a year (6.2 million of sparkling and 2.9 million of still). Plantings are up 510 percent since 2005. The most planted grape varieties in descending order of dominance are Chardonnay (31 percent of the total hectarage), Pinot Noir, Pinot Meunier, Bacchus, Seyval Blanc, Solaris, Pinot Gris, Reichensteiner, Rondo and Pinot Blanc (one percent of the total hectarage). Actually there are now 99 grape varieties in England and Wales including just three hectares of Merlot and a lonely two hectares of Riesling.

England now has 10 wine growing counties. Again, in descending order of scale is Kent (almost one third of the total hectarage), West Sussex, Essex, East Sussex, Hampshire, Surrey, Dorset, Gloucestershire, Devon and Suffolk (below two percent). Squerryes Winery is in line with the regional breakdown: the top Southeast varieties are Chardonnay followed by Pinot Noir and finally Pinot Meunier. Champagne watch out!

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Architecture Country Houses People

The Landmark Trust + Obriss Farm The Weald Kent

A Gentle Revisitation of Days That Are No More

An article in the May 1990 edition of the now defunct Traditional Homes magazine marked The Landmark Trust’s silver jubilee. Julia Abel Smith records in History for Hire, “The organisation was founded in 1965 to save minor but important buildings, and to give them a new life by letting them out to holidaymakers. In co founder Sir John’s words, ‘The Landmark Trust was set up ‘to tackle projects too troublesome or unfashionable for anyone else.’” So there might be a midnight dash across a roof terrace to the bathroom or the need to duck under low ceiling beams. Julia notes that generally the Trust does not take on buildings that could be restored as permanent homes.

Some are urban oases such as Marshal Wade’s House in the centre of Bath. Others are coastal retreats like St Augustine’s Grange and St Edward’s Presbytery on the edge of Ramsgate. And at least one has a kilometre long drive and a view unbroken by any other buildings stretching across fields towards infinity or at least the far side of The Weald. That will be Obriss Farm betwixt pretty Edenbridge and even prettier Westerham. Except for the occasional plane streaking the sky en route to Gatwick, it’s hard to imagine the property is a mere 61 kilometres from The Ritz (London not Paris). A copse and an orchard and fields form a green and pleasant apron round this red house and attendant barns. The Trust lets out the 65 hectare farm for pasture.

Obriss Farm was bequeathed by Helena Cooper in 1990. It was formerly part of the Chartwell Estate which was bought by Sir Winston Churchill in 1922 and is now a major National Trust tourist attraction. The oldest part of the complex is the late 16th century dark stained weatherboarded bakehouse immediately behind the farmhouse – a standalone kitchen. The front half of the house also dates from Tudor times. It was doubled in size down the centuries. Later stables and a cowhouse to the west of the house and a wool store to the east have similar dark stained weatherboarding. A 17th century threshing barn is set back from the end of the lawn. The two storey plus attic house has tile hung upper floors on the side and rear elevations matching the roof tiles. Brick is used elsewhere.

The rectangular floor plan is simply laid out to accommodate five guests. Leaded casement windows, exposed timber frame walls and terracotta tiled floors provide a robust backdrop to antique pieces and comfortable furniture. Everything is so beautiful and simple. “The countryside was still in its summer green,” rhapsodises the poet Siegfried Sassoon in his 1940 autobiography The Weald of Youth, “and the afternoon roads hot and dusty.” That’s just one of many local interest books in the sitting room. On a warm summer weekend little has changed. Rabbits and pheasants and buzzards appear and disappear. Apples and blackberries and damson plums are ripe for picking. Local placenames are quintessentially English: Bardogs; Pootings; Puddledock.

Richard Harwood OBE KC, Joint Head of Chambers of 39 Essex Chambers, and Clarissa Levi, Art and Heritage Counsel of Wedlake Bell, host a podcast series Art and Heritage Law. The Landmark Trust at 60 episode is an interview with the historian and charity’s Director, Dr Anna Keay OBE. “We were established to do two things,” Anna explains. “Firstly, to rescue historic buildings in jeopardy in the UK, principally, and to repair and rejuvenate them. Secondly, and really importantly, to make them into places people can really enjoy and specifically through making them available for people to stay in for breaks – for holidays. That’s what we’ve been doing for the last 60 years.”

Anna expands on the origins of the Trust. “We were founded by two individuals, John and Christian Smith, both sadly now dead. They were quite involved in the conservation movement in the Sixties and of course this was a postwar time of unparalleled destruction and damage to historic fabric – partly the impact of war and partly a process of what was seen then as national renewal. The rate of Listed Building demolition in the mid 1960s – I always find this amazing – was 400 a year in England.” While the big institutions, notably The National Trust and the Ministry of Works, concentrated on saving stately homes, smaller properties were being overlooked.

Clarissa mentions how she likes Sir John Smith’s quote about rescuing troublesome and unfashionable buildings. Anna responds, “That’s us!” John Smith was an MP for a short time and was one of the people responsible for introducing the Planning Act 1965 which created Conservation Areas. “They started small,” Anna confirms. “The first two buildings they took on were quite modest vernacular buildings: Church Cottage and Paxton’s Tower Lodge, both in south Wales. They placed an advert in The Sunday Times in 1967 saying holiday cottages from The Landmark Trust available to rent and they went from there to completing three or four buildings every year.”

When you enter a Landmark Trust property, after being bowled over by the architecture, there’s a distinct interior look to admire. Anna says, “Essentially it’s an old English country house vibe slightly merged with a sort of Arts and Crafts quite spare approach which is totally born of personal taste. It’s timelessly lovely.” Old Turkish rugs, oak furniture, comfy sofas and pictures of local scenery or historical characters create a formula that works along with branded details like clothes hangers and soap. Richard remarks, “It comes over in the fabulous book for the 50th anniversary by Anna and Caroline Stanford that the Trust was a personal mission of the Smiths but also how they would pull their friends and contacts into how things were designed and how things were thought through.”

She observes, “The irony is that such is the strange world for demand of different types of furniture and paintings and stuff from the past that if you were to go into John Lewis to buy a new dining room table it would cost way more that if you were to go to an antiques fair and get one from a bloke in a field.” Old pieces are more sustainable, often better made and look more at home in period properties. What Anna calls “a whole cycle of positives”.

There are three core criteria for choosing to take on a new building. It must be of really special historical or architectural significance. It must be at genuine risk and not saveable by the market. And it must be financially viable under the Trust’s model. “Our work not only involves the physicality of trying to save somewhere but also trying to untangle complicated tenure or freeing a building from the status that may in part be why it’s got into such a bad state.” Clarissa comments, “I love the reimagining of buildings for places to have a lovely holiday in that were never intended to actually be stayed in. I am thinking of when I was a child I went to stay with family one time in the Landmark Trust’s Pineapple. It blew my mind – it still does really!”

The charity also plays a wider role. Over to Anna again, “The Trust has shown how adaptable buildings can be ever since it was converting old industrial buildings to domestic use in the Seventies. Now of course we’re all used to the idea of an old mill becoming flats but in the Sixties that was unthinkable. As well as being a lovely thing for people to stay in them it can be a way of showing how changes can be made sympathetically that will hopefully inspire other adaptations.” A philosophy of care guides each restoration (and often a conversion is involved) from the outset. The Trust considers what are the special characteristics to enhance and preserve. This founding principle is referred to when practical decisions need to be made. The volumes of the original space and its former use are respected and celebrated.

Anna says, “Projects take a long time so we always have some we are just about to finish on and hang up the curtains and others right at the beginning and we’re trying to do the land acquisition. One we are working on at the moment which is a really exciting is a World War II project: what was RAF Ibsley down in the New Forest. It was what was known as a ‘watch office’. The building is derelict and in a really bad way.”

“Another big one that we’re right at the beginning of and we’re so excited about has been a cause célèbre of heritage at risk for actually 50 years is a house called Mavisbank. It’s just outside Edinburgh – it’s not a remote building. The house was designed by William Adam, father of Robert Adam, the progenitor of that amazing dynasty of architects. His client was John Clarke who was one of the people who signed the Act of Union between England and Scotland. Mavisbank is really the first great neo Palladian house in Scotland and has been derelict, roofless and in the most dangerous state for decades now. It was nearly demolished in the Eighties. The compulsory purchase order is under way and all being well by the end of the year we will be the proud owners of a totally derelict 1720s house!”

Anna concludes, “We’re thrilled to be part of the rescue of these buildings but we’re only a part of the journey. Those people who come to stay in our buildings or financially support our campaigns or write letters of support – they are travelling with us. It’s a real mass movement activity. We haven’t got a shares portfolio; we don’t have a mega investor. We are literally a charity that survives on the support people give us because they choose to and the fact that people can stay in our buildings. The pioneering spirit of the Edwardian philanthropists is in our DNA.” Richard ends the podcast, “What you’ve set out is not only the philosophy of heritage but also the way you go about it, the way you think about buildings and how they should be rescued and brought back into use.”

Browsing through more books in the sitting room, Sir William Addison could easily be referring to Obriss Farm in Farmhouses in The English Landscape, 1986, “Eventually the prudent yeomen of The Weald realised how destructive of every local interest reckless felling of timber would be if it continued much longer. So what was called half timbering was introduced, with thinner timbers wider apart built into the structure in square or oblong panels to be filled with wattle and daub in the East Anglia manner. But in Kent, as early as Elizabeth I’s reign, tiles were being used for wall cladding in half timbered buildings as well as for those built up to first floor level in brick. In the later years of the 17th century weatherboarding came into competition with hanging tiles for wall cladding.” Half timbering can best be seen in the south wall of the single bedroom at the rear of the house: it was once an external wall.

And Roger Higham nicely sums up the county in Kent, 1974, “There are at least three good reasons why Kent makes a fit literary and photographic subject: firstly, it is large; secondly, it is diverse; and thirdly, it is accessible. A fourth reason perhaps transcending the first three, could be suggested: its importance.” The last reason could apply to an article and even more so when it focuses on Obriss Farm in The Weald.

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Architects Architecture Art Country Houses People

Lytham Hall Lytham St Anne’s Lancashire +

Rhymes With Rhythm

A short car ride though the beautiful Blackpool suburb of Lytham St Anne’s – turn of the 20th century villas between sand dunes – leads from the best hotel in northwest England (obviously Boulevard) to the grandest country house in the region. A few months previously Peter Sheppard and Keith Day had hosted lunch on a rainy afternoon in the library of Wolterton Hall in Norfolk just before they sold up. In contrast, a visit to Lytham Hall is on a sunny morning. What’s the connection? The two buildings were crowned joint winners of the Historic Houses Restoration Award 2022. It is thanks to the combined drive of General Manager Peter Anthony and Deputy Manager Paul Lomax over the last eight years that the revival of Lytham Hall has been such a laudable success.

The main block, wings, most of the outbuildings and the parkland have all been restored beyond any former glory.  Rooms are now brimming with chattels from taxidermy to hosiery, dressed to the nines or at least the 1890s. Intense colours ensure there’s never a dull moment: lemon coloured walls; an emerald hued ceiling; lime panels and peach coving; burgundy flock wallpaper. In contrast, Lytham Hall has a no nonsense Palladian exterior that is unmistakeably by the able hand of Yorkshireman John Carr. Everything is just so about it from sound proportions to sturdy detailing. Exuberance is saved for the interior decoration. Fellow Yorkshireman Francis Johnson would take on the mantle of serious neoclassical architecture two centuries later.

