Search results for ""Pimpernel Press Ltd""

In 1953 pioneering journalist Anne Scott-James started to write a weekly column for the Sunday Express newspaper. ‘The Anne Scott-James Page’ set the bar for a new way of writing. Scott-James perfected the art of the short, sharp column – and many of the topics she covered are equally on-trend today. She cogently expressed her views on men, children, fashion, beauty, food, interiors, travel, and anything else that took her fancy. Political opinions might be squashed between thoughts on eyebrow tweezing and a piece on swimsuit lines. Scott-James was a great believer in entertaining her readers, and her columns are sharp, witty, to the point, often very funny, sometimes very moving. In Hold the Front Page! a selection of the Sunday Express columns is brought together with a commentary by her daughter, writer Clare Hastings, and with photographs from the Scott-James/Hastings family albums and drawings by Osbert Lancaster, Scott-James’s third husband, to provide a fascinating insight into the 1950s – and into the public and private life of one of the most celebrated columnists of the twentieth century.

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‘London was but is no more!’ In these words diarist John Evelyn summed up the destruction wrought by the Great Fire that swept through the City of London in 1666. The losses included St Paul’s Cathedral and eight-seven parish churches (as well as at least thirteen thousand houses). In After the Fire, celebrated photographer and architectural historian Angelo Hornak explores, with the help of his own stunning photographs, the churches built in London during the sixty years that followed the Great Fire, as London rose from the ashes, more beautiful – and far more spectacular – than ever before. The catastrophe offered a unique opportunity to Christopher Wren and his colleagues – including Robert Hooke and Nicholas Hawksmoor – who, over the next forty years, rebuilt St Paul’s and fifty-one other London churches in a dramatic new style inspired by the European Baroque. Forty-five years after the Fire, the Fifty New Churches Act of 1711 gave Nicholas Hawksmoor the scope to build breathtaking (and controversial) new churches including St Anne’s Limehouse, Christ Church Spitalfields and St George’s Bloomsbury. By the 1720s the pendulum was swinging away from the Baroque of Wren and Hawksmoor, and it was James Gibbs' more restrained St Martin-in the-Fields that was to provide the prototype for churches throughout the English-speaking world - especially in North America – for the next hundred years.

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If you’re already an avid collector of flea market finds, or eager to start a vintage business, or you simply enjoy the beauty of time worn objects, Michelle Mason’s hands-on approach to collecting will help inspire your finds, offer ideas on how to showcase your keepsakes and equip you with insider knowledge to get you to the markets and start building your collection. With a focus on popular vintage items and decorative antiques Love Vintage has sections on favourite places to source stock in the UK and France, how to curate your collection, plus help with setting up a vintage business and purchasing tricks and tips and advice from experts in their field. Shop Talk shares insights from 8 dealers in the UK and France. Combined with recommendations on what to look out for and who to follow this book will arm you with all you need to get started and more.

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“I’m not dead yet,” writes Clare Hastings to her daughter, Calypso, who will one day inherit Clare’s beloved cottage garden in the Berkshire Downs. “In fact I woke up this morning feeling quite chipper. I glanced out of the window . . . and thought about you. And felt a frisson of panic. What if I were to be struck down before elevenses on the B4009? I realized that I needed to leave you a handbook about the garden. For you the countryside is a pathway from the car park to the door, to be completed on the run. But I’m not giving up.” The daughter of writer and gardener Anne Scott-James, Clare too was a latecomer to gardening, daunted by Latin names and nervous around plants. Then she realized she wasn’t and never would be a ‘proper plantsman’ and that it didn’t matter. Since then she has explored the joys of gardening and now after many years’ experience of her own cottage garden, Clare shares her gardening life notes with Calypso.

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When it comes to deciding the most tragic British artist of the 20th century, Cyril Mann (1911-80) must be a contender. Mann made a number of genuinely innovative breakthroughs and certainly had the potential to become one of the most important figurative painters of his time. Yet, struggling with mental health problems, Mann had an unerring instinct for turning each moment of promise into bitter disappointment. In 1959, Renske van Slooten fell in love with Mann who was more than twice her age. Renske was convinced she discovered a genius and she promised to dedicate her life to him as muse, model and money earner. Their struggles quickly threatened to overwhelm them. The Girl in a Green Jumper is not only an enthralling story set against the backdrop of 1960s London, but it also charts in detail the struggles an artist goes through, both creatively and financially. Renske also gives fascinating insights into the way that Cyril's painting technique evolved over time.

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This beautiful boxed-set contains three long out-of-print and influential books by the great British humourist, Sir Osbert Lancaster (1908-1986) - Pillar to Post, the story of architecture through the ages, first published in 1938 and described by Gavin Stamp as 'One of the most influential books on architecture ever published'; Homes Sweet Homes, a history of architectural interiors and a sequel to Pillar to Post, was first published in 1939, and Drayneflete Revealed, first published in 1948, which traces the development of one particularly typical (invented) English town.

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After publishing Scent Magic, an acclaimed memoir of plants, gardens and scent, Isabel Bannerman couldn’t leave the subject alone. ‘I came across the star-nosed mole, an adorable and preposterous creature with a highly specialized sensory-motor organ, while writing about the riches of the soil kingdom … and, somewhat mole-like … as I was trying to write about the impossibility of writing effectively about smell, I began to nose around for great writers’ solutions to this problem. How and how much have writers considered the lilies of the field and how they smell. I began grazing on literature and gathering in my stores of quotes.’ In reviews of Scent Magic, Isabel was lauded for ‘putting into words what so much escapes language. With a wonderful range of reference and allusion, it's nothing less than poetry... (Evening Standard)’. And in this anthology, with her beautifully written linking passages bringing carefully chosen quotations together with her dramatic, powerful and mysterious plant images, she evokes the scented garden through poetry and prose spanning millennia, from Ovid to Proust, Milton to George Eliot, and Emily Dickinson to Alice Oswald.

