The entrance hall is the first articulation of a house. Not a room exactly, but not simply a passage either - a space of arrival and orientation. In eighteenth- and nineteenth-century houses, it was composed not for lingering but for reading. You were meant to understand the building almost immediately upon entry. Ours sits, slightly awkwardly, on the intersection of our 'L-shaped' house and is in constant use - less a threshold than a point of return. That distinction matter

Most things I grew up with were destined to move on. That's the nature of a dealing family. Objects pass through, are admired, and leave. Permanence was never really part of it, which is perhaps why I find myself so drawn to the small Tunbridge Ware pavilion that sits on our breakfast room dresser. It belonged to my grandmother. Before that, I'm not entirely sure. My grandfather, father or uncle likely spotted it somewhere on one of their buying trips and thought it 'chancy'

From a winter’s arrival in 1506 to the slow unravel of grandeur, Wolfeton’s story is one of accident, ambition, and the passing of the centuries. January 1506.
It was one of those gloomy days familiar to anyone who’s spent time in Britain during winter. At Wolfeton, the routine was proceeding as usual. The fire had been going since morning. Someone was sweeping ash from the hearth; someone else was straightening the coverlet on one of the upstairs beds, pausing now and then t

It’s not easy finding antique fabrics for lampshades. Often, the textiles I come across are too original and too rare to cut. Despite the temptation, I can’t bring myself to do it. Occasionally, however, I come across a beautiful piece that has lost the ability to function as it’s original purpose intended: perhaps the ends are frayed, the dyes have faded, or it’s had a repair to the main field that turns-off the academic collectors. In a lot of these cases, these textiles ar

My approach to restoration is often to do the minimum necessary. I prefer the under-restored to the over-restored, but we try to find the right balance with everything that goes through our workshops. To help me with this I consult our restorer, Daniel, who's worked for me and my family for over a 15 years. Daniel understands how important the originality of an object is to me, particularly it's patina, and together, every Friday afternoon, we discuss each piece in depth and