Choosing the painting is often the fun part. Working out where it should live — and whether it should stand alone, be paired, stacked, or become part of a gallery wall — is usually trickier and requires a bit thought process.

I completely understand. There seems to be something about choosing paint colours and hanging artwork that makes otherwise confident people suddenly second guess themselves.

These are the art layouts I recommend. They work across everything from tiny Victorian terraces to sprawling country houses, whether you’re hanging a single vintage painting or building a collection over time.

Subscribe now

1. Statement Piece

Sometimes one painting is all you need.

A single artwork — whether that’s an oversized abstract, a moody portrait, or a bold vintage landscape can really anchor a room and create instant impact.

This works beautifully above a fireplace, sofa, console, or in a hallway… anywhere to be honest. Its the go to.

And remember: a statement piece doesn’t always have to be huge. A smaller or even tiny painting can still command attention if the surrounding wall space is calm enough.

Styling tip: Resist the urge to crowd a statement piece with too many accessories. Let it breathe.

2. Gallery Wall

Gallery walls remain popular for good reason. They’re one of the easiest ways to inject personality into a space and tell a story through art.

I especially love gallery walls that feel collected over time — mixing different eras, frame styles, mediums, and subjects.

The secret is balance, and nothing too perfect.

You want enough variation to feel interesting, but enough consistency that the wall still feels cohesive.

Styling tip: I often suggest keeping one common thread — colour palette is my usual favourite.

3. Pairs

Pairs are timeless.

Two artworks hung together can create beautiful symmetry. Hung vertically, they help elongate a narrow wall. Hung horizontally, they create balance above furniture.

Styling tip: Similar doesn’t need to mean identical. Pieces that “talk” to each other often feel more interesting than perfect matches.

4. Set of Four

Symmetry is soothing. A set of four creates instant structure, making a wall feel polished and considered.

This layout works particularly well with:

• botanical prints

• antique sketches

• photography

• smaller vintage oils

Styling tip: Keep spacing consistent and treat the group as one larger artwork. A set of four over one larger piece can also look great if the overall width is the same.

5. Grid

A grid is perfect if you love order. You can play around with scale, as there is no set number of pieces, 6, 9, 12 etc all look good.

Clean spacing creates something structured, calming, and architectural.

This works beautifully when you have a larger collection of similarly sized works — botanical studies, antique prints, photography, or abstracts.

The magic is in the spacing, framing, and what furniture is below them.

Framing tip: Identical or similar frames usually work best here.

6. Three in a Row

A trio works beautifully when you want simplicity with a little drama.

Three artworks hung in a row create strong visual rhythm without feeling as busy as a gallery wall. This can of course be vertical too.

Styling tip: Choose works connected by colour, subject, or mood.

7. Salon Hang

If you love layering, this is for you.

Inspired by historic Parisian gallery walls, a salon hang uses closely arranged artwork to create a rich, collected feel.

This style works especially well if you:

• own lots of art

• love mixing eras and styles

• love to hang high and low

People often overthink salon hangs, they usually look best when they feel slightly organic.

Styling tip: there is no such thing as too high or low, ditch the tape measure and have fun.

8. Stacked

Stacking draws the eye upward and adds architectural interest.

Two or three artworks hung vertically can make awkward narrow walls feel elegant.

A great way to use a few smaller/medium size pieces to fill bigger spaces rather than big paintings.

Styling tip: Great with a picture light too.

9. Rows

Rows create calm. A row of artworks feels clean, deliberate, impactful.

This works particularly well when using multiple smaller pieces in similar sizes or themes.

Rows are ideal if you want visual impact without the busyness of a gallery wall or grid.

Styling tip: Consistent spacing and framing makes all the difference here.

10. Leaning

Art does not always need to be hung.

Leaning pieces on shelves, mantels, picture ledges, or even directly on the floor creates a relaxed, layered feel.

This works especially well in kitchens, on bookshelves, or in spaces where you want things to feel a little less formal.

Styling tip: Layer pieces at different heights for depth.

Once You’ve Chosen Your Layout…

One of the biggest blockers with hanging art can be the practical bit that comes next. Once you know whether you’re creating a gallery wall, hanging a pair, or styling a statement piece, the next question is usually:

Okay… but how do I actually hang this?

What hooks do I need? Do I need a drill? Will Command Strips work?

I’ve also linked the tools I genuinely use and recommend to help you with picture hanging. Read my full hanging guide here.

When it comes to art layouts, there is no single “right” way. The most successful walls are rarely the most perfect.

They’re the ones that feel personal and work around the room they are in. My biggest advice? Start with one painting you genuinely love. Hang the painting. You can always move it later.

A x

Subscribe now

*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. As always, I’ve only included products I genuinely like and would recommend to a friend.

No matter where it lives, the TV is rarely the prettiest thing in the room. You can spend months choosing paint colours, fabrics, lighting and artwork only for a large black screen to dominate the wall the moment you walk in.

In the interiors world, TVs are often treated as something to disguise, or cleverly integrate and I really like that approach. As long as you can quickly turn it on, why not keep it hidden the rest of the time?

I love TV and film, I would like to think I’m realistic about how people actually live. I do really love rooms that feel both lived in and beautiful but a big black rectangle doesn’t exactly help with that whether its wall mounted or on a cabinet.

Which raises the question: Would you cover your TV with art?

I think I would. Not because every TV needs to disappear completely, but because sometimes the goal is simply to stop it being the first thing your eye lands on.

Subscribe now

Here are three solutions that have caught my eye:

1. Use art

This is my favourite, and probably the least surprising answer if you know me. A TV is functional. Art is emotional.

So when you place one in front of the other, something a bit interesting happens — the practical object recedes and the room feels more beautiful.

There are so many clever ways to do this.

You could use a large painting mounted on a sliding track, so it glides across when the TV isn’t in use. You could hinge artwork so it opens like a cabinet door. You could even use multiple framed works as folding panels.

has detailed tutorials on her Instagram highlights showing how they built their paneled screens in her snug. They look fun to open.

I’ve also seen mirrors used brilliantly here. Check out this post as an example from @Pilsferrer

Technically, this category is “use something decorative” rather than just art — paintings, mirrors, decorative panels — anything that turns the TV wall into something visually pleasing.

Instead of pretending the TV isn’t there, you’re giving the room another focal point.

And if I had to choose between looking at a black screen or a beautiful painting? You already know my answer.

2. Use fabric

Fabric might be the most underrated solution. Curtains, antique textiles, suzani’s, kanthas or tapestry panels can all work beautifully in front of a TV.

Sometimes bespoke joinery can feel too rigid or architectural, whereas fabric brings softness and movement. It adds pattern, texture and a slightly relaxed elegance I think.

Its probable the quickest to install, very unique, and definitely very layered. Just a clever track and the right textile. Its a bonus to weave in another textile into your home too I find.

I recently came across a beautiful example in an New English Interiors by Lizzie Metcalfe where curtains were used to conceal a screen, and it felt so natural — almost romantic, really. I could 100% envisage using this in my home.

There’s something lovely about drawing fabric across a TV. It turns a practical object into something softer.

And if you’re drawn to collected interiors vintage textiles can be really special here.

In the below example by Studio Squire they created a blind (remote operated so no chain or strings) from this vintage suzani, which keeps it neatly hidden away but very easy to access. Very clever!

3. Use bookshelves or joinery

This is probably the most seamless if you are looking to hide it.

Built-in cabinetry, library walls and custom shelving can help a TV disappear into the wider architecture of a room.

I’ve saved countless examples of this.

Not minimalist, ultra-modern joinery — that’s rarely what draws me in.

The examples I love tend to feature books, ceramics, lamps, art, and beautiful objects. In other words: layers.

Once the screen is surrounded by enough visual interest, it stops dominating. Your eye starts moving around the room instead of landing immediately on the TV.

Some joinery solutions hide screens completely behind pocket doors or sliding panels. Others simply integrate them so well they stop feeling intrusive.

In this example by Alice Grace, the TV is completely hidden behind a swing-out panel, with the front doubling as storage — a very clever solution that feels both beautiful and practical.

I also spotted the OKA box files on her shelves. I have so many of these at home; they’re brilliant for hiding everyday clutter, and I love the newer prints they’ve introduced.

Good interiors aren’t about removing practical things altogether. They’re about integrating them beautifully.

I’d love to know where you stand on this.

Would you cover your TV with art or hide it in some way? Or are you perfectly happy embracing the black box?

*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.

Ibiza is a very special place to me. I’ve been visiting for over twenty years, and there’s nowhere else quite like it. It still carries that hippie spirit from the sixties and seventies. You see it in the older people on the island, you see it in the markets, and at the beach. But what I love about Ibiza is how many different worlds somehow coexist there.

There’s the bohemian side. The hedonistic side — the super clubs, the music, the sense that people are there to have a good time. But there’s also a huge wellness scene too — retreats, yoga, incense, crystals, and slower living.

And then there’s the luxury. In some ways, Ibiza is pretentious, yet weirdly it doesn’t feel pretentious at all. That’s part of what makes it so unique. If you’re as obsessed with the island as I am, two books I love are Ibiza Bohemia by Assouline and Made in Ibiza: A Journey Into the Creative Heart of the White Island for a deeper look at the island’s creative side.

The food standard is incredibly high. This isn’t just some random Balearic island where you stumble into a decent lunch. If you want to eat really well, you need to know where to go and you need to book.

I love that contrast. Ibiza feels both glamorous yet barefoot, polished and undone. There’s an effortless luxury to it, but it still feels real.

I also love that it’s a small island. You can pretty much get anywhere, which makes exploring very easy.

The only downsides? The house prices and the jellyfish. I really don’t like the jellyfish!

What I think many people miss about Ibiza, though, is its creative side. Beyond the beaches and restaurants, there’s a brilliant world of vintage shops, flea markets, galleries and eccentric treasure troves if you know where to look.