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There is no shortage of books on how to look after houseplants but no one has shown us how and when and why these plants came to be in our homes. Catherine Horwood’s combination of social history, plant history and the history of interior design explains why, as Flanders and Swann sung in the 1950s, ‘the garden’s full of furniture / and the house is full of plants.’ In this fascinating book we learned how potted plants are as much subject to fashion as pieces of furniture. For the Victorians, it was the aspidistra in the front parlour, the Edwardians loved a palm, and, for today’s millennials, no home is complete without the ubiquitous fiddle-leaf fig. This book show that there is little new when it comes to plants in the home. In the mid-18th century, Wedgwood created a market for special bulb pots and in the 1950s, some of Terence Conran’s earliest designs were for houseplant containers. Across the ages, the choice of potted plants has been influenced by the layout of houses, the levels of dirt and pollution and the equipment to hand. Now, with so much choice, we seem happy to treat houseplants as disposables. This book gives a better understanding of the miracles that were once achieved with indoor plant displays, inspired by Sir Hugh Platt’s 1608 vision of a garden ‘within doores’. This new edition has been revised with new material added to bring the history of the houseplant and its massive explosion in popularity right up to date.

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Frank and Marjorie Lawley have spent almost 40 years at Herterton House, a 16th century farmhouse on the Wallington Estate, near Cambo (birthplace of Capability Brown) in Northumberland. When they leased Herterton from the National Trust in 1976, the Lawleys took on a series of derelict farm buildings. This highly original and personal book describes in detail how, with patience and passion, they restored Herterton House and created an exquisite and unique garden. As well as discussing the practicalities involved, it also describes the influences and the lifetime of thinking behind their achievement. Within its mere acre, the garden at Herterton House provides more visual interest and more interesting plants (plants you can also buy from its small nursery) than many gardens twenty times its size. It also stimulates visitors to think about what plants to use and how to use them, about the history of English gardens, about the relation of the past to the present and about the relation of a garden to the landscape around it. This stunning book records and celebrates Frank and Marjorie's achievement over four decades at Herterton House. With photographs by Val Corbett and an introduction by Charles Quest-Ritson.

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The product of many years’ research by Susan Palmer, archivist to Sir John Soane’s Museum, At Home with the Soanes paints a detailed picture of the social and domestic life at Nos 12 & 13 Lincoln’s Inn Fields, London, in the early 19th century – how the buildings were heated, the servants’ daily duties, what meals were cooked, wines purchased and teas drunk – even the fate of the family’s pet dog. Family life with two children – in many ways as difficult as modern offspring – is brought vividly to life and the below-stairs relationships of the servants are poignantly recorded. The evening social whirl of visits to theatres and supper parties is chronicled, and the description of seaside holidays on the Kentish coast, when Margate was in vogue, portrays the social niceties of promenades and dances. Originally published in 1997, At Home with the Soanes has been updated to include the latest discoveries that have come to light during restoration of the house and re-designed to include over 100 illustrations, mostly in colour, from the extensive Museum archive, including photographs of the newly-recreated ‘lost’ private apartments. At Home with the Soanes offers a fascinating insight into this London family’s life, both upstairs and downstairs.

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Christopher Lloyd, icon and iconoclast of the gardening world, was born at Great Dixter, in East Sussex, in 1921 and died there in 2006. In the years between he developed the garden at Dixter into a mecca for plantsmen and a hub of ideas and connections that spread throughout the world. And from the 1930s almost until his death he was also photographing the garden, recording it in intimate detail as it changed and developed. A carefully chosen selection of Christopher's photographs is published here, the majority for the first time. They are juxtaposed with images from the Lloyd family's earliest days at Dixter, and with photographs taken by Carol Casselden and others of the garden as it is today.

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If John Fowler was – in the words of the late Duchess of Devonshire – the Prince of Decorators, and Nancy Lancaster undoubted doyenne of English country house style, Imogen Taylor was their crown princess. She joined Colefax and Fowler in 1949 and was for many years John Fowler’s trusted assistant. John – and Nancy – had total faith in Imogen’s ‘perfect taste’, and when John retired in 1971 he passed on to her all his clients – who ranged from HM The Queen, through duchesses and film stars, to ladies of the night. From this time until she retired in 1999 she was, along with Tom Parr, the firm’s principal decorator. Over the years she extended the clientele she had inherited from John and developed her own subtle, comfortable and charming version of English country house style. In this unique combination of social history and style bible, Imogen Taylor brings a sharp eye and ready wit not only to decorating style but also to the social history of the latter part of the twentieth century. Here you will learn about how fabric walling was done, how the famous ‘twelve different whites’ were applied, how to oil gild, how the passementerie was made for Buckingham Palace and Windsor, about Bessarabian carpets and trompe l’oeil painting and Nancy Lancaster’s broderie anglaise lamp shades, ‘like a child’s skirt or a ball dress’. You will also find the Duchess of Windsor dismissing the Duke (‘David, you’re not needed − go and buy some brushes or something’), Dolly Rothschild’s iron bed (‘like a school or hospital bedstead’), Harry Hyams’ reluctance to sign cheques (‘It’s like spilling my own blood!’), John Fowler in a tantrum yelling at the Duchess of Cornwall (she was a girl assistant at the time, not a client), Imogen being summoned to Howletts because ‘a young Siberian tiger, who had been in bed with Aspinall and his wife, had ripped down the silk hangings on the inside of their canopy bed.’

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Sir John Soane's Greatest Treasure describes one of the most important antiquities ever found in Egypt – the beautiful calcite sarcophagus of the pharaoh Seti I. Re-discovered in 1817 in the tomb of Seti I in the Valley of the Kings by the flamboyant explorer Giovanni Belzoni, the sarcophagus now resides in Sir John Soane's Museum in London's Lincoln's Inn Fields. Leading Egyptologist John H. Taylor outlines the life of Seti I, the background to the creation of the sarcophagus, the excitement surrounding its re-discovery and the fascinating story of its journey to London and its acquisition by Sir John Soane. At the heart of the book is a fully illustrated interpretation of the complex imagery and hieroglyphic inscriptions which cover the delicately carved surfaces of the sarcophagus. The book also includes an essay by Helen Dorey on the celebrations held at the Museum to welcome the arrival of the sarcophagus of Seti I in 1825. Sir John Soane's Greatest Treasure is published to mark the 200th anniversary of the re-discovery of the sarcophagus in 1817, and to accompany a major exhibition at Sir John Soane's Museum, opening in October 2017.

