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LandScape - Life at nature’s pace Garden with late scent | Parrotia persica | Bulb border | Chops | Mincemeat & Christmas cake | Knitted Advent | Whitstable | Antlers | Moulded clay orbs | Lichen <strong>Nov</strong>ember 2018<br />


Life at nature’s pace <strong>Nov</strong>ember 2018<br />

www.landscapemagazine.co.uk<br />

1<br />

Seaside town with an age-old harvest<br />

Radiant orbs shaped from the earth<br />

Vibrant borders filled with perfume<br />


GOLD<br />

15<br />

warming<br />

seasonal<br />


LandScape - Life at nature’s pace Garden with late scent | Parrotia persica | Bulb border | Chops | Mincemeat & Christmas cake | Knitted Advent | Whitstable | Antlers | Moulded clay orbs | Lichen <strong>Nov</strong>ember 2018<br />


Life at nature’s pace <strong>Nov</strong>ember 2018<br />

www.landscapemagazine.co.uk<br />

1<br />

Seaside town with an age-old harvest<br />

Radiant orbs shaped from the earth<br />

Vibrant borders filled with perfume<br />


GOLD<br />

15<br />

warming<br />

seasonal<br />


Contents<br />

<strong>Nov</strong>ember 2018<br />

50<br />

72 110<br />

In the garden<br />

In the kitchen<br />

Craft<br />

10 Borders of late colour and perfume<br />

20 Planting rising waves of bulbs<br />

26 The ironwood tree’s fiery show<br />

32 The Garden in <strong>Nov</strong>ember<br />

48 Spice cake laced with pears and syrup<br />

50 Juicy chops for hearty suppers<br />

58 Regional & Seasonal:<br />

The King’s Arms in Rutland<br />

60 Maturing flavour in traditional treats<br />

36 Soft and silky seedhead displays<br />

42 Matchbox houses with edible lawns<br />

66 Tiny knits for Advent treats<br />

92 Earthy orbs with a gleaming core<br />

119 Painting an autumnal tree<br />


10<br />

20<br />

Country matters<br />

History and heritage<br />

36 92<br />

Regulars<br />

100 The Countryside in <strong>Nov</strong>ember<br />

102 Crowned leaders of the herd<br />

110 Nature’s living patchwork<br />

72 Characterful seaside town built on<br />

rich harvest from the sea<br />

84 Treasure trove evokes memories of<br />

the High Street in days gone by<br />

6 Readers’ letters<br />

8 Our LandScape<br />

24 In the garden<br />

44 Subscription offer<br />

46 In the kitchen<br />

70 In the home<br />

122 UK events<br />


Our LandScape<br />

The best of the season to inspire and admire<br />


NATURE<br />

From their workshop in Sussex,<br />

Josh Kennard and Oliver Milne craft<br />

bespoke furniture and homeware.<br />

From the offcuts of various types of<br />

wood, they make these unique<br />

trees, each one hand-turned on a<br />

lathe. They can be bought singly, in<br />

a woodland of five or a forest of<br />

ten. The various colours of the<br />

woods and stylised shapes of the<br />

trees are offset to their best effect<br />

when grouped together as a tiny<br />

copse in the home.<br />

Single tree £12,<br />

http://forgecreative.co<br />



As autumn begins to draw to a close, there is still time to<br />

appreciate the delights of the season in a woodland walk. A visit<br />

to the woods can be best enjoyed when the rays of the sun filter<br />

through the early mist, lending a luminosity to the last of the<br />

leaves. As their colours turn paler, the silhouettes of the trees<br />

become more apparent, creating a starker beauty which signals<br />

the changes ahead. Paths are still thick with crisp fallen leaves<br />

waiting to be kicked through, adding to the golden layers of the<br />

autumnal scene.<br />

The night skies above Truro will be filled with magnificent figures<br />

for the annual City of Lights. One of Cornwall’s largest and most<br />

popular events, the festival takes place on 21 <strong>Nov</strong>ember and<br />