Francis even worked on Everingham Park, a John Carr house outside York. This contemporaneous seven bay three storey house is a smaller plainer version of Lytham Hall. David Neave and John Martin Robinson state in Francis Johnson Architect: A Classical Statement (2001), “Francis’s treatment of Everingham was typical of his scholarly approach to old buildings. He fully researched the history of the house and its place in Carr’s oeuvre before preparing his designs; studying the original drawings as well as the building itself. The Duke of Norfolk wished to reduce the house to its manageable 18th century core, and commissioned Francis to carry out the work. Francis found that the structure of Carr’s building, with its oak joinery, had withstood mid 20th century neglect better than the 19th century wings with their pine joinery; this reinforced the decision to demolish the later parts. The 19th century blocking course was removed and replaced with a half round cast iron gutter and cornice copied from that at Carr’s Lytham Hall in Lancashire.”

Brian Wragg gives the best lowdown on Lytham Hall in John Carr of York (2000), “Thomas Clifton inherited Clifton, which his family had bought in 1606, aged 10, in 1737. 20 years later, although he had no obvious Yorkshire connections, he called in Carr to rebuild the house, which lies on flat pasturelands a mile from the estuary of the River Ribble. Most of the building accounts, bills, plans and drawings have disappeared, but a labourers’ account book first mentions building work in 1757 and in 1750 mentions ‘Doorcasing and stroothing of grand staircases etc’. The 1757 to 1764 account book of the steward, Raymond Watt, shows that the house was complete in 1764, when on 17 March, Carr was paid £189 and 14 shillings, the balance of his account … Fitting up of the house continued well into the 1760s … Care and money were lavished on the elevations, with an attached Ionic portico on the east elevation. The main rooms are on the ground floor, and the Main Entrance Hall, with a handsome Rococo ceiling, has a heavy Kentian fireplace. The imperial staircase, one of Carr’s finest creations, is particularly grand and may have been inspired by that by Paine at Doncaster Mansion House of 1745 to 1747. The Dining Room shows the influence of Adam and must have been completed later. The house is now offices.”

In familiar country house fashion, portions of the preceding 17th century house were remodelled as ancillary wings around a courtyard. All that is hidden behind the lawn view of the entrance front. Nine bays rising three storeys are set in bright red brick in Flemish bond framed by a grid of stone and yellow painted stucco quoins and Ionic columns and string courses and cornicing. The proportions are so pleasing to behold. A pediment surmounting the three bay columned breakfront is just the right height. A hipped roof follows the slopes of the pediment. The main block is five bays deep. The three bay east facing Entrance Hall leads through to the Staircase Hall which links with the smaller North Entrance Hall (a double cube). Four reception rooms fill the rest of the ground floor. Four principal bedroom suites and Violet Clifton’s mid 20th century rooms occupy the first floor with secondary bedrooms on the second floor.

Good looks don’t come cheap. “It takes in excess of £1 million a year to run Lytham Hall,” Peter explains. “Once we’ve finished the expensive restoration projects, we should really just be maintaining the place but maintenance alone costs a fortune. For example, the building has a very intricate expensive alarm system – it’s got museum status in its own right.” Paul adds, “We do have a vast stable block that could potentially be used as holiday lets in the future. It’s going to cost a fortune to restore that area because it’s a large building and in quite a state. It would make a lovely kind of retail space for local crafts as well. We utilise every corner of what we have because you have to when our costs are so high.”

Peter says, “We just strive to get bigger and better each year and to give the best visitor experience. We now have around 250,000 visitors a year. When we came on board that figure was around 20,000. I always call it mould to gold: we have gone from a mouldy old mansion to something now that is glowing and twinkling like a beacon. Our new larger shop has been a great success. We hold massive events in the grounds such as the Lytham Proms attracting a few thousand people. There’s never a quiet month because we’re open all year round whereas a lot of stately homes close for the winter and reopen at Easter. The start of our year is the snowdrop season which is very popular; that then gently rolls into Easter and before you know it the open air theatre is happening followed by Halloween and Christmas activities.”

“After weeks of hard work our Billiard Room is finally finished and we are over the moon with the results!” exclaims Paul. “This room had to be taken off our tour for a couple of years ago as the roof lantern was being problematic. Thankfully the roof work was completed last autumn and the large timber lantern was repaired and made watertight.” Local company Finelines then started work on the huge task of redecoration. A mauve and green National Trust endorsed Little Greene colourway replaces a toxic gâteau of beige paint layers. Brass Art Nouveau hanging lamps are quite an improvement on the removed strip lighting. Billiard rooms were the must have extension of the late 19th century. Think Mourne Park and Ballywalter Park, both in County Down. The Billiard Room at Lytham Hall is a late Victorian interior embellished with Edwardian stained glass windows. William Morris’ 1901 seaweed pattern was selected for the curtain fabric: historically and geographically appropriate.

A sign in one of the dressing rooms states: “Lady Eleanor Cecily Lowther Clifton’s beautiful dress was reproduced from the stipple engraving of Lady Eleanor (John Henry Robinson 1845, National Portrait Gallery) by one our talented house volunteers, Judith Davitt. The dress is made of silk taffeta and features a typical V shape at the waist. As we don’t know the original colour of the dress we used some beautiful fabric from a pair of donated curtains. The dress was first displayed Christmas 2024 at Mr Fezziwig’s Party, part of our Dickens of a Christmas display. Lady Eleanor (1822 to 1894) was married to Colonel John Talbot Clifton (1819 to 1882). She was the sister of the 3rd Earl of Lonsdale of Lowther Castle in Cumbria.”

Peter concludes, “Lytham Hall means the absolute world to us: we live and breathe it. We’ve lived in Lytham since 1997 so the Fylde is definitely home and Lytham Hall itself has become such a massive part of our lives. It’s so rewarding – no two days are the same. You never know what’s going to happen when you walk through that door and that’s really exciting. It’s not just a place to work – it’s a vocation. The people who we’ve met along the way and worked with including staff and volunteers have been brilliant.”

The last Squire, Henry Talbot de Vere Clifton (Violet’s son), gave up ownership of Lytham Hall in 1965 to the creditors Guardian Royal Insurance who used it as a headquarters. In 1998 a local charity Lytham Town Trust bought the house and its remaining 32 hectares of parkland, and two years later passed everything over to the Heritage Trust for the Northwest. Since 2017 Peter Anthony and Paul Lomax along with Trustee Stephen Williams have developed a sustainable operation maximising every useable area. Fylde Borough’s only Grade I Listed Building is in safe – and enthusiastic – hands.

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The Rembrandt Hotel Knightsbridge London + Ade Bakare Fashion Show

Whatever Happens

We love surprises. Who would have guessed Mexican and Japanese cuisine fuse so well? Not us, till after six hours of midweek lunching on ajo chipotle edamame and seabass ceviche in Los Mochis on Liverpool Street. Later, we will ask the bemused waiter at Annabel’s, “Where’s the rooftop terrace?” He will respond with glee, “You’re in it!” and immediately will press a button to slide back the ceiling, revealing a cloudy sky. Next, we’re filled with excitement when Queen Camilla arrives at Ascot but perhaps it shouldn’t be that big a surprise as she is handing out The King George VI and Elizabeth Stakes £668,400 prize to French favourite Mickael Barzalona riding Calandagan. It’s the 75th running of the race. Helicopter on standby of course.

We’re not at all surprised when Mary Martin receives her Damehood. Long overdue. On a hot Saturday evening we find ourselves in the front row of Ade Bakare’s summer show as Mary’s guests. It’s the Eighth Edition. We’re very Knightsbridge (think Giovanni or The Franklin) although The Rembrandt Hotel is new territory to us. Mary and Brenda Emmanus OBE are holding court in the lounge. That red sports car of Mary’s sure is raving up the kilometrage. The Queen of Fashion needs a helicopter! Ade speaks to the glamorous crowd: “I look forward to you wearing my latest collections. And that includes the exquisite perfume line that is available too. The T shirts have been inspired by African flowers. The jumpsuits come in vibrant pinks, blues and yellows.” It’s an eclectic show from casualwear, eyewear and millinery creations to the grand finale bridalwear. To quote Elizabeth Bowen in Bowen’s Court, 1942, “Like all stories told with gusto, it has its variations … I will give the version that most appeals to me.” In modern parlance, this is our authentic best selves’ truth. As always, we’re channelling our inner Deborah Turbeville.

The eponymous designer launched Ade Bakare Couture in 1991 with the assistance of a loan from the Prince of Wales Youth Business Trust and has grown it to a notable name in the global fashion industry. He had just majored in Salford University College Manchester following a history and education degree from the University of Lagos. The following year the fashion designer produced his first of many prêt-à-porter collections. He opened a high end boutique in Lagos in 2006. Ade was born in Britain to Nigerian parents: these two worlds combine in his clothing which fuses the elegance of British tailoring with the vibrancy of Yoruba culture.

London’s fashion scene is renowned for its eccentricity and inclusivity but in the past black designers have often had to carve their own careers. Then in 2011 along came Africa Fashion Week London and everything changed. Led by Queen Ronke Ademiluyi-Ogunwusi, this event promotes and celebrates black fashion excellence. Ade Bakare Couture makes frequent appearances on the annual catwalk. Headlining fashion artist Dame Mary Martin says, “Africa Fashion Week London is a fantastic launchpad for new collections and has become the go to event of the season. I’ve launched many of my collections at the show from The Hidden Queens to The Return.” As for Mary’s next collection, she shares, “It will be a surprise. A huge surprise!” Whatever it is, we know Dame Mary Martin will always obey Luann Countess de Lesseps advice, “Don’t be uncool. Be cool.”

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Waddesdon Manor Buckinghamshire + Pablo Bronstein + The Temple of Solomon

Because Your Love Is Better Than Life

There are two principal Biblical temples: Solomon’s in the past; Ezekiel’s to come. God provides descriptions of both in the Old Testament. For example, Ezekiel 40:24 to 27, “Then he led me to the south side and I saw the south gate. He measured its jambs and its portico, and they had the same measurements as the others. The gateway and its portico had narrow openings all around, like the openings of the others. It was 50 cubits long and 25 cubits wide. Seven steps led up to it, with its portico opposite them; it had palm tree decorations on the faces of the projecting walls on each side. The inner court also had a gate facing south, and he measured from this gate to the outer gate on the south side; it was 100 cubits.”

King David was a man of war; his son, a man of peace, would be chosen to build the Temple. II Samuel 7:5 to 12, “Go and tell my servant David, ‘This is what the Lord says: You are not the one to build me a house to dwell in. When your days are over and you go to be with your ancestors, I will raise up your offspring to succeed you, one of your own sons, and I will establish his kingdom. He is the one who will build a house for Me, and I will establish his throne forever.’” I Kings 6:1 states that in the month of Zif in the 480th year after the Israelites came out of Egypt, Solomon began to build the Temple. It was the fourth year of his reign, which likely spanned from around 1,015 to 975 BC.

The Bible provides dimensions and details and decorations. I Chronicles 28:11, “Then David gave his son Solomon the plans for the portico of the temple, its buildings, its storerooms, its upper parts, its inner rooms and the place of atonement.” The foundations were 60 cubits by 20 cubits (II Chronicles 3:1). The interior was covered with pure gold according to I Kings 6:21, and pots, shovels and sprinkling bowls were of burnished bronze (I Kings 7:40). Upon completion of the Temple, Solomon summoned the leaders of Israel to bring the Ark of the Covenant from Zion, the City of David, to its final resting place in the Temple on Mount Moriah.

Artist Pablo Bronstein (who was born in Argentina and lives in London) believes, “The reconstruction of ancient and Biblical structures says more about the societies that reconstructed them than it does about any long gone originals. My reconstructions of the Temple explore idealising tendencies in architecture across porous boundaries of styles relevant during a defining era of archaeology – roughly the 18th to 20th centuries. That’s precisely the time when nationalisms sought to tie themselves to particular architectural traditions and during which nascent professional archaeology informed our understanding of the past. I’ve tried to inhabit the ambitious contestants entering the Prix de Rome as they set about reconstructing the Temple entirely in their own image.” And where better to host such an exhibition rooted in the Tanakh than that most Jewish of English country houses, Waddesdon Manor?

