I’ve just come back from a week in Sweden, so perhaps inevitably I’m still deep in Swedish vintage.

We spent the week following loppis signs, stopping at antique shops and generally pulling over whenever somewhere looked remotely promising. There were plenty of things I would happily have brought home had luggage allowance, boot space and basic common sense not intervened.

And while I was there, I kept noticing the same things: flatweave rugs, painted furniture, really good lighting, pewter everywhere, earthy ceramics, folk pieces and those slightly quirky little objects that always make a room.

So for Vintage Edit Vol. 7, I’ve stayed in Sweden mentally and pulled together more than 50 vintage Swedish finds. There is a lot in this one. Enjoy.

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Rugs

1. Blue Vintage Wool Röllakan Rug by Ingergerd Silow

2. Pink Mid-Century Swedish Kilim Signed C

3. Blue Swedish Runner

4. Swedish Kilim in Tones of Greens

5. Large Swedish Röllakan Vintage Wool Rug

6. Orange 1950’s Swedish Flatweave

7. Brown Scandinavian mid century style flat weave rug

Swedish flatweaves are one of those things that are incredibly easy to bring into a room. You get pattern and colour, but they rarely feel busy, and I love how good they look alongside old furniture, paintings and warmer woods. The slightly faded ones are generally my favourites. I don’t want them looking too perfect. I’d happily put any of these in a room that otherwise had absolutely nothing Scandinavian about it.

Lighting

1. Swedish vintage crocheted textile wall lamp Squiggle

2. Swedish vintage crocheted textile wall lamp Star

3. Hand thrown stoneware lamp base

4. Pair of ceramic Swedish Wall lamps

5. Vintage Michael Andersen 5-Sided Ceramic Lamp

6. Vintage Swedish Brass Wall Sconces

7. Swedish Brass Mirror Sconce

Swedish lighting is excellent. Danish lighting is the chef’s kiss but Swedish comes in right behind. The handmade textile wall lights are probably the most obviously Swedish, a recent discovery for me and they give me Rose Uniacke vibes. If you are a fan on wall sconces I’m building out an edit here.

Ceramics & Glass

1. Swedish folk art ceramic sun wall sculpture

2. 1950s Rörstrand Stoneware Brown Rectangular Bowl

3. Ochre Wisby Sweden Stoneware Vase

4. Antique Brown Stoneware Mixing Bowls

5. 1970s brown mini vase

6. Lisa Larson cat

7. Inger Persson stripe vase

8. Corona Crystal Bowl

9. Ceramic Candelabra

10. Ekeby Vase red handles

11. Lars Bergsten Sweden ceramic bird

12. Glass Mugs by Erik Höglund

13. Vintage Kasper Mobach Studio Ceramic Mug Duo

I’m not particularly interested in collecting a maker simply because I’m told I should. I’m always going to choose the shape, glaze or colour that catches my eye first. And there is a lot catching my eye here.

The browns, ochres and murky greens are particularly good, and I love that slightly heavy, hand-thrown quality you get from so much Swedish studio pottery.

A tiny ceramic bird or a strange little cat amongst more serious things is also exactly my sort of decorating. We had some tiny ceramic birds in the farmhouse I stayed in which I found myself really appreciating.

Pewter & Nickel

1. Vintage Large Round Stainless Steel Egg Cups

2. Pair of Vintage Nickel Silver Small Mugs

3. Serving Tray

4. Scandi Pewter Pedestal Decorative Bowl

5. Pair of Swedish Pewter Candle Holders

6. Pewter Vase

7. Pewter Bowl

8. Pewter Pedestal Dish

9. Set of Four Vintage Pewter Cups

10. Art Deco Swedish Pewter Box

I saw so much pewter and nickel in Sweden. And I’m very into it. I like that duller, softer silver finish, particularly mixed with wood, ceramics and linen. It has enough shine to catch the light without feeling formal in the way highly polished silver sometimes can.

Small Objects

1. Dala horse

2. Swedish Tine Box

3. Antique Tramp Art Box I

4. Antique Tramp Art Box II

5. Antique Tramp Art Box III

6. Stoneware Höganäs oil lamp

7. Herbariums

8. Brass 4-Arm Candelabra

Probably my favourite category. This is where all the things you absolutely do not need live, which, unsurprisingly, tends to be where I have the most fun. Herbariums, Dala horses, carved boxes, candlesticks…..

I saw a couple of tramp boxes in Sweden that are haunting me, I should have got them!

I have a couple of Dala horses for my daughters but I’m always looking out for special ones. I also have one of these “Tine” boxes in my daughters room, I think they are so sweet.

Furniture & Mirrors

1. Antique 19th Century Gustavian Chest

2. 19th Century Swedish Barrel Back Chair

3. Antique Gustavian Trumeau gold mirror

4. Mirror by Ateljé Glas & Trä

5. Milking stool

6. Armoire

7. Mora Clock 19th Century

And then the things I was considerably less able to fit in the car.

Anything Gustavian or folk art instantly says Swedish. Sometimes pieces can creep into the more French “shabby chic” look I am not a fan of but I do think a standalone piece can look incredible mixed with the right styles to keep a modern feel.

One day I would love a Mora clock, they are so much cooler than a grandfather clock. Sweden and Denmark really are, and always have been the best as design.

A few more…

And finally, a few more Swedish finds worth a look: from herbariums and samplers to carved boxes, folk pieces and a very good glass candelabra.

I’ve saved the full Swedish edit — 50+ rugs, lights, ceramics, furniture and little finds — in one place if you’d like to keep digging.

SHOP THE FULL SWEDISH EDIT

Catch up on The Vintage Edit

If you’re new to the series, there are six previous edits to dig into:

Vol. 6: Back to School, for Grown-Ups
Ten ideas for making the place you work feel considerably more inspiring.

Vol. 5: Figure Studies
Vintage drawings and works on paper I’d happily hang in my art collection.

Annalise x

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I’ve just come back from a week in Sweden, which feels like a fairly good way to close out August.

There were loppis signs, antique shops, empty beaches, red timber houses, very long roads and that magical feeling that the next stop might contain exactly the thing I’d travelled there to find. There were also lots of bageri stops for cinnamon buns and Prinsesstårta, obviously.

I’ve sourced Swedish paintings for years and visited Sweden several times, but actually driving through so many of the landscapes I’ve seen painted over and over again felt unexpectedly special.

And now I’m home, slightly more ready for September than I was a week ago although I’m a summer girl so I’ll be clinging on as long as possible to sunshine and longer days. I do love the back to school energy September brings, the shift in season, the gentle reset for the last few months of the year.

August has also been a very busy month on The Trove. So this is your catch-up: the guides, edits, rabbit holes and useful things you might have missed.

Enjoy getting lost.

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THE VINTAGE EDIT

Three new Vintage Edits landed this month.

Vintage Edit Vol. 4 was a straight-up edit of the vintage finds that caught my eye that week — ten particularly good things, plus a few more, vintage is my weakness.

Vintage Edit Vol. 5: Figure Studies went in search of drawings, sketches and works on paper. I love a sanguine sketch.

And Vintage Edit Vol. 6: Back to School, for Grown-Ups was the big one: beautiful workspaces, antique desks, lighting, art in your eyeline and the things you didn’t know you needed like French Art Deco perpetual calendars.

TALES FROM THE STUDIO

This month’s Tales from the Studio was with the ever so talented Blair Moore — a look inside her interiors style, her work and the things that shape her eye. She sent me on a wall plates detour.

ANTIQUING

I also started building out the antiquing series this month.

How to Spot Good Bones at a Flea Market is about the imperfections worth looking past, the damage that should make you walk away, and how I decide whether something is worth taking home.

Then Antique Hunting Is a Sport. Plan Accordingly. gets into the practical side: tickets, timing, dealers, trolleys, payment and how I actually tackle a fair.

If you’ve ever turned up to a fair and immediately realised everyone else seems to know something you don’t, start here.

IBIZA

August also closed out the Ibiza series for the season.

There was The Ibiza Art Recommendations I Send to Everyone, followed by If We Were Planning Your Ibiza Trip Together — essentially the guide I’d send to a friend, with beaches, markets, shops, lunches and the places I keep going back to built on 20+ years of travel to his magical island. The first post of the series was Where I shop for Vintage in Ibiza.

PARIS

And in Paris, I tackled the bit that always gets asked about: How I Bring Vintage Art & Antiques Home from Paris.

It sits alongside the wider Paris series on sourcing, markets, what I take, where I go and what’s actually worth the effort.

BUILDING THE BUSINESS

And finally, a slightly different one: The Business Advice I Wish I’d Ignored — starting with the advice not to bother with a website from day one.

It turned out to be one of the most popular posts of the month, which tells me there may be more appetite for the behind-the-scenes business stuff than I realised.

ANNALISE’S FINDS

I’ve been saving quite a lot this month — jewellery, bags, clothes and a few late-summer pieces that are starting to tip into September.

Some are things I’ve genuinely lived in, some are firmly on the wish list, and some are just very good finds I’d rather not lose track of. Shop my makes my life so much easier than a series of open tabs.

56 things made the August edit.

The one I’ve lived in: The Sezane Cap in Camel

The one on my wish list: Any necklace for Dorsey, Obsessed. The floating necklaces or the Enamel and Moissanite.

Browse August Finds

PACKED FOR SWEDEN

If you’ve been following the trip, I also pulled together What’s in My Suitcase: Sweden Sourcing Edition — the pieces I actually packed for a week of markets, driving, sourcing and family holiday chaos. I got packing cubes for all the family, I find them so useful.

AT HUE

One of the unexpectedly lovely things about Sweden was driving through landscapes I’ve seen in paintings for years.

I’ve sold so many Swedish landscapes without ever having stood in the places these artists were actually looking at. Seeing those colours, that light, the fields, the flat wide landscapes with buildings dotted around for myself has made me love the work even more.

And yes, I picked up quite a few paintings there. More on that coming soon.

New collections are added weekly, and there’s plenty of Swedish work on the way.

Browse New Arrivals

ONE LAST THING

One last thing before I go:

The problem with Sweden is that every hand-painted LOPPIS arrow feels like a personal invitation. There are too many!

Annalise x

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*Some links in this post are affiliate links, which means I may receive a small commission if you make a purchase through them, at no additional cost to you.

Consider this part two of my guide to buying antiques in the wild. Start with How to Spot Good Bones at a Flea Market for the imperfections worth looking past and the damage that might make you walk away.

You spot the temporary Antiques sign at the side of the road. Then the queue forming at the entrance. People are already carrying furniture back to their cars. A full Hulken rolls past. You recognise a dealer you follow on Instagram, then spot a friend disappearing towards the front of the queue…

Once the cars are parked, the pace really changes. Boots slam shut, trolleys are unfolded and people start moving quickly towards the entrance. Full trolleys and empty ones pass in opposite directions as the first pieces begin making their way back to the car park.

There is a buzz to a big antiques fair that is difficult to replicate anywhere else. Thousands of pieces are waiting on the other side of the gate, and everyone entering has a slightly different idea of which is the best, which I LOVE.

This is the joy of both art and vintage. It comes down to your eye, your taste and the thing that stops you when everybody else has walked past.

Large antiques fairs are dealer events too. Professional buyers arrive early, move quickly and make decisions before most people have finished their first coffee. The excitement comes with a genuine sense of urgency.

Antique hunting is a sport. Plan accordingly.

To be clear, none of this is compulsory. If you just want a mooch, arrive later, don’t bring cash and stop for coffee as soon as you get through the gate. You may still find something epic.

There is no universally agreed “best” piece at an antiques fair. What one person walks straight past may be exactly what stops somebody else. You can arrive later and discover an extraordinary painting that hundreds of people have already overlooked.

This isn’t the only way to enjoy an antiques fair. It is simply about giving yourself the widest possible choice when you’re travelling a long way, looking for something specific or taking the hunt seriously.

There is a difference between going to enjoy the fair and going with a job to do. This article is for the second kind of day, that’s what I know best.

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Have a plan

Obvious yet it might seem weird to be making a plan. Having a plan doesn’t mean removing all the spontaneity. The unexpected finds are still going to be there which is the best bit anyway. It simply gives the early, more urgent part of the day some structure. I should add, I’m not a morning person, I need a plan.

Book the right ticket

At many large UK antiques fairs, not all admission tickets offer the same entry time. There may be an early-buyer or trade slot before general admission. If you’re serious about finding something specific, that earlier access can matter far more than the relatively small difference in ticket price. Check the ticket options before the day and make sure you understand when each one allows entry. Then arrive before your entry time, not at it.

Parking, queues and getting yourself organised all take time. If you’ve paid to enter early, you don’t want to spend the first part of that window sitting in a line of cars or searching the boot for your things.

Decide what you’re hunting for

Before an antiques fair, decide what you want to prioritise. That might be vintage art, linen or ironstone, or something far more specific. Choose one priority category and perhaps one or two secondary things to keep an eye out for. There is a lot to see, so this will help you initially keep some focus and pace.

Shop in two loops

I don’t mean completing an enormous leisurely lap before deciding whether to buy anything. The thing you love could be gone long before you make it back. Think of it as two different modes of shopping.

This sounds easy, but its not. You need to be really focussed. The first pass is for the priority dealers and categories. Move quickly. Pay attention to what catches your eye. Look for dealers who specialise in the things you want rather than examining every stand with equal intensity.

