This first view of a London drawing room shows the comfort created within a space when you place the furniture in separate groups and therefore create the correct flow of space within the space. 

This first view of a London drawing room shows the comfort created within a space when you place the furniture in separate groups and therefore create the correct flow of space within the space. 

I use textiles and pattern in a rich and harmonious mix that draws you in and ultimately gives a room its comfortable appeal. However if you look closely there are the Alidad plains that create that harmony. I have used a seventeenth century Flemish

I use textiles and pattern in a rich and harmonious mix that draws you in and ultimately gives a room its comfortable appeal. However if you look closely there are the Alidad plains that create that harmony. I have used a seventeenth century Flemish tapestry, a late nineteenth-century Suzani as a tablecloth, a red cut-velvet nineteenth century Italian cushion with another cushion on the green velvet chair that is made from an eighteenth-century needlework.

This table scene includes an old master drawing, an early example of a religious apostle and a nineteenth-century bronze figure. I don't keep count of the many different eras, cultures, arts or crafts involved in one room, as I work instinctively to

This table scene includes an old master drawing, an early example of a religious apostle and a nineteenth-century bronze figure. I don't keep count of the many different eras, cultures, arts or crafts involved in one room, as I work instinctively to bring everything together so the room feels as though it has been worked on over time with love and great attention to detail.

The incredible seventeenth-century tapestry with its subtle strength and the feminity of the yellow damask walls, edges with specially made gilded filets, combined with the tones, colours and textures in the carpet, furnishings and furniture togethe

The incredible seventeenth-century tapestry with its subtle strength and the feminity of the yellow damask walls, edges with specially made gilded filets, combined with the tones, colours and textures in the carpet, furnishings and furniture together create their own richness. The seating areas are carefully laid out to allow for easy flow of movement in and around the many groupings of furniture.

The de Gourney wallpaper, coloured specifically to this intense mustard shade with fresh highights of off-whites and reds - sets the tone for the rest of the decoration in this room. The balance of colours is acheived through the repeated use of off

The de Gourney wallpaper, coloured specifically to this intense mustard shade with fresh highights of off-whites and reds - sets the tone for the rest of the decoration in this room. The balance of colours is acheived through the repeated use of off-white in the curtains, the marble fire surround and the Aubusson rug, all of which set off the white flowers in the chinoiserie wallpaper. Mixing old and new furniture is very important, here the mirror and the wall brackets are antique, while the Japanned secretaire has been made from reclaimed antique elements. Both the sofa and the Louis XVI-style chair are newly made for the space.

My own east-facing sitting room is sunny and bright and I love its cheerful character. Vertical plaster filets with tiny mirror insets create subtle stripes that divide the room in a refreshing way.

My own east-facing sitting room is sunny and bright and I love its cheerful character. Vertical plaster filets with tiny mirror insets create subtle stripes that divide the room in a refreshing way.

Having produced perfectly symmetrical architecture and plasterwork for this grandiose drawing room, I then appointed it with a perfect kind of Alidad 'off' symmetry in the layout of the furniture.

Having produced perfectly symmetrical architecture and plasterwork for this grandiose drawing room, I then appointed it with a perfect kind of Alidad 'off' symmetry in the layout of the furniture.

The restoration of The Saloon at Buscot Park gave me the opportunity to repair and revitalise a magnificent eighteenth century room. The room contains a series of Edward Burne-Jones paintings, who also designed the paneling in which the paintings ar

The restoration of The Saloon at Buscot Park gave me the opportunity to repair and revitalise a magnificent eighteenth century room. The room contains a series of Edward Burne-Jones paintings, who also designed the paneling in which the paintings are framed. What you see now is a restored and recoloured room: to set off the gilding on the paneling, I used a particularly chartreuse green tone and had a green silk damask specially woven for the walls. The picture lights were copied from one that had been previously installed but each of the new ones conceals the latest lighting technology to illuminate the beautiful paintings that tell the story of Briar Rose.

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In order to design a room that felt restored rather than created from new, there are many historical references including that of the traditional Portuguese tiles, Oriental painting, '40's style chandelier, Louis XV chairs and nineteenth-century rep

In order to design a room that felt restored rather than created from new, there are many historical references including that of the traditional Portuguese tiles, Oriental painting, '40's style chandelier, Louis XV chairs and nineteenth-century repousse brass lamps. 

I chose these newly made traditional Portuguese tiles for their perfect tones of aged blue, white and pink, as well as the fresh and lively effect they have on the rest of the scheme. 

I chose these newly made traditional Portuguese tiles for their perfect tones of aged blue, white and pink, as well as the fresh and lively effect they have on the rest of the scheme. 