Subscribe now

I should also be honest: when I’m in Ibiza, I’m not spending all day vintage shopping. I want to be at the beach, in the sea, eating the best food at a Chiringuito. So this isn’t a guide to every vintage stop on the island. It’s a highly edited list of the places I think are actually worth carving out time for.

I’ve pinned every place from this guide on my Google Map for paid subscribers, so you can easily save everything and plan your route for your next trip.

Inside this guide I’m sharing:

— 9 vintage shops, markets and treasure troves I genuinely rate
— the flea market I’d prioritise on an island full of markets
— what’s actually worth carving time out for when you’d rather be at the beach
— plus a Google Map with every stop pinned

Read more

I’ve followed Tess on Instagram for years now, back when she was living in London, and she’s someone whose interiors have always caught my attention. What I’ve always liked about Tess is that her home never feels overly styled or too “Instagram”. It feels authentic, beautiful, but also genuinely lived in. Her new Georgian country home is a pretty epic renovation project, and I really enjoy that she shares the process as much as the finished spaces — the ideas, the DIY, and of course the end result.

She has such a brilliant high-low approach to interiors, mixing investment pieces with clever, practical decisions in a way that feels both aspirational and achievable. Some of my favourite details in her home are the fabric backdrop behind her bed (with a painting hung over it — obviously I love that), her recently finished bathroom, and the gorgeous marble fireplace in her sitting room.

Tess is a content creator and freelance consultant who swapped London and corporate life for the countryside last year. She’s mum to a three-and-a-half-year-old daughter, with a new baby on the way. She shares thoughtful styling ideas, DIY projects and honest insights from the ongoing renovation of her Georgian home.

Tell me a little about what you do… I try to be as useful as possible, essentially. Right now we’re renovating our home and garden in the countryside and we’re learning a lot along the way - all of which I’m sharing on Instagram and on my (free) Substack, The Lost and Found Club. I’m passionate about home styling and being brave with design in the home, because I spend a hell of a lot of time in mine and believe we should be surrounded by a space that brings us joy. And that doesn’t just mean very expensive appliances - it means things that help to tell the story of our life. For work, I help brands to tell their story too. I was a communications executive for news and entertainment media brands for the longest time, so I am applying the storytelling skills I built over that time in a new way - and a much more creative way, thankfully.

My approach to interior design is… If you love it, it will work. & every room should have something new and something old in it - preferably the furniture will be from a range of eras as that will sit best next to one another. And I try to encourage people not to buy everything for a room at once.

What’s a small detail that makes a big difference in interiors? It’s certainly not things like a perfect paint finish. I promise no one will notice wobbly DIY paint edges in your home! For me, it’s that I include usually one quite mad thing in each room - a bowl that’s designed like a crown, a horse figurine, a piece of art that you need to really stare at to figure out. I think that adds a huge bump of personality.

A paint colour you love right now is…Cinnamon from Edward Bulmer. It's kind of like being inside a cup of tea. It's such a wonderful colour - warm, inviting - and I used it in my study on purpose because it gives me the exact feeling I want when I'm entering what might be a stressful work situation, or a great work situation!

When choosing art, I always look for…Charm. It's hard to define what that is, but charm for sure. Our biggest art investment was a piece from Ren Condry's graduate collection and we saw it hanging in the front window of a gallery when we were in Falmouth for work years ago. Both my husband and I were really struck by it just as we were walking up the road. It just had that charm!

My dream place to go treasure-hunting is… Southern Italy. Puglia markets, followed by a massive bowl of fava beans and focaccia is essentially my dream day. I'd be looking for smaller pieces of art, vases and pots, and giant plates that I'll struggle to bring home on the plane.

A place that always inspires me is…Ireland - probably the West Coast, in Kerry, the most. We visit a lot and the colours often rival the Balearic Islands.

The hotel I’d book tomorrow is…The Amangiri in Utah. I'm not a very adventurous traveller, but I've never been to landscape like that so one day I'd love to experience that rockiness. I will need to save up a lot of pennies!

A coffee table book currently on my table is…Marilyn Monroe by Eve Arnold. Monroe would have been 100 this year, and I have been long-time obsessed with her. Of all the photographers I love the pictures Arnold captured of her.

My go-to scent is…Libre by YSL. There's a lot of lavender and orange in it and it genuinely lasts all day.

An everyday luxury I wouldn’t be without is… My super-king size bed. To the point where if I see a bed is smaller in a hotel I won't book it...

A recent find I’m loving is… We bought preserved lemons for a fancy recipe recently and are now quite addicted to them. The yummiest addition to a pasta sauce or a salad.

One item that is on my wish list is…A matching pair of stools for my living room. I quite love the rope topped iron ones from Six The Residence, but also think I may find a vintage pair if I look hard enough.

The perfect Sunday consists of…Our daughter allowing us a lie in until 8am, a trip to the garden centre, then a huge roast dinner with family followed by a long walk where my aforementioned daughter doesn't ask to be carried once!

My motto is…Do the best you can until you know better. Then when you know better, do better. A Maya Angelou quote I think about always!

Someone I get a lot of inspiration from is…Pierce + Ward probably the most at the minute, as I'm renovating this Georgian home. Beata Heuman too.

My favourite Hue + Holasz pieces right now are…

Someone I’d love for you to feature next on Tales from the Studio is…Eirwen Oxley Green of Hope + Hughes.

You can follow Tess on Instagram at @tessfwa.home and on Substack at .

*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.

Subscribe now

It’s subjective, of course and everyone has their own individual taste. But being in the vintage world, I probably see more than most, and just because something is labelled vintage doesn’t automatically make it good.

Spending my days sourcing vintage art has made me pretty quick at spotting what feels special and dismissing what doesn’t when there’s a lot to browse.

Price aside, I’m always looking for the same thing: quality, beauty, and something that makes me stop scrolling.

These are ten pieces that caught my eye this week.

Subscribe now

1. Vintage jewelled chalice candle holder

We’re starting strong with the wildcard.

I don’t even know exactly what I’d do with this, which is partly why I love it.

It’s listed as a candle holder, which I can definitely see, but I also think it would look gorgeous simply styled on a shelf. Slightly eccentric, and definitely one of a kind.

2. Mid-century chrome catch-all tray

A small tray can make any vignette feel instantly calmer and layered, its the perfect balance of beauty and practical. I’m drawn to the clean sculptural lines of this one, simple, but with real presence.

3. The World of Interiors (1986)

I will always stop for vintage design or art books. I have a terrible weakness for coffee table books. No time to read them with two little girls to keep me busy but I can dream.

They add instant character to shelves or a table, but they’re also one of my favourite sources of inspiration. And this one looks particularly good plus its from the year I was born. Any other 1986 babies out there?

4. Twisted pewter mini frame

Tiny frames are hugely underrated. I love using frames to display cherished photos around my home. I like the shape of this one, its simple but chunky with a bit of detail. Its on eBay for less than £20 with best offers…

5. Frosted green shell wall lights

Shells always catch my eye. A great pair. The shape, the frosted glass, the Art Deco glamour… dramatic, but still elegant.

6. Original 1907 Paris transport map

I’m always looking for things to frame that aren’t paintings. Old maps are one of my favourite alternatives, especially in studies, hallways and cloakrooms. They always make a great talking point. This £30 1907 map of Paris would look brilliant framed.

7. Silver bullion tassels

Exactly the sort of wonderfully odd thing I can’t resist saving. Beautiful draped over cabinet handles, a bedside table knob, or wardrobe door.

8. Amber glass trinket set

These would look beautiful on a bedside table or bathroom shelf. I love the Amber glass. This 1930’s set is listed for £50. Am I reading the price correctly?

9. Art Deco alabaster bookends

I love the geometry here, softened by the milky alabaster. Sculptural without feeling heavy. Very chic.

10. Pressed glass celery vase

A celery vase. I’m obsessed with this classic shape and I love the edging to make it feel modern. A steal at £30. I have a pet hate for flowers in the wrong shape vase. You can never have too many vases imo. Vintage glass catches light in a way modern pieces rarely do, and this has such lovely shape and texture.

Let me know if you enjoyed this format — I already have plenty saved for Vol. 2.

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.

Browse the edit here.

Subscribe now

Last week I visited WOW!House, where leading interior designers are given a rare thing: complete creative freedom. No client brief. No client belongings. No pressure to play it safe.

As much as I loved the fabrics, furniture and colour palettes, I was paying attention to the art. Not just the paintings themselves, but how they were being displayed. What interested me was how the designers approached art when left to their own devices. Often client’s already own artwork, or are involved in the buying process. I actually often meet customers who have worked with an interior designer on their home renovation and then pay me a visit to choose their art in person as they feel its too personal to leave up to a designer.

So what did I see? Here are the five art styling details I noticed.

Subscribe now

1. Layering Art Over Pattern

In a contemporary gallery, art will always have breathing room. Many designers seemed to be doing the opposite.

At WOW, Paintings were layered over richly patterned wallpapers and fabric covered walls, creating rooms that felt inviting and layered.

Rather than competing, the art and pattern often made each other more interesting. I love this way of hanging. Its often very much more is more like in the below bedroom by Salvesen Graham but I loved seeing the more paired back look in the Immersive Room by Russell Sage. I am increasingly seeing art mixed with fabrics and I adore the texture contrast.

I loved the art hanging over wallpaper in Sean Symington’s Withdrawing Room, I think it was really effective against the stripe pattern. A very busy paper combining stripes and florals but it gives you a leading line to follow for art and I think that’s clever.

Albion Nord’s Drawing Room was wrapped a patterned fabric which was divine. It was a non pattern pattern style fabric so a much more subtle look and with the artwork over it, it looked really elegant but still playful.

2. Hanging Art from Picture Rails

This was one of the details I kept noticing throughout the house.

Chains introduce an architectural quality that feels both formal and practical.

I love the flexible nature they offer without damaging walls or wallpaper.

They come in a variety of finishes so can easily work in any scheme.