You don’t need to look at everything. If something is exceptional, fairly priced and exactly what you’ve been searching for, don’t assume it will wait while you compare every other possibility at the fair.

The joy of art and vintage is that the most valuable piece to you may not be the most obvious or universally desirable. Trust your own eye. But don’t underestimate the number of dealers and experienced buyers making equally quick decisions around you.

Plan how you’re going to cover the fair

A large antiques fair isn’t the place to wander entirely at random – at least not initially. Rows weave into one another, outdoor pitches lead into buildings and it is surprisingly easy to miss an entire edge or convince yourself you’ve already covered an area that you haven’t.

Look at the plan before you arrive or look on Instagram and decide how you’re going to roughly approach it. You might work in a grid, completing each row before moving to the next. Alternatively, you might cover the outer edge first and then work inwards. The exact method matters less than having one.

Avoid constantly weaving between rows whenever something catches your eye in the distance. That is how you lose your sense of direction and miss large sections.

Don’t automatically start at row one

If you love the kind of art and objects I sell, head towards the French, Belgian and other European dealers first. They might have their flags out for styling, it might be number pates or you can spot the vibe is on point.

That is where I would begin, not necessarily with whichever stand happens to be closest to the entrance.

You don’t want to spend the first hour carefully browsing categories that aren’t your priority while the paintings or your priority items you would have bought are leaving from another part of the site.

Once the priority area has been covered, widen the search and begin working through the rest of the fair properly.

Bring the right kit

The more organised you are physically, the more clearly you can think.

An antiques fair is a long series of decision making, and deciding whether you love something enough to bring it home. Being too hot or cold, overloaded, thirsty or unable to pay makes every one of those decisions harder.

I’ve already written a complete guide to what I wear and bring on vintage-art sourcing days], including layers, footwear and everything that lives in my car.

For a serious antiques fair, these are the essentials that affect how you actually shop.

Bring the first coffee with you

Leave home with a full Yeti in the car. If you’ve paid for early entry and arrived before everyone else, don’t waste that advantage by joining the coffee queue as soon as you get through the gate.

You want to be able to plough straight into the fair while the widest selection is still available. The first coffee comes from home. The second comes once the priority areas have been covered, the important pieces are secured and you can finally sit down.

Choose the right trolley

I’m a big fan of a trolley but a trolley changes how long you can shop and how clearly you can continue thinking once you’ve started buying.

Trying to carry several paintings while continuing to browse is exhausting. It occupies your hands, restricts where you can move and makes every subsequent decision more difficult.

A trolley can also be a hindrance, you can’t quickly get in and out of stalls and if you buying you don’t really want to just leave it unattended.

There are three useful options.

A folding trolley

A proper folding trolley is the best option if you expect to buy paintings or heavier pieces. It gives framed works something solid to rest against and allows you to move several purchases without carrying their full weight.

A Hulken

A Hulken offers something slightly different. It folds down, holds an enormous amount (there are 3 sizes) and can carry smaller objects, bags, coats and the miscellaneous things you inevitably accumulate throughout the day.

For ceramics, textiles, tableware and smaller decorative objects, it can be an excellent option. It also keeps your hands free and is far easier than juggling several tote bags.

It isn’t necessarily a direct replacement for a sturdy trolley if you plan to buy multiple large framed paintings. Think honestly about what you are likely to bring home:

• Large paintings or heavier pieces: folding trolley

• Smaller objects, textiles and personal belongings: Hulken

It can be helpful to bring both, trolley for lap 1, and then ditch the trolley for the Hulken, get a coffee, and start lap 2.

Hiring a trolley

If you don’t own a trolley, don’t want to fit one in the car or are visiting from overseas, look at hiring one at the fair. This is really common at fairs now.

Cash isn’t king

I actually hate the phrase “cash is king”. I think it is too often used as a euphemism for keeping transactions off the books, and there is nothing inherently efficient or sensible about carrying large amounts of cash.

Bank transfer is now completely normal at UK antiques fairs, and it is how I prefer to pay. The only persuasive argument for carrying cash is poor signal: banking apps and card machines are no use if neither can connect. So, irritatingly, these fairs still force me to bring some for sellers who insist on it or when technology fails.

Cards may be accepted, but they shouldn’t be your only plan.

Plan how purchases are getting home

Before paying for something large, establish what happens next. Will it fit in the car? Can the dealer hold it while you continue shopping? Is delivery available? Transport forms part of the real cost of a piece. I don’t think you need to worry about where its going to go exactly, but you do need a plan to get it there.

Negotiate, but know when not to

Negotiating at UK antiques fairs is common and generally expected. Ask politely whether there is any movement on the price, particularly if you’re buying more than one piece. Dealers have invested time and money in buying their stock, transporting it and setting up their stand, so the aim isn’t to dismantle their margin.

Cash may make a transaction quicker, but it doesn’t automatically entitle you to a discount.

Timing can matter. At the beginning of a fair, a dealer has the entire event ahead of them. Later, the prospect of packing everything up and taking it home may create more flexibility.

But if you’ve found something exceptional, don’t lose it over a tiny saving. Would you be more annoyed about paying the full price or watching somebody else carry it towards the car park? Ask politely, then accept the answer graciously.

Keep track of where you’ve been

At a large fair, every row starts to look remarkably similar. If you want to consider a piece, record the dealer’s name, pitch number, price and enough detail to find it again. But always ask permission before taking photographs. Dealers can be surprisingly touchy and negative about photography, so best not to assume it is acceptable to photograph their stock or entire stand.

Collect dealers, not just things

If you like the overall feel of a stand, ask for the dealer’s card. The exact painting or object in front of you may not be right, but a dealer with an eye you respond to is worth remembering.

Ask whether they sell elsewhere, have a shop or website, attend other fairs, or share new stock on Instagram. Follow them while you’re standing there if you can.

It is also worth asking: Do you have anything else in your van?

A good antiques fair isn’t only an opportunity to find individual pieces. It is a chance to discover dealers you may buy from for years. Sometimes the most valuable thing you bring home isn’t the object. It is the source.

The second loop: coffee and the proper wander

Once the priority areas have been covered and the important pieces are secured, slow down. This is when the fair becomes properly enjoyable. It might be a good time to return the trolley or switch to the Hulken.

Get a coffee. Eat something. Look at what you’ve bought and work out what still needs collecting.

Then return to the stands you wanted to reconsider and begin the slower, more systematic wander. Talk to dealers. Look at the categories that weren’t on your list. Consider the wonderfully unnecessary thing you had no intention of buying. A plan helps you find what you came for. The second pass is where you find everything else.

Antique hunting doesn’t need to be approached like a competitive event every time. You can turn up late, wander slowly and still find the painting everybody else somehow missed. But if you’re travelling a long way, looking for something specific or want the widest possible choice, preparation matters.

Have a plan. Bring the right kit. Shop in two loops. Then leave enough room in the car for the thing you never expected to find.

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There is something about the end of the summer holidays that makes me want to buy stationery and zhuzh up my desk.

A new notebook, a good pen, a clear desk (joking, as if) and jump on that back to school energy and reset for the last few moths of the year.

We spend so much time thinking about the art over the sofa, in kitchens and bedrooms, and then somehow easily accept a blank wall, a basic bin and an array of cables when it comes to the place we sit for hours every day to work.

So this Vintage Edit is a little different. It is partly about the things I would put on a desk, but mostly about what happens around one: the paintings you see when you look up, the books within reach, the furniture you actually want to sit at and the useful things that can still be beautiful. As ever, there is plenty of vintage here, with a few new pieces where I think they earn their place.

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Lets start with the art.

1. Give yourself something worth looking up at

The first thing I would do is sit at your desk and look up. Not at the wall from the doorway. Not at the room as a whole. Actually sit where you work and notice what is in your eyeline.

A painting above a desk does not have to be enormous to make a difference. In fact, I often think smaller works are especially good here because you are viewing them at close range. A landscape, still life or portrait that might disappear on a large wall can feel completely right.

I love this set up by Charlotte Boundy, a great example of stacked paintings and those corbels with vintage vases, oof! If you are ever struggling with the layout of your art, you might find my guide useful: 10 Art Layouts That Always Work

A little landscape or still life with a good frame would be ideal, whatever subject talks to you is best.

Shop: The Village Landscape, Sunlit Street Landscape, Echoes of Nature Abstract, Vessels + Lemons Still Life

2. Start with a proper desk

I would nearly always choose an old desk over something that looks specifically like office furniture.

An antique bureau immediately makes a workspace feel as though it belongs to the house rather than having been installed for work. I also like the fact that they are rarely perfect. Somebody else has already sat there and filled it with papers.

And if you do not have a dedicated study, an old writing desk can be beautiful enough to sit happily in a bedroom, sitting room or hallway without announcing itself as “the office”. I love this example by the very talented Carlos Garcia, this set up is in a bedroom.

This George II-style burr walnut bureau is stunning, a key is always such a bonus. Its at the spenny end, whereas the Solid Oak Jacobean Revival Bureau below is such good value and I love how much character it has.

Shop: Oak George III bureau, Victorian burr-walnut desk with bobbin legs, Solid Oak Jacobean Revival Bureau

3. The chair does not need to look like an office chair

Obviously, if you spend eight hours a day at a computer, comfort matters. But there is quite a large middle ground between an uncompromising antique dining chair and a giant black ergonomic chair.

I particularly like old swivel chairs, caned chairs and upholstered desk chairs because they give you some practicality without making the room look corporate. And if your desk is somewhere visible in the house, the chair becomes part of the room whether you intend it to or not.

The only non vintage chair I’m sharing is Daisy Home Office Upholstered Desk Chair which is rather clever. You can pick any fabric and the wonderful The House Upstairs will make you your dream chair. These are on my wishlist.

Shop: Antique Edwardian Cane Chair, Edwardian oak swivel chair, Giroflex chair, upholstered desk chair, Dos Gallos Custom Caned Seat Bobbin Chair, Two Mid Century Ward Bennett For Brickel Assoc. Caned Desk Chairs.

4. Good lighting makes the desk feel like a destination

A lamp is one of those things that can change a desk disproportionately. Good lighting is everything in interiors, its up there with art. It creates its own little pool of light, which is especially good once September starts getting darker, but it also gives the desk height and shape even when it is switched off. I would look for something with a bit of personality rather than simply buying the most discreet task light possible.

There are several strong ones in your edit: the little French enamel-and-brass desk lamp, the Bauhaus light and the vintage Anglepoise all feel right.

Shop: French enamel desk lamp, Bauhaus lamp, vintage Anglepoise, Art Deco desk lamp, 1960s Brass German Desk Light, 1920s Art Deco Wooden Lamp, Antique Onyx Marble Lamp

5. Books are decoration too

Books bring colour, height and personality, and they also make a desk feel like somewhere to think rather than simply somewhere to answer emails.

A few books stacked underneath a lamp or at the edge of the desk are often enough. I love books stacked on a chair too like the cane chair I shared above.

For this edit I have been looking at books about interiors, artists and the spaces creative people work in, essentially the grown-up equivalent of a new set of school books.

Shop: Rose Uniacke at Work, Ateliers of Europe, The Bible of British Taste, British Designers at Home, Homing Instinct, How to Live an Artful Life

6. Use old things for new jobs

Some of my favourite desk accessories were never intended to be desk accessories at all. A silver cup becomes a pencil pot. An old inkstand can sit beside a laptop. A small tray catches keys, stamps and all the other things that otherwise migrate across the desk. This is also one of the easiest ways to bring vintage into a workspace without buying another piece of furniture.

Look in the wrong categories when you are searching. Antique tea caddies, cups, boxes and small vases are often far more interesting than anything sold as a “desk organiser”.

Shop: onyx pen holder, silver inkstand, vintage wooden box with lid, vintage paper pencil pot

7. Make the boring things beautiful

The wastepaper basket is an excellent example. Nobody needs a beautiful bin, obviously, and yet once you have noticed the ugly one under your desk it becomes remarkably difficult to unsee.

Wicker, old wood, painted metal, Florentine gilt — there are so many better possibilities. I think French wicker works in every room.

I am very into this Walnut and Burr option. I spotted its a Bath seller too. I am intrigued…. I also found this very pretty Florentine example.

For new, Oka has a great range, Matilda Goad has a chic bathroom option, and I find searching “planters” also quite helpful.

Shop: Florentine wastepaper basket, burr-walnut wastepaper bin, wicker basket

8. Give the paperwork somewhere to go

Even the most beautiful desk starts looking fairly ordinary once the paperwork arrives.

A proper letter rack or tray is therefore not the most glamorous thing in this edit, but possibly one of the most useful. I particularly like old wooden ones because they have enough character to sit out permanently. They also work for notebooks, postcards, envelopes and all the little pieces of paper that somehow multiply when nobody is looking.

And if you are somebody who works visually and loves to moodboard, a memo board is another good option. Pin photographs, fabric samples, postcards, notes and things you want to remember rather than hiding everything in another folder on your computer.

Shop: antique oak letter rack, vintage cork memo board, Bamboo desk tidy.

9. Bring back the slightly unnecessary desk object

This may be my favourite category. Paperweights. Perpetual calendars. Inkstands. Blotters.

