A converted barn and dovecote in the Cotswolds with interiors that feel fresh yet timeless
‘The house spoke a certain language in terms of how it needed to look,’ says designer Nicky Mudie, of this Grade II-listed former barn and dovecote in the Cotswolds. It is a sentiment that we often hear expressed by those undertaking a major restoration, but, as Nicky reminds me, the same should be true of every decorative decision in a historic house. Fortunately, the new owners were more than happy to listen to their 18th-century home, and to their trusted interior designers.
Nicky and her team at Violet & George, the studio she set up in 2009, had not long finished work on the couple’s London flat when they got the call about this new project. After a long search, which covered much of the south of England, their clients completely fell for this converted barn in Gloucestershire. It ticked every country-house box: a sense of character, a large, mature garden (with a guest house and a pool), and an idyllic setting on the edge of a village. Better still, the house was in excellent condition and required no significant changes, which is always good news when somewhere is listed. ‘Our main brief was to stay honest to the building,’ explains Nicky, who worked alongside senior designer Annabel Poole on this project. ‘However, they did want a slightly more contemporary look and feel.’ The challenge, then, was to tread the line between sensitivity and modernity to create interiors that reflected both the owners’ style and the house’s history.
As is so often the case with old houses, particularly conversions like this, the rooms did not lend themselves to off-the-peg modern furniture, which the owners soon realised after some early purchases. Once Nicky and Annabel were on board, they all headed straight to Tetbury – the antiques capital of the Cotswolds – armed with shopping lists specifying item, scale and budget. They came away with a pretty impressive haul. One of their best finds was an 18th-century George III oak and mahogany dresser at Lorfords, which now stands at the centre of the main reception hall.
This soaring, double-height space, which is almost reminiscent of a Tudor or Jacobean Great Hall, was deceptively tricky to manage. The floorplan was restricted by the position of the front door, a framework of beams supporting a gallery-style walkway and the stairs leading up to it. Nicky and Annabel had two sofas made for the formal sitting area in front of the fireplace, used by the owners when entertaining, and positioned the George III dresser as a subtle divider between this and the main thoroughfare. At the other end of the room, beside some existing built-in bookcases, a pair of 19th-century French open armchairs now provide a quiet spot for reading.
The other logistical puzzle was the kitchen. ‘The existing layout was a bit tight, and one of the owners is a really keen chef so it was important to make this space work much better for him,’ explains Nicky. They worked with the joinery specialists at DeVol to come up with a revised configuration that allowed for a larger central island and plenty of surrounding storage. The cabinetry was painted in navy blue at the owners’ request. ‘We then brought in some earthy tones with the terracotta tiles and wooden worktops to tie in with the palette elsewhere,’ says Nicky. Similar tiles line the walls of one of the upstairs bathrooms, serving as the backdrop for a freestanding copper bathtub. Located off one of the spare rooms, it was designed to be a relaxing retreat for guests (and for the owners when they don’t have visitors), with luxurious finishes and a wonderfully warm palette.
The inspiration for the colours throughout the house came from the building and its glorious natural surroundings. ‘We could quite easily have gone bold and colourful, but because the garden is so beautiful, and you’ve got all those beams, it lent itself to a much earthier palette,’ says Nicky. The beams, which are a mix of original timbers and those added during the conversion, are complemented by a spectrum of nature-inspired hues, from moody browns and dusky olives and to warm neutrals and fresh greens. Pattern comes in the form of classic checks, subtle stripes and timeless botanical prints, which look particularly lovely in the light and airy garden room and in the main bedroom on the ground floor.
How lovely it must be to wake up here to views of the walled garden and the rolling fields beyond, and enjoy breakfast outside on a warm summer morning. But on a cold winter’s night, the owners are most likely to be found reading by the fire in the snug study, where the walls and ceiling are drenched in Farrow & Ball’s ‘Salon Drab’ for the most deeply inviting atmosphere. Such is the joy of this house, which already ticked every box in terms of location and character, and now has interiors that offer the perfect retreat at just about every time of year.
Violet & George: violetandgeorge.com
Sarah Griggs1/16An antique sideboard from Lorfords, with a Howe ‘Urn’ lamp in bonajuto brown, stands behind the dining table at one end of the kitchen.
Sarah Griggs2/16A photographic print by Jorma Puranen from the series Shadows and Reflections hangs over the mantelpiece in the study, which is painted in Farrow & Ball’s ‘Salon Drab’. The ‘Filippo’ sofa in truffle velvet and rug were both bought by the owners from Oka.
Sarah Griggs3/16Curtains in Studio Atkinson’s ‘Checkerboard’ fabric in toffee frame a 19th-century burr walnut desk from Lorfords.
Sarah Griggs4/16The main bedroom on the ground floor, which has its own doors onto a quiet courtyard, is lined in Lewis and Wood’s ‘Beech’ wallpaper to enhance the fresh, verdant feel. While the rest of the beams throughout the house were sandblasted to remove any limewash, these were left as they were for a paler, softer look.
Sarah Griggs5/16At the end of the bed is a Salvesen Graham sofa from David Seyfried covered in Rose Uniacke’s hazel cotton velvet. In the corner is a George II English side table that serves as a dressing table.
Sarah Griggs6/16One of the guest bedrooms in the main house has a striking headboard in emerald and plum ‘Cornucopia’ fabric by Flora Soames, which tones with walls painted in ‘Messel’ by Mylands. A 19th-century Chinoiserie trunk is positioned at the end of the bed on Birdie Fortescue’s ‘Villa’ jute rug.
Sarah Griggs7/16The cushions on the bed are in ‘Adamo & Eva’ plain cotton velvet from Dedar (colour 120) and Abigail Borg’s Kappar in sunset ecru. The curtains are in dark green ‘Clouds’ by Josephine Munsey.
Sarah Griggs8/16A 1970s still life from Sweden hangs above a late-17th-century William and Mary pine chest of drawers bought on an early sourcing trip to Tetbury.
Sarah Griggs9/16In the guest bathroom, which is also used by the wife, ‘The Polished Copper Bateau’ bathtub from Cathpole & Rye is set against a wall of zellige tiles in coral from Mandarin Stone. Rowen and Wren’s ‘Clandon’ armchair in rust cotton velvet adds to the luxurious yet comfortable atmosphere. Another Rory Carnegie photograph hangs on the wall painted in Little Greene’s ‘Mochi’.
Sarah Griggs10/16An Anglesey inlaid oak welsh dresser, c1860, was converted into a basin stand with a traditional stone top.
Sarah Griggs11/16‘My Secret Garden’ wallpaper from Boråstapeter is the backdrop for the second guest bedroom upstairs. The cushions are covered in Pierre Frey’s ‘Shabby’ in cigare and ‘Obi’ by Zac + Fox.
Sarah Griggs12/16On the bedside tables are Pooky’s ‘Tinto’ lamps with lampshades from Loving String.
Sarah Griggs13/16The antique dressing table and chair were Lorfords finds.
Sarah Griggs14/16‘Alba’ ocean gloss tiles from Mandarin Stone line the walls of the en-suite shower room. DeVol made the vanity unit, which is painted in
the company’s ‘Wilkes Green’.
Sarah Griggs15/16Chairs from the Burford Garden Co and an Oka table create a peaceful spot for summer dining in the courtyard off the kitchen.
Sarah Griggs16/16The pool house and guest house has exterior woodwork painted in ‘Kittiwake’ by Farrow & Blue for a slightly different look to the main house.
