Homes & Antiques

H&A LIFESTYLE: Gardens A grand SCHEME In the second of her three-part series looking at historical design elements that influence gardens today, CINEAD McTERNAN considers the Italianate style, whose formality and grandeur appealed to the British sense of tradition and order in the Victorian and Edwardian eras

During the early 19th century, leading British Where to visit CLOCKWISE FROM MAIN architects and landscape designers who IMAGE British Architect Sir travelled, and in some cases studied, in K IFORD MANOR Charles Barry designed the Europe returned home brimming with ideas Bradford-on-Avon, Wiltshire, BA15 2BA imposing Italianate terrace at for private and public gardens. The Italianate 01225 863146; ifordmanor.co.uk. Harewood House that includes style was born out of these adventures and Open April to October, with a music a grand parterre and ornate was a reaction against the more naturalistic gardens of the festival in the gardens from June to August fountains to create an elegant time. These new gardens were intended to delight owners link between the house and to impress visitors, and were characterised by grand, K MAPPERTON GARDENS and the landscaped park; formal designs featuring terraces, statuary, water, flights of Beaminster, Dorset, DT8 3NR. The steps at Harold Peto’s steps, follies and grottos as well as topiary and, on occasion, 01308 862645; mapperton.com Iford Manor, which connect parterres (see the feature Perfect Symmetry in our May issue the terraces, are a typical to read more about parterres).  K WAYFORD MANOR feature of the Italianate style; Crewkerne, Somerset, TA18 8QG. Classical statues, like this The gardens seen in Italy had been created centuries Open for the National Gardens French bust at Iford Manor, before during the Renaissance of the 14th to 17th centuries. Scheme only. ngs.org.uk were prominently displayed Unlike the functional medieval gardens that had preceded to recreate the charm of them, which were considered more as sources of edible and K THE TRENTHAM ESTATE Italianate gardens medicinal plants than places to admire, these revolutionary Stone Road, Trentham, Stoke-on-Trent, gardens reflected the classical ideals of order and beauty that Staffordshire, ST4 8AX. 01782 646646; were so prevalent in that period of great cultural change. trentham.co.uk The view of the garden and the vista beyond were core to the designs and reinforced the idea that gardens were to be enjoyed and should provide sanctuary for contemplation. Scenes from ancient mythology were dominant, as too were opulent water features, for water was associated with fertility and the abundance of nature during this era. The garden’s connection to the villa also became an important consideration. No longer a separate space for cultivation, the garden was linked to the home using structures such as loggias (open-sided roofed galleries or rooms) that provided a transition from outside to indoors as well as a shaded walk offering respite from the hot Italian sun. Classical sculptures, urns and pots were prominently displayed alongside historical structures and water features to ensure year-round interest. Planting remained simple and consisted mainly of evergreen plants to accentuate sun and shade in the garden and give structure even in winter months.  These opulent and stylised gardens had an enormous impact on the eminent Victorian journalist, city planner and garden designer John Claudius Loudon, who embraced their aesthetics and turned his back on the more naturalistic, wild gardens that were in vogue in Britain at the time. He wrote about the Italianate style in his seminal work, An Encyclopaedia of Gardening (1822), and 11 years later in An Encyclopaedia of Cottage, Farm and Villa Architecture (1833), inspiring a wave of important landscape designers to consider the elements of this approach and introduce them into their own work. Unsurprisingly, it is thought Loudon’s endorsement of the Italianate style was one of the great turning points in the history of English garden design. In 1834 the British architect Sir Charles Barry, who is probably best known for his role in rebuilding the Houses of Parliament, designed the first Italianate garden in the UK in the grounds of Trentham Hall in Staffordshire, a seat of the Dukes of Sutherland. He also remodelled the building in the Italianate style, adding a sculpture gallery and his calling card – a large clock tower. Barry updated Capability Brown’s 18th-century serpentine park at Trentham by creating a terrace encased with balustrades and incorporating an ornate fountain, a parterre, sculptures and urns. He ensured that the garden had a breathtaking vista across the lake to the south of the estate and a monument to the 1st Duke of Sutherland positioned high on a hillside. Starting a trend for adding 102 H&A JUNE 2015

These gardens were intended to delight owners and impress visitors, and were characterised by grand, formal designs Jason Ingram; Harewood House Trust/Trevor Nicholson Italian terraces to Capability Brown’s landscapes, Barry went spectacular view. Symmetrical lines, classical grandeur on to add them to Holkham Hall in Norfolk, Shrubland Park and architectural form were the essence of his garden, with in Suffolk, Cliveden in Buckinghamshire and Harewood planting taking a back seat. Combinations of iris, Japanese House in Yorkshire.  anemone, Mexican orange blossom (Choisya ternata) and foxgloves play a supporting role on the garden hall terrace. A little piece of Italy in Somerset   The casita (a small building), the cloisters, the Japanese Another enthusiast for Loudon’s work was the eminent garden with circular pool, and the 18th-century tea house landscape gardener Joseph Paxton, who was put in charge are the stars of the show in the two-and-a-half acre garden. of the gardens at Chatsworth by the 6th Duke of Devonshire Plinths and evergreen backdrops showcase Peto’s personal in 1826. There, with the architect and garden designer Jeffry collection of sculpture and artefacts from his Grand Tour. Wyatville, he worked on the Italian gardens that connected Capability Brown’s parkland to the house. In 1902 Peto also redesigned his sister-in-law’s Elizabethan garden at Wayford Manor in Somerset, In the Edwardian period, one of the most respected positioning Italianate arches of a loggia and formal terraces architects and garden designers, Sir Harold Peto, created edged with yew hedges and topiary next to the house. The several splendid Italianate garden, most notably at Iford gardens also feature a tiny pool garden with a rhomboid Manor in Wiltshire, his home from 1899–1933. Here he pond that reflects the angle of the surrounding walls and are created a series of rooms on terraces carved out of the steep offset with a subtle display of hostas, astilbe and bluebells. limestone hillside, echoing the idea of connecting the house Meanwhile, there’s an informal Japanese-style woodland to the outdoors and ensuring that the garden afforded a garden on the lower slope. Q H&A JUNE 2015 103

ABOVE Position cherished antiques or statues against a strong backdrop, such as an evergreen hedge, or surround them with a vine (as pictured) to make them the focal point of the garden LEFT A classical urn in the Italianate garden at Mapperton RIGHT The wrought-iron gate and water feature is used to great effect in the garden at Watcombe, drawing the eye through the entrance and on to the statue and grotto beyond RIGHT MIDDLE Clematis montana adorns the columns of the cloisters at Iford Manor FAR RIGHT Plants perform a supporting role to the statues and ornaments on display in Italianate gardens 104 H&A JUNE 2015