celebrates the start of the county’s festive celebrations. The<br />

highlight is the extraordinary, huge illuminated sculptures made<br />

by local artists, following a different theme each year. In the<br />

past, these have included the kings and queens of England and<br />

local historical figures. Schoolchildren carry willow, or withy,<br />

lanterns in a procession, and there is music from community<br />

bands, including Cornish traditional melodies.<br />



This charming brooch in autumnal tones is set on copper and<br />

features a silver wren surveying her garden. Hand cut and<br />

stamped by Helen Shere in her Nottinghamshire home studio,<br />

the brooch measures approximately 2in by 1½in (5 x 4cm). A<br />

strong steel pin on the reverse makes it suitable for attaching<br />

to a heavy fabric, such as a winter coat or shawl. Helen gains<br />

inspiration for her jewellery from her garden, old brick walls<br />

and even weeds in the cracks of paving stones. Each piece<br />

may vary slightly, as all are individually made.<br />

Wren brooch £132, http://www.sheredesign.co.uk/<br />


BEAUTY<br />

The subtle glow of morning light on the<br />

frosted fields of a <strong>Nov</strong>ember landscape<br />

brings out the simple beauty of<br />

medieval ridge and furrow patterns.<br />

Created by a ploughing system<br />

employed in the middle ages, the<br />

raised ridges, or riggs, aided drainage.<br />

The parallel mounds and troughs are<br />

the result of ploughing with<br />

non-reversible equipment on the same<br />

strip of land each year. Fields which<br />

have been left undisturbed for centuries<br />

reveal their striking symmetry.<br />

Photography: Alamy; Richard Faulks; Nature Picture Library; FLPA<br />


The turkey tail fungus, Trametes versicolor, is named for its distinctive circular<br />

caps resembling the feathers of the farmyard bird. These year-round, colourful<br />

bracket fungi form tiers on dead hardwood, such as beech and oak, and are<br />

at their best in the autumn. The caps are thin and tough, with clear, velvety<br />

rings of colour in mixes of brown, yellow, grey, purple, green and black. All are<br />

edged in cream or white. Once popular as a table decoration, they have even<br />

been used in the past to decorate hats.<br />




An inspiring walk through Harlow Carr gardens<br />

in North Yorkshire reveals the beauty to be<br />

found in the colder months of the year<br />


The striking white bark of the West Himalayan birch,<br />

Betula utilis var. jacquemontii, stands out in a border<br />

on the Harlow Carr Winter Walk among the flaming<br />

stems of Cornus sanguinea ‘Midwinter Fire’, Cornus<br />

sericea and Salix alba var. vitellina ‘Britzensis’.

The smooth husk of<br />

a poppy seedhead<br />

hangs in sharp<br />

contrast to the<br />

effusive umbrellashaped<br />

stems of old<br />

man’s beard dangling<br />

alongside.<br />

Lichen-covered twigs<br />

take on the form of a<br />

tree when placed in<br />

a small glass bottle.<br />

Sitting in a rustic<br />

tin, a swirling mist<br />

of old man’s beard<br />

creates a ghostly<br />

undergrowth.<br />

Branches of Clematis vitalba<br />

are intertwined with mellow<br />

autumn leaves. Strung from<br />

the ceiling, they make a<br />

delicate informal decoration<br />

like a cloud floating above.

“To one that knows not Lad’s-Love, or Old Man,<br />

The hoar-green feathery herb, almost a tree,<br />

Growing with rosemary and lavender”<br />

Edward Thomas, ‘Old Man’<br />




This tempting bake with its syrupy sauce is full of warming autumn flavours<br />