Mark Girouard was a prominent country house architectural historian of the 20th century. His grandfather Henry Beresford, 6th Marquess of Waterford, owned one of the top estates in Ireland: Curraghmore. He records in Historic Houses of Britain (1979), “Baron Ferdinand, like other Rothschilds of the later generations, had largely detached himself from the Rothschild banks, except as places through which to invest his money. He was able to devote himself to sport, politics, philanthropy and pleasure. Like all Rothschilds he entertained lavishly. Waddesdon was meant for use, not just as a repository for treasures. Edward VII, who had a fondness for Rothschilds, came there frequently, and once fell down the staircase. Victoria was there for the day in 1890; her visit was something of a triumph for she was much less partial to Rothschilds than her son, and Waddesdon was the only Rothschild house she ever visited.”

He continues, “It is easy to envisage house parties at Waddesdon. It is harder to think of children playing there, or in general, to envisage a Rothschild nursery. Indeed there never was a nursery at Waddesdon. When Baron Ferdinand died childless in 1898 (he caught a chill on one of his regular visits to the grave of his wife), he left Waddesdon to his sister Alice, who never married. When she died in 1922 she left it to a French Rothschild, her great nephew James. James de Rothschild was married but had no children. It was he, on his death in 1957, who left the house, all its contents and an endowment to the National Trust – a legacy of almost unequalled munificence.”

Soon after they inherited the house, James de Rothschild and his wife Dorothy installed an electric servants’ bell system to replace the traditional manual bells. The indicator panel includes connections to Baron’s Room, Blue Dressing Room, East Hall, Low White Room, Portico Bathroom, Smoking Room, State Entrance, Tower Drawing Room, Turret Bedroom and many more. They also installed hot and cold water plumbing. The tradition of entertaining continues at Waddesdon with the Manor Restaurant on the ground floor of the Bachelors’ Wing. The wine list includes Waddesdon Rothschild Collection Viognier 2024 with hints of peach and apricot, sourced from the hills of Languedoc in the south of France.

In 1870, Baron Ferdinand de Rothschild had bought 2,500 hectares near Aylesbury (favoured family territory) from George Spencer-Churchill, 6th Duke of Marlborough, to build a country house designed by a French architect (the gloriously named Gabriel-Hippolyte Destailleur) filled with French furnishings (coordinated by interior design company Decour) and surrounded by gardens planned with the assistance of a French landscape designer (Elie Lainé). More Loire Valley than Aylesbury Vale. His wife had died in childbirth after a year and a half of wedded bliss: they had met at their mutual relatives’ London residence of Gunnersbury Park House. Cartoonist Osbert Lancaster even included Le Style Rothschild in Homes Sweet Homes (1939), referring to “heavy golden cornices” and “damask hung walls” and “fringed and tasselled curtains of Genoese velvet”. The tradition of supporting the arts continues with the Rothschild Foundation. CEO Roger White states, “There are still remarkable philanthropic initiatives happening at Waddesdon.”

Senior Curator Janet Carey introduces The Temple of Solomon and Its Contents exhibition: “In this room are Pablo’s two different versions of the Temple of Solomon. In order to create them he has imagined himself in the personae of prize seeking students of 19th century architecture. We have extraordinarily detailed instructions from God written down in the Bible but of course nobody actually knows what the Temple looked like. So what Pablo has done is read those instructions and make these incredible works of art conjured up from the hands of imagined individuals.” Divine design.

Erudite quotations range from the portico of Palais Garnier in Paris to William Blake’s painting The Great Architect. Styles include Adamesque, Indo Egyptian and Persian. “Pablo uses the famous spiralling Solomonic columns,” Janet notes. Or is he inspired by the spiralling copper pipes of Gabriel-Hippolyte Destailleur’s architecture? “His Veil of the Temple is quite provocative: here it is interpreted as a very froufrou Waddesdon style curtain with glorious red tassels. The Veil separated the world from the Divine and was torn in two at the moment Christ died.” And what about the Greek key tile pattern around the courtyard? A nod to Sir William Chambers, perhaps? She smiles, “The pattern comes from the band around those ubiquitous New York takeaway coffee cups! It’s this blend of high and low references that is really fun.”

There are also acrylic on paper paintings of specific Biblical objects. Janet states, “You can read in the Bible how God gives very precise instructions to Moses about how the candelabra should be designed and Pablo follows to incredible detail how many branches and so on should be on this. It is an oil lamp, not a candle lamp, so God specifies that each of the cups for the oil at the tops of the seven branches must be almond shaped. Pablo interprets that very literally as a cast for an almond. He’s really obeyed the Divine instructions in the Bible while deriving some detailing from the objets d’art of Waddesdon.”

“In the space adjacent is this extraordinary selection of drawings and books from Waddesdon’s permanent collection,” she adds. “They’re mostly 18th century French works of art which Pablo chose himself from about 1,000 design and architectural works. The moment you see those works you will understand why he has chosen them. Each one has some very clear visual relationship with Pablo’s own work. Some of the drawings have never been displayed before.”

Another attraction feature of the exhibition space is a model of the Supreme Court in Jerusalem made by James Burke. Completed in 1992, the building was designed by Ada Karmi-Melamede and her brother Ram Karmi. The Supreme Court was proposed and funded by the Yad Hanadiv Foundation established by Dorothy de Rothschild in 1960 and chaired by Jacob 4th Lord Rothschild until his death in 2024. In the gallery on the floor above, 18th century Jewish Italian embroidered hangings from the Rothschild Collection depicting the Temple of Solomon and the Second Temple (built after the First Temple was destroyed by the Babylonian King Nebuchadnezzar II in 586 BC) are on display. Waddesdon Manor continues to evolve and expand.

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Design Luxury People Restaurants Town Houses

Eels Restaurant Paris + Le Déjeuner Le Plus Magnifique Imaginable Sérieusement

In Honour of Anguilliformes 

It’s a restaurant to design a weekend around. Eels. On the corner of Rue d’Hauteville and Rue Gabriel Laumain in the Grands Boulevards district, rows of windows lighten the interior and brighten the pavement. This establishment has the electric atmosphere of a new venue but it’s actually been going strong for eight years. So strong that the owner has opened another restaurant on Rue du Faubourg Poissonnière which runs parallel with Rue d’Hauteville. On a Saturday lunchtime Eels is a microcosm of Arrondisement 10 society. The beautiful people – staff and patrons – are out in force.

The dining room exudes that effortless chic Parisians somehow manage to pull off with aplomb. Decoration is kept to a bare minimum. Exposed brick and stone columns add patina. The vertical tubes of the radiators resemble rows of shiny white eels – or at least they do after the second glass of Vin de Savoie Domaine Chevillard 2021. Piped pop music adds to the electricity in the air as the staff set about making gastronomic magic. “I started to cook at the age of 15 right after secondary school,” says owner Chef Adrien Ferrand. “I then went to train at a catering college and after a few days I knew I wanted a career as a chef.” No man is an île and Adrien has left a pool of talent in charge today.

He comments, “Eels is a bistronomic or semi gastronomic restaurant – you can call it what you want! The menu of Eels takes inspiration from Asia and the Mediterranean as well as French cooking. It was my father who introduced me to Asian cuisine. I love Asian food so much I have opened a fully Asian restaurant nearby – Brigade du Tigre.” The name of his first restaurant comes from Adrien’s fascination with the ray finned fish. The English word was chosen as it is a little easier to pronounce than the French “anguilles”. Most of the eels are sourced from Greece.

“The connection I make between cooking and smell is the rising of images and emotions,” Adrien relates. “My aromatic catalogue includes Thai basil, lemongrass and galanga which is a rhizome and a cousin of ginger. I also use cardamon and Voatsperifery pepper which comes from Madagascar.” It would be rude not to order his signature dish of charcoal smoked eel, liquorice, apple and hazelnuts with roasted butter sauce. All the right ingredients – scent, taste, texture, beauty, impact, originality – are present in abundance.

Marinated Corsican meagre, samphire, kohlrabi with elderflowers, dashi vinaigrette and sea lettuce followed by white chocolate crunch, rhubarb, rose marmalade and Bronte pistachio pralines continue this elevation of Franco Asian cooking status. The stars they are aligning. Starters range from €19 to €22 and mains from €33 to €43. Puddings are all priced €17. There’s a midweek two course lunch menu for €37. Plenty of bottles on the wine list will tempt the connoisseur: Échezeaux Domaine Jean-Pierre Guyon 2021 pinot noir for €1,053 or Bourbogne Domaine Arnaud Ente 2019 Chardonnay for €430. But there are reasonably priced wines too such as the Vin de Savoie at €62. Meals at Eels live up to the hype and eclipse the rave reviews.

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People Restaurants

Café Le Brébant Paris + Pacha

At Midday Venus Passes

“Earlier that morning Zoé had made the apartment over to a caterer from Brébant’s and his staff of helpers and waiters. Brébant’s would provide the food, the crockery, the glasses, the tablecloth and napkins, the flowers, and everything down to the chairs and footstools.” In between preparing her mistress Nana’s toilette, Zoé knew where to go to get set up for a party. Nana is Émile Zola’s ninth novel in his journalistic 20 volume Les Rougon-Macquart series. It captures the loucheness of society during the reign of Napoléon III. Café Le Brébant had been open 15 years when Nana was published in 1880. The Second French Empire has never truly ended on Boulevard Poissonnière. This is still Paris, the Paris of letters, of pleasure, of romance. Wicker and tassled lightshades hanging midair sway in the gentle summer breeze cooling the terrace of Café Le Brébant. Pacha the resident Maine Coon cat plays and poses and preens herself, blissfully unaware of her role in the street theatre of life. Très Grand Guignol. 

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Architecture Art Country Houses Design Hotels People

The Sweeneys + Castle Grove Letterkenny Donegal

Weathering Well

Tiree, Stornoway, Lerwick, Wick Automatic, Aberdeen, Leuchars, Boulmer, Bridlington, Sandettie Light Vessel Automatic, Greenwich Light Vessel Automatic, St Catherine’s Point Automatic, Jersey, Channel Light Vessel Automatic, Scilly Automatic, Milford Haven, Aberporth, Valley, Liverpool Crosby, Valentia, Ronaldsway, Malin Head, Machrihanish Automatic. For the uninitiated that’s the pure poetry of Radio Four’s shipping forecast, a rhapsodic melodic episodic late night cruise circumnavigating the coastlines of the British Isles.

The penultimate point along the shipping forecast’s journey, Malin Head, is the exposed most northerly tip of Ireland teetering on the tip of the Inishowen Peninsula in view of the Aurora Borealis. The ultimate location in this neck of the island is Castle Grove. Unlike windswept Malin Head, next stop Iceland, this romantic estate lies huddled off the Wild Atlantic Way in the sheltered mid southwest wiggle of Lough Swilly, the waterscape separating the peninsula from the mainland.

A two kilometre long drive sweeps through 100 hectares of bucolic parkland complemented by glimpses of the Lough as composed as a Derek Hill landscape; a wave of anticipation rises, then behold, a house four square, an abiding place of great and unsearchable things. Like two faced Clandeboye in County Down, the principal elevations stand proud at right angles to one another. Face to the avenue, face to the sea. Unlike Bellamont Forest, Edward Lovett Pearce’s poppet of Palladian perfection in County Cavan which is designed to be seen from every angle, Castle Grove is country house front, farmhouse back. A Tuscan porch fills the vacancy of the centre of the south facing four bay façade: charm captured in render and stone.