H&A LIFESTYLE: Gardens HOW TO CREATE... A modern-day Italianate garden Y ou could be forgiven for large, the evergreen backdrop needs to be thinking that you need a large more considerable – yew, privet and shrubby garden in order to incorporate honeysuckle Lonicera nitida ‘Fertilis’ are an Italianate design into your quicker-growing choices. Punctuating a path plot. However, if you consider with an urn or statue, or framing a sculpture the individual constituents of with a gate or archway, is also effective and this classical style – terraces, water features, achievable with a bit of planning. Outdoor follies, grottos, statuary, urns, steps and lighting can accentuate these features and add topiary – the size of the garden becomes interest to the garden once night falls. less important. A small pond with a water fountain surrounded by low evergreen hedging Water features were common in Italianate and topiary, for example, can introduce a gardens and though many were large round sense of formality in a small urban garden just ponds with impressive fountains at the centre, as it can in a grand, mansion house setting. you can create the same sense of theatre and Using arbours on any scale to link the house spectacle with smaller features such as rills to the garden is another way to reproduce a (shallow channels) and spouts. Water is a key feature of this classical garden design. wonderful addition to any style of garden, introducing visual and audible elements as One of the fundamental elements of well as encouraging wildlife. Italianate gardens is the use of statues and urns. Representing a connection with classics The right plants will evoke a sense of and the allegories and myths of Greek and Italy – olive and bay trees, vines trained over Roman history, they were celebrated within arbours and Mediterranean herbs work really the garden setting and positioned as a focal well. Italian cypress trees with their formal, point at the end of a path axis, or accentuated columnar shape are quintessential to this type by evergreen hedges or topiary. of garden. Their tall, thin habit means that space is not an issue although they do need a The same effect can easily be achieved sunny spot in order to thrive. today, using antique or reproduction figures. Think about the backdrop for the piece Creating the typically Italian-style terrace and the different angles from which it can and steps are more of an undertaking but can be viewed. A traditional evergreen alcove be an effective device if gardening on a slope. works well in both a modern urban setting Stick to warm tones when choosing hard and a country cottage garden – box is a landscaping materials, such as honey-coloured great plant to use for this as, although slow stone, cobbles or paving, as colder grey shades growing, it can cope with shade and can be can look uninviting. Hot reds, oranges, pinks clipped into shape. However, if the statue is and yellows are ideal colours if painting sheds, walls, furniture or choosing accessories. Jason Ingram; GAP Photos/Jenny Lilly H&A JUNE 2015 105

HORTICULTURAL HERO CLOCKWISE FROM TOP LEFT Engraved illustration The landscape gardener and writer John Loudon of an Italian garden from did much to popularise the Italianate style An encyclopaedia of gardening by John Claudius T he son of a Scottish farmer, John Claudius Loudon Loudon, published in 1834; (1783–1843), made a meaningful contribution to an engraved portrait of JC horticulture both in terms of theoretical treatises Loudon; a hand-coloured exploring design as well as more practical and lithograph plate from Mrs technological advancements, despite battling with ill health Jane Loudon’s book, The throughout his life. He is considered by many to be the ‘father Ladies’ Flower Garden of of the English garden’. We have much to thank him for, as Ornamental Perennials; Loudon designed glasshouse and conservatory buildings and frontispiece from the 1843 dreamt up the concept of a conservatory attached to the house. publication Gardening for He was also involved in the creation of public parks, recognising Ladies by Mrs Jane Loudon the importance of green open spaces for all to enjoy. RHS Lindley Library One of the most distinguished gardening authors of his age, Loudon published material at a time when print costs were low. This enabled his articles and books about the pleasures of gardening, growing plants and visiting gardens to reach a far wider audience than previously published material had managed. This encouraged a broader demographic to consider gardening as a possible hobby, instead of regarding it as an exclusive pastime for the wealthy. This also made an impact on how gardening was regarded as a profession and it began to receive as much recognition as landscape design. He founded The Gardener’s Magazine in 1826, an influential journal. His reports about visiting gardens inspired more people to do so. His wife, Jane Webb, was a novelist and a successful garden writer, too, paving the way for plantswomen of the late 19th and early 20th century, such as Gertrude Jekyll and Vita Sackville-West. At the start of the 19th century, Loudon embraced the ‘picturesque’ style of garden design as a reaction against the starkness and sweeping lines of Capability Brown’s landscapes. He wrote a treatise on Forming, Improving and Managing Country Residences in 1806, which coincided with him buying Wood Hall Farm in Oxfordshire in the same year and establishing one of the first agricultural colleges on the neighbouring estate, Great Tew. However, he is perhaps best known for coining the term ‘gardenesque’ – a style of planting using exotic species in natural compositions that still endures today. Next month: our series concludes with a look at cottage gardens 106 H&A JUNE 2015

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THEH&AGUIDE From practical decorating advice to expert insights on antiques, let this section be your guide THE TEA POT SALE STORY From the accidental On the eve of the discovery of tea in estate sale of the 2737BC to antique late Duchess of Roxburghe, we pots shaped like reveal the life and pineapples… collections of a we reveal 10 key stories society beauty PAGE 134 PAGE 126 V I N TA G E H&A JUNE 2015 109 T R AV EL POSTERS Escape to a golden age of travel and learn all about collecting just in time for auction PAGE 120 THE INSIDE TRACK As designer Kit Kemp of Firmdale Hotels unveils a collaboration with Anthropologie, she reveals the places that inspire her PAGE 146

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H&A GUIDE: Interiors steps to a glorious GARDEN ROOM Extra living space will always reap rewards, so why not flood your home with light by creating a sun-filled glazed extension that will capitalise on garden views, says PAULA WOODS 1THINK AHEAD Forward planning can save expensive mistakes, so first consider what you want from your garden room. Is it a quiet spot to relax, in which case it might remain separated from the main house by a door, or are you looking for a fully integrated open-plan space, which requires more complex structural work? Also think about the room’s intended function. All-glazed rooms are ideal as social or dining spaces. If you require storage, an orangery with its option of solid walls is a better choice. In terms of position, most people plan this to give the best views of the garden. However, do give due regard to the sun – ideally build your conservatory to face east or west. Bespoke conservatory companies, such as Marston & Langinger (prices from £35,000), will ensure the project is well planned H&A J U N E 2015 111

A rather grand lean-to 2CREATE A style conservatory by WORKABLE Vale Garden Houses SPACE (from £40,000) offers The most successful impressive internal space, thanks to its simple additions address internal, as rectangular format well as external, considerations. As a guide, the more complex your conservatory shape the less flexible it may be in terms of available space, so use simple geometric-shaped structures to maximise useable space. Consider higher roof pitches to guarantee a light and airy feel. Underestimating the space required is a common problem. Jonathan Hey of Westbury Garden Rooms recommends ‘20 sq m for a family room and 30 sq m for a multi-purpose room’. However, never be tempted to overdevelop at the expense of your garden. Remember, it’s not just the area within the conservatory that requires careful planning but also its relationship to existing rooms. Always take into account the functions of adjoining rooms and address any access issues – should the new space not work effectively or flow with the existing layout, it could result in adjoining rooms becoming no more than wasted corridors. EIGHT OF THE BEST Salvaged finds 8 Useful and beautiful used inside and out, here are some of our favourites 12 5 7 3 6 4 1 Pair of 19th-century marble obelisks, £1,950, Max Rollitt 2 Vintage English florist’s buckets, £30 each, Pedlars 3 Vintage oak handmade trug, £45, Thompson’s Garden Emporium 4 Old hand trowel, £15, from a selection at RE 5 Vintage metal pheasant, £95, I & JL Brown 6 Early 19th-century English carved marble bust, engraved Euripidies, £6,500, Guinevere Antiques 7 Vintage caddy lantern, £40, Hen & Hammock 8 Antique French plant stand, £365, Belle Epoque 112 H&A J U N E 2015

