A Queen Anne house in Hampstead with sympathetic interiors by Emma Burns

The entrance hall opens onto the sitting room, where a sofa in Claremont’s ‘Toile Chenonceau’ and an armchair in Guy Goodfellow’s ‘Fez Weave’, with a kilim cushion from Susan Deliss, are arranged around an ottoman in ‘Malabar’ by Colefax and Fowler. An antique carpet is layered over the sisal floorcovering that runs throughout the house.

Mark Anthony Fox

These familiar pieces have brought patina and depth to the rooms, providing an anchor for newer elements and inspiring the design of bespoke pieces. In the sitting and dining room, where antique rugs and fabrics give a lovely lived-in look, a fireplace is flanked by a pair of fine glazed cabinets. One is original and the other is a replica, but even the owners forget which is which. Upstairs, a four-poster bed has been hung with a Robert Kime floral fabric and set against walls in Farrow & Ball’s ‘Dead Salmon’, creating a soft and pretty room for guests. Another Farrow & Ball colour, ‘India Yellow’, brings out the warmth and richness of animal prints and eclectic art in the main bedroom and bathroom. The second floor was rearranged to allow the main bedroom to look out over the large garden designed by Butter Wakefield, where abundant planting obscures an unusual temple-like pavilion built during the project.

At the other end of the sitting room is a formal dining area. The dining chairs were reupholstered in red cut velvet from Colefax and Fowler that tones perfectly with an antique rug from the owners’ collection. The glazed cabinet on the left of the fireplace was made by Christopher Bell – who was responsible for much of the joinery throughout – to match the original on the right.

Mark Anthony Fox

Nature’s palette also plays an important role inside the house. ‘I always like greens with earthy tones,’ says Emma. ‘I think they suit the British light.’ In the panelled drawing room on the first floor, a gentle mix of browns is enlivened by curtains in vibrant green silk faille from Claremont, which catch the light beautifully. ‘There’s something about the green with the panelling that’s just so satisfying,’ says Emma. It was with this in mind that she selected Benjamin Moore’s yellowy green ‘Jalapeño Pepper’ for the adjoining study – which has a beautiful lantern window – to ensure a smooth and harmonious transition between the spaces.

The Bulthaup kitchen was installed 35 years ago, prior to the restoration, but is still going strong. ‘I love that it’s a proper working kitchen,’ says Emma. ‘It’s such a joy walking past the stove, all piled up with utensils, oils and seasonings, it makes you feel instantly relaxed – and you know you’ll eat well later on!’

Mark Anthony Fox

Though Emma and the owners always shared a clear vision of how the house should look, realising it has been a gradual process, motivated not by a tight deadline but by the desire to get things absolutely right. No detail, however small, has been overlooked, be it the wallcovering in the little loo on the landing, which was touched up with paint in situ to make sure the corners were perfect, or the jute bindings of the Brussels weave and sisal carpets where they meet on the first floor. A few years ago, the former was replaced, like for like, following a run-in with their daughter’s cats. As with all long-running projects, it is never quite finished, and Emma still keeps an eye out for things they might like. ‘You don’t say goodbye when you’ve hung your last curtain and made your last carpet,’ she says. ‘It’s just the start of a real-life relationship with the house and the clients.’

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