They can be very traditional but used with the right art, in the right space and I actually think they are rather chic.

I really liked the example I saw incorporating picture lights in the Speakeasy Salon by Studio Duggan.

I also overheard an interesting practical benefit: chain hung artwork can help to insure artwork as they protect paintings in the event of flooding, as the artwork sits away from the wall itself.

3. Hanging Art Over Bookcases

Possibly the most controversial idea on the list.

Artwork positioned in front of bookshelves instantly creates a layered, collected feel. It breaks up rows of books and introduces a little of the unexpected.

I love how Salvesen Graham styled the bookshelf with multiple pieces, stacking, and a mix of mediums. I also thought it was brilliant that they choose How to Live an Artful Life as the hidden speaker. Can you spot it?

And yes, you can still reach the books. If you need one, simply move the picture.

4. Mixing Periods, Styles And Mediums

One of my favourite observations. Nothing new, but so effective.

I loved seeing delicate nude sketches hung alongside antique oil paintings, and contemporary abstract works displayed beside much older pieces. The gallery wall in Max Rollit’s Dining Room was impressive. I love the art also mixed with the mirrored lights. If you like that kind of look, you might enjoy my earlier post The Best Walls Aren’t Just Art.

The most interesting rooms aren’t matching everything. They are mixing periods, styles and mediums to create collections that felt deeply personal.

5. Art Over Mirrors

I love paintings over mirrors. I think its so dramatic and looks brilliant. Its also a wonderful way to sneak in a few mor paintings when your walls are full! I saw two gorgeous examples. What are we thinking? Can I win you over on this? I don’t see it as often as I would like to.

I did really enjoying seeing that designers had used vintage art too. It was a really strong mix of vintage, antique and contemporary.

The biggest takeaway wasn’t any one of these ideas. It was that the best rooms treated art as part of the architecture of the space rather than something added at the end. Starting with the art is always a good place to begin. The colour palette tends to flow more naturally, and the art is usually hung much better too.

Subscribe now

Leading up to every trip to Paris, I end up with a Google Maps that is completely out of control. Saved museums. Saved markets. Saved galleries. Saved restaurants. Saved coffee shops. Saved shops… I never get through all of it, which I suppose is part of the fun of a city like Paris.

I’ve actually been travelling to Paris for over twenty years now. It was one of the first places I visited as an adult, a nineteenth birthday present from my parents, and I’ve returned countless times since. When I lived in London, Paris felt wonderfully accessible. A spontaneous daytrip was entirely realistic and, it’s one of the few things I genuinely miss about living there. If you live in London, my advice is simple: go to Paris more!

The challenge is that when I’m there, the priority is usually sourcing. Markets, dealers and paintings tend to dictate the trip, so I have to be fairly disciplined about what else makes the cut. This was the shortlist from my most recent trip.

Where We Stayed

We stayed at Hôtel Balzac and I’d very happily stay there again.

The location was excellent and it worked brilliantly for the trip we had planned. I wanted to be close to three markets I had lined up. I say close, but its Paris, so I’ll caveat, that means less than 30 mins drive. More importantly, after spending entire days walking markets, museums and galleries, returning to a spa felt like one of the best decisions we made all trip. The only mistake was forgetting swimwear and having to buy some in Paris!

The Museum I Loved Most

If I could only recommend one museum from this trip, it would be Musée Bourdelle. It’s surprisingly peaceful and, unlike some of Paris’s bigger museums, it doesn’t feel overwhelming. The sculpture studio alone is worth the visit. Seeing works of that scale up close is something photographs simply can’t capture. I loved the mix of studios, gardens and huge sculptures, and it’s a really manageable size too. You can happily spend time there without feeling like you’ve only scratched the surface. Best of all, much of it is free to visit.

Two More Worth Visiting

Musée Jacquemart André felt quintessentially Parisian. Elegant, decorative and oh so grand. The staircase and atrium alone are so impressive. Again, a nice size and it was wonderfully quiet the day I visited.

Then there’s Musée Picasso. I’d seen Picasso’s work before at Museo Picasso Málaga, but this was my first visit to Musée Picasso.

I don’t think eighteen-year-old me would have got Picasso at all. But somewhere between falling in love with vintage art and becoming increasingly obsessed with mid-century interiors, I’ve found myself becoming much more drawn to Picasso and the Cubist movement. The building itself is worth the visit too. I spent almost as much time admiring the architecture as I did the collection.

Coffee Stops

Café Nuances was probably my favourite coffee stop of the trip. Very design-led. Very cool. More art gallery than coffee shop. Lots of merch. The only issue is that there’s nowhere to properly sit. The seats look like an art installation and don’t come with tables. Gosh, that sounds middle-aged. I loved it though. Delicious almond croissants too. There are several across the city and I’d happily return to every one of them. I visited the one at 51 rue des Francs-Bourgeois.

Noir was one of those places I instantly liked. Beautiful glass doors, classic Parisian atmosphere and exactly the sort of place where you can happily sit and watch the city for an hour. There are several across the city. Simple, unfussy and somewhere I’d happily return to on every trip. No pastries, but yummy banana bread. I went to the one on rue Richer.

And then there’s Carette. Yes, it’s touristy. Yes, I’d still go back for the hot chocolate. It’s cream with a side of hot chocolate. Sometimes places become famous because they’re genuinely good and Carette falls firmly into that category. I'd love to take my girls here one day when they're old enough to appreciate it and not be a complete liability. I went to the one at Trocadéro.

Where We Ate

Without question, my favourite food of the trip was Frenchie Bar à Vins. Every dish seemed better than the last and it was one of those meals where you just cannot pick a favourite. We had to get pudding, everything was so good. The pudding was millefeuille, chef’s kiss.

Vivant probably wins on atmosphere. I love a counter seat. The candles in wine bottles. The staff. The food. The whole place just has energy. It’s the sort of restaurant where you immediately wish you could pick it up and drop it into your own city.

We sat outside at Le Cornichon, shared taramasalata, trout and frites and watched Paris go by over a long Sunday lunch. Slightly kitsch, very much a neighbourhood restaurant and full of families lingering over lunch. It was giving Amélie, which is about the highest compliment I can give a Paris restaurant.

I usually eat only French food while in Paris but decided to mix it up and try Italian - Carboni’s was the answer. A relaxed Italian dinner and a reminder that not every meal in Paris needs to be a classic bistro experience.

The Purchase I Didn’t Need

Gachon Pothier has been on my radar for a while and with their only store being in Paris I had to stop by and left with a couple of bracelets I haven’t taken off since.

For The Love Of Doors

A slightly niche observation, but Paris is a city for people who appreciate beautiful doors. I came home with an embarrassing number of photographs of doors and architectural details. Look around, look up, always.

Until Next Time…

I always leave thinking “when can I next come back”. I am so grateful that my work takes me to such beautiful and interesting places.

This is Part Two in my Paris series and, as always, I’d love to know what I’ve missed. If you have a favourite museum, gallery, restaurant, coffee shop or hidden gem in Paris, leave it in the comments. My Paris Google Map is already slightly out of control, but I’m always looking for an excuse to add another pin.

What I love about Laura’s work is that it never feels predictable. Her interiors take the best elements of classic decorating and give them a modern twist, combining bold colour, thoughtful pattern and clever joinery with rooms that still feel comfortable and liveable. There is always something that catches my eye, whether it’s an unexpected colour choice, beautiful tiling or a piece of art perfectly placed within a scheme.

I’ve long admired Laura’s work. The kitchen at Well Cottage remains one of my favourite kitchens, it put a red kitchen on my radar. Her rooms are confident and characterful, but never take themselves too seriously.

Based in Dulwich, London, Laura works on homes of all sizes, from London pied-à-terres to larger family houses. In this edition of Tales from the Studio, she shares her thoughts on colour, art, decorating with confidence and the small details that can completely transform a room.

Tell me a little about what you do… I am the founder of my own interior design studio. I have a small but brilliant team and create beautiful, practical and joyful interiors for our clients.

My approach to interior design is… I believe your your interior environment can be transformative to your quality of life and should elevate your mood and bring you pleasure every single day. Love everything decorative in your home.. if it doesn't speak to you or lift your spirits change it up.

What’s a small detail that makes a big difference in interiors? Lighting, lighting, lighting. Layered lighting - even adding a little table lamp to your kitchen counter can completely change the mood and feeling in your space.

A paint colour you love right now is…Pollen II by Paint and Paper Library - a gorgeous sunny deep yellow.

When choosing art, I always look for…Colour and charm.

My dream place to go treasure-hunting is… France... the brocante fairs are second to none.....

A place that always inspires me is…Paris

The hotel I’d book tomorrow is…San Domenico Palace, Sicily (White Lotus).

A coffee table book currently on my table is…The Layered Home by Benjamin Reynaert.

My go-to scent is…Ilio by Dyptique - it is summer in a bottle.

An everyday luxury I wouldn’t be without is… My large skinny take away latte.

A recent find I’m loving is… The rug/runner range by Elizabeth Eakin.

One item that is on my wish list is…Smythson Crocodile Skin Red Notebook.

The perfect Sunday consists of…My husband's breakfast burritos over The Sunday Papers and a mooch around a London art gallery.

My motto is…Life is too short.

Someone I get a lot of inspiration from is…My wonderful team (I can't mention just one - they inspire me as a collective).

My favourite Hue + Holasz pieces right now are…

Someone I’d love for you to feature next on Tales from the Studio is…Rita Konig.

You can find more of Laura’s wonderful work at www.laurastephens.co.uk or on Instagram at @laurastephensid.

Subscribe now

One of the reasons I wanted to write this post is because I know how intimidating hanging art can feel.

I’ve spoken to so many customers over the years who have bought a painting they love, only for it to sit propped against a wall for weeks, months or sometimes even years because they’re worried about getting it wrong.

I completely understand. There seems to be something about choosing paint colours and hanging artwork that makes otherwise confident people suddenly second-guess themselves.