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Isabel and Julian Bannerman have been described as ‘mavericks in the grand manner, touched by genius’ (Min Hogg, World of Interiors) and ‘the Bonnie and Clyde of garden design’ (Ruth Guilding, The Bible of British Taste). Their approach to design, while rooted in history and the classical tradition, is fresh, eclectic and surprising. Designers to the highest in the land, they have made gardens for the Prince of Wales at Highgrove, Lord Rothschild at Waddesdon Manor, the Duke and Duchess of Norfolk at Arundel Castle in Sussex, John Paul Getty II at Wormsley in Buckinghamshire, the great walled garden at Houghton, home of the Marquess of Cholmondeley, and they designed the British 9/11 Memorial Garden in New York. ‘Their work of grand architectural gestures, of mock ruins and oaken temples has made them famous. But it is the houses and gardens they have made for themselves that … eclipse any of these aristocratic delights’ (Mary Keen, Daily Telegraph). Their garden at Hanham Court near Bath was acclaimed by Gardens Illustrated as the top garden of 2009, ahead of Sissinghurst. When they moved from Hanham it was to the fairytale castle of Trematon overlooking Plymouth Sound, where they have created yet another magical garden. Landscape of Dreams celebrates, in the Bannerman’s inimitable, evocative, humorous and highly personal style, the imaginative and practical process of designing, making and planting all of these gardens, and many more.

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How to grow and harvest an abundant supply of edible ingredients from your garden

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‘To see a meadow in bloom is a great delight – it’s alive and teeming with life, mysterious, dynamic . . .’ So Christopher Lloyd began his much-admired instructive and celebratory account of meadows, first published in 2004. Few people knew more about meadow gardening than Lloyd, who spent much of his long life developing the flowering tapestries in his garden at Great Dixter, creating scenes of great beauty and a place of pilgrimage for lovers of wildflowers and wildlife. In Meadows he imparted that lifetime’s learning, exploring the development and management of meadow areas, explaining how to establish a meadow in a garden setting, describing the hundreds of beautiful grasses, bulbs and perennials and annuals that thrive in different meadow conditions and detailing how to grow them. Lloyd's classic text remains at the heart of this new book, which also includes – as well as much stunning new photography – an extensive introduction by Fergus Garrett, Lloyd's head gardener.

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Almost all the books that have been published on plant hunting focus on the so-called ‘golden age’ that ended with the death of Frank Kingdon Ward in 1958. One might be forgiven for thinking that plant hunting itself came to an end in 1958. On the contrary, there have been more new plant introductions in the past thirty years than ever before. This book tells the stories of the modern-day plant hunters – such pioneering adventurers as Mikinori Ogisu, Dan Hinkley, Roy Lancaster, Ed de Vogel, Lin Yu-Lin, Michael Wickenden and Claire Scobie. The author also examines the search for medicinal plants and the work of scientific institutions, both of which have been largely ignored, and considers such developments as the effect of habitat destruction on plant loss and plant diversity.

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Do you remember those unexpected, gloriously lazy days of childhood, where time seemed to stretch out forever? Zoë Lake is passionate about making such days happen for today's children. Zoë loves creating something out of nothing and planning mini adventures with her persistently dancing daughter - maybe building a mighty fort, getting artistic with a camera or paintbrush, or perhaps cooking up tasty treats for tea. In Adventures at Home she shares 40 brilliant ways to fill your family's days with fun, without spending much money or leaving your home, by engaging with nature and your immediate environment. All you need is a bit of time and imagination to create memorable moments together – indoors and out – that will stay with you for a lifetime.

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"A story of social change and the evolution of a neighbourhood, full of human interest and the richness and sadness of the passing of time – I loved the irrepressible character who combined the skills of barrister, chef and advertising genius, and the poor first owner with her aesthetic aspirations and her artwork – the kind of history we imagine for our houses (but not so fully), assembled from small relics and suggestions." - Margaret Drabble In a vivid blend of history and fiction, Clare Hastings tells the story of a house in London’s Little Chelsea – the house in which she lives – and its inhabitants, from 1873, when it was ‘topped out’, to the 1930s. Detailed in the census records and other sources, these very real residents – ranging from bodice-makers by way of booksellers (and a bigamist) to that glamorous, though unemployed, Irish barrister – are all now long gone, but their footsteps are etched into the floorboards at Finborough Road, and into the imagination of the author. In these pages, Clare Hastings’s warmth, humour and compelling storytelling bring them back to life.

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From back-of-an-envelope list to flower-filled paradise - Brilliant and Wild: A Garden from Scratch in a Year gives even the most inexperienced gardener the chance to create a beautiful and wildlife-friendly outdoor space - from nothing - in just twelve months. Award-winning photographer, Jason Ingram, followed the author over the course of a year, as she created the garden shown in the book for her sister. This highly practical book provides new gardeners with step-by-step instructions on how to create a low-maintenance, wildlife-friendly perennial garden that will bloom within months and be fully established within a year.