Objects we managed perfectly well without for years and then suddenly become convinced we need the moment we see a beautiful old one. There is something very pleasingly analogue about them in a workspace dominated by screens.

I particularly like a perpetual desk calendar because it feels so completely back-to-school: turn the little wheels, begin again, convince yourself this will be the organised year.

A blotter is another wonderfully old-fashioned addition and useful if you write by hand.

Shop: Metal and Alabaster perpetual calendar, Bauhaus perpetual calendar, green leather blotter, granite paperweight, green marble paperweight

10. It should still look like somewhere you work

The rooms I am most attracted to are rarely the pristine ones. They have books open, pencils sticking out of pots, pictures leaning against walls and evidence of whatever the person who sits there actually does. So I would not take any of this as an invitation to style your desk within an inch of its life.

The point is simply that the place where you work deserves the same thought as the rest of your home. Hang something you love where you can see it. Find an old desk rather than the obvious new one. Replace one ugly practical thing with a beautiful version. Put the books you actually use within reach.

And perhaps buy the ridiculous perpetual calendar.

The grown-up pencil case

The only non vintage section. A good notebook. A proper pen. Somewhere for the paperwork to go. I’ve tried to keep this part of the edit practical, but still beautiful enough that none of it needs to be hidden away. The marbled Giannini notebook is particularly good, and I love the patterned Oka box files (I think I have 15 so far at home) and Nina Campbell letter trays for making the less glamorous business of paperwork look considerably better.

For notebooks, to splurge I like Anya Hindmarch the bespoke leather A5 journal, the Smythson 2027 Soho weekly diary (I use the 2026 version), and the simple Emshoi dotted notebook for something basic. The Anya Hindmarch bespoke bookmark is a slightly unnecessary extra, which is perhaps why I like it.

Consider this the adult version of buying a new pencil case before term starts.

BROWSE THE FULL BACK TO SCHOOL EDIT

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I buy predominantly oil paintings for Hue + Holasz, but I’ve always had a soft spot for a good figure study. And I am quite picky about them. There are a lot of vintage life drawings out there, but when there’s very little on the page, there’s nowhere for a weak line to hide.

I’m usually drawn to the looser ones with a confident line, an interesting pose, a sense of movement. I don’t need them to be highly finished. Sometimes a few really good marks are enough.

Figure drawing has been fundamental to artists’ practice for centuries, which is one reason there are so many studies still around today. Many weren’t necessarily intended as finished artworks at all, and I think that immediacy is part of their appeal.

Nudes do seem to find their way naturally into bedrooms and bathrooms, perhaps because they feel a little more intimate, but honestly I think they can work anywhere. I’ve heard that displaying nudes in living spaces is less common in the US, but here in the UK you’re unlikely to raise any eyebrows by hanging one in a living room, kitchen or dining room. I certainly wouldn’t restrict them to the bedroom. If the drawing is good, I’d hang it wherever it works.

For my Vintage Edit Vol. 5, I’ve pulled together ten of the figure studies currently catching my eye, from sanguine and charcoal to ink, pencil and wash.

If you missed Vol. 4, from crewelwork cushions and Brutalist mirrors to Murano lighting, you can catch up here.

We’re starting with one of the more expensive ones. There are plenty of much more affordable finds to come.

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1. Aristide Maillol, Standing Female Nude

This is exactly the sort of figure study that stops me. There’s so little to it, but the line is incredibly confident. I love the elongated pose and, of course, the sanguine against that beautifully aged paper. Obsessed with hessian mounts.

2. Paul Hannaux, Pensive Nude

Another sanguine, but completely different. This is much more worked, with more detail in the face and body, while still retaining that lovely looseness you want from a study.

You’ll notice quite a lot of red in this edit. Sanguine — that lovely rusty-red drawing medium — is a particular weakness of mine. It has been used by artists for centuries, particularly for figure drawing, and I love the warmth of it against old cream paper.

3. Reclining Nude in Charcoal & Chalk

A completely different feel. Charcoal can have so much more weight and depth than a simple line drawing, and I particularly love the combination here with the blue-grey paper.

This French sketch by Edmond Vales is available from Hue + Holasz and is already framed — proof, too, that works on paper can have just as much presence on a wall as an oil painting.

4. Paul Hannaux, Sitting Nude II

This is much more what I think of when I picture an artist working quickly in a life-drawing session. Loose, gestural and not overly resolved.

I love seeing the marks the artist has left behind. A drawing doesn’t need to be perfect to be good — often those slightly unfinished qualities are exactly what make me want it.

5. John Begg, Pair of Drawn Figures

Something altogether more Modernist. I love how far you can move away from a traditional life drawing and still immediately read the human form.

The black wash gives this one so much presence. I’d happily hang something like this amongst much older, more traditional oil paintings.

Mixing Drawings With Paintings

That is actually one of my favourite ways to live with figure studies.

I don’t think they need to be grouped together as “nude art”. I much prefer a drawing tucked amongst landscapes, portraits, still lifes and abstracts.

Works on paper give a wall a little breathing space. The paper and finer lines contrast beautifully with the colour and texture of oil paintings and can stop a collection feeling too coordinated.

I wouldn’t worry about matching periods, mediums or frames. The pieces just need to work well together.

6. E.P. Clapholt, Angles of the Nude Model

I love having two figures here rather than one. It feels very much like a studio drawing — the artist looking at the same body from different angles and working through the form on paper.

7. Jennings Tofel, 1950s Line Contour Drawing

The blue is what immediately caught my eye here. It feels almost abstract at first glance and shows how graphic a simple figure drawing can be.

It’s also already framed with plenty of space around the work, which is exactly how I like smaller drawings to be treated. I love the modernist look and the blue against the silver frame.

8. Jean Chapin, Female Figure, 1930s

Another wonderfully loose one. I like that this still feels like something pulled from an artist’s sketchbook rather than a drawing that was necessarily made to be displayed.

There’s enough information to capture the pose without the artist feeling the need to finish every part of the figure.

9. British Nude Sketch

Another from Hue + Holasz, and a good example of why I try to look at the artwork before anything else.

When you’re hunting online, mentally take away the frame and mount and ask yourself whether you’d still want the drawing if it were sitting loose on a table. Framing can always be changed.

I love giving small figure studies a generous mount. It allows something quite tiny to take up much more space on a wall.

10. V. Prado, Pair of Modernist Figurative Drawings

And finally, a pair. I love buying works on paper like this together — particularly when the drawings relate to one another without being identical.

They’d be lovely hung one above the other exactly as they are here, or split up and worked into a larger collection.

If I were buying…

If money were no object, I’d take the Maillol. For something I could very happily live with without spending quite so much, the Vales would be coming home with me. And Hannaux Pen and Ink is probably the gem of the edit, the one I think could look considerably more expensive with the right framing.

A Note on Glass

Unlike my oil paintings, this is one category where I generally do want glass. Works on paper are more vulnerable to light, moisture and handling, so glazing helps protect them. If I were reframing a particularly good piece, I’d consider UV-protective glazing and appropriate mounting too. The quality of the glazing really does make a difference and reduces the reflection. Aesthetically, I also really like a glazed drawing mixed amongst unglazed oils. Yet another change in texture.

A Few More…

I’ve saved 23 figure studies currently available online in the full edit — from sanguine and charcoal to ink, pencil and wash.

BROWSE THE FULL FIGURE STUDY EDIT

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*Some links in this post are affiliate links, which means I may receive a small commission if you make a purchase through them, at no additional cost to you.

This is the third and final instalment of my Ibiza series for the season — a broader edit of the island, covering where I stay, eat, shop, swim and spend my time.

I’ve also written two dedicated guides that go into far more detail on art and vintage: The Ibiza Art Recommendations I Send Everyone, and Where I Shop for Vintage in Ibiza.

I met a lovely woman called Alex recently who’d just moved from Ibiza to Bruton. When I told her Ibiza was one of my favourite places, she laughed and said, “Its everyone’s favourite place” to which I replied “Fair”. If you’ve been, its probably your favourite too. I’ve been coming to the island for over 20 years and its somewhere I love even more after each visit.

If I included every place I’ve saved over the past 20 years, this guide would be impossible to read. So I’ve done what I always do, edited. These are simply the places I’d tell a friend to start with.

Alex recently asked me for my favourite place on the island, and I couldn’t answer immediately — how do you narrow an entire island down to just one place? But after thinking about it, the answer came to me: my friend Patricia’s boathouse on the east coast, near Pou des Lleó.

It has been in her family for more than a hundred years and, to me, it is the dream Ibiza setting: a little boathouse with a terrace and its own private cove. You can order paella from the restaurant next door and carry it down to eat by the water on the terrace. Dream days.

If you want to get into the spirit of the island before you go — or bring a little of it home afterwards — two books I love are Made in Ibiza, which steps inside some of the island’s most characterful homes, and Ibiza Bohemia, a beautiful celebration of the people, interiors and free-spirited way of life that have shaped Ibiza.

I’ve saved more than 50 of my Ibiza recommendations — including the places featured across my art and vintage guides to my Ibiza Good Maps, so you can keep everything to hand while you’re on the island.

Before You Go

There are things I’d tell anyone planning an Ibiza trip.

Firstly, don’t panic if you find yourself on a party flight. If you’re not going to Ibiza to party and end up surrounded by hens and stags already going hard, I appreciate it can be slightly alarming. Fear not: most of them are heading straight to San Antonio or Playa d’en Bossa — and chances are, you won’t be.

Skip July and August if you can. The island really shines in the shoulder seasons: restaurants feel more relaxed, the roads are quieter and parking is considerably easier. You’ll need to drive to reach many of Ibiza’s best beaches, so being able to find a space without endlessly circling makes a real difference.

Hire a car. For me, it’s essential. Taxis and Uber are available, but the joy of Ibiza is deciding on a whim to leave one beach, stop for lunch somewhere remote, browse a beautiful shop and head somewhere completely different for sunset.

Whatever you do, don't forget the bug spray. The mosquitos are relentless in Ibiza. I swear by this tiny roll on and I love that it fits in a tiny evening bag.

If you’re interested in art and planning a summer trip, check the dates for CAN Art Fair Ibiza before you book. If your plans are flexible, it’s well worth timing your visit to coincide with it.

The full guide — including more than 50 recommendations and my saveable Ibiza Google Maps, is for paid subscribers. I enable free trials on most paid posts, including this one, so you can explore everything before deciding whether to stay.

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This autumn marks one year since I rebranded the business as Hue and five and a half years since I started it altogether. So over the next little while, I’m sharing a few of the things I’ve learned along the way: what I’d do again, what I’d do sooner, and what I’d probably do very differently. First up: the website.

I ran my business for the best part of five years without one. You absolutely can start a business without a website. I did. But if I were starting again tomorrow, it would be one of the first things I built.

There is a piece of small-business advice I see all the time on Instagram: you don’t need a website when you’re starting out. And technically, that’s true. I ran my business for the best part of five years without one.

For much of that time, I sold through Etsy and Instagram, and Etsy was incredibly successful for me. It gave me somewhere to sell, brought customers to the business (especially from the US and US designers) and allowed me to get going without having to build an entire e-commerce operation alongside everything else.

I was selling at the tail end of covid when Instagram businesses were booming. Paintings would sell in minutes on my Instagram, it was a lot of fun and there was so much buzz on the platform for buying in that way.

So there wasn’t really a moment where I thought: this is broken, I urgently need a website. In fact, I think that was partly the problem. Something was working extremely well, so I didn’t feel the urgency to build the thing that would support the next stage of the business. Looking back now, there are a number of reasons I wish I had done it much, much sooner.

1. I would have started building my mailing list from day one

This is probably the biggest one. For years, people discovered the business, bought paintings, followed along and then potentially disappeared again.

I had social followers. I had Etsy customers. What I didn’t have was a proper, growing email list of people who had actively asked to hear from me.

Now, email is a huge part of how the business works. I have The Palette for the shop and The Trove on Substack, and I understand the value of being able to speak directly to people who actually want to hear from me.

If I could rewind, I would have had an email sign-up sitting on a simple website from the very beginning.

Even if hardly anyone joined at first. I now have five years to catch up on.

2. I would have given Google much longer to work out who I was

SEO is one of those things that can feel completely irrelevant when you’re starting out.

You’re trying to find stock, pack orders, post on Instagram and work out whether anyone actually wants what you’re selling. Your domain rating is not exactly keeping you awake at night. But websites need time and SEO is complex.

Google needs time to understand what your business is about. Your domain rating constantly builds history and credibility. Other websites start linking to you, backlinks literally make you do a happy dance. Your name begins to appear in more places. Your hard work for investing time in the nerdy side of a business, pays off.

And connected to all of that is also Pinterest. The platform that almost tricks us into thinking its all just beautiful imagery and mood boarding can actually work quite hard for you as a small buisinesss owner.

These platforms work far better when you actually have somewhere for them to send people consistently and they are all connected.

3. I would have had somewhere to write

This one has become increasingly important to me. There are so many things I want to talk about that simply don’t fit into an Instagram caption.

Artists. Sourcing. Hanging art. Places I visit. Interiors. The way I buy. The things I notice after years of looking at paintings. A website gave me somewhere to start putting some of that down properly when I launched The Palette.

I now also have The Trove on Substack, which has become my favourite place for writing, but I still think there is huge value in having articles sitting within the website itself.