H&A GUIDE: Interiors 3MATERIAL MATTERS Eco-friendly timber is often regarded as the frame of choice and is regularly specified on listed buildings. Choose oak for a rustic look or painted hardwood for a more precise finish. Ensure all timber carries an FSC logo and bear in mind it requires upkeep. In contrast, aluminium is maintenance-free and its strength allows for large sheets of glass. A timber frame clad in aluminium improves durability and reduces maintenance. You must fit double glazing as standard. To comply with energy regulations, Phil Brown of Pilkington advises, ‘Upgrade to argon-filled low-e glass to help achieve low u-values.’ If your structure is south facing, consider a solar coating to reduce overheating. Another option is self-cleaning glass. Timber can be used to replicate an infinite variety of styles and detailing, but do look to companies, such as Prime Oak, offering high quality, durable hardwoods

PREPARE FOR PLANNING For many, the allure of a properties may require a party- help ease the planning process. This Elizabethan-inspired Traditional-style glasshouses are ‘Hardwick’ conservatory conservatory lies in the wall agreement, so do take advice more likely to be approved but planners are increasingly receptive (£24,500) by National fact that it is considered from your local authority. to contemporary frameless Trust Conservatory structures. This is especially permitted development. However, Permission is more likely true of listed buildings, where Collection complements a distinct separation between the original building this will depend on factors such as to be granted on structures old and new can be regarded as preferable. However, like their size and height and, as Jonathan at the rear of a property. Any traditional counterparts, success still depends on reflecting the Hey of Westbury Garden Rooms extension should remain in architecture of the main property. points out, ‘If you live in a proportion to the existing house conservation area or your home and be subservient to the original is listed, then planning approval building. Marrying lines and is essential.’ Most conservatories sourcing sympathetic materials will be subject to stringent should ensure any addition building regulations and attached complements the original and 114 H&A J U N E 2015

H&A GUIDE: Interiors 5SEEK EXPERT ABOVE Modern angular conservatories ADVICE with simplified metal or timber framing Employing a reputable are proving popular for all property architect or specialist styles, and companies such as Apropos can advise on their sympathetic company should ensure a good integration with older buildings LEFT return on your investment Look to designs that complement rather and adherence to regulations. than compete with your home, even on Always ask to view examples a modern addition, where minimalist of companies’ previous work. structural glazing by Trombe (from £30,000) echoes existing roof lines Established conservatory companies offer ‘management of all aspects of the design and build, including planning permission’, advises Lisa Morton of Vale Garden Houses, while guaranteeing ‘a high standard of build using the best quality materials, because this will add to the longevity of the structure’. If you have a listed property, the Royal Institute of British Architects can supply a list of specialist architects in your area. Alternatively, opt for firms such as Vale Garden Houses, David Salisbury, Bartholomew or Malbrook, which offer extensive experience of working with older buildings and will be able to liaise with conservation officers on your behalf. Folding sliding doors 6OPEN UP allow this orangery Conservatories are a link to (from £40,000) the garden, so create generous by Malbrook to be openings to bring the outside completely opened in and maximise views. Jackie Savage up to the garden. of Malbrook recommends that you ‘consider folding sliding doors, as they However, including a allow the entire space to be opened separate access door up’ and advocates ‘top-hung systems that slide with a fingertip touch’. is a practical idea Sliding doors, and some bi-folds, sit on a base rail and do not require the same structural support, but can stick. French doors are the traditionalist’s choice – their hinged design can allow for use of glazing bars to match existing windows. Inward opening doors are ideal if outside space is limited but those opening outwards negate the problem of dripping rainwater and maximise internal floor space. More than one set can aid traffic flow or ensure a cooling breeze. H&A J U N E 2015 115

7INVEST WISELY Bespoke glass According to the buildings, such as Royal Institution of this example from Chartered Surveyors, a well planned and executed Town & Country conservatory can add at least (from £30,000), five per cent to the value of your home, so it pays to buy the best. can fit into an It is possible to buy off-the peg existing space kits for a few thousand pounds but, as Lisa Morton of Vale Garden Houses points out, these are often pre-cut and pre-drilled with limited designs. ‘They restrict options to personalise the design to marry with your property.’ Of course, buying bespoke does not come cheap. Mid-range structures start at £12,000 to £15,000, while high- end designs can easily exceed £50,000 or far more. However, a reputable company will ensure the result is a quality build. Lisa cautions against thinking a smaller conservatory will be more cost-effective than a larger one. ‘When the same design and manufacturing process is required for a bespoke design, there can often be little difference.’ Also, bear in mind the actual build is not your only outlay – you should be prepared to add anything up to 50 per cent for fixtures and fittings. FOUR PERIOD STYLE SOLUTIONS MODERN GLASS BOX STONE ORANGERY TRADITIONAL GLASSHOUSE TIMBER ORANGERY ‘Consider modern all-glazed extensions Sarah Olver of Marston & Langinger says, ‘The traditional glass or palm house with Jane Hindmarch of National Trust with limited structural framing on period ‘The regular features of the substantial its characteristic high-pitched gable is a Conservatory Collection says, ‘A timber buildings, as their minimalist form is less Georgian property relate well to a more natural companion to the Victorian home. orangery is more flexible than a stone likely to have an impact, due to a lightness formal, predominately stone, orangery. Design intricacies – decorative roof one, as mouldings on the frame can that complements and accentuates the Combining solid walls and generous glazing crests, slimline gothic windows, traceries be designed to mirror details from original,’ says Fayza Nawara of Cantifix. is an effective and flexible way of creating a or bargeboards – can be employed to the original house. Its symmetry and ‘It is a more truthful and evolutionary light, bright, liveable space, with a seamless echo specific styles found throughout proportion still make it ideal for Georgian option for listed properties.’ transition from house to addition.’ this era,’ says Nelly Hall of Alitex. or more formal property styles.’ Bespoke Skyframe systems, Bespoke stone orangeries, from £42,000, Bespoke aluminium conservatories, ‘The Belton’, from £27,000, National from £1,920 per sq m, Cantifix Marston & Langinger from £35,000, Alitex Trust Conservatory Collection 116 H&A J U N E 2015