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Thomas Hennell (1903–45) said his aim was to ‘surprise his subject’ – to capture the transient quality of the moment. In watercolour he found his perfect medium, producing work which was, as his fellow artist Edward Bawden said, ‘fully expressive and technically perfect’. During an idyllic childhood in rural Kent Hennell discovered his love of the English countryside. He explored its fields, farms and woods, and later, travelling on a rusty old bicycle, developed an appreciation of England’s traditions and crafts. Much of his work records the countryside in a state of change, imbuing his sense of loss with poetic intensity. In the early 1930s, Hennell suffered a severe breakdown and later described the three years he spent in mental hospitals in his memoir The Witnesses (1938), an astonishing document in a period when stigma still attached to mental illness. Hennell’s remarkable talent for friendship survived his years of mental turmoil. Jessica Kilburn’s new biography brings Hennell the man vividly to life through extracts from his letters to friends and personal accounts by people who knew him. As this richly illustrated book shows, the artist’s final years were exceptionally productive. In 1943 Hennell was appointed an official war artist, yielding commissions in Iceland and northern Europe. After the pastoral evocations of inter-war England, his portrayal of war’s brutality is shocking: devastated French towns, emaciated prisoners of war. At the war’s end, Hennell received a final posting to the Far East. Tragically, he was caught up in the struggle for independence in Java and in late October 1945 disappeared in circumstances which Jessica Kilburn recreates more fully than in any previous account. Thomas Hennell was born into a remarkable generation of English artists that included Eric Ravilious, John Piper, Graham Sutherland and Barbara Hepworth. His peers regarded him as one of their finest creative talents; Jessica Kilburn’s sensitive and deeply researched new biography restores this unjustly neglected artist to his rightful place in the history of twentieth-century English art.

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The Lindsays of Balcarres began with the rediscovery of some dusty photograph albums at the home of the author’s late father in Fife. The wealth of images within, unexplored for over eighty years, provided the perfect way to present the fascinating untold stories of the people who had been brought up at Balcarres. The Lindsay family, which traces its roots back to the time of Charlemagne, almost lost everything after siding with the Stuarts for two hundred years, but fortunate marriages, colonial endeavours and the industrial revolution enabled them to create a new fortune and in 1848 successfully reclaim their position as the Premier Earls of Scotland. This renewal coincided with the birth of photography in the 1840s, which encouraged the family to capture moments of their leisure pursuits and other enthusiasms and the part they played in the events of their time. The collection also serves as a social history, recording the rapidly changing industries they were involved in and the relationships with their staff on which their way of life depended. The reader will encounter a gallery of colourful characters, including Elizabeth Lindsay, who married the 3rd Earl of Hardwicke in 1782 and became Vicereine of Ireland; her great-nephew, Robert, who joined the Guards at the outbreak of the Crimean War and carried the Queen’s Colours to the heights of Alma, earning him the first of two citations for the Victoria Cross; and his brother-in-law, Alexander, the 25th Earl of Crawford and his polymath son Ludovic, who together rebuilt the family library, Bibliotheca Lindesiana, into one of the world’s finest. Some of the earliest daguerreotypes in the family archive point to the enduring affinity that would develop between photography and the country house. It was the perfect medium for a family so deeply involved in both fine art and the latest technology. Ludovic Lindsay’s painstaking restoration of these remarkable family photographs and archival research mean that a chronicle of his forebears’ lives, told through over three hundred hitherto unpublished images, is for the first time possible.

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Rebecca John was born into a family of painters, the most famous among them being her grandfather, Augustus John, and her great-aunt, Gwen John. And the last thing she wanted was to become a painter herself. So how did this happen? In Thinking the Plant she traces the path that led to her beautiful botanical watercolours. She takes us through her childhood – the cottage in the Cotswolds ‘where I first became intensely aware of nature in its wild state’, her grandfather’s home at Fryern Court in Hampshire and her parents’ London house, both of them forever associated in her mind with ‘growing things’; the Fine Jewellery course where ‘I learned to draw – and to concentrate on things close up’, her days as a picture researcher and her growing delight in botanical paintings. Rebecca John was in her thirties when she began to ‘make tentative pencil studies of flowering plants’. In 1994 she enrolled for the new Botanical Painting course at the Chelsea Physic Garden. Soon after, she began to spend more time at her mother's cottage in Wales where she could work close to nature. She achieved recognition as an artist when she was in her 50s. Drawing on contemporary diary entries and notes Thinking the Plant is a unique record, illustrated with Rebeccca John's exquisite watercolours.

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Dachshunds are everywhere. Walk down any fashionable metropolitan street today and you will be tripping over little sausages. They are the dog du jour: compact enough for city living yet feisty enough for a good country walk; cute but clever and independent. Advertising campaigns, aprons, Christmas decorations, Instagram accounts from Canada to Japan to Australia are all peppered with them. They have a universal appeal and come in two official sizes: standard (between 7 kg and 14.5 kg) and miniature (under 5 kg), with lots of 'unofficials' in between; three types of coat: smooth, long-haired and wire-haired; and myriad variations of colouring. By the writer's reckoning there are more than 150 varieties that will pass muster with the UK Kennel Club. In this book, Caroline Donald shares her experience of life with a dachshund: what to look for and what to avoid, how to train and how to look after them. Included too are reports from dachsy homes: from Crusoe the Celebrity Dachshund in Canada (3m Facebook followers, 800k on Instagram), River the Mini Dachshund on the Gold Coast in Australia (139k followers on Instagram), to the Dixter dachshunds; Greta the puppy belonging to landscape designer Catherine Fitzgerald, her husband the actor Dominic West and family and Willow, the elegant long-haired English cream belonging to Claire Waight Keller, artistic director of Givenchy and designer of Meghan's wedding dress. There are also stories of artists' dachshunds, including Picasso's Lump, Andy Warhol's Archie and Amos and David Hockney's Stanley and Boodgie; and royal dachshunds (Queen Victoria's, the Kaiser's, Princess Margaret's). New to the breed or old hand, there’s more than a titbit or two to get your teeth into.

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Improbable Pioneers follows the lives of John Russell, 6th Duke of Bedford (1766-1839), and Georgina Gordon (1781-1853), from their very different childhoods. In the course of their unlikely marriage they became closely involved with the scientific discoveries of the Enlightenment, the wonders of Romantic art and poetry and the key figures of both worlds. The two of them set out to explore the expanding worlds of both science and art, becoming improbable pioneers in politics, art and architecture, agriculture, botany and horticulture. Beyond this, Georgina shared her love for the places and people of the Highlands not only with her husband but with a young artist, Edwin Landseer, whose images of the Highland landscape are some of the most popular paintings of British art. Landseer became a central figure in the lives of the Bedfords. He is also at the centre of an enduring mystery: was he the Duchess’s lover – and the father of one of her children? This book not only follows the public and private lives of the Duke and Duchess, it also sheds light on the historic events of the time and captures the sheer excitement of the new discoveries of the Romantic age.

