A Nostalgic Jacobean Country House in Devon by VSP Interiors
‘Rich in character but gentle in tone,’ is how designer Henriette von Stockhausen of VSP Interiors describes the aesthetic of this Jacobean country house design tucked in a Devon valley.
Walking into its double-height, apex-roofed entrance hall, it’s hard to imagine that it once housed mismatched furniture sequestered from a local hotel or that the pale pink walls of the dining room had been damaged by a leak, while the exterior stone had blackened over the decades.
Entrance Hall (above): A tapestry hangs low to draw the eye to this sociable area. Opera wallpaper, Robert Kime. Curtains in Algiers Grey & Coral on linen, Robert Kime; made by Emma Stewart Interiors. Tapestry, Retrouvius. Sofa in Fez Weave, Guy Goodfellow Collection. Chairs in Straub Twill, Claremont. Lamps, Vaughan. Shades, Nushka. Floor lamps, Robert Kime. Rug, auction find. Cushions, VSP Interiors.
(Image credit: VSP Interiors / Photography Paul Massey)
Now, the vast scale of the once chilly entryway has been humanized via thick drapes, squishy seating, and a mellow-toned tapestry, hung to draw the eye downwards towards the convivial seating arrangement.
‘In many ways, getting that entrance hall right allowed the whole house to unfold,’ says Henriette, whose decades-long experience with country homes has given her a keen eye for scale. ‘Not only does everything else lead off it, but it’s really the first opportunity to set the tone for the rest of the house.’
Exterior (left): In the heart of the Devon countryside, the Jacobean property is set in a green valley and overlooks a lake. Porch (right): A framed map and generous curtains bring warmth to the house’s original stone walls and mullion windows. Curtains in Robert Kime’s Indian Pear, made by Emma Stewart Interiors. Selection of cushions, Robert Kime and Nushka. Antique lantern, Lorfords Antiques.
(Image credit: VSP Interiors / Photography Paul Massey)
The building is a cherished residence, tended with care over many years. Naturally, this brought a sense of sentiment to the renovation, suggests Henriette, who felt a strong resonance with the project’s overall sensibility. ‘It hadn’t really been touched since the 1980s.’
‘But the setting is very romantic; being in a valley, it feels as though the landscape is giving the house a hug, and instead of formal gardens, there are rolling hills in the distance. So, we wanted to take our cue from that sense of nothing being too forced. The interiors pay homage to a classic country setting but without too many frills or trims.’
This shared design language enabled Henriette to rework these schemes from top to bottom, including new plumbing and electrical work.
The 17th-century manor house, once owned by Sir Walter Raleigh, and noted for its stone-mullioned windows, couldn’t be altered structurally, but it could be brought back to life.
Library (above): This wood-panelled space accommodates a bar with a collection of vintage decanters. Chairs in Milano 514, Claremont. Wall light (right), Lorfords Antiques. Diddling wall lights (on bookcase), Robert Kime; shades in James Hare’s Orissa silk in Geranium Pink; trimmed in Orissa silk in Persimmon. George III-style sofa, Woolley & Wallis. Green cushions in antique fabric, Punica.
(Image credit: VSP Interiors / Photography Paul Massey)
‘There was a love for strong colors on one side, but a preference for a quietly elegant palette of neutrals on the other,’ shares Henriette. ‘So we had to strike a balance. Bold hues found their way into the bathroom and the library, while delicate tones and soft patterns characterize the rest of the spaces.’
A nuanced combination of blues, gentle pinks, caramels, and terracotta allows the architecture to breathe, while complementing the honeyed tones of the stone. Even so, the renovation still required Henriette to gently shepherd her clients out of their comfort zone.