H&A GUIDE: Interiors FOCUS ON FITTINGS For year-round comfort, temperatures. The use of manual Look to climate control blinds by, for example, Hillarys, Appeal the most straightforward or remote control roof vents or Thomas Sanderson, which reflect up to 85 per cent of the heating solution is will ensure a good flow of fresh sun’s rays in summer and retain heat in winter. Roof blinds are simply to extend your existing air, and automated systems can particularly effective at cutting down on heat and glare. ‘The system. Opting for underfloor be programmed to maintain a task of adjusting them can be eased through the use of heating will enable you to free predetermined temperature or motorised systems,’ adds Sarah. up valuable wall space and to close when rain is detected. it works particularly well ‘Adding blinds will also with practical stone, tile and provide much-needed protection engineered wood floors, as from the sun and reduce glare,’ they deal well with changing says Sarah Quilliam of Hillarys. Made from thin strips of wood woven together, Appeal’s traditional French pinoleum blinds (from £115 per sq m, incuding installation), filter the sun’s glare rather than block it, creating a soft dappled light

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Artist AM Cassandre’s style, a blend Posters for Imperial Airways, of cubism and futurism, was the perfect which served the British vehicle for conveying speed, as illustrated Empire, are rare and these by a poster advertising the deluxe, two 1930s examples are pan-European Nord Express, Christie’s expected to attract attention at the Christie’s sale. estimate £7,000–£9,000 The first, by artist James Gardner, is estimated at £2,500–£3,500; the second, for the German market, £1,500–£2,000 VINTAGE TRAVEL POSTERS As Christie’s prepares for ‘Each poster is a new Cassandre, born in Russia to its next vintage posters sale, experience… Success does French parents, lived in Paris from not come to the artist who the age of 14. It is fitting that one of CAROLINE WHEATER tries to cajole the onlooker the most admired poster artists of our with soft words. It comes to the artist times should have lived and worked in escapes to a golden age who sweeps down on the public like a France because that is where the art of when luxury travel, hussar.’ So wrote Adolphe Jean-Marie poster design came of age in the 1880s Mouron who, under the pseudonym AM and 90s, leading to a golden era of holidays and day trips Cassandre or simply Cassandre, became advertising artwork from the 1920s were new and exciting one of the most celebrated and collectable to the 1960s. In the vanguard was the poster artists of the 20th century. artist Jules Chéret, sometimes referred to as ‘the father of the poster’, who Christie’s Images Ltd 2015 At Christie’s last June, his rare designed posters for the Moulin Rouge. poster design L’Atlantique fetched Other pioneers included Alphonse a stunning £30,000 hammer price, Mucha – he of the tousle-haired and this summer’s sale offers more beauties advertising everything from Cassandre posters that will surely biscuits to bicycles – and Henri de bust their estimates. ‘There are a Toulouse-Lautrec, whose posters number of Cassandre collectors and put certain Parisian nightspots on they are willing to pay high prices for the map forever. rare pieces,’ says Sophie Churcher, a specialist in Christie’s vintage poster ‘The big advance in poster design department. ‘He had a modernist style came at the end of the 19th century as that was both striking and unique.’ stone lithography techniques improved 120 H&A J U NE 2015

H&A GUIDE: Auction focus Roger Broders often collaborated with the Paris-Lyon- Méditerranée (PLM) railway company, creating posters such as this c1930 design advertising Lake Annecy, set to sell for £2,000–£3,000 at Christie’s The Carlyon Bay Hotel in St Austell featured in this 1930s poster by artist John Mace, published by the Great Western Railway, and has a Christie’s estimate of £1,000–£1,500 and printers moved away from letterpress 1922 the entirely first class Train Bleu Railway (SR) and London, Midland printing,’ says Sophie. ‘For the first time, transported many a wealthy traveller and Scottish Railway (LMS) joined in. posters could be printed in much larger from Calais to the French Riviera, Petrochemical company Shell also got in scale and using four colours, which including Winston Churchill. At a more on the act and, between 1920 and 1939, meant that pictorial imagery could be affordable level, French and British published 545 poster designs in its To produced on paper.’ Stone lithography railway companies, including London Visit Britain’s Landmarks You Can Be was a complex process that could involve Underground, encouraged passengers Sure of Shell series, designed by artists the artist recreating his design directly on to explore destinations ranging from such as Paul Nash, Graham Sutherland to a lithographer’s stone or metal plate the countryside to historic market towns and Barnett Freedman. The ‘lorry bills’, using a waxy substance, such as crayon, and coastal resorts. Airlines such as Air as they were known, were mounted on to absorb an oil-based ink, while the Orient and Imperial Airways followed to the side of the company’s tankers. moistened surface around it repelled the suit. ‘In the 1920s and 30s, cruise liners, same ink. The results were high quality, railway and air companies embarked The new graphic art threw up with excellent delineation of line and on massive and colourful campaigns many talented artists, such as the strong, saturated colours. to advertise resorts,’ says Sophie. Frenchman Roger Broders and American-born but London-based Exploring new destinations In Britain specifically, the London Edward McKnight Kauffer. Top-flight In tandem with the leaps in printing, the & North Eastern Railway (LNER) set printers included the Mourlot Studio lure of leisure travel and holidays proved the standard high when it employed in France and, in Britain, the Baynard irresistible to the public. The height of artists such as Tom Purvis, Frank Press, the Curwen Press and Waterlow luxury was offered by ocean-going ships Newbould, Austin Cooper, Frank & Sons, which printed more posters run by P&O, Cunard, Orient Line, White H Mason and Fred Taylor to design for London Underground than any Star Line and Blue Star Line, while in evocative posters. Soon the Great other company. The posters were Western Railway (GWR), Southern displayed in stations, on platforms H&A J U NE 2015 121

These two posters, Kimmeridge Folly, Dorset by Paul AUCTION HITS Nash (above), and Brimham Rock, Yorkshire by Graham Sutherland (below), were published in 1937 as part )DUŴXQJ GHVWLQDWLRQV of Shell’s advertising series, To Visit Britain’s Landmarks You Can Be Sure of Shell, commissioned by Shell’s During the interwar years, the publicity director, Jack Beddington. They are part of promotion of tourism took off, a consignment of Shell posters that the owner is selling with far-flung countries and at Christie’s to raise money for his local church, and former British colonies advertising their heritage to visitors. This vibrant both carry estimates of £800–£1,200 lithographic poster dates from the 1930s and was published by the South and kiosks, at ports and airports, and African High Commission, based in some cases on the sides of buses. at South Africa House on Trafalgar Square. The design, which celebrates With three poster sales a year, the tribal traditions, was created by the auction team at Christie’s is constantly artist Cole Bowen and printed by SC on the hunt for good lots. ‘Vintage Allen & Company of London, a poster posters are consigned to us from all over printing firm active in the 1920s the world,’ says Sophie. ‘Sometimes and 30s. Included in the same lot were they come from the artist’s family or two other posters, one promoting from printers, as well as collectors and Egyptian State Railways, c1925, museums.’ While Christie’s seeks out and another from c1940 advertising the rarest posters available – estimates Qantas flights to South Africa. range from £800 to £20,000 – you Estimated at around £1,000–£1,300, can find more affordable examples the trio fetched £1,350 at Bonhams at regional auction houses and via New York. a handful of specialist dealers, with good-quality vintage travel posters THE ONE THAT GOT AWAY starting at £300. One thing’s for sure: with interest in graphic art growing, Right on track posters are a safe investment and easy to cash in should your interest wane. And We asked don’t they look grand on the wall. Q Christie’s poster * The 20/21 Posters sale is at Christie’s specialist Sophie South Kensington on 4th June. Dates Churcher to name the can change so check before travelling. auction lot she would 020 7839 9060; christies.com have snapped up for her own collection if money 122 H&A J U NE 2015 was no object. She picked this rare Russian poster advertising the Trans-Siberian Express. The poster, which sold for £3,750 (estimate £2,000– £3,000) in Christie’s Vintage Posters sale last November, was one of a consignment of seven Intourist posters. ‘Intourist was the official travel agency of the Soviet Union, founded by Joseph Stalin in 1929 and responsible for portraying the Soviet Union as a holiday destination for foreign tourists,’ says Sophie. ‘This 1930 poster by P Merinov represents a cosmopolitan and capitalist-style portrayal of the country that was at odds with reality. The design is heavily influenced by the art deco movement and is a fascinating slice of 20th-century political and cultural history.’