Subsumed within its solid footprint lies an older house dating back to 1695 and rebuilt in 1730. A radical makeover brought Castle Grove bang up to date for the swinging 1820s. As the Grove family went up in the world, so did the height of their windows and ceilings. The resultant structural idiosyncrasies only add to the house’s character. Four of the façade window openings are higher outside than inside – this comes to light when the shutters are pulled and a gap appears above them. A shuttered cupboard in the Samuel Beckett Room was once a window on the east elevation. Elsewhere, blind windows and angled openings maintain external symmetry. A 19th century conservatory to the side of the façade has come and gone. Heritage architect John O’Connell remarks, “Castle Grove now looks like a beautiful Regency house.”

The Wrays of Donegal by Charlotte Violet Trench, 1945, is a carefully researched genealogy of the family who owned the adjoining estate southwest of Castle Grove. Unusually, the walled gardens of Castle Wray and Castle Grove adjoin each other. Down the centuries, the two families were linked by various marriages. Charlotte records, “I went to Castle Grove, about three or four miles outside the town of Letterkenny on the shore of Lough Swilly. A large demesne, then a lawn with flowerbeds and the house; not the original Castle Shanaghan; but, like most of these places, a house built a couple of 100 years ago and added to at intervals. Mrs Grove was at home and I was led through a square hall to a long shaped drawing room with many windows, where Mrs Grove received me … Mrs Grove told me of the sorry state of ruin into which the house of Castle Wray was now falling, and said her gardeners should take me to see it.”

It’s after spring equinox. Snowdrops have disappeared; daffodils are in late bloom; primroses are on their way. “Castle Grove was a country house closed up when we bought it,” says Raymond Sweeney. “The owners were all dead and the next of kin were living in Northern Ireland. So it was up for sale and we were lucky to get it. We got possession of the house on 23 February 1989. It wasn’t looking as well as it looks today! It took time as well as money to get it going. The house was structurally sound though; the previous owners looked after it well over the years. Do you see that lock on the front door? It came from the women’s prison in Armagh 200 years ago!”

The Sweeneys bought the house and estate from Commander Peter Campbell and his wife Lady Moyra Hamilton, the sister of James Hamilton, 5th Duke of Abercorn. Incidentally, Lady Moyra was one of Queen Elizabeth II’s six Maids of Honour at her coronation. She died in 2020 aged 90 and her husband died four years later aged 97. Lady Moyra was one of three titled ladies known for their charitable works who simultaneously spent their last years in Somme Nursing Home, Belfast. The Commander had inherited Castle Grove on the death of his distant relative Major James Grove but he already lived at Hollybrook House in Randalstown, County Antrim. Mary agrees with her husband Raymond’s comment, “The land steward and housekeeper kept Castle Grove in good shape. For the first year we lived in the house and opened it as a bed and breakfast.”

“We wanted to develop it but not spoil it,” she explains. “The house – it was a real challenge. We wanted to keep the characteristics, the symmetries. We again looked and looked at it. In the end we pushed the entire house back into part of the rear courtyard. The stable wing was already lofted so we retained its front and added a corridor behind linking it to the main house. We didn’t want guests having to go out in the rain. The bedrooms in this wing are just as big as those in the main house. We never demolished a wall in the original house. Instead, we adapted windows as doors or indoor mirrors. I feel a great obligation to maintain Castle Grove.” Heritage. History. Hibernia.

Mary continues, “When we applied for a dining room addition the planning officers wanted it to be a conservatory. But that part of the house faces northeast and rarely gets direct sunlight! It took a year to resolve, to get our sympathetically designed extension approved. We didn’t want the corner sticking out in views from the driveway so it’s chamfered. We turned the sideboard recess in the old dining room into double doors under a fanlight. A local carpenter built the doors to match the 1820s double doors between the two main reception rooms. The fanlight is based on the one between the entrance and staircase halls.”

“The original dining room is now the Red Drawing Room,” she notes, “and next door is the Yellow Drawing Room. The marble fireplace in the current Dining Room is a replica from my old home. I jokingly asked Portadown Fireplaces if they could remake it based on a photo and sure enough they did!” The house is filled with modern Irish art. “Buying paintings from young artists exhibiting their work on the railings of St Stephen’s Green in Dublin in summer stemmed our interest. Artists like Maurice Wilks, Liam Jones, Brendan Timmons. Derek Hill gave us his oil painting Donegal Late Harvest. Derek brought many guests here. Really such a humble man and so friendly.”

The house is filled with antiques. Mary relates, “We have some stories to tell about auctions! Newark Antiques Fair is good. So is the Mill at Ballinderry. The bed in the George Bernard Shaw Room came from Seventh Heaven outside Chester. The beds are unbelievable there! That bed was made for Archduke Ferdinand of Austria. When we bought the fourposter in the Jonathan Swift Room we used saddle soap and toothbrushes to carefully clean it before using French polish. Beds and food – they’re so important!” As for the chandeliers, Sia could swing from them.

It’s time to talk to Mary’s daughter Irene who is managing reception (the former flower room). “The weather is unpredictable in Donegal or perhaps that should be predictable – it rains a fair bit! Donegal may be right off the Atlantic but we’re very inland here. The house has a warm, loving presence. It’s a very welcoming atmosphere. Whether this is us as a family, or the building, I’m not sure. The Groves were extremely good landlords, especially during the Famine when they fed and educated local children in the long barn. Perhaps this generosity and goodwill has over the centuries seeped into the walls. There’s houses before you know the history, they’re chilling …”

Irene explains, “Our main bedrooms are named after Irish writers including Oliver Goldsmith, James Joyce, Oscar Wilde, William Butler Yeats. There are 15 in total; eight in the main house. The exception is the Daniel O’Connell Room. He actually stayed in the house. Daniel wrote to the Groves after his visit, referring to his ‘answer to the Irish problem’. Mr Grove introduced him to the House of Lords. General Montgomery also stayed here. Mrs Grove invited him from Dublin to stay.”

She recommends, “We can accommodate 120 guests for a wedding in our Michelin recommended Restaurant. Or 140 if the adjoining Red Drawing Room is used too. The Bar was once a breakfast room and the TV Room was a library and office. We still use the original Kitchen. We grow organic vegetables, herbs, and fruit – apples, blackberries, blueberries and strawberries – in our four acre Walled Garden.” Other stats include the size of the George Bernard Shaw Room which is 4.3 metres wide by 5.5 metres deep by three metres tall. The George Bernard Shaw Room bed is two metres wide. The wall between the Entrance Hall and the Yellow Drawing Room is 0.8 metres deep. The Yellow Drawing Room mantelpiece projects by 0.3 metres.

Charlotte Violet Trench recalls the Walled Garden as: “A vast place, enclosed by great high stone walls. It seemed very full of fruit trees and vegetables of all sorts, some parts were rather wild; it would have needed a regiment of gardeners to keep it really in order; but the old time herbaceous border was a blaze of colour and rich in beauty. In the old days there was a gate in the wall that divided the two gardens by which the families could pass through to one another’s place.”

Dinner in the Restaurant accords with Irene’s description of very local produce. Walled Garden leek and potato soup. Coffee infused garden beetroot, beetroot remoulade, salted feta cheese, toasted walnuts, garden greens. Garden rhubarb and white chocolate crème brûlée, sweet sable biscuit, cherry gel, mango sorbet. On a Saturday night the Restaurant is filled to its chamfered corner. The atmosphere is chilled on a Sunday morning as oak smoked Killybegs salmon wild salmon and scrambled Glenborin eggs are served. The Irish economy has sailed through some choppy waters this century but at Castle Grove the outlook is bright.

Archivist at Donegal County Council Archives Service, Niamh Brennan, and archivist at the Irish Architectural Archive, Aisling Dunne, have unearthed a Grove family tree and some accompanying photographs and letters as well as several 19th century recipes from the estate [the latter with lots of sic]. William Grove, High Sheriff of Donegal, rebuilt the house in 1730. His son Thomas was also High Sheriff; he died childless. William’s second son James married Rose Brook. William’s sister Dorothy Grove married John Wood of the 9th Light Dragoons in 1802 and they lived at Castle Grove. Their son James Grove Wood was born in 1803. He was a barrister and became High Sheriff.

James married Frances Montgomery of Convoy House, 32 kilometres south of Castle Grove – close neighbours in gentry terms. The 1806 building accounts of Convoy House record tree coverage of 300 Alders, 300 Beech, 300 Larch, 200 Ashes and 200 Scotch Firs. James and Frances’ daughter Dorothea Alice married the Reverend Charles Boyton of Derry City in 1871. Dorothea Alice’s brother John Montgomery Charles Grove was born in 1847 and inherited Castle Grove. He was land agent of Convoy House for three years starting in 1890.

John Montgomery Charles Grove married Lucy Gabbett, daughter of Major General William Gabbett of East India Company’s Artillery. John and Lucy’s children included Lucy Dorothea and her elder brother James Robert Wood Grove. He was born in 1888, joined the Royal Dublin Fusiliers aged 20, and served in World War I. James married Eileen Edmonstone Kirk of the now demolished Thornfield House in Jordanstown, County Antrim. They were the last of the Groves to live at Castle Grove.

“Marrow Bones. If too long to serve undivided saw them in two; cover the open ends with a lump of paste and a cloth floured and tied close. The paste must be removed before being sent to table. Boil one and a half and two hours according to size. Put a ruffle of papar round each and serve in a napkin, with very hot toast. The marrow is spread on very hot toast and seasoned with pepper and salt.”

“Raisins Chutnee. Raisins cleaned and minced two pounds. Sugar three and a half pounds. Salt eight ounces, green ginger eight ounces, red pepper two ounces and garlic half an ounce. These with the exception of raisins sugar to be separately well pounded then mixed. Add to them the raisins and sugar and lastly one bottle of vinegar. This quantity will make nearly four bottles. Fill and leave them in the sun in India but at home cook for about an hour.”

“White Milk Soup. One onion. One carrot. One turnip. Three cloves stuck in the onion. A little stock made of rabbit vial, fowl or button. Put the vegetables in the stock and boil for an hour and a half to two hours. Strain salt through a verry fine hair seive. Then warm one pint of new milk and add all these together. Season with pepper and salt. This soup must be made just before using as it will not keep – the vegetables turn the milk sour.”

“Bed Sore Prevention. 10 grains of the nitrate of silver, to one ounce of water, to be applied by means of a camel hairbrush over every part exhibiting the highest appearance of inflammation, two or three times a day, until the skins has become blackened, afterwards only occassionally.”

“Anglo American Hospital Cairo. 11 May 1915. My Dearest Madam, Just a line to let you know that I am going on all right, and that there is really no more to tell you. The wound on the back of my hand has practically healed by now, but the other one is still pretty unpleasant and is exuding a good deal of matter and stuff. However the doctor seems satisfied about it. It is tied up still of course and has to be dressed pretty frequently. I can’t do very much with the fingers yet but they are better than they were. I can write a little faster with my left hand now though it is still rather a tedious process. The chief difficulty is to keep the letters at the right angle and prevent them falling over backwards. I don’t know yet whether I am likely to be sent home later or not, but very possibly will be. Anyhow I shan’t be able to move from here for the present till the wound has healed a bit.”

“We are very lucky from what I can gather to be in this hospital as everything is very comfortable and they look after us very well. Some of the other hospitals are very different from what I hear as they are badly off for nurses etc and the food is pretty rough and badly served out of tin mugs and tin plates etc. I fancy they weren’t prepared for such a large number of casualties from the Dardanelles. 12 more officers arrived here last night but all very slightly wounded from what I gather. Don’t bother to send anything from home as I can get anything I want here. A suit of my thin khaki might be useful but that is about the only thing. Major Molesworth and Captain Mood are the only ones of the regiment here. The others I think have been sent to Malta. Well, must stop now. I haven’t had any letters since about 23rd, but I hope some will come very soon. Love to you and Monsieur and you needn’t worry about me as I am quite all right. I sit out on the verandah most of the day. Your affectionate son, James Grove.”