If you have knowledge around what you sell, a website gives that knowledge somewhere to live and a way of new people to find you.

4. It unlocked a much better shopping set-up across Instagram and Facebook

This one really bugged me. I researched so many times how to make this work with Etsy but couldn’t crack it.

Once I had the website, I could connect the shop properly into Meta, create product feeds and make the relationship between the things I was showing on socials and the things people could actually buy much more seamless. This is brilliant for people who want a little more info but don’t want to leave the app.

If social media is an important part of how people discover your products, having the infrastructure sitting behind it matters.

5. Etsy was brilliant for sales. It wasn’t the same thing as having my own website.

Etsy was hugely important to the early years of my business, and its success is one of the reasons I delayed building a website in the first place. There came a point when I realised that an Etsy shop and your own website do two completely different jobs.

An Etsy shop tells somebody what you have for sale. Your website can tell somebody who you are.

That matters when a journalist looks you up. When an interior designer wants to know whether you work with trade. When somebody hears your name from a friend. When a potential collaborator wants to understand the business.

Sending somebody to your own website simply carries a different weight. I wish I had understood that sooner. A website adds far more creditability and professionalism.

6. It gave me room to explain the whole business

This became increasingly important as the business grew.

Alongside beautiful vintage art, there are trade accounts, Studio visits, Art Hire, Wedding Lists. Different ways people can work with or buy from the business.

A marketplace is understandably built around products. A website gives you space to explain everything else. And you may not have all of those things on day one, I certainly didn’t. Your website can grow as the business grows.

7. I could offer things like gift cards

This sounds like a relatively small point, but it is exactly the sort of thing I hadn’t thought about when I was relying entirely on a marketplace. Etsy doesn’t have functionality for gift cards.

Once you are running your own shop, you have far more freedom over what you offer and how you offer it.

There will be other things for different businesses such as services, bundles, private appointments, deposits, events, memberships, pre-orders. You are no longer trying to fit the entire business into the structure of somebody else’s selling platform.

8. And yes, websites can be expensive

I know they are really expensive. Kind of crazy expensive. I am not suggesting that somebody who has just found or made their first product should immediately commission a huge custom website costing tens of thousands of pounds.

I built mine largely myself, with help from Lissy at Sister Studio. And I am not going to pretend it was easy. It was a beast. There were many, many, moments when I wondered why on earth I had decided I could do it. But I did and I am proud of it.

I think far more small-business owners could build a simple first version themselves than they perhaps realise.

It does not need to be the website you hope to have in five years. It just needs to exist, function, and look reasonably good.

You need the basics: A homepage, somewhere to buy, somewhere to join your mailing list, somewhere to explain what you do, somewhere Google can begin to find you. You can improve it later and you almost certainly will. Its always a work in progress.

If I were starting again

I wouldn’t build the website I have now on day one. The business I have now didn’t exist on day one. But I would build a website on day one.

I spent years proving that you can build a successful business without one. And I still wouldn’t recommend doing it the way I did.

This is just one of the things I see very differently five and a half years into running the business. As we come up to a year since the rebrand in October, I’m going to be sharing more of the things I’ve learnt along the way.

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Buying vintage art in Paris is the fun part. Getting it home requires a little more planning.

This is the fourth article in my Paris series. If you’re planning your own trip, I’d recommend starting with My Paris Black Book, where I’ve gathered together the cafés, restaurants, hotels and galleries I loved on my latest trip, followed by The Paris Antiques Markets Everyone Talks About, my guide to the city’s best-known antiques markets and what they’re actually like to shop.

I’ve also shared What I Pack for Buying Vintage Art & Antiques in Paris, covering the luggage, practical kit and apps I never travel without. In that post, I deliberately left the logistics of actually getting your purchases home for a guide of their own.

This is that guide. There isn’t one right way to do it. It depends on what you’re buying, how much you’re buying, the kind of sourcing trip you’re taking and, of course, where home is.

So, this is the practical bit: Eurostar versus flying or driving, suitcases versus shipping, professional couriers, customs and everything I think about when getting vintage art safely from Paris to home.

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Decide What Kind of Sourcing Trip You’re Taking

Before you start thinking about luggage, think about the kind of sourcing trip you actually want to do.

A weekend in Paris visiting antique shops and a couple of markets is very different from travelling specifically for one of the larger fairs. And different again from a serious sourcing trip where Paris is only one stop on a longer route through France. It also depends on whether sourcing is the entire purpose of the trip. If you’re adding a morning at the markets onto an otherwise lovely weekend in Paris, you probably don’t want to arrive with three empty suitcases and a trolley. If you’re travelling specifically to buy, you can plan very differently.

I try to work backwards from what I’m hoping to do. Where am I buying? What am I realistically likely to find there? How much might I buy? And, crucially, how am I going to get it home? You obviously can’t predict what you’ll find and that’s half the fun, but knowing your options before you arrive makes buying considerably easier.

Think About Your Accommodation Too

If you’re travelling specifically to source, where you stay becomes fairly practical. A hotel has some real advantages. A good concierge can help with things like arranging taxis, contacting couriers or dealing with collections. Luggage storage can also be invaluable if you’re planning to source on your final day, and there’s something to be said for being able to leave behind the inevitable mountain of discarded cardboard and bubble wrap.

An apartment can give you considerably more space to spread everything out, keep purchases organised and pack properly, as well as giving you more of that lovely neighbourhood feel. The downside is that you’re generally on your own when it comes to logistics, and always carry some risk of last-minute cancellations.

Whichever you choose, check the lift situation. Paris is full of beautiful old buildings with beautiful old staircases that become considerably less charming when you’re carrying a stack of framed paintings down them.

Eurostar, Flying or Driving?

For me, this depends entirely on the trip and where you are based. I live in Bath, so flying to Paris might seem like the obvious option, but when I’m travelling specifically to source, I prefer travelling via London and taking the Eurostar. It makes the overall journey slightly longer, but the generous luggage allowance makes bringing paintings home considerably more straightforward.

Eurostar passengers between London and Paris can take two pieces of luggage up to 85cm long plus one piece of hand luggage, with no weight limit. Yes, you read that right! The catch, of course, is that you need to be able to carry it all yourself. That last point matters. There’s no benefit in technically being allowed several cases if you can’t physically get them through Gare du Nord.

Flying can absolutely work too, particularly if Paris is part of a wider trip or you’re travelling from somewhere where Eurostar doesn’t make sense. Just know your airline’s baggage dimensions and weight limits and, importantly, the cost of adding extra luggage before you leave.

I covered my suitcase system properly in What I Pack for Buying Vintage Art & Antiques in Paris, nesting suitcases on the way out, moving clothes into a fold flat duffle on the way home and making as much room as possible for art. That guide also covers the bubble wrap, low-noise tape, luggage scales and other kit I take with me.

When Driving Makes More Sense

If you’re planning a more serious buying trip, particularly one where Paris is only one stop on a longer route through France, driving can completely change the equation. A car or van gives you much more freedom with scale and quantity and makes far more sense if you’re buying furniture, large frames or simply a significant volume.

It also changes what you can take with you. If I were driving to a large fair, I’d happily put a proper folding trolley plus the Hulken in the car. They’re invaluable when you’re buying multiple or bulky pieces and can’t simply keep returning to the car.

Shipping Containers

If you’re travelling from further afield, particularly the US, you may be coming to France specifically to buy enough to consolidate and ship home by container. It’s something serious buyers and dealers do, particularly when sourcing larger antiques and furniture. Buying with consolidated international freight in mind changes your approach to planning your trip.

If You’re Using Suitcases, Pack As You Go

This is probably one of my biggest practical tips. Don’t wait until the final night to find out whether everything fits. If I’m bringing paintings home in my luggage, I start arranging and packing what I’ve bought as I go. Each evening, I can see how much space I have left, whether I’m getting close to my weight allowance if I’m flying and, importantly, what I can realistically still buy.

This becomes particularly important if you’re sourcing on the last day of your trip. You don’t want to be standing in a market looking at a painting you love with absolutely no idea whether it will fit into your luggage, and a train or flight to catch a few hours later.

By that point, I want to know roughly how much space I have left and the maximum size of anything else I can realistically take home. It’s another reason a tape measure permanently lives in my bag.

Paintings also rarely pack as neatly as you imagine. Frames are awkward. Glass needs protecting. A few centimetres matter. Several smaller pieces can sometimes take up more usable space than one larger painting. I’d much rather spend ten minutes rearranging things each evening than discover on the final morning that I’ve bought more than I can physically take home.

Know When the Suitcase Has Lost

There comes a point where trying to squeeze one more painting into your luggage becomes a false economy.

A small framed oil is one thing. A large glazed work, an elaborate antique frame or ten paintings is quite another. That’s when professional shipping starts to make much more sense. Quite often the best solution is actually a combination of both: bring the straightforward pieces home yourself and ship the awkward ones.

And remember that the price you paid for the painting isn’t necessarily the true cost of buying it. If something is going to cost considerably more to pack and ship than you expected, you want to know that before you commit.

Don’t Rely on Finding a Courier Later

Professional shipping can make sourcing incredibly easy, if you know it’s available. At some of the larger established fairs and markets, you’ll find professional packers, porters and shipping companies working on site. You can buy something larger than you planned, arrange for it to be packed and shipped and carry on sourcing.

Ask dealers too. They sell internationally all the time and will often be able to tell you who they use. But don’t assume this is how every market works. At a smaller neighbourhood market, antique shop or brocante, there may be nobody there to help. A dealer might be able to recommend someone, but I certainly wouldn’t want to be relying on finding, booking and arranging a courier from scratch on the final afternoon of my trip.

This is another reason to think about the order of your sourcing. If I know professional shipping is readily available at a particular fair, I can be much more relaxed about buying something that won’t fit into my luggage. If I’m sourcing at a small market on the morning I’m travelling home, my buying decisions are going to be very different. Know your exit plan before you buy.

The rest of this guide is for paid subscribers.

Below, I’m sharing the shipping companies I actually use to get paintings home from Paris, the other specialist art and antiques shippers worth knowing, plus the customs rules and official resources for bringing your purchases home to the UK or US.

You’ll also find:

• the two shipping companies I’ve personally used;

• specialist shippers based at the Paris antiques markets;

• an option for sending excess luggage home;

• the UK customs rules for personal and commercial purchases;

• where to find the current US customs guidance; and

• how I keep track of purchases and paperwork while I’m sourcing.

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My saved folder has been filling up again, so it’s time for another Vintage Edit.

Here are ten vintage finds that have caught my eye recently — lighting, textiles, decorative pieces and whatever else has stopped me scrolling.

If you missed the previous edits, you can catch up with The Vintage Edit Vol. 3 here.

Here’s what caught my eye this week.

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1. Vintage French Art Deco Ceramic Hook

I love finding beautiful versions of really ordinary things, and this little French ceramic robe hook is exactly that. It’s Art Deco, wonderfully sculptural and would make even the back of a bathroom door feel special. Rita Konig shared these in her first Create Academy course as part of her signature look and they are really quite chic.

I also found this 1930s French wood and metal hook rack if you need something a little more practical, proof that even coat hooks can be worth buying vintage.

2. Antique English Crewelwork Cushions

Crewelwork is one of those things I keep noticing more and more. I love the slightly faded colours and intricate hand embroidery on this pair, an easy way to bring pattern into a room without it feeling too polished or new.

They’d be beautiful thrown onto a plain linen sofa, armchair or bed. They actually really made me think of ’s home and I love how colourful her home is yet it shows restraint.

3. Large Carved Oak Brutalist Mirror

This is such a good mirror. The chunky carved oak frame has that wonderfully primitive, it has a Brutalist quality I’m loving, and I love how much character it has without being overly decorative.

I also spotted this pair of Brutalist wrought-iron candlesticks, which would bring the same slightly rough, sculptural quality to a table or mantel.

And while we’re talking mirrors, I loved this little classic antique shaving mirror with a shelf, completely different in scale and style.

4. Antique French Blue & White Plate

You know I can’t resist a good plate. This 18th-century French example has the prettiest hand-painted blue decoration and would be beautiful hung on its own or worked into a larger gallery wall of paintings and ceramics.

I also saved this hand-painted Algarve folk-art plate and this little studio pottery honey pot — always a weakness for ceramics.

5. Early 20th-Century Japanese Furoshiki

I’m always looking for things that weren’t necessarily intended as art but could be treated as it. This early 20th-century Japanese furoshiki would look incredible hung on the wall or framed behind glass.

The same goes for vintage silk scarves. I found this Richard Allan Art Deco scarf too, which has such a brilliant geometric pattern. Textiles are definitely worth adding to your search list if you’re looking for something interesting to put on a wall.

I’ve saved a whole edit of scarves I’d happily put in a frame, and there are plenty more ideas like this in my Vintage Finds Worth Framing post.

6. Antique Architectural Pediment

Architectural salvage is such a good hunting ground for unusual decorative pieces. I love this old carved wooden pediment — originally an architectural detail, but now I’d hang it above a doorway, bed or console almost like a piece of sculpture.

I also found this beautifully weathered antique wooden plinth. Neither has to be used for its original purpose, which is half the fun.

7. 19th-Century Japonisme Bamboo Newspaper Rack

Bamboo furniture is everywhere again, but I particularly love the genuinely old pieces. This 19th-century Japonisme newspaper rack has so much character — and is useful enough to justify itself too.