So rather than talking about gallery walls and styling, I thought I’d keep things simple and share the tools, tricks and small details that have helped me hang hundreds of paintings over the years.

We ship all of our paintings ready to hang but you might pick up pieces elsewhere if you love the hunt that need a little TLC.

My hope is that this gives you the confidence to finally get that painting off the shelf or floor and onto the wall.

Are Command Strips Safe?

The honest answer is yes and no. I do use them and I think they’re incredibly useful in the right situation. For lightweight pieces with a relatively flat back, I’ve had great success using Command Strips. But there is definitely a time and a place for them. For anything particularly heavy, valuable or awkwardly framed, I wouldn’t risk it.

My rule is simple: If you have any doubts at all, don’t use them. At that point you’re gambling with both the artwork and the frame.

For heavier pieces, you’ll usually want to move into the world of picture hooks, wall plugs and sometimes even a drill, depending on the wall and the weight of the artwork.

If You Like Things Straight

I’m not obsessive about measurements, but if you like things looking neat, there are a few tools worth having.

A tape measure is an obvious one.

A laser spirit level can be surprisingly helpful too, particularly if you’re hanging multiple pieces together or creating a gallery wall.

And if you’re hanging anything above eye level, a step ladder quickly becomes your best friend. Niwaki have a brilliant range in some fun colours.

They’re not the most exciting purchases you’ll ever make, but they can save a lot of unnecessary holes and adjustments.

Why I Often Replace Old Picture Cord

If you buy vintage paintings regularly, you’ll become surprisingly familiar with picture cord.

Some paintings arrive with perfectly good hanging systems. Others arrive with cord/metal/string/rope etc that looks as though it will imminently break. Replacing it is quick, inexpensive and gives complete peace of mind. If I’m ever unsure, I swap it.

Adding new cord or D-rings is also often a simple five-minute job.

If I’m already working on the back of a frame, I’ll often tidy up the backing too using Japanese backing tape. It helps create a cleaner seal and can be particularly useful on older frames.

A Tiny Trick That Stops Picture Cord Fraying

After cutting picture cord, I carefully seal the end using a match. It takes seconds but stops the cord fraying and makes threading it through hooks much easier.

The Picture Hooks I Like

I keep several types on hand depending on the wall and the weight of the artwork.

My most-used are:

• Traditional brass picture hooks

• Plasterboard hooks

• No-Trace Picture Hook

If you’re building a basic hanging kit, I’d start here.

You’ll need a hammer too. I suspect most of us own a vintage hand-me-down hammer from a parent or grandparent.

The Little Things That Make A Difference

Some of the most useful tools are also the least exciting. Tiny details, but they can make a surprising difference.

Frame pads help protect walls and wallpaper, whilst also helping frames sit neatly against the wall.

If you’re hanging art in an older property with slightly uneven walls, a small amount of white tack behind the lower corners of a frame can also help keep everything sitting nicely.

Don’t Forget About Plates

I’m a huge fan of mixing objects into a display rather than relying on paintings alone.

Decorative plates can look wonderful alongside artwork and add another layer of texture and interest.

I keep a couple of different plate hanging systems on hand depending on the plate, and I’ve linked the ones I use here: Disc plate hangers and Plate hanger hooks.

If you’ve never tried incorporating plates into a gallery wall, it’s something I’d highly recommend.

picture credit: heidi caillier

The Cost Of Waiting

We put so much pressure on ourselves to get it exactly right that we end up not hanging it at all. The truth is that paintings nearly always look better on the wall than they do leaning against one. Most homes don’t need better art. They need the art they already own to make it onto the wall.

Still Not Feeling Confident?

If you’re hanging a single painting, I’d encourage you to have a go. Most mistakes are easily fixed and you’ll quickly build confidence.

If, however, you’re looking at a whole collection of artwork, a large gallery wall or an entire house’s worth of paintings and feeling overwhelmed, there’s absolutely no shame in calling in a professional picture hanger.

They do this all day, every day and can often complete in a few hours what might take the rest of us an entire weekend.

Whether you hang it yourself or call in a professional, the important thing is that the painting eventually makes it onto the wall rather than spending another six months leaning in a corner. If this post finally gives you the push to hang that painting you’ve been putting off, then my work here is done.

I’ve linked a few things I genuinely use or 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.

Browse my picture hanging favourites here.

picture credit: tiffany leigh design

I’ve talked about picture lights before, but over the last year I’ve become increasingly obsessed with them.

After hanging thousands of paintings over the last few years, I’ve learnt that lighting really can completely change how a piece feels. A little like framing really. A painting that looks perfectly nice during the day can suddenly come alive once the right light is added. And you want to enjoy your art at night as well as daytime right?

Of course, picture lights help illuminate artwork, but I think their real value is what they add to a room. They create atmosphere, draw attention to a favourite piece and make a collection feel more established instantly. They really are a design detail as much as a practical feature.

Much like a lamp, picture lights are as much about mood as they are function.

picture credit: w design collective

Why They Seem To Be Everywhere Again

As homes have moved away from relying on a single overhead light and towards layered lighting, picture lights have become increasingly popular. You can see this from the range of high street offerings which is rapidly growing.

People are paying more attention to art, and picture lights are one of the simplest ways to add warmth and atmosphere as they are decorative too.

When I say picture lights in this post, I'm referring to the traditional horizontal style designed to sit above a piece of art. There are plenty of other options too but for the sake of keeping this guide useful rather than overwhelming, I'm focusing on the classic picture light today.

Where I Like To Use Them

They work beautifully above a single painting that you want to give a little more presence.

I tend to favour picture lights in rooms used after dark. Sitting rooms, dining rooms, libraries and snugs are all natural candidates.

A kitchen is my favourite , particularly if you dine in it and can enjoy the soft glw while you linger by candlelight.

I’ve seen them work well over a tapestry or large print.

Over a tiny painting is fun and unexpected.

They can be really effective over a gallery wall or a stack of paintings. You can add two or three across the top of the gallery wall or if its particularly asymmetrical, just one over the lower side.

picture credit: britt albert/nicole franzen

What I Look For

When choosing a picture light, I focus on these things:

• A warm or modern finish, usually a brass or nickel.

• A size that feels proportionate to the artwork - smaller than the artwork.

• As a general rule, I look for a picture light that’s around one-third to one-half the width of the artwork itself, excluding the frame. This works particularly well for landscape-format paintings. For portrait-format works, I tend to follow the same principle and choose a light that’s roughly half the width of the painting, again excluding the frame. The aim is for the light to feel balanced with the artwork rather than dominating it.

• A warm bulb is essential.

• Dimmer option can be helpful.

• Check if it’s rechargeable or not.

• I really look at the shape of the light and the backplate. Some of the backplates are portrait, most landscape. For a fairly simple item, they actually vary a lot. Scale, finish, and the level of detail really matter.

picture credit: afi studios / harry cowder

The Common Mistakes I See

Keep the light just above the painting, you don’t want it floating too high.

Picture lights should create atmosphere, not feel like a spotlight. A softer glow tends to flatter both the artwork and the room. If you immediately notice the light itself, it’s probably working too hard.

The same applies for the design, it needs to sit in harmony with your frame and art, not compete with it.

I think it can be easy to slip into a overly traditional vibe if you use too many, or use anything too gold.

I don’t think I’ve ever seen them work well with an unframed painting but that is my preference.

Sometimes the artwork, wall colour and surrounding lamps already do enough. Like most things, I think they’re most effective when used selectively rather than everywhere.

I think its really important to use them sparingly. I would avoid over use of them.

picture credit: w design collective

The Bulbs I Use Most

The two fittings I come across most often are G9 and E14 so I would use the Philips G9 LED Capsule Bulb or Philips E14 LED Classic Filament Light Bulb.

I generally choose a warm white LED rather than anything cool or overly bright.

A Few Picture Lights I Like

I’ve rounded up a selection of picture lights, rechargeable options and bulbs in my edit here.

I’ve included a mixture of investment pieces through to high street options.

Pooky are really dominating the market in the most budget friendly category. They have a huge range at really good price points. You can’t go wrong with this small classic Pitcheroo picture light in antique brass.

Soho home have my personal favourite. It also comes in a bigger size too. The Andro Picture Light is divine, such a beautiful alabaster and brass combination.

One of my most luxe options is the Limehouse Blenheim Trough Picture Light in the large size and plated polished nickel finish from Holloways of Ludlow. It comes in a variety of finishes, I love the polished nickel. So chic.

If the thought of rewiring puts you off, rechargeable picture lights have come a long way. No electrician, no rewiring, simple to install, and most will run for hours on a single charge with the added bonus of remote control operation. Check out the options at Pooky like this Seurat rechargeable picture light. For less than £150, I am really impressed!

Browse the full edit here.

Final Thoughts

Picture lights aren’t essential.

But when they’re done well, they’re one of those details that really adds an element of design that makes the room feel loved, and lived in.

They’re part function, part styling and, for me, one of the easiest ways to make artwork feel truly at home.

*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. As always, I’ve only included products I genuinely like and would recommend to a friend.

If you spend enough time in interiors, antiques or vintage sourcing circles, eventually you start hearing about the same Paris markets over and over again. The big ones. The markets people build entire trips around. Places people talk about as though everyone is casually finding perfect paintings for twenty euros before stopping for oysters and a glass of wine.

The reality is a little less polished than that. Paris sourcing isn’t especially efficient, and it certainly isn’t cheap. If efficiency was the goal, I’d stay at home and source online. But that also completely misses the point. You go because being there is part of the story. After a day of looking at paintings, galleries, buildings, frames and colour, things feel different in a way that’s difficult to replicate online.

I also travel to source because I genuinely love travelling. That came long before my eye for art did. I’ve always been someone who loves exploring, taking in all the details, eating somewhere special after a long day and building a trip around seeing something new. Sourcing vintage art eventually became part of that. It’s a way to build relationships with dealers and make connections too.