Kitchen (left): Henriette used her own kitchen island as a template for this one. ‘The oak base lends warmth to an otherwise neutral space,’ she says. Bell pendants, Howe London. Blind in Field Poppy, Robert Kime. Cabinetry in Lime White, Farrow & Ball. Stools by Ercol in Vintage Red stain, Heal’s. Bathroom (right): Family portraits above the door add a decorative feel. Grille wallpaper in Biscuit, Robert Kime. Curtains in Simla silk in Cygnet, James Hare. Vanity, Porter Bathroom. Mirror, designed by VSP Interiors; made by Ken Biggs. Wall light, Hector Finch; embroidered shade, Vaughan.
(Image credit: VSP Interiors / Photography Paul Massey)
‘At first, there was much resistance to the idea of wallpaper,’ says Henriette. ‘And also, to drapes in the entrance hall, because they had never considered decorating it as a room in its own right.’
‘But by the end of the project, we had papered nearly every wall. I think it’s essential in a house like this, where plain painted walls just wouldn’t cut it, unless you have a vast art collection to add interest.’
Dining Room (above): The wallpaper adds a sense of occasion. D-Dream wallpaper, Iksel. Curtains in Astor Venice, James Hare; trimmed in Tiverton pleated border, Samuel & Sons. Chairs in Claremont’s Milano 525; piped in Les Passementeries de l’ile de France double piping, Turnell & Gigon. Lanterns, Charles Edwards. Mirror, Vagabond Antiques. Paint finish below dado by Bone Black’s Adrian Everitt.
(Image credit: VSP Interiors / Photography Paul Massey)
The key was to opt for small-scale pattern so discreet that it introduced texture and tone almost subliminally, an approach that worked particularly well in bedrooms and bathrooms. An exception is the dining room, where a wallpaper featuring a fantastical naturalist landscape adds both confidence and scale.
‘It works because it feels very enveloping,’ says Henriette. ‘Plus, it’s an artwork in itself.’
Sitting Room (left): Soft blues, pinks, and corals play into the brief for a refined scheme. Opera wallpaper; curtains in Tashkent, all Robert Kime. Custom ottoman, VSP Interiors; covered in an antique rug and Lee Jofa fringing, GP & J Baker. Console table, Jeremy Rothman. Mirror, Lorfords Antiques. Sofa in Old Flax Lagoon, Soane Britain. Main Bedroom (right): A four-poster bed anchors this large space. Palm Stripe wallpaper, George Spencer Designs. Custom bed, Oficina Inglesa. Headboard in a suzani. Commodes, Chelsea Textiles. Lamps, Robert Kime. Antique sofa in Straub Twill, Claremont.
(Image credit: VSP Interiors / Photography Paul Massey)
Throughout, antique rugs and fabrics, auction house furniture finds, and woodwork in chalky finishes combine to make this home feel evolved rather than decorated.
Contemporary touches, such as modern artwork, create a quietly confident dialogue between old and new.
Bedroom (left): The bed tester introduces another layer of texture. Tara wallpaper, Jean Monro. Headboard in Milano 524, Claremont. Bed curtain in Todi, Chelsea Textiles; trimmed in Ogee border, Samuel & Sons. Mirror, Vaughan. Table, Chelsea Textiles. Cushion in Hawkeswood, Teyssier. Bedroom (right): ‘We wanted an enveloping space,’ says Henriette. Cathay Parade wallpaper, Nina Campbell. Curtains in Simla silk, James Hare. Inner bed curtain in Savory, Güell Lamadrid. Headboards in Strie, George Spencer Designs. Table, Chelsea Textiles. Lamp, Vaughan
(Image credit: VSP Interiors / Photography Paul Massey)
‘It was about bringing out the best of this home, throwing original details like the ebonised beams into relief,’ says Henriette.
‘My biggest tip in cases like these is always to scale up. It’s really the opposite of what Coco Chanel once said about removing just one accessory before leaving the house. If in doubt, I always say “add”. Larger spaces can cope brilliantly with a “more is more” approach.’
The result is a home that gently reimagines the nostalgia of its past while looking to the future. Comfort has been reinstated, schemes have been updated, and warmth – both literal and metaphorical – reintroduced. Its latest chapter is finally ready to be written.
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