ALL-TIME HIGH H&A GUIDE: Auction focus British bargain Though it could be any little port on the French Riviera, this romantic scene is in fact Torquay in South Devon. The poster, designed by the artist Xenia and printed by Waterlow & Sons using offset lithography, was published by British Railways in 1963. British Railways formed in 1948, when the Big Four railway companies – GWR, LNER, LMS and SR – were nationalised. Following tradition, it continued to advertise destinations to passengers via posters. The poster was not backed with fabric and was in A- condition. It fetched £260 (est £200- £400) at Dreweatts & Bloomsbury’s Vintage Posters sale in February 2014. &ODVV DFW AM Cassandre (1901-68) created this poster for the French shipping line Compagnie de Navigation Sud-Atlantique. In 1931, the year the poster was published, SS L’Atlantique was the most luxurious ocean liner to ply between France and South America. Posters featuring ships are sought-after and this is from the poster’s original print run, not the 1981 second edition. Determined bidding by Cassandre collectors took the poster to a top price of £30,000 (est £20,000-£30,000) at Christie’s South Kensington last June. *ROGHQ DJH RI UDLO The artist Fred Taylor (1875-1963) portrayed the oldest of the Cambridge colleges, Peterhouse, in his 1930 poster design for the London & North Eastern Railway (LNER). Taylor was one of five artists under contract to LNER at this time, commissioned by advertising manager William Teasdale. Taylor also produced posters for the Great Western Railway, British Railways and the Empire Marketing Board. Printed by Vincent Brooks, Day & Son using the stone lithography process, the poster was in A- condition and unbacked and sold for £400 (est £200-£400) at Dreweatts & Bloomsbury’s Vintage Posters sale in February 2014. H&A J U NE 2015 123

Collecting travel posters Stay in the holiday mood all year round with a collection of evocative vintage travel posters that are good value and a great investment. Here’s what to look for when buying POSTER POINTS Published in 1935, this poster for the French company WHERE CUT OUT AND KEEP Air-Orient is by the celebrated artist AM Cassandre and TO BUY Posters by recognised artists, illustrators and graphic designers are usually more valuable than anonymous has a Christie’s estimate of £6,000–£8,000 AUCTIONS posters. Scan for telltale signatures and monograms lurking within the design. WHERE TO SEE K Christie’s South TRAVEL POSTERS Kensington, 85 Old Posters dating from before the second world war Brompton Road, were printed using stone lithography, which produced K London Transport Museum, London, SW7 3LD a uniformly high-quality and detailed finish. After the Covent Garden Piazza, London, (020 7839 9060; war, posters began to be printed more economically WC2E 7BB. 020 7379 6344; christies.com) holds using the photo-offset and silkscreen processes. ltmuseum.co.uk three vintage poster sales a year Vintage posters from the 1920s and 30s were printed K The National Motor Museum, K Dreweatts in unnumbered original editions of 500 to 3,000. After Beaulieu, Brockenhurst, Hampshire, & Bloomsbury, an edition had been printed, the lithography stone was SO42 7ZN. 01590 614650; Bloomsbury House, usually ground down to make way for a fresh design, nationalmotormuseum.org.uk 24 Maddox Street, so later reproductions have little value. London, W1S 1PP K National Railway Museum, (020 7495 9494; Regarded as ephemeral items that might last a Leeman Road, York YO26 4XJ. 0844 dreweatts.com) has an season, posters were generally printed on low-grade 815 3139; nrm.org.uk auction every spring paper. Many found at auction have been mounted on K Onslows, The Coach to a backing of linen, canvas or Japanese paper to K The Victoria and Albert Museum, House, Manor Road, protect and strengthen the paper. Cromwell Road, London, SW7 Stourpaine, Dorset, 2RL. 020 7942 2000; vam.ac.uk. DT11 8TQ (01258 The majority of posters came in standard sizes of The national collection of posters 488838; onslows. ‘double crown’ (76 x 51cm), ‘double royal’ (102 x 64cm) is accessible through the Prints and co.uk) holds two and ‘quad royal’ (102 x 128cm) to fit hoardings. Drawings Study Room. Phone 020 online sales a year 7942 2563 to make an appointment (viewing by appt) CARE AND REPAIR FAIRS At auction, posters are graded according to their condition: ‘A’ is excellent, ‘D’ is poor. Excellent condition K The Decorative combined with rarity will fetch a high price. Posters in Antiques & Textiles bad condition that have tears, foxing, fold marks or Fair, Battersea adhesive stains can be remedied by a specialist poster Evolution, Battersea conservator but this does cost. Park, London, SW11 4NJ (020 7616 9327; A poster that has not already been backed with decorativefair.com) fabric will benefit from this process – it makes the takes place in January, poster easier to frame by flattening it. However, make April and September sure that backing is carried out in a reversible way, using a product such as wheat starch, rather than DEALERS dry mounting, which is irreversible. K AntikBar Once mounted, display your poster by framing it (antikbar.co.uk) under Perspex. Or store it in acid-free tissue paper in K Dodo Posters, a sturdy folder such as an art portfolio. Always hang Alfies Antique Market, vintage posters out of direct sunlight. 13-25 Church Street, London, NW8 8DT For more advice on conservation and repair, (020 7706 1545; contact Alan Bourgouin, who is based in Kent dodoposters.com) (01304 363720; posterscience.com), or Graham K Kiki Werth Bignell Paper Conservation in London (020 7729 (020 7229 7026; 3161; grahambignellstudio.co.uk). kikiwerth.com) 124 H&A J U NE 2015

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Lady Mary Crewe-Milnes at the age of 19 in her engagement photograph, wearing her 1930s Cartier diamond engagement ring. The ring is in the auction with an estimate of £8,000-£12,000