For a smaller hit of bamboo, I also found this vintage bamboo desk tidy, which would be very pretty filled with letters, notebooks or postcards.

8. Italian Green Onyx Jewellery Box

This little Italian green onyx jewellery box is completely charming — the colour, tiny brass feet (so into feet on anything decorative) and satisfyingly unnecessary fanciness of it all. Exactly the sort of thing I’d leave out on a bedside table or bathroom rather than hide away.

I also loved this Art Deco hammered pewter trinket box for something more sculptural.

9. Vintage Silver Photo Frames

Vintage photo frames are one of my favourite inexpensive things to hunt for. They make photographs feel so much more special, and I love mixing different shapes and styles together rather than having a matching set.

I found three particularly good ones: this wonderfully wavy silverplate frame, an unusual rotating Art Deco chrome and glass frame, and this completely over-the-top silver-tone frame with stone detailing.

The more mismatched, the better.

10. Murano Glass Ceiling Light

And finally, some lighting.

This 1990s Murano glass pendant by LA MURRINA is so simple but so beautiful. I love the warm creamy glass and fine spiral detail — what a beauty.

It’s exactly the sort of vintage light that could slip very easily into a contemporary interior.

A few other things stopping my scroll…

This polished pewter cup, vintage French woven basket, ceramic match striker, and Arts & Crafts vase. I also loved this vintage wooden thimble display — these are so cute in children’s rooms filled with miniature animals and tiny treasures.

Because ten was never really going to be enough. Browse the full edit here.

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*I’ve linked things I genuinely love throughout this post. Some are affiliate links, meaning I may earn a small commission if you choose to purchase through them, at no extra cost to you.

The best painting at a flea market is not necessarily the best presented. It might be hiding in a van, in a box, or at the bottom of a pile.

It might be covered in dust, leaning behind several others or hidden inside a frame that does absolutely nothing for it. There may be scuffs, chips and signs of age. It might be unsigned, and difficult to imagine anywhere beyond the chaos of the dealer’s stall.

None of those things necessarily means it isn’t good. After buying and selling thousands of vintage paintings over the last five years, I’ve learnt to look beyond how a painting appears in that particular moment. Frames can be changed, dirt can be cleaned and minor imperfections can often be addressed.

What matters is whether the painting underneath it all has good bones. Here are my tips on what to look out for to help you feel confident determining if a painting does in fact have good bones. If you’re buying vintage art online rather than in person, I’ve shared the three things I always check before committing to a painting here.

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Look for colour, brushwork and personality

I’m not necessarily looking for technical perfection. Some of my favourite paintings are quite naive in style. They may not be perfectly proportioned or painted by a recognised artist, but they have something much harder to manufacture: personality.

Colour is often what stops me first. Then I look at the brushwork, composition and overall feeling of the piece. Does it have energy? Does it hold my attention? Is there something about it that makes me want to look again?

A painting doesn’t need to be large, valuable or academically accomplished to have presence. When something stops you at a flea market, do pay attention. Among hundreds of competing objects, that initial reaction is often worth trusting.

Don’t dismiss a painting because you’re not immediately sure where it would go. I’ve shared 10 art layouts that always work here, including plenty of ideas for smaller pieces.

Look beyond the frame

I see wonderful paintings hidden inside unattractive frames every day. A frame that is too dark, shiny, or ornate can completely change the way a painting feels. It can make the colours appear duller, the proportions feel wrong or the whole piece look far more “dated” than it really is.

Many buyers struggle to see beyond a poor frame, which is precisely why some of the best paintings are overlooked. The frame is incredibly important, but it shouldn’t be confused with the painting itself.

Original vintage frames can bring enormous charm and character, and I preserve them whenever possible. A few chips, cracks and signs of age rarely bother me. Sometimes a really battered frame can be more exciting than the painting inside it.

Good empty frames are always worth noticing too. If you love the frame, ask the dealer if you can buy the frame, they might not agree but you can ask.

I don’t believe a frame should be kept simply because it is old. If it is damaged beyond repair or isn’t doing the artwork any favours, I’ll happily change it.

Some of the best paintings I’ve sourced simply needed reframing to reveal how good they were imo.

I don’t overlook unframed paintings, they can easily be reframed.

Decide whether the wear is character or damage

Vintage paintings are expected to show some age. Small scuffs, surface marks, frame chips and signs of wear are all part of their history. I would much rather buy a brilliant painting with imperfections than a mediocre painting in perfect condition.

The important distinction is between character and damage that could compromise the painting. Minor frame damage, a loose canvas and small surface marks can often be addressed. Significant tears, severe water damage, excessive warping, or questionable woodworm require much more caution.

That doesn’t mean every damaged painting should be left behind. Occasionally, a painting is good enough to justify the work. But it is important to understand what you are taking on, particularly if professional restoration or a completely new frame will be required.

A low flea-market price doesn’t automatically make something a bargain once those costs are considered.

Below is an example of damage I can happily overlook. Firstly the frame is heavily scuffed, stained and has pieces actually missing. Secondly, there is a large crack running horizontally across the board. On another piece, these imperfections may both me enough to skip on a piece but looking at the piece as a whole, to me, its perfect.

Original doesn’t automatically mean good

It is very easy to get excited by the idea of finding an original painting at a flea market but being old, original or signed doesn’t automatically make a painting “good”.

I would never buy a piece simply because it was an original oil painting, just as I wouldn’t reject something I loved because it was unsigned or unattributed.

For me, the artwork always comes first. A signature is a bonus (although I recently learnt that contemporary art is now often unsigned but certified - fascinating!) . Knowing the artist is another bonus. A date, exhibition label or piece of provenance adds another interesting layer. But none of those things can create colour, personality or presence where they don’t already exist.

If you wouldn’t want the painting without the signature, it is worth asking yourself how much you truly love the painting itself. I cant stress enough, just buy what you love.

Trust what stops you

Flea markets can be overwhelming. There may be hundreds of paintings, prints, pieces of furniture and decorative objects competing for your attention.

You don’t need to look at everything. Pay attention to the paintings that make you stop, then look more closely. Consider the colour and brushwork. Look beyond the frame or lack of frame. Decide whether the imperfections add character or create a genuine problem.

Then ask yourself one final question:

How would I feel if I came back in five minutes and it had sold?

If the answer is genuinely gutted, that usually tells you everything.

Spotting good bones isn’t about knowing the artist or identifying every period and technique. It is about recognising the strength of a painting beneath its current circumstances.

The best painting at a flea market may not be the largest, the most pristine or the most beautifully framed. It is often the one everyone else hasn’t noticed yet because its meant for you.

If you’re planning an antiques fair or sourcing trip in the UK, I’ve also shared exactly what I wear and bring with me here.

And once you’ve found something you love, don’t let it sit on the floor for six months. Here’s my guide to actually getting your paintings on the wall.

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When I asked Julia Miller who she thought I should interview next, she suggested Blair Moore. It was an immediate yes from me: I was already a fan of Blair’s work at Moore House Design, particularly her use of vintage art and antiques, and we share a love of sourcing in Europe.

What strikes me most about Blair’s interiors is how inviting they feel. She makes full use of the architecture, drawing the eye upwards with wallpapered ceilings, painted beams, timber cladding and dramatic bed drapery.

Her rooms can move from soft, feminine to dark, panelled and glamorous, but they always feel naturally collected rather than overly coordinated. Art is a constant, hung over wallpaper, beside a wall light or placed above a bed, with old paintings, botanical works, tapestries and wall plates adding character throughout. There are clever details everywhere, but ultimately these are rooms that make you want to sit down and stay a while.

I’m also fascinated by the wider business Blair has built around that aesthetic. Alongside her interior design studio, she sources and sells antiques, vintage pieces and furniture through ROWEAM, creating another way for people to access the Moore House world.

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Tell me a little about what you do… I design homes that feel as though they’ve been collected over generations rather than decorated all at once. Through Moore House Design and our furniture collection, ROWEAM, we create layered interiors rooted in architecture, craftsmanship, antiques, and natural materials. I love to focus on spaces that feel deeply personal, timeless, and meant to be lived in for years to come.

My approach to interior design is... to create homes that tell the story of the people who live there. I believe the most beautiful interiors aren’t perfect - they’re layered, evolving, and quietly collected over time.

What’s a small detail that makes a big difference in interiors? Styling. It’s the final chapter of every project and often the most important. I think the way you live with the objects in your home tells a much richer story than the objects themselves. Fresh flowers, a stack of well-loved books, an heirloom silver bowl, a throw casually draped over a chair- those are the details that make a home feel unmistakably your own.

A paint colour you love right now is… I’m currently obsessing over buttery yellows paired with every imaginable shade of sage. Anchored by heavily worn mahogany, the combination feels both historic and unexpected - bringing warmth, depth, and a quiet sense of optimism to a room.

When choosing art, I always look for…I look for art that evokes a visceral reaction. It doesn’t always have to be conventionally beautiful. Sometimes the pieces I love most are the ones that feel strange, imperfect, or unexpected because they’re the ones you keep thinking about long after you’ve left the room.

My dream place to go treasure-hunting is… Parma, Italy. It’s been at the top of my list for years. Between the antique markets, incredible craftsmanship, historic architecture, and appreciation for beautifully made everyday objects, I have a feeling I’d need to ship home a container... or two.

A place that always inspires me is…Coastal New England, especially Newport, Rhode Island. The historic homes, weathered stone walls, changing light, and incredible craftsmanship are constant reminders that timeless design is built slowly and thoughtfully.

The hotel I’d book tomorrow is… La Colombe d’Or in Saint-Paul-de-Vence. It effortlessly combines art, history, hospitality and timeless European charm.

A coffee table book currently on my table is… Summer by the Sea by Tom Kligerman. I continually return to books that celebrate New England architecture, craftsmanship, and homes that have gracefully stood the test of time.

My go-to scent is… Fresh thyme from my garden. Since becoming a mum, I’ve found myself drawn away from perfumes and heavily scented candles and back to the scents of the earth. Fresh thyme, rosemary, and lavender growing outside my Rhode Island home, the salt air drifting in from the ocean each morning, and even the smell of freshly cut sawdust from my dad working in the barn - those are the scents that instantly make me feel at home.

An everyday luxury I wouldn’t be without is… My morning coffee before the house wakes up, followed by fresh flowers clipped from the garden. Those quiet moments with my husband and son before the day begins have become one of life’s greatest luxuries.

A recent find I’m loving is… An antique silver serving piece with decades of beautiful wear. Silver has always been my weakness - I truly believe you can never have too much- and I love imagining all the tables it’s gathered around before finding its way into another home.

One item that is on my wish list is… An 18th-century Welsh cupboard. I’m constantly drawn to Welsh furniture because it strikes the perfect balance between refinement and restraint. It’s beautifully crafted without feeling precious, and somehow manages to feel refined yet wonderfully unpolished.

The perfect Sunday consists of… A slow breakfast with my family, wandering an antique market or local farm stand, gathering flowers, and ending the day in our Rhode Island courtyard with a book and a cup of coffee. Some of my best ideas arrive when I finally stop looking for them.

My motto is… Design for generations.

My favourite Hue + Holasz piece right now is… Woman in Yellow. There’s something quietly moving about her. She feels solitary, but not lonely—more reflective and hopeful. I love the restrained palette, the composition, and the way the piece evokes emotion without ever telling you exactly what to feel.

You can follow Blair and Moorehouse on Instagram at @moorehousedesign and online at moorehousedesign.com

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I’ve been visiting Ibiza for over twenty years, and it’s one of my favourite places in the world. I love it for the beaches, the food and that unmistakable Ibizan way of life. But as an art dealer, I also appreciate the galleries, vintage shops, beautifully designed interiors and creative spaces tucked away across this magical island.

If you’re planning a trip and you love art, interiors and vintage as much as I do, I hope this guide helps you discover another side of the island.

If you missed the first guide in this series, Where I Shop for Vintage in Ibiza, I'd start there. It covers my favourite vintage shops, flea markets and treasure troves across the island.

This guide picks up where that one leaves off, focusing on galleries, creative spaces and the places that continue to inspire me.

Planning a summer trip? If your dates are flexible, it's worth seeing whether they coincide with CAN Art Fair Ibiza. Several galleries extend their exhibition programmes during the fair, making it an especially exciting time to explore the island's creative side.

Before you plan your trip...

One thing that’s worth knowing about Ibiza is that it operates on its own timetable.

Many galleries, shops and restaurants close for part of the year, and the island’s idea of winter is very different to ours. You might be planning a trip in May and assume everything will be open, only to discover some places are still on winter hours.

I’ve also been caught out more than once by Google Maps saying somewhere is open when it isn’t. In Winter, places may operate on by appointment without this being communicated. If there’s somewhere you’re particularly excited to visit, don’t rely on Google alone. Send them a quick message, call ahead or check their Instagram before planning your day around it. It’ll save you a disappointing journey.

Inside this guide I’m sharing:

— Galleries where you can buy contemporary art

— Museums and exhibition spaces worth visiting for art lovers

— Vintage shops and markets for art and inspiration

— Beautifully designed interiors and creative spaces

— Plus my Google Maps link with every recommendation pinned

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The best art isn’t always art. Earlier this year I shared one of my favourite decorating ideas: The Best Walls Aren’t Just Art, a guide to unexpected objects that add depth to a wall beyond paintings. Corbels, sconces, artist’s palettes, pastry moulds, print trays and other collected pieces that bring character to a room.