In this part of the room, the red sofa is recessed into a highly ornate carved wood alcove that houses a collection of nineteenth century Bohemian glassware and other artifacts. The sofa design is a blend of mirrored neoclassical legs with arms that

In this part of the room, the red sofa is recessed into a highly ornate carved wood alcove that houses a collection of nineteenth century Bohemian glassware and other artifacts. The sofa design is a blend of mirrored neoclassical legs with arms that are more Baroque in style.

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Specially woven, extraordinary perfect silk with its own subtle sheen graces this collection of Empire chairs in The Saloon at Buscot Park. Each chair has its own unique set of silk borders that had to be woven to fit the various differet sizes of t

Specially woven, extraordinary perfect silk with its own subtle sheen graces this collection of Empire chairs in The Saloon at Buscot Park. Each chair has its own unique set of silk borders that had to be woven to fit the various differet sizes of the suite of existing furniture.

As part of The Saloon restoration I created this new fireplace. When I began, there was a white marble fireplace that had been installed at some point in the last century. After researching the rooms history we discovered an old Country Life photogr

As part of The Saloon restoration I created this new fireplace. When I began, there was a white marble fireplace that had been installed at some point in the last century. After researching the rooms history we discovered an old Country Life photograph that showed the original 19th century room with a partial view of the fireplace. We were then able to study the shape and proportion of the fireplace that had been installed and design this new version.

Every detail is considered to create flow of space and ease of view within a specific area of a room - lamps are wired to concealed floor sockets that have been precisely positioned to minimise if not eliminate the sight of a stray cable. I have use

Every detail is considered to create flow of space and ease of view within a specific area of a room - lamps are wired to concealed floor sockets that have been precisely positioned to minimise if not eliminate the sight of a stray cable. I have used a plain contrasting tonal velvet in conjunction with a patterned silk fabric on the sofa so you can enjoy the beauty of the detail while not being overwhelmed by it. 

The jib door in the same room is beautifully concealed into its surroundings. 

The jib door in the same room is beautifully concealed into its surroundings. 

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This first view of a London drawing room shows the comfort created within a space when you place the furniture in separate groups and therefore create the correct flow of space within the space. 
I use textiles and pattern in a rich and harmonious mix that draws you in and ultimately gives a room its comfortable appeal. However if you look closely there are the Alidad plains that create that harmony. I have used a seventeenth century Flemish
This table scene includes an old master drawing, an early example of a religious apostle and a nineteenth-century bronze figure. I don't keep count of the many different eras, cultures, arts or crafts involved in one room, as I work instinctively to
The incredible seventeenth-century tapestry with its subtle strength and the feminity of the yellow damask walls, edges with specially made gilded filets, combined with the tones, colours and textures in the carpet, furnishings and furniture togethe
The de Gourney wallpaper, coloured specifically to this intense mustard shade with fresh highights of off-whites and reds - sets the tone for the rest of the decoration in this room. The balance of colours is acheived through the repeated use of off
My own east-facing sitting room is sunny and bright and I love its cheerful character. Vertical plaster filets with tiny mirror insets create subtle stripes that divide the room in a refreshing way.
Having produced perfectly symmetrical architecture and plasterwork for this grandiose drawing room, I then appointed it with a perfect kind of Alidad 'off' symmetry in the layout of the furniture.
The restoration of The Saloon at Buscot Park gave me the opportunity to repair and revitalise a magnificent eighteenth century room. The room contains a series of Edward Burne-Jones paintings, who also designed the paneling in which the paintings ar
19016_CharlesSt8042 C v2.jpg
Drawing room 1 low res.jpg
Drawing room 4 - low res.jpg
In order to design a room that felt restored rather than created from new, there are many historical references including that of the traditional Portuguese tiles, Oriental painting, '40's style chandelier, Louis XV chairs and nineteenth-century rep
I chose these newly made traditional Portuguese tiles for their perfect tones of aged blue, white and pink, as well as the fresh and lively effect they have on the rest of the scheme. 
In this part of the room, the red sofa is recessed into a highly ornate carved wood alcove that houses a collection of nineteenth century Bohemian glassware and other artifacts. The sofa design is a blend of mirrored neoclassical legs with arms that
Sitting room 5.jpg
Specially woven, extraordinary perfect silk with its own subtle sheen graces this collection of Empire chairs in The Saloon at Buscot Park. Each chair has its own unique set of silk borders that had to be woven to fit the various differet sizes of t
As part of The Saloon restoration I created this new fireplace. When I began, there was a white marble fireplace that had been installed at some point in the last century. After researching the rooms history we discovered an old Country Life photogr
Every detail is considered to create flow of space and ease of view within a specific area of a room - lamps are wired to concealed floor sockets that have been precisely positioned to minimise if not eliminate the sight of a stray cable. I have use
The jib door in the same room is beautifully concealed into its surroundings. 
Drawing room 2 low res.jpg
Drawing room det1.jpg