Below I’ll talk about three of the markets I hear referenced most consistently within antiques and interiors circles. All completely different. All worth seeing. And all probably best approached with realistic expectations.

I should also say from the outset that if your goal is purely to find the absolute best prices, then yes, there are smaller and lesser-known places I’d probably prioritise first. But I wanted to begin this Paris series with the big names. The established markets people constantly reference for a reason. And despite how famous they are within interiors and antiques circles, they’re still not places your average tourist accidentally wanders into.

Below, I’m sharing my honest thoughts on all three markets, what they are actually like to source from, what surprised me, what I bought, and which I’d prioritise depending on what you’re looking for.

The first market felt far less intimidating than I’d expected.

I’d read enough online over the years to expect complete overwhelm, but in reality what struck me most was just the sheer density of things. Paintings, sketches, vintage furniture, botanical studies, vintage frames etc. One thing I’d heard repeatedly before going was that you can’t properly do it in a day and that parts of it can feel unsafe. That wasn’t really my experience. We covered a huge amount in a day and, rather than walking from the station, we took an Uber directly into the heart of the market, which made everything feel easy and stress-free from the start.

Read more

People often imagine sourcing vintage art as something romantic. And sometimes it is. There are moments where you find an incredible painting and think, how has nobody else spotted this?

But the reality is that sourcing days are also long, physical and surprisingly demanding. In the UK especially, you are often dressing for several seasons in one day. They require a huge amount of planning and in the UK the weather is somewhat unpredictable so you are trying to prepare for several seasons in a day.

The more prepared I am physically, the clearer I think mentally.

A typical day might involve leaving the house before sunrise (setting off with a full Yeti cup of course), driving across the country, walking around muddy antiques fairs in the rain, carrying heavy paintings, eating lunch in the car and making dozens of very quick decisions before midday. The in person hunt for vintage paintings is not for everyone.

Over time, I’ve realised that what I wear and bring on these trips genuinely affects how well I source.

If I’m too hot, too cold, carrying too much or distracted by uncomfortable shoes, I don’t think as clearly. And sourcing vintage paintings is really just a long series of decisions. You are constantly assessing colour, scale, condition, framing, and price. Sometimes you only have seconds to decide whether to buy something before someone else does.

So this isn’t really a fashion post. It’s more a practical guide to the things that make sourcing art across the UK easier.

Layers Are Everything

British weather is so unpredictable that dressing for a sourcing day at antique fairs is mostly about preparing for every possible scenario.

I’ve learnt that layers matter far more than a really good outfit. A day sourcing vintage art can involve standing in a freezing field at 7 am before ending up in an overheated auction house room later. If you can’t quickly add or remove layers, you end up flustered and uncomfortable very quickly.

I usually wear lightweight knits, thermal tops (Uniqlo is my go to), cotton and cashmere that I can layer easily throughout the day. Thin layers are much more useful than one very heavy piece because you’re constantly moving between indoors and outdoors and hopping in and out of the car.

Cashmere blends are my favourite for the cooler months. For summer, I’ve recently discovered The White Company knitwear range which is brilliant for lighter layering.

You can’t go wrong with M&S jeans for comfort and practicality. I rotate between the barrel leg and wide leg.

Accessories

One of my absolute favourite items to bring with me is my waxed cap. There is absolutely no way I’m carrying an umbrella around antiques fairs all day.

If you are sourcing at antique fairs in winter, a hooded scarf is a very good idea for staying cosy.

Sun cream and sunnies are not top of mind when setting off at silly o’clock but if you get lucky you’ll be very glad you thought ahead when the sun comes out. I love Beauty of Joseon for suncream, its so light. Jimmy Fairly is great for simple shades. I’m currently rotating The Janna and The Swirl.

Waxed Jackets, Trench Coats and Good Pockets

Outerwear does a lot of work on sourcing trips.

For countryside antiques fairs and outdoor markets, I often wear a waxed jacket. They’re practical, weatherproof and can handle being thrown in and out of the car all day without worrying about them.

For Cotswolds classic you can’t go wrong with a Barbour, for Cotswolds cool girl its the Toteme country coat.

I also wear trench coats constantly. A trench coat feels slightly more polished while still being practical enough for British weather. There’s a time and place for both short and long ones, it depends on your sourcing destination.

One thing I’ve become oddly passionate about is pockets. Good pockets genuinely make sourcing easier. Throughout the day I’m constantly reaching for my phone, keys, receipts or sunglasses, often while balancing bags, paintings or the trolley. I hate rummaging around in a large bag trying to find things quickly. Deep pockets that actually function properly are one of the most underrated details in clothing.

Shoes Can Ruin an Entire Sourcing Day

Comfortable shoes are completely non-negotiable.

People massively underestimate how much walking is involved in sourcing vintage art. By the end of the day you may have walked around multiple antiques centres, markets, fairs and auction houses, often across gravel or muddy ground.

For boots I would go for Blundstone or Grenson. If somewhere is really muddy, Le Chameau for wellies.

For trainers my go to are Sambas or plimsolls by Novesta.

Comfy socks are a must. My most loved brands are Pairs and Oysho.

I’ve learnt the hard way that if your feet hurt by midday, it affects your concentration for the rest of the day. Pack plasters unless you really trust your footwear.

Bring a Folding Trolley

One of the least glamorous but most useful things I own is a folding trolley. The perfect way to transport vintage paintings to your car.

At first I resisted using one because I thought it looked slightly ridiculous, but now I would never source without it.

At antiques fairs especially, you inevitably end up carrying things you never intended to buy. Trying to juggle everything while continuing to make good decisions becomes exhausting surprisingly quickly.

A trolley frees up your hands, helps with lugging coats and bags and most dealers use them so you certainly won’t be the only one..

Hulken bags have really caught my attention recently and I can see how helpful these would be as a slightly different smaller option to a trolley but also with fold up benefits.

Keep Your Essentials Close

I nearly always carry a small crossbody pouch with my essentials inside. Strathberry make some beautiful crossbody bags that work particularly well for sourcing days because they’re practical without feeling overly utilitarian.

Usually inside: phone (I seem to have ditched my phone strap), wireless charger, cards, cash (imo cash is not king but its still sensible to have some in these places), keys, receipts and tape measure.

When you’re constantly moving between locations, loading paintings into the car and carrying multiple things at once, it helps enormously knowing exactly where your important items are.

A little pouch is really useful for cash and receipts. You might also want a pen and small notebook for record taking purchases.

A Head Torch Is Surprisingly Useful

The least glamorous thing on the list, but if you are arriving at a fair at the crack of dawn in winter and want both hands free, it’s incredibly useful.

What Permanently Lives in My Car

There are a few things I now keep in the car at all times:

• tape measure

• portable charger

• water

• lunchbox of snacks (you can never have too many snacks!)

• bubble wrap

• packing tape

• scissors

• blanket for protecting paintings

• folding trolley

• head torch

• wellies

None of it is particularly glamorous, but all of it makes sourcing days run more smoothly.

Dressing to Think Clearly

The less distracted I am by being cold, wet, uncomfortable or overloaded with bags, the more clearly I can focus on the actual hunt itself.

The best sourcing outfit is probably the one you barely notice. It allows you to focus entirely on spotting the vintage painting everyone else has overlooked and trusting your instincts quickly enough to bring it home.

I’ve linked a few things I genuinely use or 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.

Browse my sourcing favourites here.

I’ve made it a bit of a goal over the last year to properly get out into my world. Meeting people in the industry, going to talks, the sort of thing I haven’t really been able to do with two very young children over the last few years. Something I’ve noticed is that a lot of these talks start in a very similar way.

Childhood homes. Country houses. Early exposure to art, interiors, antiques, collecting etc. A sense that the path was always there. That hasn’t exactly been my experience but my childhood connection to art and interiors certainly is deep rooted and something I have always noticed.

I grew up in Crouch End, in North London. It’s quite a creative area. A lot of my friends’ parents worked in film and television. I don’t really remember there being paintings in my own house. I remember posters. Things about trees and connections to Ireland. Visual, yes, but not art in the way I think about it now. But I remember other people’s houses and their art. Very clearly.

I’ve always noticed interiors. I can walk into a house and remember it years later, what was on the walls, the texture of a sofa or chair. And when I think about it now, that’s probably where this really started. I always describe my journey into art dealing as something that grew from a passion for interiors.

Nighthawks

In my next door neighbour Lily’s house, where I spent an enormous amount of time, I remember a Edward Hopper’s print of Nighthawks. It was in the room we watched TV in, above the sofa. Their dad worked in the film industry, the walls were crammed with shelves of videotapes. Oh the memories and 90s nostalgia of all the classics….The First Wives Club, Beethoven, Mrs Doubtfire... We were always watching films when we weren’t playing outside.

At the time, I had no idea what the print was, but later as an adult, I saw it and knew it was the one I had seen hanging so many times. I now have my own print at home too.

They also had this huge, life-size horse’s head sculpture upstairs. I didn’t see it often, but I remember it feeling quite striking and possibly a little scary. Properly like “art”.

The Umbrellas

In another friend’s house, Julie’s, there was what I think of as “the girl with the hoop” — a soft, slightly romantic painting of a girl holding a basket or hoop. The print was a close up of the girl solo as a large portrait. It hung over a fireplace. Its a smaller scene from Renoir’s The Umbrellas.

That same house also had this long, detailed family tree by the front door, with old photographs of their New Zealand family woven through it. I was completely obsessed with it.

Grandparents’ Houses

At my paternal grandparents’ 1930s semi in Peterborough, there was a real mix of things… religious tapestries, lots of Ukrainian embroidery and some very 70s mass produced prints of elegant women like this lady below snapped by Nick Tucker at my grandmother’s house taken in 2013. A glimpse into her chintz too, that’s a story for another day.

At my maternal grandparents’ flat at Mount Pleasant in London, I remember three distinct pieces of “wall art”. A Shillelagh. A (very Irish looking) tray with a horse and cart scene propped up or hung like art with beaded edges. It was quite kitsch. A big mirror full of pictures and postcards tucked in.

