A 17th-century Berkshire house, blending traditional interiors with contemporary art
Becoming the custodian of a historic house is undoubtedly a privilege, but carries with it the weight of expectation, as the owner of this one can attest. ‘It’s a joy to live in, but it’s a lot of responsibility,’ she says. ‘We want to do right by the house and all the people before us, as well as all those to come.’
The Grade I-listed, 17th-century house in Berkshire was inspired by Inigo Jones but likely designed by Sir Benjamin Rudyerd, who paid for its construction and lived there from 1635 to 1658. It has been in the owner’s family since 1920, and when her parents decided to downsize, she and her family moved in in June 2024.
Given the architectural significance of the house, what was required here was not a gut job, but a gentle continuation of its decorative journey. For that, the owner called on interior designer Henriette von Stockhausen of VSP Interiors, after discovering her work on Instagram.
The house had been decorated 40 years earlier by the interior designer Johnny McCall, whose work both client and designer wanted to honour and preserve. The goal was to update the rooms to reflect the owner’s taste and complement her collection of contemporary art. As Henriette says, ‘You can’t just plonk a piece of modern art into a traditional room. You have to weave it in and balance it, so that it doesn’t stick out like a sore thumb.’
They started with the main bedroom suite, which was given a completely new look. The colours of several paintings from the owner’s collection inspired a layered scheme incorporating a four-poster bed dressed in fabrics by Colefax and Fowler, Robert Kime and James Hare, a dressing table re-covered in a block print by Les Indiennes, and a graphic Robert Stephenson rug.
In the adjoining bathroom, the main changes were the addition of a shower – currently the only one in the house – along with a chinoiserie wallpaper by Watts 1874 and floor-length curtains in a sage-green stripe by Susan Deliss.
Next came the first-floor sitting room, which had been the owner’s parents’ biggest decorative project. ‘This was the nursery when my father grew up here. They turned it into the most amazing winter drawing room,’ she says. ‘It’s such a beautiful room, so we didn’t want to make too many changes.’
The principal switch was the modern painting that now hangs over the chimneypiece. Henriette took her colour cue from that and the portrait hanging beside it to update the soft furnishings in the room, reupholstering several chairs and the club fender, and adding new cushions and lampshades.
It was the downstairs drawing room, however, with its original timber panelling, that was the trickiest room to navigate when it came to integrating the owner’s art collection. The initial starting point for the scheme was a palm-tree print by Howard Hodgkin, one of a series he created in the late 1980s. ‘It’s the first piece of modern art I bought and it’s still one of my favourites,’ she says. But as a decorative springboard, it proved problematic. ‘I love bright colours, so we talked about painting the panels green, or putting some green silk in them, but none of it was working.’
In the end, the Hodgkin print was relocated to the upstairs landing, while inspiration for the drawing room came from a book, How They Decorated by P Gaye Tapp, which features a room with similar panelling and a hand-painted mural. Henriette had already commissioned artist Su Daybell to paint a pair of lampshades for the winter drawing room, ‘and when Su dropped them off, she said to me, “By the way, I paint walls as well,”’ the owner recalls. ‘So I said, “Well, how about the drawing room?” And she said, “You’re absolutely mad. You’ve known me for about 30 seconds.” But I had a good feeling about it.’
That gut feeling turned out to be prescient: over a period of several weeks, Su worked on the design day by day, mixing colours on site and painting directly onto the walls. The mural now wraps around the room, featuring vases of flowers and plants, some of which can be found in the gardens outside.
Henriette then fine-tuned the wall colour, and let the murals ‘sink in’ before adding further to the room. ‘We sat there and tried to feel it,’ she says. ‘Then we re-upholstered the furniture and did the cushions and curtains. I was worried about putting some of the older paintings back in, but it all worked really well. It’s a cracking room – lovely to be in after Sunday lunch, when you can open the doors out to the garden, but also in the evening, by candlelight, it glows.’
‘My parents hardly used the drawing room, whereas now, we use it all the time,’ notes the owner. The snug is next door – another room that has a youthful new look – and the children’s playroom next to that, ‘so everything happens on the same floor’.
The house has retained its provenance, but now reflects the way the owner and her young family want to live, and its journey goes on. She and Henriette are working on the entrance hall, and are hoping to create a new kitchen opening onto the rear garden, as the existing kitchen is dark and north facing. ‘The house itself is not really changing; it’s not even a new start,’ Henriette reflects. ‘It’s the continuation of a story, the continuation of a family. It’s a privilege to be able to help write its next chapter’.
VSP Interiors: vspinteriors.com


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