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In 2013 designer and illustrator Michelle Mason co-founded Mason & Painter, a vintage emporium on Columbia Road, in east London, a street famed for its Sunday flower market. Michelle’s inspiration for Flower Market: Botanical Style at Home is the wide variety of seasonal plants and flowers available right outside her shop. Buying locally and in tune with the seasons is at the heart of her philosophy Using salvage and reclaimed objects, vintage glassware and ceramics as props and backdrops, Flower Market is brimming with texture, pattern and exciting and inspiring ways to group and display flowers, plants and succulents. In Flower Market: Botanical Style at Home Michelle draws on her design experience, playing with shape, colour and composition to create stunning combinations showing how to make the most of fresh flowers and bring botanical style into the home.

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Topiary, knots and parterres come in many guises, from the grand and imposing to the humble and folksy. In this book Caroline Foley − with the aid of diarists, writers, wits, designers, gardeners and garden owners − traces their story through the centuries and across the world. Starting from the topiary of patrician Rome, she moves through the paradise gardens of Islam and the medieval hortus conclusus to the formal parterres of Renaissance Italy, the more elaborate broderies of the royal French gardens, the complicated conceits of the Tudors and the geometry of the Dutch school. She takes a wry look at the eighteenth century, when many fine formal gardens were scrapped in favour of the English landscape movement (which, in fact, was no less artificial). In the nineteenth century there was a revival of parterres filled with tender bedding plants. Green architecture returned with the Arts and Crafts movement, and the twentieth century saw a joyful resurgence of the topiary peacock and other such conceits, the arrival of the Japanese minimalist school, the cult of the venerable sagging hedge, cloud pruning and the emergence of the cool crisp lines of modernism. German perennial planting, juxtaposed with sharply cut linear hedges, has provided a clever solution to the modern requirements of high style, low maintenance and attention to the environment and to labour costs. Of late a new type of formality has emerged among designers and landscape architects, involving wild-looking prairie planting set off by large-scale sculptural topiary. As Caroline Foley points out, ‘Serious or frivolous . . . topiary always has character and presence. While wonderfully impressive when it takes the form of an immaculate battlemented bastion, it has poetry and possibly even greater charm when it is overblown and blowsy with age. Either way, it will always be a win-win proposition.’

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Woburn Abbey: The Park and Gardens tells a fascinating story that illuminates both the history of English landscaping and the highs and lows of an aristocratic family that has been at the centre of British life for more than four centuries. Drawing on the enormous quantity of material available in the Woburn archives – as well as historic images preserved in the Abbey itself, and stunning newly commissioned photographs – landscape designer and historian Keir Davidson shows how the park and gardens developed, following the individual tastes of the owners as well as wider trends in gardening and landscaping. The Russell family has been in possession of Woburn Abbey since 1547, when Henry VIII gave the former monastery to John Russell, 1st Earl of Bedford. The ambitions (and passions) of more than one duke have caused financial embarrassment from time to time, but Woburn has survived impulses to sell and periodic neglect. The 5th Duke, following the fashion set at Versailles by Marie-Antoinette, built a Chinese-style dairy where ladies could play at being dairymaids. In 1810 the 6th Duke commissioned Humphry Repton to create a ‘Menagerie’ for exotic birds; by the end of the century the collection had expanded to include bison, wallabies and wild horses (setting a precedent for today’s Safari Park). These animals had to be cleared from the airstrip created in 1928 by Mary, the ‘Flying Duchess’, for take-off and landing on her record-breaking flights. Over the centuries many gardens have been built at Woburn, and on the Russell estates in London and around the country, for successive dukes and duchesses. Almost all of the important figures in English landscaping – from Isaac de Caus to George London and Henry Wise, Charles Bridgeman and Humphry Repton – worked for the family at one time or another. In our own day, a ten-year programme of restoration of Repton’s Pleasure Gardens initiated by the present Duchess is under way. When this is finished, in 2018, the result will be one of the most complete Repton pleasure grounds anywhere in the world. Keir Davidson brings the whole enthralling story to life, engaging the reader with historic gardens that are not simply part of a lost past, but can be experienced in all their glory today.

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A revised and updated edition of Andrew Lawson’s classic work Andrew Lawson has an artist’s eye, a scientist’s training and long experience as both a gardener and a photographer of gardens. In this book he calls on all his skills and practical knowledge to illuminate the complex subject of using colour in the garden and to demonstrate the extraordinary power of colour to change the sense of space, to suggest coolness or warmth and to evoke different moods. The Gardener’s Book of Colour shows how to put colours together in garden beds, borders and containers, explaining how to construct harmonizing and contrasting schemes and exuberant displays of mixed colour. All the major schemes are supported by keyline drawings giving full planting details. In addition, illustrated plant directories, arranged by colour and flowering season, provide cultivation details for over 850 plants, enabling you to assemble the right plants for your chosen scheme and to carry that scheme through the year. Authoritative and accessible, The Gardener’s Book of Colour will stimulate your imagination and put exciting new ideas within your grasp. Whether you want an instant splash of brilliant seasonal colour or a sumptuous border with subtle year-round appeal, this book will show you how to achieve it.

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'Making a garden together, in which to live and work, through thick and thin, fair and foul, is what we like to do best. Everything else is a sideshow. Since spring 2019 Julian and I have been making a garden at Ashington Manor Farm, a garden that we think of as our last principal private escapade, but you never know . . .' Isabel and Julian Bannerman have made scores of lauded gardens for a host of famous clients, and three special, much-loved gardens of their own surrounding the houses which they have restored and lived in since they married, starting at The Ivy, Chippenham, in 1982; then Hanham Court, Bristol, in 1993; and Trematon Castle, Cornwall, in 2012. Now as they embark on a new adventure, creating a garden at their Elizabethan farmhouse in Somerset, Isabel reflects on the garden they are making and the others they have made as a couple, about the 'thousand tiny decisions about which we fight like hooting chimpanzees' and, especially, the fundamentals of what Julian, Mr B, thinks about the key things that go into making a garden for living in – a jumble of eating, drinking and sitting places, fruit cages, vegetable and cutting gardens, pelargoniums in giant pots, rose arches, tools and sheds, fences, formality and topiary, pools and meadows, and not least the importance of one's peripheral vision of how the garden joins on to the landscape.