The first time I really saw paintings

I went to lots of the big galleries in London as a child. With my family and lots of school trips too. My first real memory of seeing art properly was The Lady of Shalott at Tate Britain with my friend Rhiannon in our witchy era.

I remember that feeling of recognising something beautiful without really understanding why it was so special.

A few years later, Rhiannon’s parents bought a large oil painting of a street scene from Amsterdam. It felt “important”. I don’t think I understood why at the time, but I noticed it. And I think that’s key. I didn’t grow up surrounded by “important” art. But I did grow up noticing what was on the walls.

Around the same time, I was going to The National Gallery with a friend and we became slightly obsessed with the Impressionists. We would sit and sketch a little.

Art at School

Art at school wasn’t particularly notable but is part of my story. I remember Miss Tanner in Year 7 and kilns and charcoal. For a piece of homework around Year 9, I recall I did a Monet study in pastel of The Poppy Field near Argenteuil, that was frankly a complete mess and my teacher Mrs Glover was quick to tell me so!

My GCSE piece is probably the only piece I’m truly proud of. I’m no artist. A self-portrait with Monet’s Water Lily Bridge. I worked on that all summer in my bedroom.

Clearly enjoying art, I went on to study at A Level with Ms McNamara and Mr White. I remember the feeling of those classes more than anything. So different to all my other subjects. Hedonistic. Very unstructured aside from our regular life drawing classes. A lot of time was spent on Hampstead Heath, sketching trees.

My A-level piece drifted into print, design, and pattern. A very pink paisley mixed media board. But still, not in any way suggesting a future in art. I considered art school, for about 5 minutes. Art History was more appealing than fine art.

I remember one final stint before I put my paintbrushes away. I spent a week at a summer school with Chelsea College of Arts. It was a week of working on a piece with a show at the end. I picked the worst image, I think from a magazine, with a staircase and people. It was so hard, I remember asking my dad to help me save it but it couldn’t really be saved. I think everyone on the course was quite good, it was rather embarrassing.

Thinking back to my days studying art I remembered this book, gosh I spent so much time looking at this book for inspiration! The 20th Century Art Book.

The first “art world” moment

One memory that’s stayed with me is going to a private view at Burgh House in Hampstead.

Rhiannon’s parents knew the artist, I only remember that her name was Pam, I don’t remember the paintings at all. But I remember the feeling of it. It felt very grown up.

St Ives

Aged 18, I spent a few days in St Ives with my friend Julie, and recall how much I loved visiting Barbara Hepworth Sculpture Garden. It’s such a peaceful place. Although I didn’t really have any previous awareness of sculpture, those organic shapes and her beautiful studio and gardens definitely talked to me. I see that trip as one of the first art trips of my adult life so looking back, I’m glad I made time for art.

I think there’s an idea that you either “have an eye” or you don’t. That it comes from education, or exposure, or a certain kind of upbringing. I think you need a natural interest, you have to be someone who notices things but beyond that, it can be built.

Through passion, through looking, over and over again and seeking it out.

I didn’t grow up in a house full of paintings but I grew up looking at walls and remembering them. And now, I spend my days looking at paintings and trusting my instinct in a way I couldn’t have imagined back then.

If you’ve ever felt like you’ve “missed” the traditional route into art, you haven’t. There isn’t one. You just have to start looking.

With Chelsea Flower Show around the corner, Pimlico Road becomes one of the most interesting places to spend a few hours in London. If you’re planning to be in the area, this is exactly how I’d approach it, especially if you’re short on time.

I’m often asked how I became an art dealer, and it really began with interiors. So many of my earliest memories are tied to interior details.

Pimlico Road feels like something of a mecca in the design world. I work closely with interior designers across the UK and US, and Chelsea is very much their playground, so it’s taken me a while to make the pilgrimage, and it more than lived up to expectations.

This visit felt important for a few reasons. Firstly, some of my paintings are now hanging in one of the showrooms there. Do message me if you think you’ve spotted them!

Secondly, I’ve always been obsessed with fabrics and wallpapers. Seeing them in person, the scale, the texture, the colour… is invaluable, especially when I’m constantly noting prints I’d love to use myself for our ever ongoing house reno.

And more broadly, as one of the key hubs of UK design, I want to understand what’s happening. What’s being said, how schemes are coming together, what’s shifting in this beautiful world.

But perhaps most importantly, I wanted to understand how these spaces actually feel. That you can only do, in person. You can’t order samples for that unfortunately.

Interior designers so often talk about starting a design with feeling. What do you want a room to evoke? How do you want it to feel? As both a small business owner and a supplier into this world, I need to experience that for myself.

It’s also an incredible place to connect. In just 90 minutes, I spotted familiar faces, had conversations with businesses I already know, and met new ones. Running a largely online business is efficient, but nothing really replaces those in person moments. You get a different kind of energy from them.

Pimlico Road isn’t about sourcing in the traditional sense, it’s about understanding how designs come together.

What I’m always looking for is what translates. Pieces that still feel special, but can sit comfortably in a real home. I am also looking at the styling, particularly with art and framing.

I had very little time, so I had to be quite decisive.

I planned my route carefully to make the most of it, and I wanted to share it in case you ever find yourself in the same position, tight on time, but wanting to see the best of it.

What Surprised Me

I expected it to feel quite formal but actually, many of the spaces felt anything but intimidating, they were warm and relaxed. The best showrooms actually felt like homes, not displays.

Everything is very walkable so you can see a lot in a short space of time.

I had a tight 90-minute window, so I planned this properly.

Below is the exact route I took, how I prioritised it, and what I’d do again if I had just 90 minutes.

Read more

There are some designers whose work feels instantly recognisable, and Annabel Grimshaw is one of them. Her interiors always strike me as chic, joyful and full of personality, with a brilliant use of colour and pattern that gives each project its own identity. They are rooms that feel warm and welcoming, spaces with charm, confidence and a real sense of enjoyment. I love her balance of romantic yet bold.

Working throughout the UK and beyond, Annabel specialises in creating period and architectural homes that feel comfortable, individual and beautifully put together. I’ve always admired the way she layers colour, pattern and collected pieces, balancing contemporary elements with antiques and vintage finds to create rooms with character. There is often a softness to her work; whether in a country house or a townhouse, her spaces feel inviting.

I’m so pleased to welcome Annabel as the very first guest on Tales from the Studio. She shares her thoughts on decorating with colour, the details that make the biggest difference, what she looks for when choosing art, and the places, people and everyday pleasures that continue to inspire her.

Tell me a little about what you do… I’m an Interior designer specialising in residential projects, working with clients across the UK and beyond. I love creating homes that feel welcoming, comfortable and full of personality, often using colour, pattern and collected pieces to build a sense of depth and character.

My approach to interior design is… I want to create spaces that feel joyful to live in, and that bring a sense of ease and enjoyment to my clients’ daily lives. I love designing interiors that feel both timeless and personal, with a strong sense of character and individuality. I’m particularly drawn to layering colour, pattern and texture, which allows me to create schemes that feel truly bespoke, often incorporating one-off pieces designed specifically for each client. Alongside this and dependant on the project, I like to introduce a balance of contemporary elements for a sense of modernity, paired with antiques and vintage finds that bring depth and a sense of history. The aim is always to create spaces that feel special and distinctive, with a strong sense of individuality.

What’s a small detail that makes a big difference in interiors? Always colour. You can transform a room with colour, whether that be on the walls, woodwork, in art, or in your accessories.

A paint colour you love right now is…Tawny by Edward Bulmer. I’m being slightly more drawn to earthy colours, browns and neutrals. This is a great mid tone, sort of beige colour, which doesn’t sound very sexy, but this is such a warming colour. Great for hallways and I’ve just used it in a breakfast room.

When choosing art, I always look for…Difficult question - it depends on the project and the client. I am almost always drawn to flowers though I’ve realised. They can be modern, traditional or abstract. I love a flower!

My dream place to go treasure-hunting is… Anywhere in France!

A place that always inspires me is…The Tissus D’Helene showroom

The hotel I’d book tomorrow is…Any Cristine Bedfor hotel!

A coffee table book currently on my table is…I was given The House Rules & All Things Considered for Mothers day.

My go-to scent is…Dyptique’s Dans L’Eau

An everyday luxury I wouldn’t be without is… My gym in Bath (Marchon), it keeps me fit and sane!

A recent find I’m loving is… Stripey trousers, Zara are doing particularly good ones, but also La Veste for the original ones!

One item that is on my wish list is…A ring from Hattie Rickards!

The perfect Sunday consists of…An early run in the sunshine, then maybe a visit to the Newt gardens for a stroll. Afterwards a late lunch at Babington House on the lawn with family and friends, a Picante or 2, maybe a game of padel or a snooze on the sunbeds is more likely. Then an evening at home, and early to bed!

My motto is…Be brave

Someone I get a lot of inspiration from is…Anna Spiro

My favourite Hue + Holasz pieces right now are… Shell, Coloured Forms, Flowers and Pipe, Capri, Red Roof

Someone I’d love for you to feature next on Tales from the Studio is…Uns Hobbs.

You can find more of Annabel’s work at www.annabelgrimshaw.com or on Instagram at @annabelgrimshawdesign.

Subscribe now

Tetbury is the capital of the Cotswolds when it comes to antiques. Many know it for antiques and nearby Highgrove, the private residence of King Charles III and Queen Camilla, but plenty of visitors only ever experience the high street.

Doing Tetbury that way alone means missing some of it’s real highlights. Some of the most impressive antiques destinations sit just outside the centre, and unless someone tells you, it would be easy not to know they’re there at all.

It also has something many antiques destinations lack: professional credibility without feeling closed off. That’s quite rare. You can go as trade or public and everything is very laid back.