This feels like the next chapter. Instead of objects that hang alongside art, this edit is about vintage finds that become art the moment they’re framed. Some of my favourite walls combine paintings with unexpected pieces. Antique lace. An old sampler. A hand-painted fan. A vintage map. A collection of intaglios. They’re often the pieces that make you stop, look a little closer and think, “What is that?” followed by “I never would have thought to put it on the wall but it looks great!”

Whenever I can, I start with vintage. Not just because it’s a more sustainable way to decorate, but because vintage makes homes feel individual. Every piece has already lived a life, and every one brings a little more history, craftsmanship and something special into a room.

Of course, some of the most meaningful things you can frame aren’t vintage at all. Family photographs, handwritten letters, children’s artwork and the keepsakes that tell your own story deserve a place on the wall too. I’m putting together a separate guide dedicated entirely to those ideas. This edit, however, is all about vintage. If you don’t have family heirlooms waiting in the loft, Etsy is one of my favourite places to discover one-of-a-kind pieces that feel collected.

If you’re new here, you might also enjoy Vintage Edit Vol. 1 and Vintage Edit Vol. 2, where I share the vintage finds that have caught my eye.

So let’s get stuck in…

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Antique Lace

One of my favourite examples of this is the framed antique lace used by Salvesen Graham. It’s incredibly simple.

Antique lace brings something paintings can’t. It’s delicate, romantic and introduces a softness that balances heavier furniture and artwork beautifully. Even framed behind glass, you still get all of that wonderful texture.

If you also spotted the French oyster shell plate in the Salvesen Graham bedroom, I love these! They actually featured in my previous two vintage edits. They work wonderfully as decorative art.

Back to lace….Now this is a rabbit hole I could get very happily lost in! My three favourite finds are framed Bobbin Lace, antique lace wedding handkerchief and antique lace handkerchief with floral motifs. Also really loved French vintage hand worked table centrepiece as a larger option and these would make a sweet pair as they are different sizes so less matchy. The tiniest motifs and scraps can absolutely work too.

Antique Fans

I’ve always thought antique fans are works of art in their own right. Whether they’re hand-painted, lace or silk, they carry so much craftsmanship, and a little drama. They also hint at travel and collecting, which is probably why they feel so at home in layered interiors. Mounted in a deep frame, they become almost sculptural.

These examples show just how versatile decorative fans can be. I love how each one has been styled differently — woven into a gallery wall, hung above a doorway or paired with wall lights. The most beautiful Antique c.1910 Lace Hand Fan sold before I could hit publish so here are some other solid contenders to help you visualise how this might work in your space: Edwardian Brussels Point de Gaze Lace Fan, Victorian Floral Painted Lace Fan and Antique Japanese Silk Hand Fan

Samplers

I especially love antique samplers in children's rooms, but the more I've collected inspiration, the more convinced I've become that they belong well beyond a nursery. It's simply a case of finding the right example. They're not all alphabets or child-centric.

They have so much charm, while the stitched texture softens a wall in a way a print never could. Every sampler is completely unique, telling its own little story through names, alphabets, motifs and dates.

Finding examples in good condition at a sensible price can be surprisingly difficult, although I’ve found French examples often represent much better value.

I have a particular soft spot for schoolgirl samplers. I love their simple patterns, and I think they work beautifully mixed into a gallery wall. They're often stitched in red thread, adding a subtle pop of colour while still feeling wonderfully understated. They can also be found as sets, like the example above, which would look beautiful framed together as a standalone grouping.

Antique Maps

I could talk about antique maps forever. They’ve always fascinated me, particularly maps of places that mean something personally. We already have an antique map of Bath that I love, but I recently discovered A Historical Map of Bath via Francesca from Otters and immediately purchased it. I love that it shows how the city evolved over time, revealing which areas are medieval, Stuart and Georgian.

That’s the joy of maps. They don’t just record a place, they tell its story. Whether it’s your hometown, somewhere you’ve lived or a favourite holiday destination, they’re one of the most personal things you can frame.

I love old city maps and have saved examples of Rome, Venice and Paris over the years. There’s something incredibly romantic about seeing a city captured hundreds of years ago.

Recently I came across this 1908 London Post Office Map, along with a 1760 map of Islington and Old Street. Old Street was where my mum lived as a little girl, and Clerkenwell Road, just around the corner, was where I had my first proper job. I might have to get this one.

I’ve also saved a few needlepoint/embroidery maps too. I love these! My favourite is Antique Georgian embroidery Map of England & Wales dated 1817, and this brilliantly executed Irish example also caught my eye, along with with old British Isles Sampler Map.

I'm also a huge fan of framing antique postcards, especially those that have been written on and sent. They're tiny snapshots of someone else's life, preserving a moment between complete strangers. I think that's incredibly special.

One of my favourite examples is an 1906 antique postcard of Bath. It's one of the most affordable ideas in this edit, but don't underestimate it. With a generous mount and a beautiful frame, even the simplest postcard can become a really striking piece of wall art.

Another thing I always save? Vintage tarot cards. The illustrations are often beautiful. Framed on their own, they're such a simple way to add a little personality and colour to a gallery wall.

Intaglios

If paintings are the foundation of a wall, intaglios are often the jewellery. I love them displayed as small collections, whether in one frame or grouped together. They introduce another layer of texture and depth while bringing a little neoclassical influence to a room.

I’ll include one of my favourite examples by Ben Pentreath below because I think he uses them brilliantly.

Part of the appeal is that you don't have to buy a complete collection all at once. You can build one over time, adding pieces whenever you find one you love. If you'd rather start with an existing collection, they're out there too. I came across this beautiful set of antique neoclassical plaster cameos on 1stDibs, and I think they'd look incredible framed.

Decorative Fragments

This might be my favourite category. If you’ve ever fallen in love with a wallpaper but couldn’t justify papering an entire room, or admired a beautiful fabric knowing curtains or upholstery would stretch the budget, this one’s for you.

Wallpaper remnants, textile fragments, crewelwork and other decorative pieces allow you to bring exceptional craftsmanship into a room in much smaller, more accessible ways.

Sometimes all you need is a TINY fragment or one tile.

Framed well, these pieces celebrate the decorative arts of the past while feeling completely at home in contemporary interiors. They’re a wonderful way to introduce colour, pattern and texture without overwhelming a space or budget.

Some of my favourite finds on Etsy include antique metallic silver lace fragments, vintage Japanese Tsumugi silk kimono fabric, 1920s French wallpaper, textile and wallpaper archive pieces, and beautiful wallpaper remnants like Daphne & Apollo.

The same goes for antique tiles. Whether it’s a single Delft tile, an 18th-century French faience tile, a 1940s Portuguese tile or a wonderfully worn French farmhouse tile, each one feels like a tiny fragment of decorative history. Framed on its own, even a single tile can become a beautiful piece of wall art.

Vintage Scarves

Scarves are simply too beautiful to spend their lives folded away in a drawer.

Whether vintage or contemporary, they’re one of my favourite ways to introduce colour, pattern and personality to a wall. Framed, they become something completely different. A geometric silk can feel almost architectural, while a painterly floral reads more like a watercolour.

Some of my recent favourites include this Silk Twill, which immediately reminded me of a mid-century abstract painting, and this wonderfully geometric Helena Rubinstein design. I also couldn’t resist the Lanvin Art Deco Cat scarf, which is playful, elegant and full of personality. For something softer, I saved this Hermine scarf and the beautiful Iris Silk Twill, both of which feel almost painterly. To show this isn’t just a vintage idea, I’ve also included a contemporary Jigsaw Mini Geo Rose scarf, alongside a Duck Egg Blue Jacqmar Floral, a graphic Checkerboard Silk Bandana and a warm-toned Provençal Paisley Bandana. You can browse the full scarf edit here.

I don’t think this idea should be reserved for luxury designer scarves. Buy the design you genuinely love, that’s far more important than the label.

The more interiors I see, the more convinced I become that the best walls don’t rely on paintings alone.

They’re layered with objects that have lived another life. Pieces collected over time. Things that weren’t originally intended to be art but somehow become exactly that once they’re given a frame.

I hope this edit encourages you to look at your walls a little differently.

Not just as somewhere to hang paintings, but as an opportunity to tell a richer story through the objects you choose to frame.

You can browse all of the edit here.

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*This post contains a small number of affiliate links. If you choose to buy through them, I may earn a commission at no extra cost to you.

If you’re planning antiques-hunting trips around England, Hungerford deserves a place on your list.

Compact and easy to explore on foot, it's a traditional English market town that's home to more than 100 antique dealers, making it one of England's best-known destinations for antiques. If your taste leans towards country house furniture, oil paintings, silver and the sort of shops that reward a proper rummage, I think you’ll love it. I recently visited on a Monday, fully aware that several of the dealers would be closed, but even with a few doors shut I came away thinking I’d happily go back.

If you’re looking for beautifully curated European antiques and Cotswolds charm, I’d point you towards my Tetbury Guide instead. The two towns complement one another brilliantly, while my Pimlico Road Guide offers yet another perspective if you’re planning a wider antiques itinerary around England.

Originally a prosperous market town on the old London to Bath coaching route, Hungerford found a new identity in the 1970s as antique dealers began to establish here. Today it’s one of England’s best antiques destinations, and that history is still reflected in the town itself, from the pretty Georgian buildings and timber framed shopfronts to the former coaching inns, stables and beautiful thatched cottages that line the High Street.

How Long Do You Need in Hungerford?

I spent around two and a half hours in Hungerford, which felt like the perfect amount of time to explore without feeling rushed. One of the things I liked most is that it doesn’t take a whole day unless you want that. It’s compact enough to walk comfortably, yet dense enough with antique shops that you never feel you’ve run out of places to browse.

Hungerford is also easy to reach. It’s less than an hour by train from London (or under two hours by car), while Bath is around an hour and a half away, making it an easy day trip from either.

What Makes Hungerford Different?

Hungerford feels firmly rooted in traditional English antiques. Expect country house furniture, oil paintings, silver, old prints and antiques centres where every room seems to lead to another discovery.

What I noted, was how unpretentious it felt. Dealers are happy to chat, and browsing feels relaxed. Between the bunting strung across the High Street, the knitted postbox toppers and the sprawling antique centres, Hungerford has a nice energy that’s difficult not to like. If you enjoy the hunt as much as the purchase, I think you’ll feel very much at home here.

Paid subscribers can read my full route through Hungerford below, including where I’d park, the antique shops I’d prioritise, where I’d stop for coffee, the galleries worth knowing about and the practical tips I’d genuinely want before visiting. If you’re planning a trip, this should help you make the most of your time.

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It was Julia’s use of natural materials, colour and pattern that first drew me to her work. Her rooms feel beautifully designed, but comfortable too, classic without ever feeling twee or old-fashioned, and completely contemporary. There’s a moodiness to them, but a softness too, which makes them feel warm and inviting.

What I particularly love is the connection between the interiors and the world outside. Her designs feel rooted in both the people who live there and the surrounding landscape, which gives every home its own character. She has a brilliant eye for introducing unexpected colour and pattern, and art never feels like an afterthought – it’s an integral part of the room.

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Yond is based in Minneapolis and NYC, serving clients nationwide. Rooted in craftsmanship and elevated by imagination, Yond’s interiors are rich with texture and depth.

Yond Interiors has been recognised nationwide and has been named as one of The Experts Top 40 Interior Designers and House Beautiful’s Next Wave Designer and has been published in Architectural Digest, WSJ, Sunset and more.

Tell me a little about what you do… I am the creative director and founder of Yond Interiors and Brunel, a custom furniture and objects shop. All of my days are a mixture of design selections (shopping!!), client meetings, PR interviews, schlepping items to and fro and collaboration with my team.

My approach to interior design is… I think of interiors as the capsule that holds our lives. It’s the place where meaningful moments happen. Yond is deeply dedicated to person and place specific design, folding in personal preferences with an aesthetic that translates to the landscape and world outside.

What’s a small detail that makes a big difference in interiors? The way sofas and chairs are trimmed out can make a huge difference!

A paint colour you love right now is…Sherwin Williams - Olivia Oscuro.

When choosing art, I always look for…Something vintage and authentic.

My dream place to go treasure-hunting is… A Paris flea!

A place that always inspires me is…Lake Superior.

The hotel I’d book tomorrow is…Ett Hem.

A coffee table book currently on my table is…Tokyo Toilets :)

My go-to scent is…A forest scented essential oil I bought in rural Japan.

An everyday luxury I wouldn’t be without is… My Casio watch.

A recent find I’m loving is… How we are using tile in so many fun and creative ways

One item that is on my wish list is…All the Danish vintage lighting.

The perfect Sunday consists of…A hot cup of coffee on my patio, a long run along the river, a nap and a movie with my kids.

My motto is…Everything works out.

Someone I get a lot of inspiration from is…Charlotte Perriand.

My favourite Hue + Holasz piece right now is…

Someone I’d love for you to feature next on Tales from the Studio is…Blair from Moore House.

You can follow Julia on Instagram at @yondinteriors and online at yondinteriors.com

*This post contains a small number of affiliate links. If you choose to buy through them, I may earn a commission at no extra cost to you.