Sticky treacle cake with poached pears<br />

Serves 12<br />

300g black treacle<br />

3 medium Williams pears,<br />

peeled, cored and halved<br />

zest and juice of 1 large orange<br />

1 cinnamon stick<br />

1 whole star anise<br />

1 vanilla pod, split in half<br />

200g caster sugar<br />

500ml water<br />

125g unsalted butter,<br />

at room temperature,<br />

plus extra for greasing<br />

325g plain flour<br />

100g soft light brown sugar<br />

1 tsp ground mixed spice<br />

2 large eggs<br />

1 tsp bicarbonate of soda,<br />

mixed with 1 tbsp water<br />

1 tbsp choppedstem ginger, in syrup<br />

In a heavy-based saucepan, combine the orange zest and juice, cinnamon<br />

stick, star anise, vanilla pod, caster sugar and water. Cook over a medium heat,<br />

stirring gently from time to time until the sugar has dissolved. Add the pears to<br />

the syrup and poach over a slightly reduced heat until tender to the tip of a<br />

knife, approximately 15 mins. Remove the pan from the heat and preheat the<br />

oven to 170°C/gas mark 3.<br />

While the pears cool in the syrup, prepare the batter. Grease and line the<br />

base and sides of a 900g loaf tin with greaseproof paper. In a large mixing<br />

bowl, beat together the butter, flour, brown sugar, mixed spice, eggs and treacle<br />

until pale and smooth. Blend in the bicarbonate of soda mixture until<br />

thoroughly incorporated, then stir in the ginger pieces. Spoon the batter into<br />

the prepared tin, then arrange the pears, pressing them down into the batter<br />

but leaving their tops slightly exposed. Reserve the poaching syrup. Bake for<br />

approximately 1¼ hrs until the cake is risen and dry to the touch on top: a cake<br />

tester should come out clean when inserted into the centre. Transfer from the<br />

oven to a wire rack. Let the cake cool completely in its tin before turning out,<br />