When I attended London Design Week at the Design Centre in Chelsea Harbour, earlier this year, both Sean Symington and Emma Sims-Hilditch referenced Tetbury in separate talks as somewhere they love to source. It’s very much used by trade but accessible for everyone else.

So this is my honest guide to how I’d actually do Tetbury: where to start, what’s worth prioritising, and how to make the most of a day there.

Why Tetbury Is Worth Visiting

Tetbury is one of the strongest antiques towns in the UK. It offers something rare: density, curation, quality and taste.

Come here for statement furniture, antique mirrors, decorative pieces with scale, architectural details, one-off finds, and a genuinely lovely day out. Looking for a birdcage? A sculptor’s stool? A toy shop? You’ll find the things you weren’t looking for.

You are not coming for boot sale bargains or a flea market. Tetbury sits higher up the chain, and that is exactly why many people love it. Some pieces feel expensive, others are actually good value. You will almost certainly see something you instantly fall in love with.

There is a distinctly English heritage feel to much of Tetbury. What makes Tetbury special is not only the stock, but the skills behind it. Many spaces are working studios as much as showrooms, with expertise in restoration, conservation and upholstery.

In a time when so many traditional trades are under pressure or disappearing altogether, places like this matter. Heritage Crafts’ Red List of Endangered Crafts is worth exploring if this interests you.

There is also a strong salvage element, with many dealers carrying outdoor architectural pieces and garden objects.

First Things First: Start Outside Town

This is my first tip. Most people begin on the high street. The out of town destinations often open earlier (typically from around 9am), while many high street shops open later (10am or 11am).

I’ll outline them all in my suggested route below.

So starting outside town simply makes the day flow better. It also means you begin with some of the biggest and most impressive spaces before moving into the prettier, slower second chapter of the day.

Always check opening days and hours before travelling, as not every dealer opens every day. Dealers can be gloriously flexible with timings, so if somewhere is shut unexpectedly, do try again later.

Can You Do Tetbury in a Day?

Yes, comfortably. It will be a full day if you want to do the warehouse stops, browse the high street properly, stop for lunch, and see a few of the prettier corners of town, but it is absolutely achievable in one day.

That is part of Tetbury’s appeal, it feels substantial without needing a whole weekend. My route is based on making the most of a full day, but Tetbury is easy to tailor depending on timings and priorities.

Tetbury Is Best Done by Car

For warehouse stops, a car makes life much easier. If you’re buying, you can load pieces as you go. I’ll list what to bring with you in my practical tips.

Paid subscribers can read my full route through Tetbury below, including my Google Maps route. Where I’d start, the dealers I’d prioritise, where to stop for lunch, where to park, and the practical tips I’d genuinely want to know before going. If you’re planning a trip to Tetbury, this will save you time and help you do it properly.

Read more

It’s part of the job, but also something I’ve always been slightly obsessed with. I look at a lot of interiors, beautiful ones, thoughtfully put together ones and the walls that stand out aren’t always just paintings. They’re often layered, with depth and sometimes offer something a little unexpected.

It’s usually a mix of things: objects, pieces that weren’t necessarily made to hang but somehow work perfectly once they’re there.

These are some of the things I’ve noticed or I’ve been saving to try myself.

1. Corbels

Vintage or antique, always. I love them hung as a pair, but even better is a single corbel in a gallery wall. You can displayed them as a collection, or use them to display. I love this wooden shell example from Fetched From via Etsy. The perfect balance of architectural and practical.

2. Artist Palette’s

These feel like the most natural companion to a painting. They carry all the texture and evidence of the process, layers of colour. Completely one of a kind, and often surprisingly affordable.

John Derian has a large one above his fireplace that anchors the whole room.

I often see smaller palette’s hanging near artwork or in gallery walls. The below vintage find is £25 on eBay.

3. Sconces

Swedish vintage sconces in particular.

They’re sculptural enough to stand on their own, but work beautifully alongside paintings. I have a pair either side of a small stack of three paintings at home, and they completely elevate that corner.

They work with or without candles, classic ivory or something more colourful depending on the mood.

They bring height, light, and structure to a wall in a way art alone can’t. This Swedish pewter pair caught my eye.

4. Vintage Moulds

Copper moulds are the obvious choice, but I’m increasingly drawn to smaller French silver moulds.

They’re more delicate, a little less expected. Some of the animal shaped ones are very sweet, perfect in children’s rooms. They’re playful, but still feel considered.

5. Plates

Wall plates are one of the easiest ways to build impact quickly. A mix is always best, vintage, contemporary, pieces picked up on travels etc. They work particularly well over doorways, or in tricky narrow spaces.

French oyster plates are a favourite, Louise Roe uses them brilliantly in her kitchen.

If you are new to plate hanging, its is easier than it initially looks. You can use either Plate Hanging Hooks or Plate Disc Hangers which are really straight forward to use.

6. Textiles

This is such a fun one. There are no rules, you just need to find a textile you love. There are wall hangings, suazani’s, tapestries, and antique samplers.

Fr something more unexpected, you can frame napkins, tea towels, bags or coined by , silk scarves. This Toast Provencal Paisley Print Scarf would look beautiful in a frame. I’ve always loved the idea of framing something quite ordinary and letting it become something else.

7. Embroidered Keepsake

Hand embroidered works are incredibly special. These make such thoughtful gifts. I love the ones by @Papirbyhannah. Hannah also makes birth month flower cards, adorable for children’s room.

8. Menu’s

I’m planning to frame our wedding menus. You spend so long choosing these details, and then on the day they almost pass you by. Framing them feels like a way of holding onto it. The same goes for a menu from a favourite restaurant, or even just a receipt from somewhere memorable or a special occasion. Small things, but often the most personal. Framing handwritten notes or speeches would also be really unique.

9. Clothes

I’ve seen this done so well. The example that always comes to mind is the baby knitwear displayed by textile designers Diane and Evelyne de Clercq in Rome.

But it could be anything, a kimono, swimwear, a piece you associate with a place or a moment. Framed or unframed, depending on the feel you want.

10. Print Tray

I love these in smaller spaces, a loo, a hallway, a children’s room. They’re a way of displaying lots of small objects and trinkets without it feeling cluttered. Hung portrait or landscape depending on the space. Vintage print trays come in all different sizes and wood finishes too. Beautiful styling here by @ottadesign.

The walls I’m most drawn to are never overly perfect. They feel loved and collected, with a mix of things that weren’t all bought at once, or even intended to sit together.

Art is always the anchor but it’s often these other pieces that make a home feel unique.

I often get asked for Bath recommendations, whether it’s people visiting the studio, planning a weekend, or just coming for the day.

So this is my version. The places I actually go to and love to recommend.

Bath has always been a pleasure city. The Romans came for its thermal waters, it wasn’t a place to work, but a place to relax. The Georgians came to see and be seen, and that energy still lingers. It has such a unique feeling.

It’s small enough to walk everywhere, set in a valley so you’re never far from countryside views, and packed with more restaurants than you’ll be able to get through in a weekend.

Just 1 hour 20 from London, on the edge of the Cotswolds, it’s not surprising it’s consistently ranked as one of the best places to visit in the UK.

Bath is best known for its thermal waters, Roman and Georgian architecture, connections to Jane Austen and, more recently, Bridgerton. Slightly lesser known, but fascinating, is its role in the history of the postal service.

Must-see places

I’ll start with a few of the obvious ones, with my own take, and then move on to the places you’re less likely to find in a guidebook.

The Roman Baths
Always high on the list, and rightly so. Go first thing when it opens if you can. You’ll get the best view of the pool, and sometimes the mist rising off the water, which is magical. Summer lates are also special bringing a different dynamic.

Bath Abbey Tower Tour
Worth the steps. Incredible views over the city, plus a look behind the clock. You’ll see the inner workings, and it’s a wonderful reminder of how it once regulated daily life in the city.

The Crescents
There are actually several crescents in Bath. My favourite is Lansdown Crescent (you’ll often find sheep), which leads into the impressive Somerset Place, then a short walk down to Cavendish Crescent — much quieter and just as beautiful. The Royal Crescent is the most famous and sits alongside the impressive Circus and Margaret’s Buildings, which is a must-see shopping stop.

Pulteney Bridge and Great Pulteney Street
Classic Bath. Tip: take the steps to the right of the bridge (just past the florist) down to the river — one of the best views of the weir. Also carry on to the end of Great Pulteney Street to visit the Holburne Museum.

Prior Park and Bathwick Meadows
For a slightly wider view of the city, head up to Bathwick Meadows, which is perfect for a picnic, or Prior Park (National Trust). The Palladian Bridge is such a romantic spot.

Bath Boating Station
Seasonal, but a total gem. You can hire punts and row boats — we actually did this on our wedding day.

Victoria Park
Also seasonal, but if you’re lucky enough to catch it, the hot air balloons lifting off across the city at sunset are unforgettable. The Botanical Gardens are worth visiting all year round.

Iford Manor
Romantic gardens combining formality with nature, with magnificent rural views across an unspoilt valley. The cloisters feel almost Italian, dreamy gardens, views and architecture.

Lady Lena Boat Cruise
If the weather allows, this is such a relaxing way to spend a couple of hours. A beautiful private boat takes you along the Kennet and Avon Canal.

Places to stay

• No.15 by GuestHouse

• 8 Holland Street

• The Pig (just outside Bath)

• Garden Suite (Airbnb) — run by my friend Lizzy of Pink Walls

• Hidden (Airbnb) — run by my friend Natty, owner of Hidden Store

Places to eat

• Beckford Canteen and Beckford Bottle Shop

• Walcot House

• Castle Farm — worth the drive or taxi, I promise. We had our wedding reception here.