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Cedric Morris (1889–1982) and Arthur Lett-Haines (known as Lett) (1894–1978) were an extraordinary couple who were at the centre of the Modern British art scene and were hugely influential across the spheres of gardening and cookery as well as art. After studying in Paris in the 1920s, they moved to London, where they gave fabulous parties attended by the cream of creative London. Morris became a sought-after painter of flowers, birds and landscapes, while Lett was hailed as Britain’s first Surrealist. Together they founded the East Anglian School of Painting and Drawing at Benton End in Suffolk, attended by Lucian Freud and Maggi Hambling, where the atmosphere was described as “robust and coarse, exquisite and sensitive all at once, also faintly dangerous”. Lett ran the school and was a superb cook who swapped recipes with Elizabeth David. Cedric Morris became an award-winning plantsman and poppy and iris breeder. He was an acknowledged influence on many gardeners, including Beth Chatto. This biography, revised and updated in this paperback edition, is a fascinating portrait of a unique couple who were hugely influential across the spheres of gardening and cookery as well as art.

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Hailed as ‘the man who made the modern garden’, John Brookes transformed twentieth-century garden design, not only in his native Britain but throughout the world. In his first – groundbreaking – book, Room Outside, in 1969, he wrote ‘A garden is essentially a place for use by people . . . not a static picture created by plants . . . plants provide the props, the colour and texture, but the garden is the stage and its design should be determined by the uses it is intended to fulfil.’ For nearly fifty years he has designed gardens, and taught garden design – in the United States, Canada and South America, in Russian and Japan, in Iran and all over Europe – and he continues to emphasize ‘the importance of reconciling nature and the character of a landscape with the needs and visions of the people living in it’. Now, in A Landscape Legacy, John Brookes tells the story of his life and work and reflects on how his thinking about design has developed. ‘John Brookes’s work has helped gardeners worldwide move beyond the tradition of pure horticulture towards a recognition of space, mass, volume and texture as crucial elements in design; towards functional considerations – how people live in gardens, even small ones created with modest means; and an emphasis on setting and spirit of place, making gardens more than mere fashionable and interchangeable decors. By treating garden design as an art form, yet recognizing its raw materials as living, evolving and infinitely diverse, he bridges the opposition of art and nature, conceptual and environmental design.’ - Louisa Jones, garden writer, Provence

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The productive garden at Lord Rothschild’s private house, Eythrope in Buckinghamshire, is legendary in the garden world for the excellence of the gardening and as a haven for traditional techniques that might otherwise be lost. Under the leadership of the renowned head gardener, Sue Dickinson, now retired, and the current head gardener, Suzie Hanson, this garden works on a scale that is now rare, producing, year-round, all the fruit, vegetables and flowers for a country house where entertaining still happens on a grand scale and where everything is done to the highest standards. Paradise and Plenty opens a window on a garden that has, until now, been kept intensely private, and on a world beyond most gardeners’ dreams. But in this book everything shown is useful as well as beautiful. Gregory Long points out in his introduction that as more and more people turn to growing their own, books are needed that show the techniques of dedicated cultivation, as well as the results. Many of the techniques used at Eythrope are old and tried, but have fallen out of use almost everywhere else. Others have been adopted more recently, as careful trials have proved their worth. If you want techniques for preparing soil, growing herbs, pruning apple trees, training roses, planting bulbs in pots or propagating many different plants, or which are the best tried and tested tomatoes, snowdrops or chrysanthemums to plant, you’ll find out here. In the words of the author herself, ‘This book has to be how as well as wow.’

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Xa Tollemache started her gardening life when she moved into Helmingham Hall in Suffolk in 1975, as a young wife and mother. She spent the next twenty years learning and consequently developing and improving the gardens. It was Helmingham, she always insists, that taught her how to garden - to such effect that in 1996 she was in a position to start her garden design practice. Xa Tollemache describes this book, her first, as 'a story book, the tale of the love story between me and the garden at Helmingham'. It is also a record of her career as a garden designer, exemplified by eleven other gardens, large and small, on which she has worked her design magic: her first Chelsea Flower Show garden ("I was described as 'just an amateur', which was true - but I did get a Gold Medal!"); and gardens in Dunbeath, Caithness; Castle Hill, Devon; Cholmondley, Cheshire; Bighton, Hampshire; Wilton, Wiltshire; Aldeburgh, Suffolk; Bell House, Suffolk; Stone House, Suffolk; RHS Hyde Hall, Essex - and the garden at her new home, Framsden Hall in Suffolk.

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New York is a town of more quartiers and arondissements than Paris, more souks and bazaars than Cairo, a place of havens from overwhelming energy and of studios where that energy is generated. Above all else, it is where everyone wants to make a mark. And for a lot of residents the biggest mark of all is the place they live in – no matter where that is in the infinite diversity of the astonishing tumbling ziggurat that is New York. This book looks at a cross-section of these thrilling spaces for living created by New Yorkers. Ranging from the great mansions of the Upper East Side to the Tribeca loft that provides a live-work space for the high-flying architects of MPA, from the glamour of Kenneth Lane’s Murray Hill apartment to Susan Sheehan’s Arts and Crafts haven in Union Square, from Hamish Bowles’s 'tiny Atlantis' in Greenwich Village to James Fenton’s fantasy palace in Harlem, from the ivory tower that is the Modulightor Building in Midtown Manhattan to Miranda Brooks's 'garden in the city' in Brooklyn, this is a visual and literary feast of the marvellous houses and apartments of New York.