H&A GUIDE: Sale story All images courtesy Sotheby’s TREASURES OF A DUCHESS The estate sale of the late Duchess of Roxburghe, a one-time society beauty whose life reads like a Downton Abbey script, reveals a lifetime of hoarded treasures from her own glory days and those of her illustrious forebears FEATURE ROSANNA MORRIS The time slot for the interview comes and goes. Half an hour later Sotheby’s director of English and continental furniture David Macdonald answers the phone at the London auction house, sounding a little flustered. We’re due to discuss the collection of the late Duchess of Roxburghe and a pair of jardinieres has waylaid him. These two pieces are just the latest in a long list of objects from the estate of the duchess, who died last summer, that have turned out to be spectacular. Ever since David visited her former home, West Horsley Place in Surrey, to conduct valuation for probate he and his team have found all manner of gems that have languished out of sight for decades. There’s the battered Louis Vuitton suitcase that contained a collection of 18th-century French fans and Mary’s Cartier engagement ring; the drawer full of Fabergé photo frames; and as for those jardinieres… ‘We thought they were Victorian and worth a few hundred pounds but now we think they’re Louis XIV, H&A JU NE 2015 127

LEFT A selection of really important and will fetch about £20,000 to glass from an extensive £30,000,’ says David. ‘It’s really exciting. We’re finding suite that bear the more things all the time.’ Marquess of Crewe’s coronet and initials David is in the midst of preparing the catalogue for is expected to sell for the upcoming two-day sale in London at the end of May £1,000-1,500 BELOW that will see 700 lots that once belonged to the duchess The hall at West Horsley and her family, go under the hammer. Mary, who was Place BOTTOM LEFT named after her godmother Queen Mary, was the The dining room showing daughter of Rothschild heiress Lady Peggy Primrose and a tailcoat from the ‘day’ the Marquess of Crewe. She grew up in London’s high livery of a Crewe House society and married Georg Innes-Kerr, the 9th Duke of footman, c1920, which Roxburghe, whom she divorced in 1953 (see ‘A society is part of a group of wedding…’, page 131). She died aged 99 and bequeathed servant’s livery made her red-brick Surrey mansion, which she called ‘the especially for the cottage’ and inherited from her parents in 1973, along Crewe-Milnes household with its contents to her great nephew, the broadcaster and is expected to Bamber Gascoigne. No one had quite anticipated fetch £800-£1,200 the extent of the treasures that lay hidden within the BOTTOM RIGHT house or indeed how much they would reveal about Personal effects of her illustrious family. the family including pictures and a box of A magical house casts its spell   letters sent to Mary’s Appraising, choosing and cataloguing items for the father Lord Crewe sale has been a joy for David, not least because of the incredible pieces that have surfaced in shuttered, dust sheet-covered drawing rooms and locked attics but also because he has been utterly beguiled by the house itself. ‘Have you ever seen Howard’s End?’ he asks. ‘West Horsley is this incredible house that has been untouched for almost half a century – it is frozen in time. I have worked on lots of country house sales, including the Chatsworth attic sale in 2010, but there is something magical about this place. If a film director were looking for a house for a period drama, he could walk in here and it’s all ready to go. Wandering through the rooms, you can imagine people relaxing on the overstuffed sofas while reading newspapers in the 1930s.’ David is not the only one to have succumbed to the property’s charm. Bamber, who hosted University Challenge from 1962 to 1987 and whose great grandfather, the Marquess of Crewe, was Mary’s father, was surprised to learn he was heir to the duchess’s estate and even more surprised when he gained entry to the house. Bamber, now 80, remembers visiting West Horsley as a teenager for grand lunches with his aunt and her interesting guests but he had never set foot beyond the great stone hall in which formal meals were held, as the duchess didn’t allow anyone onto the upper floors of the 50-room house. After inheriting the property and seeing around the whole house for the first time, Bamber and his wife Christina fell head over heels for it. Unfortunately, the Grade I-listed building is on its last legs. Water is coming in through the roof, a whole wing is crumbling and even the duchess’s marble bathroom is in a sorry state. Bamber and Christina have embarked upon the task of trying to rescue the house as a tribute to the duchess and her family, and have taken the difficult decision to sell the valuable contents (estimated at £2.2m) to fund the works. ‘She had expressed that, given the work required to restore the house, I would sell it,’ says Bamber. ‘But having spent many memorable times with my aunt here, and knowing how special the house was to her and her 128 H&A JU NE 2015

H&A GUIDE: Sale story The drawing room at West Horsley Place showing its arrangement from 1931 Walking through the rooms, you can imagine people relaxing on the overstuffed sofas while reading newspapers in the 1930s Highlights from the sale This exquisite pair of It’s thought this George V silver Expected to go for £800- A Fabergé hardstone Sotheby’s expects Minton vases, c1875, biscuit server by HH Plante of £1,200 is this c1920 and gold photo frame, this ruby and diamond is expected to make London, from 1935, will raise Cartier dressing case with which has an estimate bracelet to reach £1,000-£1,500 bids of £500-£800 silver and glass fittings of £5,000-£7,000 £41,000-£55,000 H&A JU NE 2015 129

A view of first-floor enfilade at West Horsley Place showing items to be offered in the sale

H&A GUIDE: Sale story A SOCIETY WEDDING… AND HIGH-PROFILE DIVORCE family, we decided to carrying out the essential Born in 1915, Mary work to ensure that the house can withstand Evelyn Hungerford whatever may lie ahead and continue to stand Crewe-Milnes as a monument to its remarkable past.’ married George Innes-Kerr, the dashing Most of the pieces on sale are either the duchess’s personal possessions (such as her Duke of Roxburghe (known ice skates and a Jockey Club badge inscribed ‘The Duchess’, for example) or furniture and as Bobo) in a ceremony at adornments. The belongings had been brought together by the Crewe family and consolidated at Westminster Abbey in 1935. West Horsley, which they bought in 1931, from their numerous great houses, including Crewe The fairy-tale wedding was House in Mayfair, Crewe Hall in Cheshire and Fryston in Yorkshire. screened in cinemas across ‘West Horsley became a depository for the the country and featured family treasures,’ says David. ‘When we went into the attics we found a complete servant’s livery on the cover of Tatler. stored in a trunk and wrapped in paper. [It had all sorts of] outfits for a footman, from something Wedding gifts included a fancy with gold buttons to wear at grand parties, to everyday wear.’ silver breakfast-in-bed tray Entertaining in style   complete with newspaper The duchess spent her early childhood in Paris where her father was French ambassador and clips (est. £200-£300) and where her parents would host extravagant parties. For these, the ambassador had suites of a silver biscuit server that monogrammed glasses, silver and china to cater for 50 people. They were found in old cupboards a butler would have worn at West Horsley and are in the sale. on his arm (est. £500- An Asprey & Co Ltd of London electroplate breakfast ‘This is not 50 glasses but 50 of everything £800). The duchess went to tray, c1935, which was given to the Duchess of – glasses for red, white, port, water and sherry. live at her new husband’s Roxburghe as a wedding present, is expected to People think about Downton Abbey but this country seat, Floors castle in sell for £200-£300. It is pictured here on a late- was the real thing,’ says David. ‘These families Scotland. When they weren’t 17th-century oak tester bed, also for sale with an used to entertain in such a grand way.’ Ever the glamorous hostess, Mary’s mother would impress travelling, they would base estimate of £6,000-£8,000 her guests by wearing a 10ft white cut-velvet cloak studded with paste stones that is expected themselves there and to sell for £800-£1,200. pursue country sports (her fishing rods and golf clubs are in the sale). Although Mary kept nearly everything she owned at West Horsley, which became her In 1953, the duke filed for divorce, getting the butler to deliver the personal retreat during the 1970s, she also had a vault at Hoares Bank in London that contained papers to Mary on a silver salver at breakfast. Mary famously refused yet more treasures. Along with four tiaras, David and his team found an oak chest once used by the to leave Floors and barricaded herself into a wing of the house for six family to transport their silver from one house to another there. It was still wrapped in newspaper weeks without telephone, electric light or gas, all of which the duke from 1953, the year of Mary’s divorce. had disconnected. Eventually a settlement was reached through the ‘Most of the things we found had been neatly packed away like this for decades,’ David adds. intervention of Alec Douglas-Home, who would later become Prime ‘You get this sense of a lost world, of a lifestyle not lived any more.’Q Minister. Mary moved to a flat overlooking London’s Hyde Park and * The sale of Precious Objects and Property from split her time between there and West Horsley Place. In December the Estate of Mary, Duchess of Roxburghe is on 27th-28th May at Sotheby’s London. Jewels from 1953 she was granted a divorce on account of her husband’s adultery. the collection will be offered in the Magnificent Jewels sale at Sotheby’s Geneva on 12th May HISTORY OF West Horsley Place is of THE HOUSE considerable historic interest, as it has been owned by some of England’s most illustrious families since 1086, including Lord Berners (the translator of Froissart), Carew Raleigh (the son of Sir Walter) and Sir Edward Nicholas (Secretary of State to Charles I). While the foundations are 11th century, the building seen today is a result of extensive alterations and additions in the 16th and 18th centuries, including a red-brick Georgian facade. Henry VIII once visited the property for a 35-course lunch and, after the death of Sir Walter Raleigh, legend has it his grieving wife kept his embalmed head there. H&A JU NE 2015 131