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Architects Architecture Art Country Houses Luxury People

Dunmore House + Gardens Carrigans Donegal

Northern Dancer

Wiling away endless days during the sunniest Irish spring while County Donegal opens up as a new front of the western riviera. Gnomons cast their shadows across plates of 1930s stone sundials. A drawing room lit by tall windows on two sides. The French door ajar to country air. Alexander Moore’s mother in Jennifer Johnston’s 1974 novel How Many Miles to Babylon? lyricises, “The evenings are so beautiful. Ireland should be renamed, I always think, the Island of Evenings. Don’t you agree?” Lounging in the wing of a country house. How many kilometres to Derry?

“When I arrived in Ireland I couldn’t read or write English,” says Amelia McFarland, châtelaine of Dunmore House. “I was brought up in Moscow until I was 10. I learnt to ride with the Russian Cavalry stallions at the age of seven.” Both sets of grandparents lived in Ireland so her parents returned and eventually took over Dunmore House. Her grandfather, Sir John Talbot McFarland, 3rd Baronet of Aberfoyle, died in 2020. He’s buried in St Fiach’s Church of Ireland Church in the village at the end of the avenue, Carrigans.

After living abroad, the 35 year old has returned to open her family’s ancestral pile as a setting for weddings and corporate events. She admits, “I love travelling and I love Dunmore. It was always well known for its hilarious parties and welcoming atmosphere and I wanted to bring all of that back again. I wanted to share this beautiful house and its gardens with everyone. So I came home to Donegal for a whole new adventure.” A converted barn is perfect for nuptials and there is overnight accommodation in the east wing and log cabins in the grounds.

As for wedding photographic opportunities, where to start? The conscious coupling of the seven bay house and 1.3 hectare walled garden is a match made in heaven encircled by woodland. Architecture, texture, horticulture, culture. “We try to be sustainable,” explains Amelia, “and encourage wildlife like bats and hedgehogs. As well as providing a wedding and events venue with accommodation we have a 100 acre farm and estate.”

“There are actually no records of Michael Priestley’s involvement with the house,” she confirms. “A large servants’ wing at the back of the house was knocked down some time in the 20th century. When the porch was added the area in front of the house was filled in. That created tunnels going nowhere under the house. You can see the top of two basement windows that were blocked up. The house is actually quite compact and not that hard to heat.” In between hosting, Amelia farms, rides and plays rugby for the City of Derry.

Wedged between Derek Hill by Bruce Arnold (2010) and Derry and Londonderry History and Society by William Nolan and Gerard O’Brien (1999) on a Georgian bookcase in the drawing room of the wing is Agatha Christie’s The Complete Short Stories (2008). The crime novelist was related by marriage to the McClintocks who formerly owned Dunmore House. A bedroom over the drawing room is also lit by windows on two sides. “This wing was added by the owner in the 19th century for his own use,” Amelia explains. “We let it out as one self contained space with its own door off the terrace.”

Identifying Michael Priestley as the architect of the main block is on stylistic grounds. The giant Palladian window was his trademark. His certified work of Lifford Courthouse, County Donegal, has a particularly fine example on its riverside elevation. St John’s Church of Ireland Church in Ballymore Lower, County Donegal, is attributed to Michael and has a vast Palladian window on its east front and a smaller version on its west front. The first floor central Palladian window of Dunmore House over the entrance hall – all 42 panes of it – lights the landing of the staircase hall. Confident handling of architectural components is another subtler clue to design ownership.

The entrance elevation of the 1742 block is five bays wide by two storeys over (hidden) basement and (hidden save for gable windows) attic with a high pitched slate roof. It’s a rebuilding of a 17th century house. Walls are roughcast rendered with ashlar sandstone quoins. A 19th century smooth rendered porch is painted dark yellow: Doric pilasters support an entablature with triglyphs to the frieze and mutules to the cornice. The Doric order frieze and cornice are repeated in the drawing room of the 19th century wing. This south front, elevated on a rise, can just about be glimpsed from the road between mature trees. The informal north elevation with various projections backs on to a courtyard surrounded by outbuildings.

A book of newspaper cuttings in the drawing room includes this intriguing undated unattributed piece, “Missing deb says: I want to marry. Reported missing earlier in the week from her home at Blessington, County Wicklow, Eire. 19 year old [sic?] debutante Miss Ann Daly turned up in London, yesterday, with Mr Robert Knowles of Sneem, County Kerry, Eire, 25 year old son of Lady Farquhar of Blandford, Dorset, and said: ‘We want to get married.’ They had been staying at the home of Lady Farquhar and her husband Lieutenant Colonel Sir Peter Farquhar at Turnworth, Blandford. The Farquhars are a well known hunting family.”

“‘I met tall dark Miss Daly with Mr Knowles as they arrived together at Waterloo Station, London, late yesterday on the train from Blandford. ‘I can’t understand all this mystery and fuss,’ Miss Daly told me. ‘We have come up to London to try and persuade mother to let us get married. There is no real mystery about me leaving home, and I am sure my mother and father must both have guessed where I was. Robert and I met nearly three years ago. We have been racing, hunting and point-to-point riding together many times since then.’”

“‘We want to get married but I am still a minor and my parents have objected. But I feel sure that if mother gives her consent now father will agree readily.’ Robert Knowles said, ‘There has been no objection from my family, and we should both be happy if it were possible for us to be married soon.’ Mr Knowles and Miss Daly went off to meet Miss Daly’s mother, who has been staying at a West End hotel. Miss Ann Daly is regarded as the most beautiful girl in Irish society. Although only 18 years of age she is such a good horsewoman that she rides at many point-to-point meetings in Ireland, and competed in such events during the past season. She is a member of the fashionable Kildare Hunt and has ridden to other packs in Ireland. She is tall, dark and athletic and is expected to be one of this year’s most popular debutantes.” Go Ann!

Categories
Art Design People

Amazing Grace Viewing Point Buncrana Donegal + John Newton

A Vapour that Appeareth

The Ordnance Survey Memoirs of Ireland, Parishes of Donegal I, 1833 to 1835: “Buncrana lies near five miles up shore from Dunree Fort. This shore is altogether exposed and does not afford an eligible site for either pier or quay; but, off the mouth of the Crannagh River or under Buncrana Castle, there is safe anchorage for vessels of any burthen and boats can enter the river with but little floodwater, and here they bring nearly all the fish caught in Lough Swilly for sale.”

Over the centuries several illustrious gentlemen have graced this shore. Prince Philip, the late Duke of Edinburgh, made an unofficial visit to Buncrana while he was commanding HMS Magpie from 1950 to 1952. He was attending a five day training course at the Joint Royal Navy Air Force Anti Submarine Training School in Lough Foyle. The Prince enjoyed a meal with other officers in the Green Bay Restaurant in Buncrana.

Harry Percival Swan reports in Romantic Stories and Legends of Donegal, 1965, “The Duke, who was accompanied by several other naval officers, motored to Buncrana and parked his car along the front. The Duke and his party walked along the shore for some distance and up Castle Avenue and through Main Street. They patronised a number of establishments and visited a restaurant where they had a meal. The proprietor was warmly complimented by the Duke on the excellence of the fare provided. While in the restaurant a great crowd gathered outside and it was found necessary to close the doors of the restaurant where the crowd who wanted to see the Duke had to be regulated by Civic Guards.”

Just over one and a half centuries earlier, a Protestant revolutionary of Irish independence arrived in Buncrana. Harry states, “Admiral Commodore Bompart, of the French Fleet, left Brest on 16 September 1798 with a 74 gun man-of-war, eight frigates and a schooner under his command. He had orders to land the 3,000 troops on board his vessels at Lough Swilly. Wolfe Tone, leader of the United Irishmen, commanded one of the French frigates, the Hoche. Bompart’s fleet was sighted by Sir John Borlase who was commanding a British squadron on 11 October and a fierce battle took place off Tory Island the following day.” Wolfe was forced to surrender and was brought ashore at Buncrana. He died shortly after aged 35 in the Provost Prison of the Royal Barracks Dublin.

But neither gentlemen made as lasting an impression as John Newton.

In the field of tourism branding, hymnal inspiration must rank among the more original, if not the unique. Welcome to Amazing Grace Country. A hymn was certainly a good excuse to transform a concrete viewing platform into an artwork. Local artist Andrew Garvey-Williams designed a mosaic floor which incorporates images of the hymnwriter John Newton’s ship The Greyhound, the words Amazing Grace in his handwriting, and broken chains symbolising the end of the transatlantic slave trade.

Sailing from Africa to England via Newfoundland was a long and dangerous voyage. Exactly half a century before Wolfe Tone was captured, John’s ship was caught for weeks in a violent storm in the Atlantic Ocean. A fellow sailor was instantly swept overboard. In John’s own words, “The sea had torn away the upper timbers … and made the ship a mere wreck in a few minutes. It was astonishing, and almost miraculous, that any of us survived. We expended most of our clothing and bedding to stop the leaks.”

When all hope was lost, “We saw the Island of Tory and the next day anchored in Lough Swilly in Ireland. This was 8 April. When we came into this part, our very last victuals were boiling in the pot and before we had been there two hours, the wind began to blow with great violence. If we had continued at sea that night in our shattered condition, we would have gone to the bottom. About this time I began to know that there is a God that hears and answers prayers.” He had realised God’s grace could save even a “wretch” like him.

John stepped ashore in Buncrana a changed man. The viewing platform marks the spot. His crew received a warm welcome from the locals including carpenters who set about repairing the battered ship. While the ship was being repaired he visited Derry City, attending prayers at St Columb’s Cathedral. On returning to England, John was appointed captain of a slave ship. But as his faith grew he jumped ship to join the Anglican clergy in Liverpool in 1764. It was while he was Curate at Olney Parish Church that he wrote Amazing Grace to illustrate his 1773 New Year’s Day sermon. John was promoted to Rector of St Mary Woolnoth. He led the congregation at this Nicholas Hawksmoor designed Anglican church in the City of London for the last 27 years of his life. During this period, he met the politician William Wilberforce and together their combined efforts batting slavery were successful.

The slave trade was abolished in the spring of 1807. John died the same year, four days before Christmas. He had written almost 300 hymns such as the belter Glorious Things of Thee Are Spoken but historically Amazing Grace wasn’t the most popular. It really only gained status during the 19th century Christian revival which swept across both side of the Atlantic. His words were attached to several traditional melodies until 1835 when the composer William Walker married the hymn to the tune New Britain.

The hymn has an enduring quality, an eternal appeal. Amazing Grace has been recorded over 5,000 times including a moving rendition delivered by Aretha Franklin to the Obamas. It has also inspired contemporary songs such as Phil Wickham’s This is Amazing Grace. John Newton’s legacy lives on in lyrics and now in Amazing Grace Country in this far flung part of the universe. Growing at a rate of knots, Buncrana is now County Donegal’s second largest town and the biggest on the peninsula of Inishowen.

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Royal Hospital Chelsea + Treasure House Fair London 2025

Masterpiece Revisited

Bugatti Chiron Pur Sport at the ready, it’s the third edition of Treasure House Fair at Royal Hospital Chelsea London. Edmond Joy’s 1709 construction is a surprising component of the Sculpture Walk directed by Harvey Horswell and curated by Dr Melissa Gustin, both from National Museums Liverpool. Brought to the show by Thomas Coulborn and Sons, it is a child’s wardrobe masquerading as a Dutch style doll’s house. It meets the accepted definition of sculpture as a work of art in three dimensions while also being a functional object and one of architectural interest. This magical wardrobe with its bewitching façade deserves to be lionised. Little did Edmond Joy know three centuries ago that he would be creating the ultimate collector’s item with his Kew Palace in miniature.