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Our planet, the Earth, is under threat, with potentially catastrophic consequences for ourselves and the other lifeforms it sustains. Yet Nature itself can still rescue us - with plants playing a pivotal role, in the countryside - and everywhere. In gardens and parks, plants are the mainstay of our relationship with the natural world, and we celebrate them for the pleasures they bring. However, that can be part of the problem: too often we value plants for their aesthetic qualities rather than the vital role they play in the ecology of the Earth. In Gardening in a Changing World Darryl Moore explores how gardens can be better for human beings and for all the other lifeforms that inhabit them. Recent developments in horticulture and plant science show us that we need to rethink our attitude to plants beyond purely aesthetic concerns, and to adopt more holistic approaches to how we design, inhabit and enjoy our gardens. He looks at the history of garden design, to show how we got to where we are today, and recommends ways of changing to new principles of sustainable ecological horticulture. This challenging and important new book will be essential reading for professionals and students of horticulture and garden and landscape design, as well as for anyone interested in making gardens part of the solution to the future of life on Earth.

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An amusing and thought-provoking compendium of columns, articles, essays and reviews from this acute, knowledgeable and irreverent commentator. In a career that has ranged from Country Life to Wallpaper* − spanning the full range between the two, and latterly including the Daily Telegraph and the New York Times − Tim Richardson has gone, both intellectually and geographically, where few other garden writers dare to tread. There are no articles here about the best ways to grow sweet peas or potatoes: Tim is more likely to venture into the realms of art, philosophy or politics. This collection contains articles which have influenced the way we think about gardens − as well as one or two which proved too hot to handle and resulted in his being fired as a columnist.

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“As an antidote to throwaway culture, non-sustainable products and fast fashion I take a look at over 50 vintage shops and antique markets across the capital.” Michelle Mason, stylist and founder of Mason & Painter Vintage in London’s Columbia Road takes inspiration from some of the most inspiring vintage boutiques and flea markets that London has to offer. Reclaimed and repurposed objects have the ability to inspire a whole room, an outfit or just evoke a special feeling: fragments of a previous life. Vintage Shops London features more than 50 vintage shops with a detailed description, what it is best known for, behind-the-scenes details and illustrated with sumptuous special photography, which tells the story of each store, its shopkeepers, their style and speciality. Michelle also adds an insight into her own inspirational style with ideas for quick updates for the smallest spaces in your home and shows how you can recreate your own vintage vignette.

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What do the celebrated actors, the bestselling novelist, the Nepalese Sherpa and the famous model have in common? Like millions of us, they love their gardens – and with good reason, too. Gardening is an art form through which we can all express ourselves. In the words of that grande dame of gardeners Penelope Hobhouse, ‘Gardening makes people happy.’ And, as gardening editor of The Sunday Times, Caroline Donald has been allowed beyond the gate of many a private paradise to share this passion. Included in The Generous Gardener are the stories, in words and pictures, of more than forty private gardens, including those belonging to Jim Carter and Imelda Staunton, Jilly Cooper, William Christie, Harrison Birtwistle, Kelly Brook, Natasha Spender, Catherine FitzGerald and Dominic West, Julian and Isabel Bannerman, Penelope Hobhouse, Bob Flowerdew, Roy Lancaster, Luciano Giubbilei, and Dan Pearson.

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Alasdair Forbes has been developing his innovative and beautiful garden, Plaz Metaxu, in Devon, for the past thirty years. The thirty-two acre garden has been internationally acclaimed both as an unusually ambitious contemporary example of the making of place and for its poetic and psychological insights. Trained as an art historian, Alasdair always wanted his garden to be open to the worlds of myth, literature and the other arts, while remaining keenly aware of the strengths, vulnerabilities and delights a garden has to offer in its own right. He has been the only full-time gardener at Plaz Metaxu from its beginning until the present day, though invaluable part-time assistance has been provided by Cyril Harris (who is not a professional gardener either). The whole garden, with its lawns and fritillary meadows and hedges, its bowers, groves and woods, its lake and its courtyards, its ‘carousel beds’, and its landscaped walks to far horizons, is entirely the creation of these two men. This beautiful, richly illustrated book is Alasdair’s own account of how and why the garden was made. He writes of its many inspirations, from Psyche herself to poets, painters and the mysterious paredros . . . not forgetting the valley landscape, with its noble precedent at Studley Royal, and its wise mentors from the Far East. In everything he has done, Alasdair has been the pupil of the spaces that surround him; his rare gift has been to become their ventriloquist, in finding out how they themselves want to ‘speak’.

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In Pots for All Seasons, gardening guru Tom Harris offers a visual feast of container plantings, combined with solid, practical advice born out of his years of experience. The author suggests a wide range of seasonal plantings - as well as a variety of themes including seaside, tiny plants, climbers and trees and shrubs – and guides the reader on choosing what to plant (and the most suitable container to put it in), planting up and maintenance, and combining pots for best visual effect so that the display is always lively and appealing. Chapters include: Collecting pots: using the pot as the inspiration, Harris shows how to use different types and styles, explaining their advantages and disadvantages and how to choose between them. What to grow: making the right choices between plants that play a permanent role and temporary ‘visitors’. Planting for success: how to plant up your pots and maintain them so they are always in top condition. Making pictures: how to arrange and compose pots to show them off at their best. A seasonal gallery brimming with ideas for glorious seasonal container plantings Packed with practical advice and ‘how-to’ illustrations, Pots for All Seasons also includes page after page of photographs of glorious container plantings to inspire readers to be bold in their choice of plants, containers and arrangements. Pots for All Seasons is the essential handbook for all container gardeners.