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Key stories in the history of THE TEAPOT 1A NEW LEAF Legend has it that tea was discovered by accident when in 2737bc the Chinese emperor Shen Nung saw leaves drop into the water that his servant was boiling for him to drink. At first pans were used to boil the leaves and water together but soon wine ewers were adapted to allow the tea leaves steeping time. It was during the Ming dynasty in the 1500s that the first purpose-built teapots were made. They were made from the red-brown clay of Yixing province, which was known to be particularly heat resistant and, at first, the tea was drunk straight from the teapot’s spout. 2THE PORTUGUESE 3SIPPING STATUS Christie’s; V&A Museum collection; thepotteries.org; estate of Vernon Richards/UCL archive PRINCESS After Pepys had his first cup in the 1660, The Yixing teapots first made their little is known about serving tea until the Elers brothers arrived in Staffordshire way to Europe tucked alongside stocks of from Holland in the 1690s and started producing tea imported by the Portuguese and Dutch. replicas of the original red stoneware teapots from Though it was a known commodity in Britain Yixing. Tea at the time was highly taxed and taken (Samuel Pepys took his first sip of this ‘China only in the finest households. Families such as the drink’ in 1660) Catherine of Braganza, one above, painted by Richard Collins in 1727, the Portuguese princess who showed their status by being depicted taking tea. married Charles II, is credited The most up-to-date equipment was de rigueur. with making drinking it In fact in Jane Austen’s Northanger Abbey General a fashionable pastime. Tilney complains that he has only ‘quite an old She would most likely [tea] set, purchased two years ago’. have poured tea from a Chinese stoneware teapot or a taller English silver one, much like the pots used to make coffee. Some surviving examples are inscribed with their purpose – the only way to tell them apart. 134 H&A JU NE 2015

H&A GUIDE: Design history Until the teabag was invented in the 1940s, everyone steeped their tea leaves in a pot. But where did the teapot come from and how did they go from red, earthenware globes to pineapple-shaped pourers? ALICE HANCOCK discovers an object steeped in history 4 WARMING THE POT 5 BROWN The earliest British teapots were prone to BETTY cracking or exploding due to the heat of the water. ‘Which is why,’ says teapot expert Henry Sandon, To the delight of ‘ladies using their best Chelsea ware would warm the the British masses, the duty pot first’. Thankfully around 1750, Dr John Wall and an on tea was cut in the 1780s apothecary called William Davis devised a recipe using even though moralists, soap rock to make sturdier china. The Royal Worcester concerned about being aped Pottery, formed in 1751, was the result. Their teapots, by their inferiors, claimed such as this 1756 example, quickly became bestsellers. that the lower classes would miss out on the nutritious qualities of alcoholic drinks. As the Industrial Revolution rolled in so did the mass production of teapots. The most famous was James Sadler’s ‘Rockingham Brown’ or ‘Brown Betty’ as it became fondly known (after its colour and the most common name for servants at the time). Sadler’s pots were thought to produce a superior brew thanks to their shape and by the late 1880s they were a fixture in most British households. 6CARELESS TEA COSTS LIVES Not known for being reticent with his opinions, tea was a ritual that George Orwell turned his critical eye to in an essay for London’s Evening Standard in early 1946. He broke his ‘recipe’ down into 11 points – one of the longest of which concerned the teapot. ‘Tea should be made in small quantities,’ declared Orwell. ‘That is, in a teapot’. His preference was for china or earthenware pots asserting that silver pots produce ‘inferior tea’ and enamel pots ‘worse’. Orwell’s favoured ceramic teapots had played a vital role in the Second World War. They were chosen by Churchill as an iconic British product and, inscribed with ‘For England And Democracy’, were shipped to America as both pre-Pearl Harbour propaganda to encourage American involvement and as commercial products to trade for the supplies needed to fuel the UK war effort. H&A JU NE 2015 135

7THE ART 8A CEREMONIAL Eliza R Scidmore/National Geographic Creative; Peter Shire Studio/Bonhams; The Fitzwilliam Museum; Disney Studios 2010 OF TEAPOTS CUP The 20th century has Readers of Memoirs of a Geisha will recall that the seen the teapot become a design icon. From novelty teapots (you geisha Sayuri spends most of her can own a Margaret Thatcher pot formal encounters with clients that pours tea out of her nose if you so pouring tea in ceremonies like the wish) to much sought-after stoneware one above, captured around 1890 examples by potter Geoffrey Whiting, few by Eliza Scidmore, the first female ceramic objects can be found in such a range trustee of National Geographic. of shapes and sizes. Few people, however, The Japanese rarely use a teapot in have been as fascinated by the teapot’s form their ceremony as typically matcha as Peter Shire. The American artist has tea is used, a powdered tea that’s said that a teapot being a sculpture and spooned into bowls before hot a sculpture being a teapot appeals to his water is added. The geishas seen sense of absurdity. He has been creating here are pouring sencha green tea bold ceramic teapots since the early ’70s. – the leaf version – which makes He also says that he likes that the teapot use of the Japanese tetsubin. This is ‘a social modifier. It symbolises and is a cast-iron pot thought to have actualises pouring out to a group of friends.’ developed during the 17th century It was Shire’s teapots that brought him to the as sencha, which requires a pot to attention of Ettore Sottsass, founder of the Memphis Group, allow the leaves to steep, became a Milan-based design collective committed to bringing pop art’s more popular. Sencha is considered loud tones to furniture and objects. He called Shire’s teapots a less-formal tea, more the type that ‘fresh, witty, and full of information for the future’. is taken with family and friends. 136 H&A JU NE 2015