There are first editions at Shapero Rare Books such as Francis Scott Fitzgerald’s Tender is the Night (1934) and Evelyn Waugh’s Brideshead Revisited (1845). And there are newly signed editions at Potterton Books: Blenheim 300 Years of Life in a Palace (2024). Blenheim Palace is the most visited of all of Britain’s stately homes. Lady Henrietta Spencer-Churchill, renowned interior designer and author is on standby with her Sharpie pen. She grew up at Blenheim: it is now lived in by her brother Charles, 12th Duke of Marlborough. “I was always the one who was interested in art and architecture and the history of buildings,” Henrietta relates. “That, coupled with working with my father on the restoration because of my career in interior design meant I’ve more interest and knowledge of the house than perhaps other members of the family.”

Galerie Marc Maison is a canine art collector’s paradise. Two life size sculpture groups guard the entrance to the room. In 1893 banker Jacques Stern commissioned Auguste-Nicholas Caïn to replicate his hunting dogs in dark green patina bronze for outside his Château de Fitz-James in Oise. The room is dominated by Augustine Ricard’s monumental oil painting Après la Chasse dated 1885. She was one of the few female artists to exhibit her work in the fashionable Parisian salons. A dozen dogs are pictured resting in their kennel. “We are located in Rue des Rosiers, St Ouen sur Seine. Everyone comes to Les Puces in Clignoncourt!” declares Daisy Maison.

“Huon Mallalieu has an incredible depth of knowledge as an art and antiques historian,” is how Country Life Interiors Editor Giles Kime introduces one of the magazine’s long term contributors. Huon begins, “The 50s were rather important because there was a change of American tax law which encouraged people to buy art to hang on their walls during their lifetime but was tax exempt after their death if they donated it to a museum. This meant they were looking for new markets and so were dealers. And that was how the Impressionist market actually began on a major world stage.”

He continues, “I mention that because people are worried markets are collapsing. The art market has a circularity about it. One thinks that in 1962 Lord Leighton’s most famous work Flaming June was sold for £62 and it’s now worth millions. It had been out of fashion for 50 years. This happens regularly and there is no need to panic. One must remember that what was cutting edge for one generation is old hat for the next generation and old master for the one after that. Things go round and round. What people want now is completely different compared to the 70s and 80s. And that’s no bad thing. Markets dry up; contemporary artists become less contemporary. And once they are being resold on the secondary market their original dealers can no longer control them by waiting lists and the like. At that moment prices may well drop and if you want to that’s the moment to start buying them.”

Huon recalls the brown furniture market in the 80s, “It was focused on the Fulham Road and Kings Road but also Bond Street in a very big way. Again, it was partly driven by American fashion of the 20s which had been all for the grandest of 18th century furniture and that continued. There were big collectors in Britain as well and when their collections came through in the 80s and 90s that was the peak – and the end of it too. After that people thought brown furniture was far too grand. They wanted simple mid 20th century stuff – the generational shift occurred.”

Writer and Executive Director of the Design Leadership Network Michael Diaz-Griffith comments, “I think if we look at the market for high style traditional English material, the US was offset just a bit from the UK. If you think of some of the great sales of the 70s like the Mentmore sale, the great houses were being decanted of this wonderful material and it was often Americans who were scooping it up and taking it back to Fifth Avenue. So there remained a great deal of excitement about that high style really through the 80s and into the 90s. The baby boomers of the early 2000s became very excited about contemporary art and in the US at least that was the driver of collecting and tastemaking really until the millennials – the generation that I am trying to be a cheerleader for – began to come of age and exhibit a different type of taste.” Exhibitor Philip Mould’s room features both old masters and modern British artworks.

“The pendulum swings back and forth always,” New Yorker Michael believes. “The pendulum is swinging back in the direction of antiques, of historic decorative arts, and that is a very good thing indeed. You are searching for your own taste, what is comfortable, enjoying history and what it has to offer but also being at home in the world as it is today.” Fresh from Marrakesh, interior decorator Henrietta von Stockhausen reckons, “Christopher Gibbs and Robert Kime started this type of decorating. They managed to go much deeper into that story of a home and the most important thing is comfort. They were very bravely mixing styles and the stuff owners had collected.”

Henrietta recollects, “Christopher mixed some incredibly important things with some really not important things but everything was beautiful and told a story. I think that juxtaposition created great energy and developed a much less precious way of decorating which is really very much where we are now I believe. My clients now are much braver at telling their story, much braver at choosing things that they want. It’s not about show anymore – it’s about actually enjoying your pieces and looking at them. Sometimes you have this beautiful antique piece which along with another 100 beautiful pieces feels like you’re in a museum. But if you place it opposite some incredible contemporary piece it really begins to sing and creates this energy and this is what is required these days.

Firmdale Hotels have a collection of top spots in London and New York. What better way is there to celebrate their 40th anniversary than launching this year’s Brasserie at Treasure House? It’s also the 25th anniversary of their Charlotte Street Hotel in Fitzrovia. Smart menu main course choices include asparagus and artichoke salad with toasted almonds and pan seared seabass with lobster bisque. Puddings vary from baked chocolate cake to strawberries and rhubarb with shortbread and ice cream. Next door, Ostra Regal Gold Oysters in the Oyster Bar are fresh from Clew Bay in County Mayo and full of joyful surprise.

Treasure House Fair 2025 has plenty of heroic moments, some of epic grandeur, and an immaculateness of purpose.

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St Pancras Renaissance Hotel + Victor Garvey at The Midland Grand Dining Room St Pancras London

No Rotten Tomatoes

So long ago. Back in 2011, we interviewed Harry Handelsman, the visionary replacing ossification with revivification at the majestic St Pancras Renaissance Hotel. Rewinding 14 years: a Polly Morgan taxidermy of a fox snuggled in a glass dome in the reception is a sign this is no ordinary office block. The Edison Building on Old Marylebone Road is named after the world’s most prolific inventor Thomas Edison. Its 1930s Art Deco exterior has been reinvented by architect David Adjaye who’s cloaked it in his trademark charcoal grey rendering. The client was Harry Handelsman of Manhattan Loft Corporation, the property developer who brought loft living to London before reinventing the Capital’s best Victorian railway hotel.

“This could have been a cool apartment building but I wanted to do something more exciting,” starts Harry. He’s clad in a charcoal grey suit, no tie, sitting in his charcoal grey top floor corner office. So far, so suave. Sliding doors open onto a huge decked terrace. “I called on my friend David. He designed an amazing transformation.” Adjaye Associates now occupy the ground floor of the Edison Building which has filled up with design companies. Munich born Harry worked as a financier in New York before arriving in London in 1984. He soon realised the potential for American style loft living in Britain. “Lofts are the concept behind giving buildings a new lease of life – they’re exciting and wonderful places,” Harry enthuses. He set up Manhattan Loft Corporation in 1992. To date around 1,000 apartments have been completed in the UK and Germany.

“We’ve no concerns about building something new though,” he adds. “Even our first scheme in London – Bankside Lofts next to what is now Tate Modern – was part newbuild. So much other new development seems too simplistic. It needs to be more energetic, more dramatic. We want to give our developments a bit of punch!” There’s nothing unenergetic or undramatic about St Pancras Renaissance Hotel. And it literally has punch – as we will discover later.

Two decades after he brought loft living to London, he’s also the best man to know what’s next in the residential development world of 2011. “High rise apartments. That’s the way things are going,” states Harry. “London is the most exciting city in the world. Development can make such a positive contribution. It’s not all about commerce. Each of our projects is different. An exciting thing is that we can make a positive difference to the cityscape. We are incredibly privileged. My team is second to none, combining creativity and commitment. I wish the planning regime would be simplified but any issues aren’t insurmountable. There’s enough appreciation of design quality. If it was all smooth sailing I wouldn’t have any grey hairs!”

Also in 2011, a busy year, we reviewed the hotel opening for Luxury Travel Magazine. Paris in two hours. Amsterdam in four hours. Lobby in 2.4 minutes. Those are the travel times from the First Class platform of the Eurostar train in London to St Pancras Renaissance Hotel … and so we continued, the excitement lifting off the screen. The motif of the hotel is the peacock which represents rejuvenation – and not just vanity (although with such architectural beauty that would be justifiable). When a peacock loses a feather it grows back perfectly. St Pancras is more like plume replacement. In 1865 Sir George Gilbert Scott won a competition held by Midland Railway to design a hotel for St Pancras Station. The client’s vision was for an understated building. The architect had other ideas.

A Gothic Revival extravaganza, his gargantuan fairytale confection of towers, turrets and terracotta tiles overwhelmed visitors when it opened in 1873, did once again in 2011, and still does in 2025. The verticality of a 72 metre high clocktower is balanced by the horizontality of a sweep of 150 metre wide frontage and the third of a kilometre depth including engineer William Barlow’s railway terminus behind the hotel. If the hotel is all about design and detailing, the terminus with its 800 cast iron columns and 2,000 wrought iron girders is a pure expression of structure and function – the sort of thundering modernity captured on canvas down the line in Joseph Turner’s 1844 Rain, Steam, and Speed: The Great Western Railway.

Sir George’s design incorporated all the latest fittings too: the first lift in a British hotel; the first revolving door in Britain; 40 centimetre thick fireproof walls. The latter was to contribute to its downfall. Time stands still for no architect or builder or hotelier. Not long after it opened, en suite bathrooms became all the rage for grand hotels. Thick internal walls did not adapt well to the insertion of bathrooms. The hotel eventually closed after just 62 years of operation and was downgraded to British Rail offices. It was even threatened with demolition in the 1960s before Poet Laureate Sir John Betjeman successfully campaigned for its retention.

This Grade I Listed Building was finally saved by Harry Handelsman. A labour of love, albeit an expensive affair. His company Manhattan Loft Corporation spent £100 million converting the three upper floors to 67 apartments and a further £150 million rejuvenating the remainder of the building back to a hotel. It’s a physical embodiment of joie de vivre. The peacock’s feathers have truly regrown. Such rare and colourful plumage! The original entrance hall is now a bar with a polychromatic corniced ceiling, encaustic filed floors and walls dripping in gold leaf. Upstairs, the Renaissance inspired ceiling of the Ladies’ Smoking Room cost nearly £1 million to restore. It was the first place in Europe where females could acceptably smoke in public. This room now aptly leads onto a smoking terrace (or at least did until the boring ban was introduced).

The St Pancras Railway Terminus designed by engineer William Henry Barlow was – wait for it, another record breaker – the single largest railway structure of its time. The former taxi rank between the railway shed and original hotel (originally the pedestrian entrance to the railway platforms) has been converted into a cavernous glass roofed lobby lounge. The adjacent Booking Office is now a brasserie and bar serving traditional English delights such as quail’s eggs with anchovies. Victorian drinks like Garrick Club Punch and Moonlight White Tea are served on neverending bar. The grand staircase is the interior pièce de resistance. It’s a cathedral of colour with hand painted fleur de lys walls framed by Midland Stone arches and vaults. Exposed structural ironwork under the flights of stair fuses romance and technology. Harry’s workforce even aged the carpet on the dizzying array of fanciful flights of stairs. In 2011, we observed that the limestone pillared Gilbert Scott Restaurant looked positively restrained in comparison. Celebrity Chef Marcus Wareing’s team offered its own take on nostalgic classics such as Queen Anne’s Artichoke Tart and Mrs Beeton’s Snow Egg. The Gilbert Scott Restaurant was the setting of our first lunch with Dame Rosalind Savill, then Director of The Wallace Collection, London’s best museum.