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Enjoying art is all about responding to what you are seeing. Parents often lack confidence about how to look at art with children, however, there is no magic secret and there are no right or wrong answers. Old Masters Rock: How to Look at Art with Children demystifies western art and demonstrates that it is accessible to all of us – adults and children alike. Old Masters Rock is a book for parents and children to look at together. It introduces the type of questions that help us discover things about a work of art and how we feel about it. Whether you are an adult or a child curiosity should be your starting point as it reveals what interests you in a painting. Features such as ‘Art Detectives’ encourage children to solve clues and 'Fun Facts' help them remember the pictures. Throughout, the emphasis is on looking at the paintings and drawing one’s own conclusions about what one is seeing. Grouped into thirteen themes such as Animals, the Natural World, Action Heroes, Myth & Magic, Fabulous Faces and others, 50 paintings from the fourteenth century through to the early twentieth century are featured. Different styles, from the early Renaissance, through Baroque, Mannerist, Realist and Impressionist, are included. Well-known artists such as Leonardo da Vinci, Holbein, Rubens, Velasquez, Constable, Degas, Manet, Van Gogh and Munch are featured, as well as less familiar artists who will quickly become favourites.

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There was a time when garden designer Cleve West questioned the importance of his role as a garden designer. Two things changed his mind: designing a garden for a hospital and adopting a vegan lifestyle. Cleve's transition to veganism was a profound and varied learning experience. He learned more about nutrition than when he studied it as part of a sports science degree. He learned a great deal about propaganda in the food industry and how, contrary to what he'd been led to believe, the cows and chickens in the dairy industry are far from 'happy'. He learned that animal agriculture is a leading cause of climate change and a whole range of environmental catastrophes. He found that many illnesses have their origins in the consumption of animal products. He learned that a plant-based diet can alleviate some of these illnesses and sometimes even reverse them. He learned that a drive towards a plant-based diet could offset many of the environmental aspects of animal agriculture and make a positive transition to a more sustainable future. Everything started falling into place. It was all about plants. Suddenly, his role as a garden designer didn't seem so trivial after all. The Garden of Vegan charts Cleve's journey from its tentative beginnings to an understanding of the restorative power of gardens and a realization that some of the most destructive aspects of the Anthropocene can be mitigated or even fixed by plants.

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On previous journeys through Britain, David McKie headed for places he had heard of and was eager to see. But how true, how representative a picture of the country could that provide? What, he wondered, might happen if he let chance dictate his itinerary? McKie decides to travel only where he was taken by buses with the number 94, stopping off along the way to visit often unexpected places. Chance also takes the form of unexpected encounters at the bus stop or stumbling across some fascinating slice of local history in a country churchyard. Eschewing such simplistic generalisations as the ‘north-south divide’, he nonetheless finds themes emerging: Why do some communities thrive and grow while others seem set on a course of inevitable decline – sometimes even communities living cheek by jowl? What kind of urban landscape have we inherited from the post-war planners, whose best intentions too often took little account of how people actually want to live? And how much are our opportunities and expectations shaped by the communities we are born into? These buses will take David McKie across the idyllic Isle of Mull (where the driver pauses to let him drink in the view), to the furthest reaches of Cornwall (‘in England, but certainly not of England’), through the post-industrial landscape of Middlesbrough, and to a whole host of places, some privileged, some bereft, some in between. On this journey readers will discover unfamiliar places for the first time and see familiar places through fresh eyes.

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Beautifully illustrated, personal story of an artist's garden in Ireland

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"Catherine Horwood's book is a triumph, beautifully crafted by an author who has thoroughly researched and understood her subject. From start to finish, this publication gives us a real understanding of Beth's life. There is so much here to keep the reader gripped." - Gardens Illustrated Beth Chatto: A life with plants tells the story of the most influential British plantswoman of the past hundred years. Beth Chatto was the inspiration behind the ‘right plant, right place’ ethos that lies at the heart of modern gardening. She also wrote some of the best-loved gardening books of the twentieth century, among them The Dry Garden, The Damp Garden, and Beth Chatto’s Gravel Garden. Some years before her death in May 2018, aged ninety-four, Beth authorized Catherine Horwood to write her biography, with exclusive access to her archive. Beth Chatto: A life with plants also includes extracts from Beth’s notebooks and diaries, never previously published, bringing Beth’s own distinctive and much-loved voice into the book. Most of the photographs, from Beth’s personal archives, have also never been seen in print before. For Beth’s legions of fans, Beth Chatto: A life with plants is the personal story behind her beliefs and the struggles and determination that brought her success.

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The Science of Compost: Life Death and Decay in the Garden takes you on a journey into the underworld of composting. Doberski explains the science of what goes on but also promotes interest in the living organisms who provide the ‘hard graft’ of transforming waste organic matter. It can be hard to envisage the hundreds, thousands or millions of different organisms involved but The Science of Compost reveals the secrets of this hidden world. Gardeners are familiar with the magic of compost and it is easy to see what goes in – organic waste – and what comes out – wonderful, friable and fertile compost – but what magic causes that to happen? Doberski explains what kind of ‘mysterious’ and complex chemical, physical and biological processes contribute to make composting effective. He covers the structural nature of decaying and dead plant material, the micro-organisms and invertebrates contributing to decomposition, and the combination of chemical, physical and biological factors which determine rates of decay. Although not a practical manual of composting, by explaining the science of what goes on in composting Doberski provides pointers to gardeners for getting composting right.

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Increasingly, outdoor spaces are becoming our haven – somewhere to breathe again, heighten our senses and escape the onslaught of noise, clutter and technology. This book offers ideas and inspiration for making the most of any outdoor space we might have – whether it is a garden, a patio, balcony, or even just a window box – and for bringing touches of nature indoors for mindful enjoyment. Bestselling author Jane Cumberbatch's 'Pure Style' philosophy is all about making the most of what’s around you and finding beauty in the simple and everyday as an achievable alternative to the stressful demands of consumer society. In this book, which was put together over the course of 2020, she draws on the inspiration of her own home and garden to supply ideas for life-affirming colour, scent and texture, and to show how even the most unpromising outdoor space can be a source of sensuous renewal. Viewing the garden as an extension of the home, and with ideas for all seasons, this beautiful and inspiring book is illustrated with glorious photographs and enchanting paintings by the author herself. A book for dipping into or enjoying as one long read, or both.

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