H&A GUIDE: Design history 9PINEAPPLE MANIA Originally brought to Europe by Christopher Columbus, the pineapple had become so chic and expensive by the 18th century that well-to-do partygoers were known to rent one for a night as a symbol of their wealth. The Staffordshire Potteries, by then competing with China to be the world’s centre for teapot production, were quick to catch on and thanks to Josiah Wedgwood’s perfecting of creamware (a refinement of salt-glaze earthenware that allowed for a thinner body and a more glossy finish) all sorts of bright and exotic teapots ranging from pineapples to camels began to appear. This first era of novelty teapots was also encouraged by the rediscovery of the Elers brothers’ slip-casting technique, which had been lost after they went bankrupt in 1700. Freed from the restrictions of making spherical pots on a potter’s wheel, casting allowed much more creative shapes to appear on fashionable British tea tables. The pineapple pot shown here was made in Staffordshire around 1755. CURIOSER AND CURIOSER After her encounter with the Cheshire Cat, Alice comes upon the house of the March Hare, who is sitting outside having a tea-party with the Mad Hatter and the Dormouse. When she leaves, declaring it ‘the stupidest tea party I ever was at in all my life’, Alice turns back to see the Hatter and the Hare stuffing the Dormouse into the teapot. In Alice in Wonderland (150 years old this year) Lewis Carroll created one of literature’s most iconic mentions of tea. Carroll was intrigued by the Victorian’s fixation on teatime etiquette and wrote a satire of a popular book of eating manners in 1855. Johnny Depp will reprise his role as the absurd Hatter in Tim Burton’s Alice Through The Looking Glass next year. H&A JU NE 2015 137

How to clean a teapot Found a teapot at a fair? Keep the tea stains away with these surefire cleaning tips and tricks W hile These 18th- KNOW YOUR POTTERIES ceramic century Qianlong teapots ‘Melon’ teapots Belleek A pottery based in Co are quite sold at Bonhams forgiving in 2011 for £1.3m, Fermanagh, Belleek wares are marked when it comes to cleaning, making them the with Irish icons such as the wolfhound. be careful when attempting most expensive to attack tea stains with teapots ever sold Chelsea The earliest UK porcelain domestic products. They company, later bought by the Derby factory, pieces of Chelsea are recognised are often strongly alkaline, by an anchor mark. which can affect the glaze. Herend Purveyor of fine ceramics The best way to clean to the Habsburg Dynasty, Herend is a Hungarian firm. Its mark is an ‘H’ with away tea stains is to add a ‘P’ through it and crossed paintbrushes. crockery de-staining powder Meissen A German manufacturer (try Quest Thermoclean that opened in 1710 and was the first to manufacture hard-paste porcelain. Its Crockery Destainer) to hot maker’s mark is two crossed swords. water and submerge your Minton One of Stoke-on-Trent’s teapot in it overnight. If major manufacturers, pieces from each year of Minton pottery are inscribed you have a stainless-steel with a different cipher. or cast-iron pot, you can use a dishwasher tablet. Drop the tablet into the Royal Crown Derby pot and pour hot water over it until the teapot is completely covered. Again, Renowned for intricate floral patterns, its three main factories had different marks leave it overnight. Silver is more tricky. Household writer Aggie Mackenzie though all feature a crown and ‘D’. recommends a solution of four teaspoons of lemon juice to 100ml water in Royal Doulton Originally which to soak the teapot before scouring it and rinsing. Test any cleaning specialists in stoneware, Doulton started in London in 1815. Marks vary but often products on a small area of the teapot first to check it won’t cause damage show a crown or lion. and don’t forget to wash out all detergent solutions before use. Finally, invest Royal Worcester Using Cornish in a thin-wired brush to clean out the spout. soapstone, made Worcester porcelain the most hard-wearing of its time. Marks WHERE TO BUY 01782 371902; wedgwoodmuseum.org.uk vary but include a crescent with a ‘51’ CUT OUT AND KEEP ❈ The V&A, Cromwell Road, London, SW7 2RL. for 1751, the year it was founded. ❈ FOR TECHNICAL TEAPOTS The Tea House, 15 Neal Street, London, WC2H 9PU. 020 7942 2000; vam.ac.uk Spode Known for its underglaze 020 7240 7539; theteahouseltd.com WHAT TO READ blue transfer printing, pieces are often ❈ FOR ANTIQUE TEAPOTS TeaAntiques. recognised by ‘Spode’ or ‘Spode & 07812 448082; teaantiques.com ❈ An Anthology of British Teapots Copeland’ inscriptions. by Philip Miller and Michael Bethoud ❈ FOR SILVER TEAPOTS London Silver Vaults, (Micawber, 1985) Wedgwood Founded in 1795, 53-64 Chancery Lane, London, WC2A 1QS. 020 7242 3844; silvervaultslondon.com ❈ The Artful Teapot by Garth Clark Wedgwood was the first pottery to mark (Thames & Hudson, 2001) pieces with its name (as opposed to a ❈ FOR COLLECTABLE AND VINTAGE TEAPOTS mark) making it easily recognisable. Bullivant of York, 15 Blake Street, York, YO1 ❈ British Teapots and Tea Drinking 8QJ. 01904 671311; bullivant-of-york.co.uk by Robin Emmerson (Norfolk Museums ❈ To check the specific marks of different Service, 1994) potteries, visit antique-marks.com ❈ FOR TRADITIONAL BRITISH AND DESIGN- LED TEAPOTS Liberty, Regent Street, London, ❈ Coffee Pots and Teapots for the Collector W1B 5AH. 020 7734 1234; liberty.co.uk by Henry Sandon (John Bartholomew & Son, 1973) WHERE TO SEE ❈ Novelty Teapots: 500 Years of Art ❈ Allen Gallery, Church Street, Alton, and Design by Edward Bramah (Quiller Hampshire, GU34 2BW. 01420 82802; Press, 2003) hants.gov.uk/allen-gallery.htm ❈ Tea: East and West by Rupert Faulkner ❈ The Twining Teapot Gallery, Norwich Castle (V&A Publishing, 2003) Museum, Castle Hill, Norwich, NR1 3JU. 01603 493625; museums.norfolk.gov.uk ❈ The Teapot Book by Steve Woodhead (A&C Black, 2005) ❈ The Wedgwood Museum, Wedgwood Drive, Barlaston, Stoke-on-Trent, ST12 9ER. ❈ Tempest in a Teapot: The Ceramic Art of Peter Shire by H Drohojowska (Rizzoli, 1991) 138 H&A JU NE 2015

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