Harry carved 38 bedrooms out of the old building and inserted 207 into a new sympathetically designed extension. Once more, the hotel caters for the demands of five star guests. A subterranean spa occupies the former steam kitchen. Our Luxury Travel Magazine 2011 article ended with Stairway to Seven (Facts). A double storey apartment is housed in the clocktower. English Heritage only allowed a 20 colour palette which includes Barlow Blue and Midland Red. The latter hue has a tomato tinge to it, an augury of our 2025 dinner. On Thursday nights in 2011, DJ Eloise rocked the Booking Office and on Friday nights it was the turn of DJ Zulu. The diamond shape is another motif of the hotel and 725 can be found in the Booking Office.

In 2018, Harry reminisced, “I always knew that St Pancras would be a challenge. The complexity of the structure and the Grade I Listing by English Heritage allowing only minimum intervention in the creation of a 21st century hotel was always going to be difficult. Many of my business compatriots thought that I was mad for undertaking such an ambitious project. At times I thought they were right. It was the sheer excitement and privilege of being given the opportunity and responsibility for this most fascinating building that kept me from desperation.”

That was then and this is now: 2025 to be precise. We’re staying in a modern bedroom of St Pancras Renaissance Hotel, dining in the restaurant and late night drinking in the hotel opposite. Bedroom furniture was graduated by wood when our hotel first opened. The best rooms on the first floor contained pieces made of oak or walnut. Second floor rooms had oak or teak furniture; third floor, mahogany; poor old fourth floor, ash. Decoration is more democratic this time round. Our fourth floor room is elegant simplicity: pattern free, clutter free, bad artwork free. The view is of the British Library, another vast red brick building (designed by Colin St John Wilson in the 1990s) although not quite so beloved as its neighbour. Our two paned rectangular window is set in a Gothic arch on the exterior: contemporary inside, traditional outside. Richard Griffiths’ architecture hits all the right notes. RHWL was the overseeing design practice of the development. Encaustic tiles on the floors of the long bedroom corridors draws the original hotel into the extension which fits neatly between the rear of the hotel and the side of the station.

The Gilbert Scott Restaurant closed in 2021. Two years later, The Midland Grand Dining Room by Patrick Powell (an Irish chef) opened before closing last year. And that brings us to The Midland Grand Dining Room by Victor Garvey (a mostly American chef). His CV includes working at two of the world’s most famous restaurants: El Bulli in Barcelona and Noma Copenhagen. Victor’s maternal grandmother was a personal chef for Charles de Gaulle so it makes sense the rebooted restaurant offers French haute cuisine even before you hop across the Channel on the Eurostar.

“There are only a few times in a chef’s life when they get handed a dining room,” says Victor, “and I’m extremely honoured and privileged and excited to be able to embark on this journey in something like this. The idea behind the menu here stems from respecting tradition but innovating and making it lighter and making it more streamlined and making it more concise and finding a way to tell the story of that incredibly deep French culinary heritage and respecting it but updating it. Old world, new ideas.” The sausage shaped Dining Room has a robust neoclassicism of the mid Victorian muscularity ilk befitting its original use as the Smoking Room. The Midland Grand isn’t the only French newcomer in town: a week later we will venture to the wildly popular Joséphine Bouchon in Fulham for cabillaud au beurre blanc à l’é chalote. Chef Claud Bossi of Bibendum South Kensington fame is once again putting the Lyon into lyonnaise in the English Capital.

Tick tock. It’s Pimm’s O’Clock on the Champagne Terrace (we’ve worked up a thirst strolling through the wetland habitat of Camley Street Park). One of London’s hidden gems, the Champagne Terrace is perched below the back of the hotel entrance tower and looked down on from the modern bedroom wing. Oysters are only to be consumed in months with an R and Pimm’s are only to be downed in months without an R. James Pimm’s recipe of liqueurs and herbs remains a warm weather winner 185 years after it was trademarked. In The Official Sloane Ranger Handbook (1982), Peter York and Ann Barr order, “May: at the first sign of summer, Pimm’s.” But no accompanying oysters.

We’re all on for tenuously excused partying and it doesn’t come much better than the 5.05pm Punch Ritual in the Booking Office for guests to celebrate the 152nd anniversary of the original hotel opening. It’s a few days off the actual date (5 May) but we don’t fuss about detail. Historic fountain penned letters from the hotel’s archives are shared while the sommelier stirs his cauldron of elixir. We’ve barely ordered more drinks in the main hotel bar when we’re ushered to our window table in The Midland Grand Dining Room. Oh the anticipation! The à la carte caters for the carnivorous so our waitress suggests vegetarian alternatives. In between pretty amuse bouches and freshly baked bread we’re served a sliced tomato starter and a diced tomato main. We’re all on for retaining our Parisian waistlines. Minimalist plates in maximalist architecture. Pudding is l’Opéra which turns out to be a delightfully deconstructed coffee cake.

A quick dash across the road and we’re soon zooming up 11 storeys in the external lift of The Standard Hotel to Sweeties bar for Power Play cocktails (Belvedere Vodka, Dry Vermouth, Sweeties Savoury Brine). We skip the Bloody Marys: enough tomato for one day. Sure enough, against a darkening pink sky, St Pancras Renaissance Hotel looms in all its pinnacled silhouetted glory. But it’s not over till the fat lady sings or the slim girl walks: before stepping onto the First Class Eurostar to post paschal pastures anew in Paris we’re off to Lightroom (a Louboutin’s throw from the hotel and Central St Martin’s Art College) for a Vogue installation. A tomato red Mercedes roars up and the fashion artist Dame Mary Martin emerges to join us – from the hemline to the frontline of fashion. So now.

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Ole + Steen + Trine Hahnemann

Summer Solstice Celebration

“We opened in St James’s nine years ago and that was the introduction of Ole and Steen to London,” announces Joachim Knudsen, Ole and Steen Group CEO. “Today we have 26 stores in Greater London. We believe we have a good understanding of how Londoners think when they want to enjoy pastries, sweet breads and rye bread. Our new Open Rye range is a collaboration with the celebrated Danish chef Trine Hahnemann. Her deep knowledge of Scandinavian food and love for honest, seasonal ingredients makes this partnership a perfect fit.” Ole Kristoffersen and Steen Skallebaek combined 35 years’ experience of running bakeries when they joined forces opening Ole and Steen in 2008. Ole comes from Copenhagen; Steen, Jutland.

Trine shares, “I am especially happy and proud to be here for this partnership because it is about rye bread. I am rye bread! I use this every day. Rye bread really is at the heart of Danish food culture. It started in the 1800s when it became a trend. You could go into shops and take it home and invite people over. Rye bread can be used with whatever you have in your fridge: potato, sausage, cheese. Rye bread is made out of flour of course and then it has seeds and has a very high percentage of fibre. So this is a really healthy bread and very tasty. It was the first fast food – the first takeaway food.”

She starts a demonstration making one of the new Open Rye range. “We want all the five flavours in fast food. Umami, salty, bitter, sweet, sour. As a human being if you eat something that has the five flavours you get so satisfied. That’s why we love burgers! Smørrebrød, the traditional Danish open sandwich on rye bread, can have all five flavours. The other important thing of smørrebrød is the structure. When you eat something it has to have different textures. You need something soft, something chewy, something crunchy.”

The demonstration is in full swing. “You cut rye bread thinner than say sourdough bread. The first thing I do with a slice is smell it! Rye bread has this wonderful bitter, sweet and also flowery smell – a sense of nature. Smørrebrød actually means butter, bun, bread. The butter is very important because when you put all these toppings on you need something to protect the bread so that it doesn’t get soggy. It is a tradition to always use salted butter and it is part of the flavour combination. We have here cream cheese and I have put some yoghurt, dill and chives in it. Fresh herbs are extremely important for the flavour but also for the decoration. In Scandinavia we are obsessed with fresh herbs! Of course everyone knows salmon is a Scandinavian thing too.”

The layering continues. “Put some slices of salmon on for texture and balance of taste. I chose fennel because it goes so well with salmon and dill. Just raw fennel because you don’t want any more flavours in there. We have all that already combined in this smørrebrød. You get a bit of crunchiness from the fennel. Black pepper is the spice – it has to come from a mill. I just want to say rye bread, salmon and pepper is a match made in heaven! And then I am going to put dill on top. You can never have too many herbs – never. And then cress: this is a purple one. We are obsessed with crest as well. Cress has a sharpness which goes really well with the sweetness of salmon. So we have all the flavours in there.”

“We also get to celebrate my new cookbook Eat Copenhagen,” Trine reveals. “In it is a guide to my Copenhagen. All the stories, all the things I love above my hometown, all the traditional food. It’s an insight into the culinary culture you can experience as a local Copenhagener. Food you can bake and cook at home. Then you can go to all the fancy restaurants! And there’s a little story in there about Ole and Steen. I have worked with them since I was very young. When I was 19 or 20 I used to see Ole in a bar. Copenhagen is a very small town. That whole gourmet revolution in bread that you see in Copenhagen now came from Ole and Steen. They were the pioneers and still make the best rye bread and very good cakes.” Bon appétit! Velbekomme!

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Architects Architecture Art Country Houses Design Developers People Town Houses

Sir John Soane’s Museum Holborn London + Richard Rogers

Architectural Communication

The extraordinary townhouse that is Sir John Soane’s Museum has played host to many exciting exhibitions drawing synergy from the riveting interiors. Highlights of the last nine years include shows featuring Alcantara (microfibre fabric) and Space Popular (multidisciplinary design practice); Emily Allchurch (artist); William Shakespeare (a certain playwright); and Sarah Lucas (artist). The latest is the first UK retrospective since his demise of the work of Richard Rogers, leading exponent of High Tech architecture. And so, at 13 Lincoln’s Inns Fields two architects who had a passion for materials, light and life meet posthumously.

Will Gompertz, Director of Sir John Soane’s Museum, opens the exhibition: “Rogers Pink completely fits with the vibe of the good weather and also aesthetically fits with the vibe of Soane as next door in the South Drawing Room there is this extraordinary colour field of yellow which is called Turner Yellow – not Turner the painter but Turner the designer – which he very specifically chose and then you’ve got the Rogers Pink in this exhibition. I think Soane would approve of this enormously and also he would have loved Richard as a man. They would have had so much in common.”

“The exhibition started three weeks after I began as Director here and Richard’s son Ab got on the phone and said, ‘Can I come round with an idea?’ He came round and five minutes later we had a show! Ab’s idea was for the Soane to show the first retrospective of Richard Rogers in this country since he sadly passed. And the answer was emphatically yes.”

Ab provides a tour of the exhibition Talking Buildings: “It’s a simple show based on eight pivotal projects across his career. It’s really about this escalating idea how the buildings talk to each other. I think Richard really wanted his architecture to talk to the people, to improve the quality of the citizens’ lives, to celebrate the streets, to get people to look up at the sky, to enjoy the public space and to really look at the responsibility of the building to respond to its uses.”

“This ongoing conversation started with the Zip Up House which is a solution to social housing. It is an object made out of prefabricated units, incredibly well insulated, that can continuously grow and expand. He was looking at sustainable issues before there was awareness of them in 1969. The house he designed for his mother and father also in 1969 creates this very open space where there’s no specific programme and you’re free to play with it as you will. You can roll out of the building and into the grass – it’s very free, almost boundaryless.”

