A higgledy-piggledy house in Bray with a timeless interior by Christopher Howe
There are always certain objects that shopkeepers and antique dealers are reluctant to sell. For Christopher Howe, it was a Twenties armchair upholstered in a tufted Bute tweed. Fortunately for him, ‘it was the sort of thing you’d find in your granny’s house – an unassuming piece that most people ignored’. That was until 2012, when a young man walked into his shop, marched straight up to the chair and bought it. ‘As soon as he set eyes on its brown velvet cushion, I knew we would get along,’ says Christopher.
He was right. Five years have passed and Christopher has overseen the decoration of two projects for the chair’s owner: one, a small barn in Gloucestershire (which was featured in House & Garden in July 2017); the second, this house on the high street in Bray, Berkshire. This was not intentional. In fact, Christopher had advised his client against using an interior designer. ‘I told him not to bother. He has a great eye and might as well make his own mistakes rather than pay someone else to make them for him. I told him he could give me the odd phone call if he needed some help.’
But things snowballed, ‘the odd phone call’ became a site visit and, before long, Christopher was overseeing all of the decoration. It is a higgledy-piggledy sort of house, with parts dating back to the early sixteenth century, and so he repurposed certain rooms to make it a more coherent space. The glass-panelled front door leads into the entrance hall, off which are a snug and living room. The hall also acts as the dining room, with a restored staircase that leads up to the four bedrooms.
In the Eighties, a few slapdash alterations were made and a mishmash of false walls was installed. These were swiftly removed to create space and allow more light into what is naturally a dark house. Upstairs, two poky bedrooms and part of the hallway were remodelled to become the main bedroom and, by taking down several walls, Christopher created long views from room to room across the width of the house. Pine flooring was ripped up and – with characteristic resourcefulness – Christopher turned it into butt-and-bead panelling for the bathroom walls. The walls were stripped back to their original state, revealing handsome brickwork and exposing beams.
The owners had been considering a steel and glass extension but Christopher nudged them towards a timber structure with Crittall windows. This now houses a smart kitchen complete with an island salvaged from a fishmonger’s, an eighteenth-century dresser to which a sink has been added and Neisha Crosland tiles above the powder-blue Lacanche range cooker. The extension is an architecturally sensitive addition to the house that quietly takes into consideration the history of the building and, despite its pitched glass roof, looks as though it has always been there.
Much of the flooring consists of wide boards from a reclamation yard in Herefordshire, maltings (a red-brown brick), or handmade Norfolk pamments (clay tiles). ‘These came from a brilliantly industrious guy who has set up a business called Norfolk Reclamation, where he manufactures his own bricks,’ says Christopher. ‘His father takes me to Chelsea matches, which is an added bonus.’
As with all Christopher’s projects, attention to detail is the mainspring: the walls of the snug are panelled and tacked with steel pins in a linen and horsehair fabric, which was once used for interlining suits; a tiny jewel box of a dressing room is lined with vintage linen, hand dyed yellow; the restored staircase is interspersed with barley-twist spindles; and the crazy paving in the garden was inspired by Gertrude Jekyll. Christopher talks about each piece of furniture, bolt of fabric and specialist finish as if he were recalling old friends.
The designer and his client share a boundless enthusiasm for beautiful things and have kitted out this house accordingly. Together, they have transcended faddish trends to create a timeless interior packed to the gills with eclectic pieces and impeccable craftsmanship.
For more information on Christopher Howe visit howelondon.com
Lucas Allen1/12Inside the extension, the floor is made from cheeseboards, which were found on a trip to the South of France. Fifties Italian bar stools contrast with the island, which was salvaged from a fishmonger’s.
Lucas Allen2/12The dining chairs are the ‘Salon Chair’ design from Howe; the door leads to the sitting room.
Lucas Allen3/12Christopher sourced the Forties jajim rug from Woven Accents. A linen/horsehair fabric covers the walls.
Lucas Allen4/12The pewter chandelier is fitted with lampshades that match the wallpaper and curtains.
Lucas Allen6/12The bobbin bench is a mid-nineteenth-century English piece.
Lucas Allen7/12Vintage linen was dyed for the walls.
Lucas Allen8/12Pine flooring was used for the panelling.
Lucas Allen9/12Two small bedrooms were combined with part of the landing to create a light and airy space. The green limewash is from Francesca’s Paints.
Lucas Allen10/12The headboard was originally a piece of sixteenth-century English panelling.
Lucas Allen11/12The crazy paving was inspired by Gertrude Jekyll. Crittall windows ensure the extension is filled with light.
Lucas Allen12/12Diamond pattern paving leads back to a shady seating area.