• Solina Pasta — a great walk in option

• Oak

• Landrace Upstairs and Landrace Bakery (the best coffee)

Shopping, Antiques, Vintage + Art

• Toppings Bookshop

• Hidden Store

• Berdoulat

• 8 Holland Street

• Holloways of Ludlow

• Palette

• The Barton Gallery

• Magalleria

• Bartlett Street Antique Centre

• The Small Shop

• Holburne Museum

• Victoria Art Gallery

Markets and Fairs

• Shepton Flea

• Walcot Antique and Flea Market (Saturdays)

• Bath Vintage and Antiques Market at Green Park Station (fourth Sunday of every month)

Spa

• The Newt — not in Bath, but near Bruton, which is well worth seeing, so combine the two (around 50 minutes from Bath)

• The Royal Crescent Hotel — classic Bath, and the afternoon tea in the garden is delicious

• The Cross Bath — a private open-air thermal bath. I hired this for my hen party and it was so much fun.

Final notes

I hope this is useful if you’re planning a visit.

And if you’re in Bath, you’re always welcome to visit the studio. We offer visits by appointment.

Over the past few months, I’ve really enjoyed answering your questions on Instagram. This week I thought I would share the responses as a post. That way, they won’t disappear after 24 hours. I can share fully, without worrying about getting my text to fit over a specific background or if the background has enough contrast to read the text! You’ll also be able to search on here and come back to things.

1. Tips for hanging on an apex/angled wall in attic space?

I love a wallpapered attic room. The more whimsical the better. I would absolutely lean into the challenge it presents and use it as an opportunity to make the space a true one of a kind, full of personality. Whether you hang, one or several, consider the shape of the space you have, or furniture you have, to determine the orientation you need. I would avoid anything too structured if hanging several. If it’s an older property, the walls are possibly wonky so embrace that and don’t try to make it too neat. I wouldn’t personally hang on the slope, just up to it. If you are wallpapering, please do cover the slopes!

2. I have a modern house but want to introduce some older, vintage items. Any advice welcome!

Wherever you can buy vintage or antique I would. Mixing in vintage furniture, art, and decorative objects alongside more modern living is what really adds personality to a home. A single piece of dark furniture helps to ground the room. Vintage lighting, rugs, and textiles can all have a big impact.

French 1960’s swing arm wall light

Scandinavian Rug

3. How to tell if it has value and where do you look in person?

I buy what I love and trust that someone else will love it too. I’m not put off by a piece being unsigned or having no known history.

When you see thousands of paintings over time, you start to develop a feel for what holds value, it becomes instinctive really.

I work within an accessible price point, so while I often come across beautiful, higher-value pieces, I have to keep my customer in mind and not get too carried away, however tempting it is.

4. Where in Europe is your most prolific place to source artwork and also the most lucrative?

I think it depends if you are looking online or in person. For me the most prolific is either France or Sweden. Sweden online is so efficient that it is no longer lucrative like it was a few years ago. France is clunky online so in person is more lucrative but only when you really know where to look. Places like Italy and Spain are less tapped into so I’m enjoying discovering them at the moment.

5. Would so appreciate a blog post on antique stores and flea markets in Paris! Found your article on Tetbury very interesting!

These messages are always so appreciated, thank you. I am so glad my “Five Antique Shops I Always Visit in Tetbury” guide was useful. I am working on a detailed guide that I’ll be sharing here. In case you missed this and want to see what I am referencing, comment TETBURY on this post to receive the guide.

I will absolutely be sharing more about Paris and other sourcing destinations. If there is anything you want me to include, drop a comment on this post.

6. Ways to make my kids art look more like “art”?

I love this idea! It’s something I have been meaning to try after spotting this kitchen with children’s art designed by Nicola Harding. Nicola talked about this project at her book signing for Homing Instinct at Thyme recently. Her tip was to use quality materials so the best quality paper, paint, and framing. I might let my girls do this with some Edward Bulmer tester pots. Not only are they my favourite paint colours, they are natural paint so will not give off any harmful toxins.

7. Where can I buy a picture rail (with chains)?

Not the most affordable but the gold standard of picture rails are the one and only Robert Kime

8. Do you recommend the hotel you stayed at in Paris?

Yes! It was such a treat. I stayed at Hôtel Balzac and it was such a haven to come back to after sourcing and exploring all day. A beautiful hotel, attentive service, and the perfect location for our trip. Make sure to pack swimwear for the spa. I forgot and had to make a last minute purchase. A week on, I still miss the bed. So comfy. I could see the Eiffel tower from the room which was a totally unexpected bonus. The only minor fault was that I couldn’t find a pen in the room so I ended up using my eyebrow pencil on the room service menu which wasn’t ideal!

9. Looking for a large still life scene for a kitchen?

A still life is always my go to for a kitchen. How about this French scene?

Coffee Ritual by Pierre Tromioffe

10. What do you like better: original frames or new?

I love vintage frames best if I had to pick. I will always keep paintings in their original frames wherever possible. It’s more sustainable and often enhances the character of the piece.

When an artwork is unframed, a frame is damaged or distracts from the artwork, we work with our trusted local framer here in Bath to reframe or restore it.

There is something very satisfying about seeing the artwork reframed, it takes on a new feel, ready for its next chapter.

I would love to collect vintage frames to use for reframing but that’s getting into a whole different level of storage challenges that I’m not in a position to tackle yet. Vintage French frames are the prettiest.

If there’s anything you’d like me to include in future Q&As, do send it through. I always enjoy seeing what you’re working on or thinking about.

Annalise x

A very honest chat to humanise the art buying and hanging process. I see art all day, every day. I see thousands of paintings every day. When I started Hue, I had no real background in art, art history, gallery management, antique dealing… any of the typical pathways so I have learnt very much through experience. I love interior design but my art knowledge really stopped at A Level. Over the last five years, I’ve made a lot of mistakes with art.

A month before I launched Hue, I did Rita Konig’s (queen of picture hanging) interior design course on Create Academy which was genuinely so inspiring and I recall her saying to aspiring designers that you need to submerse yourself in the design world, and the more you surround yourself, it will come, you will learn. This is so true for the art world too. So over these last five years I’ve reflected on the mistakes I’ve made whilst I’ve been learning.

1. Buying to fill space

The best collections grow slowly over time. I’m sure many of us are guilty of wanting a room to feel “done” and a quick way to achieving that is to fill walls. When you buy quickly, you are probably somewhat rushing, possibly not always being true to your style or the house bones.

There is so much joy in the life long sport that is collecting and part of the fun is the story behind each piece and where you found it.

The best collections aren’t rushed, they’re built over time.

2. Hanging too neatly

I have a few gallery walls in my home and they are far too neat, I need to rehang them. I now recommend starting with your heroes, off centre and build out from there. Hero’s don’t need to be the biggest, they are the ones with the most impact or your absolute favourites. Always off centre to avoid a grid formation which looks far too forced.

You want your eyes to keep travelling over the space, which different heights and orientations can help achieve. If there is too much negative space, your eyes see that first, it can be more interesting for your eyes to work harder to find a pause. I love a slightly wonky painting and it does add charm so just embrace it. I personally don’t really use a spirit level but it doesn’t drive me mad when they are not perfect so that depends on your personality I would say.

I couldn’t put my finger on why the hang looked off in my own home but the more I see art hung well I understand why mine are not right and with just a few tweaks it can totally change the feel. The most interesting walls are never perfectly planned.

3. Relying on Command Strips

Sometimes you need to learn the hard way. I am big fan of command strips, don’t get me wrong.

But you do need to take care when using them, there is always a risk they’ll fail on you so depending on what you are hanging and where, its weight, do consider if its worth the risk. Not one to try over the bed!

Command strips do come in all different sizes so make sure you check the weight and choose the appropriate ones if you are using them. The other risk with command strips is that you risk stripping the paint off, you never know if they’ll come off easily or take the paint too so that is a risk.

A few reliable hook options I can recommend instead: Non trace picture hooks and Plasterboard picture hooks.

4. Expecting your taste to stay the same

The mistake I made was not to buy art naively, but to later be annoyed at myself for doing so. Accepting that tastes can change and finding joy in more naive pieces, knowing they all play a role in your collection.

When I first starting buying art, I was so excited to own a piece of original art. I loved landscapes of places I knew, I loved the texture of oil. But the skilled aspect I wasn’t overly knowledgeable on. I think this is somewhat instinctive, somewhat doesn’t actually matter, and something that I developed through experience and handling paintings daily.

You buy art throughout your life and at different chapters of your life. For some people it may be fairly consistent and for others it might change more drastically. Your taste is allowed to change.

Subjects you are drawn to or want to collect can also change throughout your life. When I first started buying art, it took me longer to appreciate nudes and abstracts than landscapes and florals. I now love them but at first I wasn’t as confident as knowing what I liked or what would fit in with my style.

5. Letting overwhelm stop you

This applies to both choosing art and hanging art. I think it’s important to connect with a piece, it should speak to you.. I do think its best to buy those pieces that speak to you, even if you don’t have a place in mind, you’ll find a place for it.

Choosing art with partners can be a challenge and frustrating. One of the most common replies I get is partners saying no.

I can emphasise with this. So much of our own art collection is in the loft. We have so many pieces between us. If you can’t agree, its easy to pause on it but then as a result the walls remain empty or in limbo. Our taste isn’t wildly different but art really is so personal isn’t it?

Everyone thinks my home must be full of incredible art and it is, but the truth is the business came along just as I was starting on my home so really our walls are a bit neglected. I started the business 5 months after moving in and 4 months before our wedding at the tail end of lockdowns so it was a fairly hectic time.

I’ve been thinking about how we can get more of our artwork up. I was putting it off as we need to start a renovation project but I think we also need to just get on with it and I think the key to moving forward with it is the framing. By reframing pieces, they’ll have a new look and feel.

I love oils, and I think I need to branch out a bit. I think the best gallery walls are a mixture of mediums and non art. I’m going to dig out our wedding menu’s and get those framed for example.

Hanging on walls, particularly freshly painted, is also daunting for so many. Committing to wall colors and hanging art is way more scary than it should be.

If you take anything from this, let it be this, art doesn’t need to be perfect to work. It just needs to feel right to you at the time.