“And that plays into the Pompidou Centre in Paris where 50 percent of the site is given to the public; you see all the services taken from the inside to the outside to free up the programme of the interior. And you can argue that this free programme that exists inside the Pompidou also exists inside the Zip Up House. This escalation goes on and then he creates Lloyds Building – this shining armour sitting in the historical setting of the City of London. They’re both very brave and radical buildings. Lloyds was the youngest building to be Listed in the UK.”

“We go on to the Millennium Dome, a building which was quite controversial at its time although it came in on budget and on time. This huge roof held a world beneath it. The Dome was meant to be up for one year but instead 25 years later like the Eiffel Tower it becomes this icon of the capital. And from there we go back to social housing looking at The Treehouse which is a collection of ‘shoeboxes’ fabricated from cross laminated timber, rapidly assembled as a tower and very low cost. The roof of one becomes the garden of the next creating these ‘shoeboxes’ with free programmes.”

“We see this conversation and idea continue when we finally end up in the drawing gallery which takes us back to the Zip Up House’s very muscular cantilevered box. It is designed like a telescope with a straight line of viewing out to the landscape. Talking Buildings is a quick journey really trying to work around this conversation and Richard’s passion for creating civic architecture which is generous to the citizens and generous to the streets, while trying to provoke the role of the developer and the council to be bigger and more integrated.” This show adds yet another layer of brilliance to the immersive multimedia experience that is Sir John Soane’s Museum.

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Architects Architecture Art Country Houses Design Luxury People

WOW!house 2025 + Design Centre Chelsea Harbour London

Always

It’s the perfect single storey neoclassical villa. And there’s just one month to experience it. “The façade draws on early Georgian architecture amplified in a Chelsea London context,” explains Darren Price, a Design Director at Adam Architecture. “Its refinement embraces contemporary minimalism and reinterprets the language of classicism in a way that feels both timeless and relevant to modern sensibilities. The neoclassical design relies on lines and arches rather than columns and pilasters.”

WOW!house is back in the Design Centre Chelsea Harbour for another year to inspire, educate and thrill. One of several new elements is a Town Garden designed by Alexander Hoyle and delivered by Artorius Faber. Stone materially links Adam Architecture’s façade and the garden: a Portland limestone plinth; reclaimed sandstone cobbles and walling; and reclaimed flagstones for the portico and arcades flooring. Walking through Darren’s portico, under the oculus in the Soaneian pendentive dome, over the corresponding tiled circle, leads into a procession of eight rooms, a Courtyard, 10 further rooms and onwards and outwards to a Grand Terrace. It’s like wandering through a stationary Venice Simplon-Orient Express with side carriages. International collaborations of interior designers, architects, design brands and suppliers stimulate the senses. Even smell: each room has its own dedicated Jo Malone London fragrance from Pomegranate Noir to Red Roses.

Victoria Davar of Maison Artefact perfectly captures a sense of arrival in the Entrance Hall sponsored by Cox London. A five metre ceiling height adds an extravagance of volume allowing for a floating staircase to spiral up towards an imaginary upper room. Victoria reckons, “We have designed a modern day cabinet of curiosities including a cast bronze and iron chandelier from Cox London.” A Robert Adam plaster frieze from Stevensons of Norwich draws on the neoclassicism of the façade. In contrast, Chad Dorsey’s members’ clubby Drawing Room, sponsored by Fromental, is Arts and Crafts. Fromental’s Kiku wallcovering wraps the room (and ceiling) in panels of stylised chrysanthemums and sunflowers. Chad continues the nature theme with Kyle Bunting’s chequerboard leather rug featuring birch and wheat emblems.

“The Phillip Jeffries Study is designed to be visually compelling but also should enhance the way someone lives and interacts with their environment,” suggests Staffan Tollgård. The Creative Director of Tollgård selected a striking abstract artwork formed of slices of oak and paulownia wood as a wallcovering by Phillip Jeffries. Another cosy space is the Nucleus Media Room designed by Alex Dauley. This Myrrh and Spice Jo Malone London aroma filled cocoon is swathed in Zinc Textile’s suede wallcovering and incorporates Nucleus’ seamless home automation.

“A space to intrigue, inspire and spark conversation,” is how Spinocchia Freund describes The Curator’s Room. The designer has a commitment to working exclusively with women. She collaborated with Ashley Stark, Creative Director of the room’s sponsor Stark, on a bespoke rug. Spinocchia explains, “This rug is a celebration of 87 powerful creative women such as Élisabeth Garouste, Zaha Hadid, Charlotte Perriand, Faye Toogood and Vanessa Raw. Their names are woven into it. My biggest issue was deciding who to include as there were so many suitable names!”

Tommaso Franchi of Tomèf Design collaborated with three of Italy’s leading heritage brands for the Primary Bedroom. Fabric house Fortuny, rattan furniture company Bonacina, and Venetian glass masters Barovier and Toso have all contributed pieces to a room embracing Italian craft. A Primary Bedroom that could be in Venice or Verona is not complete without some Murano: a Tomèf designed coffee table contains a collection of objets d’art made from offcuts of Barovier and Toso’s Murano glassware. Alisa Connery of 1508 London based the House of Rohle Primary Bathroom on reflection, ritual and reverie. The fluid shape of the freestanding bath and standalone shower by the room’s sponsor embodies the energy and movement of water.

Hurrah, Treasure House Fair has come early this year! Or at a least a foretaste has popped up. The Season fixture is Daniel Slowik’s Morning Room sponsor. The interior designer and antique dealer sourced furniture, paintings and objets d’art from contributors to the Treasure House Fair. Daniel’s imaginary client Richard Wallace. The 19th century art collector’s London home, Hertford House in Marylebone, is now The Wallace Collection. This museum and art gallery was reinvented by the brilliant symbiotic force of the late Director Dame Rosalind Savill and the neoclassical architect John O’Connell. A Bardiglio marble chimneypiece by Jamb provides a focal point for the Treasure House Morning Room. Set pieces include a George III pedimented bookcase from Ronald Philipps and a portrait by the 18th century artist Maria Verelst from Philip Mould.

The second of three (or is it four?) open spaces at WOW!house, the Perennials and Sutherland Courtyard designed by Goddard Littlefair combines the best of Andalusian gardens and Moorish architecture. Jo Littlefair compliments Perennials and Sutherland’s technological advancement, “Their outdoor Crescent furniture uses powder coated aluminium as a finish. It’s perfect in hotter climates because the coating has good thermal stability.” The Sims Hilditch Courtyard Room is firmly back on British soil. Country house specialist Emma Sims Hilditch has created a very smart behind the green baize door space. A coffered ceiling and antique furniture elevate this space from back of house to front of courtyard. A dog room and a boot room are set behind glazed internal partition walls in two corners of the Courtyard Room.

The perfect neoclassical villa must contain at least one fourposter bed and American Alessandra Branca comes up trumps with the Casa Branca Bedroom. Drawing on eclectic sources from David Hicks to Lee Radziwill, the sponsor and designer’s own brand of textiles, wallpapers and furniture fill the room. A border stripe framing curly motifs wallpaper is echoed in the striped bed curtains. Murano vases provide hints of Alessandra’s Italian heritage.

“It all began with a pair of taps,” reveals Samuel Heath, the exclusive bathware designer and manufacturer sponsoring the Bathroom by Laura Hammett. The stepped profile, chamfered corners and bronze finish of the new taps could belong to only one style of full bathroom design: Art Deco. “This year is the centenary of l’Exposition des Arts Décoratifs à Paris which launched Art Deco,” Laura relates. “We are really reimagining the 1920s style with gusto and have included a San Marino marble rolltop bath and matching double vanity unit.”

No world class display of interiors is complete without the Pre Raphaelite tour de force that is Kelly Hoppen CBE. Her moody Living Room, sponsored by Visual Comfort and Company, is all that is to be expected from the design powerhouse. She confirms, “Visual Comfort’s collection gave us the freedom to create atmosphere and rhythm through lighting.” Kelly has selected an earthy palette of rich brown, terracotta and muted neutrals. Vintage furniture sits cheek by jowl with bespoke pieces. She notes, “The Living Room blends asymmetry, history and personal storytelling.”

Curvature is a theme of the interiors and reaches a geometric climax in the Dedar Library by Pirajean Lees which is encircled by bookcases. Designers Clémence Pirajean and James Michael Lees discovered something they have in common with the cutting edge (no pun) fabric house of Dedar: a love of music. A440 Hz, the tuning standard of musical instruments before a concert, provides an unlikely source of inspiration for patterns in the painted dome ceiling and the rug made by Jennifer Manners. A pitch perfect room. The Argentinian writer Jorge Luis Borges imagined Paris as a library. And as the American journalist Maureen Callaghan warns, “If you ever go back with someone after a night out and they’ve no books in their home, run! Run!”

Drummonds backed Nicola Harding’s jewel box inspired Powder Room. The Art Deco style collection includes a marble top vanity and storage units reflected in antiqued mirrors in a glazed ceramic tiled setting. “For the Powder Room you have to be more dramatic,” Nicola opines. “It’s a space where you’re likely to be alone so it can be an escape. We wanted to create an intoxicating atmosphere rich with colour and texture.” The colourway includes ruby, turquoise and jade. In contrast, Toni Black of Blacksheep uses a palette of soft blush, terracotta and taupe for her Home Bar. The scheme is centred on Shepel’s handmade joinery and furniture. A curvaceous bar follows the rounded rectangle room shape.

“The application and finish of the paint is paramount to the finished look and feel of any room, so we’re thrilled to work with Benjamin Moore, the best paint brand out there,” exclaims Peter Mikic, the designer of the Dining Room. A vast abstract artwork by Billy Metcalfe and trompe l’oeil panels by Ian Harper – using Benjamin Moore paint of course – provide sweeps of colour across the walls. Vintage Lucite leopard skin fabric metal framed dining chairs contrast with a circular dining table bejewelled with semi precious stones made by Kaizen.

Atmospheric lighting is another theme of this villa so who better than Hector Finch to sponsor the Thurstan Snug? “We were inspired by Hector’s enthusiasm for designing and crafting his lighting,” says the room’s designer James Thurston Waterworth, Founder of interiors practice Thurstan. “So we imagined a practical creative space where he could draft sketches, test samples and immerse himself in books.” Blue lime plaster walls painted with marble dust bound by varnish and a d’Ardeche parquet floor bring rich patinas to the Snug.

Ben Pentreath Studio is one of King Charles’ favourite architectural design companies. The Studio’s Rupert Cunningham, Leo Kary and Alice Montgomery have come up with the Kitchen built by Lopen Joinery which would definitely persuade Queen Camilla to don her cooking apron. Grecogothik is a novel portmanteau the team jokingly use to describe the genre of this unfitted room. Octagonal shaped cabinet legs reflect the shape of the octagonal rooflight. Art should be in every room in the house and paintings in the Kitchen include Tallisker Isle of Sky bye by John Nash (Paul Nash’s younger brother, not the architect).

His Majesty would certainly enjoy the Garden Terrace designed by Randle Siddeley which leads off the Kitchen. This exotic garden under the glass sky of the Design Centre Chelsea Harbour is filled with lush planting and framed by formal trellis in the style of an orangery. Randle believes, “The Garden Terrace is an immersive escape where one can pause, entertain and connect with nature.” Bespoke aluminium outdoor furniture by the space sponsor McKinnon and Harris includes scalloped dining chairs and an Italianate table. Mental note: every space deserves a crystal chandelier. Things get really wild … in the same collaborators’ Secret Garden filled with Oxenwood outdoor furniture.

This year, WOW!House truly is La Nouvelle Exposition des Arts Décoratifs de Londres. WOW!House 2025 deserves its own chapter in the sequel to Peter Thornton’s 1984 authoritative tome Authentic Décor The Domestic Interior 1620 to 1920.