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My saved folder is becoming something of a rabbit hole.

It’s filled with vintage furniture, lighting, textiles and decorative objects that have stopped me scrolling over the last few weeks.

Rather than keeping them to myself, I thought I’d start sharing a few of them here.

Welcome to The Vintage Edit Vol. 2.

The Vintage Edit is where I share the vintage finds that have caught my eye, whether they’re destined for my own home, someone else’s, or simply deserve to be appreciated.

If you missed the first edition, you can catch up with The Vintage Edit Vol. 1 here.

I’ve linked my favourites, and if you’re curious about how I actually uncover pieces like these, I’m putting together another post all about the search terms I use when sourcing vintage online.

These are pieces that caught my eye this week.

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1. 1960s Italian Cocoon Light

We’re starting with lighting.

These cocoon lights do exactly what they promise, simple, sculptural and full of warmth. This particular example would work beautifully in so many spaces.

I’m also loving these opaline finds: a pair of antique opaline wall lights, an antique church opaline glass pendant, and a pair of vintage French milk glass ceiling lights with a crimped edge. Soft, timeless and endlessly versatile.

I’m becoming increasingly drawn to more Brutalist interiors too, so this 1960s Dutch wrought iron tripod lamp base immediately caught my eye.

And finally, this trio of pink Murano lamps. I absolutely adore them. They’re giving Polly Pocket in the very best way.

2. Pair Of Vintage Hollywood Regency Toleware Wall Sconces

Wall sconces are one of my favourite ways, after art, to add character to a room.

Part lighting, part sculpture, I love them in a gallery wall, layered amongst paintings or next to a stack of paintings. Pairs or solo, they are very easy to use in interiors.

I found several beautiful sets, but these were the standouts. More architectural than the Swedish brass sconces we’re seeing everywhere at the moment, they feel a little unexpected.

3. Hand-Painted Transylvanian Wall Plates

Romanian, Transylvanian and Hungarian pottery is really having a moment, and I can see why.

I’m particularly drawn to them as part of a wall plate gallery wall or mixed in with vintage art. It brings colour, texture and personality to a room in such an effortless way.

I found two pieces I particularly loved: one with a floral motif from the 1950s/60s, and another with a beautiful marbled glaze from the 1970s/80s.

I also came across this set of vintage Romanian bowls, which feels like an absolute steal.

4. Studio Pottery

Studio pottery is one of those things I find myself saving more and more. The glazes, the imperfections and the fact that no two pieces are quite the same make them feel far more considered than mass-produced ceramics.

I particularly loved two bowls this week. One has a beautifully soft, almost watercolour-like glaze, while the other has a wonderfully sculptural foot and richly textured finish. Considering the craftsmanship, I thought both were exceptionally well priced at £25 and £30.

5. Vintage stainless steel salad servers

These salad servers are so playful. I absolutely love them. They're the sort of piece that instantly makes a table feel more fun. I'd use them for serving big BBQ summer salads, but they'd look just as good hanging on the wall when they're not in use, next to art oc in a kitchen.

6. French linen tablecloth

Beautiful antique French linen never goes out of style, this is a very pretty tablecloth. The hand-cut Richelieu embroidery and intricate cutwork are the sort of details that simply aren’t replicated today. I also really love this one from the same seller as a bedspread. Draped over a table, or even used as a throw, they instantly soften a space and add a little romance.

7. Vintage Maitland Smith Mother of Pearl Shell Pedestal Stand

This has completely stolen my heart. It's delightfully eccentric, the mother-of-pearl dish balanced on a sculptural base of silvered shells. Would be great in a bathroom or used for jewellery. This seller also has a vintage/antique silver-plated mussel shell dish. It’s such an elegant shape with the prettiest handle.

8. French Bedside Tables

Bedside tables are one of those pieces I think are always worth searching for vintage. Finding a really good pair takes time which makes them feel even more special when they do appear.

My favourites, are these French Art Deco bedside tables. The rounded silhouette feels so elegant, and they’re the sort of pieces that would work just as beautifully in a contemporary home as a period one.

I also loved the French chevets, they’re giving Beauty and the Beast and if you’re after something a little bolder, I came across a fantastic pair of red lacquered bamboo and cane bedside cabinets that would add the most brilliant pop of colour.

9. Antique 19th Century Farmhouse Storage Pot

I love the rich chocolate glazes, the handmade imperfections and the fact that every piece feels completely unique. I first saved this 19th-century farmhouse storage pot, then realised the same seller also had this beautiful handmade teapot. Honestly, I'd struggle to choose between them.

10. Vintage flared aluminium vase

This sweet aluminium vase was a favourite find, but from the same seller I also came across the most wonderfully eccentric bunch of 1970s green alabaster grapes. They're completely unnecessary, which is probably why I love them. I keep seeing these while sourcing and I would style them over coffee table books. I love the stalk on this set!

Other shiny things stopping my scroll…Pewter candlestick, 1960s Chrome Lidded Bowl, Meber Studded Stainless Steel Espresso Cups, Antique Elkington & Co Silverplate Creamer Jug, Classic Serving Pitcher, and Mid Century Modern Silver Plate Bamboo Trivet. A little flash of metal here and there goes a long way.

Browse the full edit here.

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*I’ve linked things I genuinely love throughout this post. Some are affiliate links, meaning I may earn a small commission if you choose to purchase through them, at no extra cost to you.

Buying vintage art in Paris is the fun part. Getting it home safely starts long before you find the painting.

This is the third article in my Paris series. If you’re planning your own trip, I’d recommend starting with My Paris Black Book, where I’ve gathered together the cafés, restaurants, hotels and design destinations I love, before reading The Paris Antiques Markets Everyone Talks About, my guide to the city’s best-known antiques markets and what they’re actually like to shop.

This article picks up where those leave off. The things I travel with, the apps I rely on and the practical kit that makes these trips just that little bit easier.

The logistics of getting vintage art home deserve a guide of their own, so I'll cover everything from Eurostar versus flying to couriers, customs, and accommodation tips in a future article. For now, let’s pack.

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BEFORE I LEAVE HOME

Every sourcing trip is slightly different. Travelling from Bath on the Eurostar looks very different from driving, flying, and different again if you’re reading this from the US and planning to bring paintings home in checked luggage or by courier.

However you’re travelling, know your baggage allowance inside out. Check the dimensions, weight limits and the cost of adding extra luggage before you leave. Work out how you’re getting your purchases home before you decide what you’re buying. A clear plan makes much better buying decisions.

MY TRAVEL EDIT

This is the travel edit I've gradually refined over years of sourcing across Europe. Nothing revolutionary, just the things I wouldn't want to leave home without.

1. As essential as your passport. SPF is something I try to wear every single day, whatever the time of year, but it's particularly important on sourcing trips when I'm outside for hours on end. These are my three go to’s, as they all do something different plus an SPF lip balm (your lips need protecting too). Dr Barbara Sturm’s Sun Drops, GWR’s The One Daily Sun Cream and the one that lives in my bag: Beauty of Joseon.

2. If all goes to plan, I need room to come home with paintings. I pack a fold-up duffel so I can move my clothes into it if I need my suitcase for art.

3. Packing cubes make everything feel far more organised. I like Beis, but there are plenty of great Amazon options too like these.

4. I'm a big fan of bags within bags. You can never have too many pouches either. I also swear by nesting suitcases. They travel as one on the way out and become extra luggage on the way home, which is invaluable when you've bought more than you planned. Beis is my go-to and they come in three sizes and a handful of colours, and I also love their weekend bag with the trolley sleeve that slips neatly over your suitcase handle.

→ Shop What's in My Suitcase: Sourcing Edition

THE THINGS THAT HAVE SAVED ME MOST

Sometimes it's the smallest things that rescue a sourcing trip. They're not the sexy purchases, but they're often the difference between a stressful day and a smooth one.

1. If you're travelling out with empty suitcases, it's a no-brainer to fill the space with bubble wrap and a few packing materials. Yes, you can buy it in Paris, but why waste time and money if you already know you'll be bringing artwork home? And don't expect every dealer to have plenty of packing materials to hand.

2. The same goes for packing tape. Chuck a roll in your case and leave it there. I always use low-noise tape, if you're packing paintings in a hotel room late at night, you'll thank me.

3. A tape measure is a permanent resident in my bag. Those extra few centimetres can be the difference between it fitting neatly into your suitcase or becoming a much bigger logistical challenge. Whether you're buying for yourself, sourcing for a client or simply checking if it'll fit in the luggage, you'll use it more than you think. If you're tight on space, the mini retractable ones are brilliant.

4. My handheld luggage scale probably looks like the least exciting thing in this article. It might also be the most useful. I’d much rather discover I’m over the weight limit in my hotel room than standing at check-in with a queue forming behind me.

5. I got my first air tag in Vancouver when my luggage didn’t arrive from Heathrow 4 years ago. The stress! I find it deeply reassuring to know where my luggage is while it’s not in sight. If your luggage has ever gone AWOL, you’ll no doubt already be doing this.

6. I'm old-school with documenting. You can absolutely use your phone, but I still like a notebook and pen for keeping on top of inventory, and purchases as I go. Depending on what you source, for who, and how you transport, you may need measurements too. It also becomes useful when you're dealing with customs paperwork later on, which I'll cover in much more detail in the next Paris guide. If you source regularly, having a stamp made with your name, business details and EORI number can also save you repeatedly writing everything out.

7. A headtorch is completely unnecessary for Paris unless you are hardcore and it’s peak winter but if you're heading to larger brocantes, clearances or fairs elsewhere in France with very early winter starts, it’s pretty handy. It's one of those things that feels ridiculous until you're using it at silly o'clock in the morning. Then it feels genius. You just have to own it.

8. Techy Bits. The packing items I weirdly probably appreciate the most. I get a ridiculous amount of satisfaction from knowing everything is charged, organised and as efficient as possible. Portable charger, long charging cables, EU travel adaptor and obviously noise-cancelling AirPods.

→ Shop What's in My Suitcase: Sourcing Edition

WHAT I ACTUALLY WEAR

I nearly always pack for a transitional season, whatever the time of year. Markets start early and mornings can be surprisingly cold, so layers are key. I'd much rather peel one off by lunchtime than spend the first few hours wishing I'd packed another jumper.

1. If I'm travelling in the colder months, Uniqlo's Heattech range is a must. It adds warmth without bulk, which is ideal when you're layering and don't want to fill your suitcase with chunky knitwear.

2. Comfortable trainers are completely non-negotiable. My go-to? Adidas Sambas. I'm currently on my fourth pair, I have the chocolate brown, dark red trim, nude and classic black. They're one of the few shoes I'm happy walking miles in.

3. A crossbody bag leaves both hands free. I love my Strathberry Mosaic Nano bag. It feels secure with a magnetic close, the quality is excellent, and you can pop the straps off for a chicer look in evenings.

4. I always prefer lighter outerwear so I can layer up or down throughout the day. A classic Trench is hard to beat, and in the summer I usually swap it for a lightweight summer Chore Jacket.

5. I live in sunglasses all year round. I rotate between Janna and Swirl from Jimmy Fairly, and they permanently live in my Strathberry. It's very easy to leave the hotel at silly o'clock thinking you won't need them... then by 9am you're wishing you'd packed them.

6. Possibly my most favourite on the list, my waterproof cap. My sister had this first, I loved it, and she bought me one. I'm ridiculously attached to it. I'm not an umbrella person, and there's no chance I'm carrying one while sourcing, so it's become one of those practical little purchases I love. I forgot it on my last trip and was far more gutted than I care to admit.

7. Trolley, wagon... whatever you want to call it, they're a complete game changer. If you're travelling as lightly as possible, a standard folding trolley isn't always practical, which is where something like the Hulken comes into it’s own. They fold flat, come in three sizes and make moving multiple purchases so much easier. Judging by how often they're sold out, I'm clearly not the only person who thinks they're brilliant. I would say these are most useful for fairs and it also depends on your plans to get things home if you need one.

→ Shop What's in My Suitcase: Sourcing Edition

Sourcing in the UK? I've also shared the clothing and kit I rely on for long days at British antique fairs and markets here.

THE APPS I OPEN ON EVERY PARIS TRIP

There are hundreds of apps out there, but these are the ones I rely on every time I’m sourcing in Paris. None of them are particularly revolutionary, but together they make the trip run much more smoothly.

Google Translate

I use Google Translate far more for conversations with dealers than translating menus. If I’m struggling to follow what’s being said, I’ll use the conversation feature to translate in real time. I also use it to communicate exactly what I want to ask, whether that’s negotiating a price or arranging shipping.

I see so many posts telling you to brush up on your French numbers before visiting antique markets. You don’t need to. I know you’re busy. Download Google Translate, get comfortable using it and let the app do the heavy lifting. It’s transformed the way I communicate when I’m sourcing abroad.

Google Maps

Google Maps is king. Obviously essential for navigation but it’s the itinerary basis as well. Long before I board the Eurostar, I’m already building my own version of Paris. I save the markets I want to visit, cafés for an early coffee, and galllery stops along the way. By the time I arrive, I already have a detailed plan. You can categorise the pins too. I would always recommend creating your own before a buying trip. It saves an enormous amount of time once you’re there.

Île-de-France Mobilités

If you’re planning to use the Métro or RER, I’d download this before you arrive. You can buy tickets directly through the app, making it much easier than trying to work everything out once you’re there.

For me, taking the Métro is all part of the Paris experience. It gives me all the Amélie vibes. If you’re trying to see a lot in a short space of time, realistically you’ll probably end up using a mix of the Métro and taxis. That’s certainly what I do when I’m sourcing.

Uber

I am guilty of taking too many taxis when in Paris but the reality is I’m sourcing and I can’t waste any time. The reality is I’m there to source, not sightsee, that’s a bonus. By the time I’ve walked around markets for hours and I’m carrying purchases, I’d rather spend the time and energy finding the next great piece than navigating another cross-city journey.

I naturally gravitate towards smaller cities where you can walk everywhere (it’s one of the things I love about living in Bath), so Paris can feel a bit like London in that respect, you can spend a surprising amount of time simply getting from A to B.

Uber is usually my first choice. The standard of driving can be... variable, but it’s reasonably priced and, for me, it’s often the quickest way to cover ground and make the most of a sourcing trip.

Find My

Hopefully you'll never need it, but when one suitcase contains vintage paintings, I like knowing exactly where it is in the Find My app (air tags). If you've ever stood at a baggage carousel waiting for a suitcase that never appeared, no further explanation needed.

CONTINUE THE PARIS SERIES

If you’re planning a trip, these articles are designed to work together.

My Paris Black Book

The cafés, restaurants, hotels and design destinations I love when I’m in the city.

The Paris Antiques Markets Everyone Talks About

My guide to the city’s best-known markets, and what they’re actually like.

If you’d like to browse everything from this guide in one place, I’ve gathered it together in my ‘What's in My Suitcase: Sourcing Edition’.

→ What's in My Suitcase: Sourcing Edition

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*This post contains affiliate links, which means I may receive a small commission if you buy something through them, at no additional cost to you.

I buy vintage art online every single day. But despite buying and selling thousands of vintage paintings over the last five years, there are a few things that continue to catch me out far too often.

These aren’t all of them but they are the three that catch me out most often, and the three I think are worth being aware of if you’re buying vintage art online.

They might not change your mind. They might not even matter to you. But I hope they’ll help you look at online listings a little differently.

1. Don’t trust the description alone

One of the biggest misconceptions is that the title or description tells you everything you need to know. It doesn’t.

I buy from reputable dealers and auction houses, so this one genuinely surprises me. Yet it’s unfortunately not uncommon to see acrylics, mixed media and even prints described as original oil paintings.

I’m not claiming to be an expert, I don’t have a formal art background, but this is something I come across more often than I’d like. I find it really frustrating that among professionals its this common.

Most of the time, I don’t think it’s deliberate. It may simply be a lack of knowledge. Either way, it’s not okay, and I’d hate for you to overpay for something that isn’t what you thought you were buying.

If I’m ever unsure, I’ll ask for close-up photographs of the paint surface. Brushwork, texture and the way the light catches the paint will usually tell you far more than the description ever could. Acrylics are often flatter, with a more matte finish and brighter colours.

And don’t let a beautiful vintage frame distract you. Look closely at what’s happening with the painting itself.

2. Check whether it’s glazed

This one catches me out surprisingly often. Sometimes a painting arrives behind glass even though the listing never mentioned it. Other times, the glass has been removed for the photographs, so it’s impossible to tell—which feels a little sneaky.

You might not mind. Personally, I don’t like oil paintings behind glass. Of course, it’s a different story for works on paper, watercolours and prints, where glazing is completely appropriate.

Occasionally, you can simply remove the glass yourself, but more often than not I need to take it to my framer to do it properly. In some cases, removing the glass can even damage the frame, meaning it can’t be reused.

I recently bought a painting from Sweden that arrived behind glass. The listing hadn’t mentioned it, and the glass shattered in transit. Unpacking it was a nightmare, there was broken glass everywhere, the frame was ruined, and it took ages to clear it up safely.

Before buying, have a REALLY good look at the photographs. If you can spot reflections, it’s probably behind glass. If you’re unsure, don’t be afraid to send the seller a quick message and ask.

3. Don’t forget the frame

This is probably the most common issue I come across. If I had to guess, I’d say at least a third of the paintings I buy need some kind of frame repair or, in some cases, a completely new frame.

Unfortunately, damage isn’t always obvious in listing photographs, and it isn’t always mentioned in the description either.

A few knocks or signs of age rarely bother me, they’re part of the charm of buying vintage. Significant structural damage is a different matter altogether. Older frames can be surprisingly difficult to repair because of the way they were originally constructed, so replacing them is often the only option.

If the frame is important to you, ask for extra photographs before making a decision.

Take a really close look at the corners. If it’s a decorative gesso frame, that’s often where you’ll spot chips, cracks or missing/weak sections. If it’s a chunky wooden frame, check for loose joints. And if the frame has multiple moulded layers, make sure they’re all intact—it’s surprisingly common for one layer to lift which is not always an easy fix. Hessian mounts are beautiful in framing but they can also be filthy beyond a light clean.

The frame is often part of what makes a vintage painting so special, so it’s worth spending an extra minute checking it properly before you buy.

My biggest piece of advice

Never feel awkward asking questions, pictures, or videos.

A good seller would almost always rather answer a few extra questions than deal with a disappointed buyer later.

Buying vintage art online is still one of my favourite ways to source, and I wouldn’t want these points to put you off.

You just need to know what to look out for before you buy.

I'd love to hear from you in the comments. Have you ever had a painting arrive that wasn't quite what you expected, or do you have a tip that's saved you from making an expensive mistake?

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It was India's home that first caught my eye. A soft pink room with a vaulted ceiling, paintings hung right up to the apex and beautiful layers of colour and texture. It's a beautiful space, but what I like most is that it feels like a home. Everything looks like it's there because she loves it, and she has a brilliant eye for how things sit alongside one another. You can tell someone creative lives there, and it immediately made me want to see more.

Through India, I also discovered Pelican House, the studio she co-founded with Bella Valenzia. They specialise in bespoke rugs and woven art, and I love their use of colour. I love the borders, the restrained use of pattern, and the way they feel classic without being too fussy. If you’re designing a room from scratch, I think it’s often the art or the rug that comes first, and these are exactly the sort of pieces I’d build a room around.

Knowing India's background, none of that feels surprising. Before Pelican House, she spent seven years at de Gournay, designing bespoke wallpapers before launching and leading its embroidery department, working closely with artisans across India and Nepal. Earlier in her career she was Art Director at Chiltern Firehouse, so creativity has clearly been a thread running through everything she's done.

Tell me a little about what you do… I am the Creative Director at Pelican House, a design studio specialising in bespoke hand made rugs. Day to day, I am doing a mixture of running the business and designing in house collections or custom rug designs for clients. Outside of work, I also spend a lot of time working on my own custom projects, whether its making hand painted faux malachite backgammon boards or designing wine labels, wedding invites, ceramics, upholstering a room of house in velvet (took a lot longer than I thought!) - if I am making something with my hands I am happy!

My approach to interior design is… Ignore trends, don’t over think your decisions, don’t let people tell you can’t have too much pattern! Always say yes to wallpaper! The more art the better and hang it everywhere - the backs of doors, in bathrooms, down low, up high! If you really love something just GO for it, don’t get too concerned if it’s ‘too much’ with everything else, if you love it, you will continue to love it. Rugs can sit on top of rugs and overlap. Storage space is king. In general more is more!

What’s a small detail that makes a big difference in interiors? I am not just saying this but it has got to be Art. Houses feel completely lost and naked without art. I am still amazed every time I see undeniable difference adding a picture (or 10) to a space makes.

A paint colour you love right now is…I love yellow a lot, for the outside of houses especially but also bedrooms and living rooms. Edward Bulmer ‘Trumpington’ is a great example of a fabulous yellow.

When choosing art, I always look for…I don’t have a hard and fast rule with art, it’s very much a gut instinct and an immediate feeling of whether I am drawn to it or not. There are many artists tucked away on a list in my phone, that one day I hope to buy an artwork from, there is something special about saving up and waiting for something you really love.

My dream place to go treasure-hunting is… Tough question! Ignoring budget, I would start by going to an Antiquities auction at Christies or Bonhams - which showcases objects from the third millennium B.C. to the 10th century A.D. it which would feel like scooping up literal treasure, I would love to own a Hellenistic ring! Then I would head to Mercanteinfiera, a giant furniture fair in Parma (Italy). Lastly, and perhaps a more obvious choice, I LOVE going to Les Puces Market in Paris, it has over 1700 vendors. In particular, there is a second hand jewellery shop called Au Grenier De Lucie, they have amazing pieces by Edouard Rambaud and Schiaparelli.

A place that always inspires me is…Being in the mountains / in nature. When I retreat in the summer to my parents house in French mountains, and slow down, I find a flush of creativity and inspiration finds me. There are lots of places you can visit and see things that are inspiring, those are plentiful in London especially. However for me it’s more the slowing down and giving myself space that helps me realise ideas and inspiration.

The hotel I’d book tomorrow is…Al Moudira Hotel, as I am travelling to Egypt later in the year!

A coffee table book currently on my table is…‘The World of Ornament’ published by Taschen - it is an insane collection of decorative design from all periods and around the world, it’s pages will be influencing one of our upcoming collections that’s for sure!

My go-to scent is…001 by Bon Parfumeur

An everyday luxury I wouldn’t be without is… A glorious hot shower and toast with lashing of salty butter. It’s the simple luxuries that are the best!

A recent find I’m loving is… I really adore Fin Fellows’s new wallpaper collection, which has launched through her company called The Kensington Paperie. I am also obsessed with the hand block printed design called ‘Eat Your Greens’ by Bloomfield Ink Ltd. Less on the design side, I recently discovered the band called Rio Kosta and have been playing them non-stop!

One item that is on my wish list is…I have been pining over for years a beautiful lamp by ENTLER Studio. If I was going vintage, I have had my eye on a Tommaso Barbi ceramic ice bucket.

The perfect Sunday consists of…If in London, then an early walk or jog in Hampstead with my dog, our favourite route takes about 1.5 hours and you completely forget you are in a city, followed by a big home cooked breakfast, the ‘Bold Beans’ baked beans being a must on the plate! My favourite thing, however, has got to be a long long lunch with friends, the type that start at 2pm and ends at 7pm, continuous Rose and if it was really going to be a perfect Sunday and I for some unusual reason didn’t have work on Monday, it would end with some dancing!

My motto is…Sleep on it!

Someone I get a lot of inspiration from is…I actually get a lot of inspiration from my business partner, Bella Valenzia. She is an amazing leader and business woman and she has impeccable style! We are lucky to be a team.

My favourite Hue + Holasz pieces right now are… Thicket & Mountain Light!

Someone I’d love for you to feature next on Tales from the Studio is…Natasha Hulse, one of my most talented magical friends. She is an extraordinary textile designer & creative wonder woman!

You can follow India on Instagram at @indiasallisholmes and Pelican House at @pelicanhouse and www.pelican-house.com.

Picture Credits for Indi’s home and Pelican House: Milo Brown

*This post contains a small number of affiliate links. If you choose to buy through them, I may earn a commission at no extra cost to you.

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If you’re visiting Somerset or planning a trip to Bath, there’s one place I almost always recommend adding to the itinerary: Bruton. I have such a soft spot for Bruton.

It’s a funny old place, and part of its charm is that it’s slightly hard to define. On one hand, it feels quintessentially Somerset. Beautiful old stone buildings, rolling countryside, tractors rumbling through the high street, you are very much in the countryside.

At the same time, Bruton has become one of the most interesting creative hubs in the South West. For somewhere this small, the density of brilliant art, design, interiors and food is pretty extraordinary.

You’ll find world class galleries, beautifully curated shops, incredible restaurants, serious design credentials and a crowd that reflects that. You’ll feel that interesting blend of rural calm and creative energy.

There’s also often something happening with exhibitions and events at Hauser & Wirth, seasonal days at The Newt, and various fairs and events in Bruton throughout the year which gives the whole area a real sense of momentum. That contrast is exactly what makes Bruton so special.

It’s also surprisingly accessible: under an hour from Bath by car, and easy to reach from London by train, making it a doable day trip or weekend mini break.

Unsurprisingly, it’s somewhere I return to often for inspiration. But before we dive in, a small disclaimer. Bruton is not somewhere I’d recommend turning up to without a bit of planning.

This is not the sort of place where you can assume everything will be open just because Google Maps says so. As someone who likes a plan, I’ll be honest, I find it pretty challenging. Bruton’s independent shops often keep fairly limited opening days and hours, even over weekends, so do check ahead if you’re making a dedicated trip.

So if you’re only visiting for a day, or making the trip from Bath or London, I really recommend planning ahead. You may need to hop around a bit and come back to places later, rather than doing everything in one neat sweep of the high street.

That’s really the point of this guide. I don’t just want to tell you where to go, I want to help you work out what to prioritise, and how to experience Bruton at its best.

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This guide includes everywhere I’d eat, visit, shop, with a focus on art and vintage of course.

I’ve also included my saved Google Maps with each recommendation pinned, so you can plan your trip easily.

And if you’re already making the trip to Somerset, I’d highly recommend pairing Bruton with Bath — and, of course, a studio visit to Hue.

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