slicing and serving with the reserved syrup.<br />


• Recipe and Photography: Stockfood<br />

The Williams pear is thought to date back to between 1765 and 1770.<br />

It was grown by an English schoolmaster named John Stair, who lived<br />

in the village of Aldermaston in Berkshire. It was later acquired by a<br />

nursery owner named Williams, and the variety took his name. Today,<br />

it is one of the most widely grown pears in the world.<br />

Williams is an incredibly versatile variety. It is excellent in salads<br />

and pairs particularly well with cheese. It is also ideal for baking,<br />

poaching and cooking.<br />

When buying pears, it is best to choose those that are slightly<br />

under-ripe and finish ripening them at home, as the delicate, soft<br />

flesh is easily bruised once fully ripe.<br />



FOR<br />




Timely preparation of Christmas staples ensures they are<br />

steeped in juicy flavour when the celebrations arrive<br />

• Recipes: Liz O'Keefe • Photography: House of Food<br />

VALUABLE HOURS ARE saved in<br />

the kitchen by preparing early for<br />

Christmas. Mincemeat can be made<br />

ready for festive bakes or to give in a<br />

pretty jar as a gift, as it will keep in a sealed<br />

container for many months, preserved by the<br />

fruit acids and sugar.<br />

The earlier a traditional Christmas cake is<br />

baked before the big day, the better. Two<br />

months in advance is ideal, but a good quality<br />

cake will still result if made a month before.<br />

Allowing this time gives the flavours of all<br />

the dried fruits, baked together with the spices,<br />

eggs, flour and butter, time to mature. Ideally,<br />

the cake should be fed at regular intervals with<br />

a little brandy or rum, which produces a moist<br />

texture and deep, rich flavour. All that remains<br />

to be done as the celebrations approach is the<br />

icing and any finishing touches, allowing the<br />

festivities to be enjoyed to the full.<br />


• For a cherry alternative, replace half of<br />

the sultanas and raisins with dried<br />

cherries and 50g of the suet with finely<br />

chopped marzipan.<br />

• For cranberry and orange, substitute<br />

the sultanas and raisins with dried<br />

cranberries and use the zest of 4 oranges<br />

instead of 2 oranges and 2 lemons.<br />

• For apricot mincemeat, replace half of<br />

the sultanas and raisins with finely<br />

chopped, dried apricots.<br />

Jars of mincemeat<br />

Makes approximately 1.7kg<br />

450g Bramley apples, cored<br />

2 tbsp mixed spice<br />

1 cinnamon stick<br />

¼ nutmeg, grated<br />

250g shredded suet<br />

200g cut mixed peel<br />

700g sultanas and raisins<br />

50g flaked almonds<br />

230g dark brown soft sugar<br />

zest of 2 oranges<br />

zest of 2 lemons<br />

4 tbsp brandy<br />

pinch of sea salt<br />

Grate the Bramley apples into a large saucepan. Add the mixed<br />

spice, cinnamon stick, nutmeg, suet, peel, salt, sultanas and<br />

raisins, almonds and sugar, stirring after each addition. Add the<br />

orange and lemon zest, and stir thoroughly. Simmer on a low<br />

heat, mixing occasionally, then pressing down to flatten, for<br />

10-15 mins until thick and glossy, and the liquid covers the<br />

mixture. Mix in the brandy.<br />

Sterilise five clean 340g jars by filling them halfway with<br />

just-boiled water. Leave them to stand for 5 mins. To sterilise the<br />

lids, immerse them in a bowl of just-boiled water for 5 mins.<br />

Carefully pour the water away, using oven gloves to hold the hot<br />

containers. Allow jars and lids to air dry thoroughly.<br />

Fill the sterilised jars with the mincemeat and fix the lids on<br />

straightaway. Leave to cool, then store in a cool, dark place for<br />

6 weeks or until needed.<br />


72<br />



In the seaside town of<br />

Whitstable, fishing boats<br />

jostle in the harbour, where<br />

they bring in their hauls<br />

of oysters as well as sole,<br />

skate and bass.<br />

Renowned for its oysters, characterful<br />

Whitstable has thrived from industries<br />

linked to the North Kent shoreline

Vintage hats, lingerie, corsetry and<br />

hosiery make up part of the collection<br />

in the haberdashery store.<br />

“Old fashions please me best; I am not so nice<br />

To change true rules for odd inventions”<br />

William Shakespeare, The Taming of the Shrew<br />

selection of John Deeres and Massey<br />

Fergusons. For many years, this remained<br />

a private hobby for Keith. “Then one day, a<br />

friend suggested letting the public see the<br />

tractors,” he says. “We had a farm shop, so<br />

people were regularly walking past the<br />

barn. I thought: ‘Why not?’ and was<br />

amazed at how interested people were in<br />

what my family thought were a lot of old<br />

tractors. They seemed to evoke fond<br />

memories.”<br />

None of Keith’s three daughters<br />

wanted to take on the future running of<br />

the farm, so he stopped farming in 2006,<br />

instead leasing out much of his land. It<br />

was then, 12 years ago, that the public’s<br />

interest in his agricultural memorabilia<br />

sparked the idea to create a museum of<br />

vintage artefacts, which would transport<br />

visitors back to a more gentle age.<br />

To widen the appeal, he knew he<br />

needed to exhibit not just farming<br />

machinery, but everyday items too. “A<br />

friend heard about a private collection of<br />

retail items available nearby,” he says. “The<br />

owner no longer wanted it, but didn’t want<br />

the collection split up and sold at auction,<br />

so I offered to buy it in its entirety. Seventy<br />

per cent of what you see here today came<br />

from that job lot.”<br />

Informal display<br />

Following that purchase in 2006, it took<br />

two years to unpack and rehouse the<br />

collection with the help of both Keith’s<br />

family and his former farmhands. As the<br />

boxes were unpacked one by one, the<br />

contents were revealed for the first time,<br />

bringing back memories of the past. “It<br />

was exciting. None of the boxes had been<br />

labelled, so each one was like a lucky dip,”<br />

he recalls. “And there were seemingly<br />

thousands of them. Amazingly, nothing<br />

arrived broken. We photographed every<br />

item to create a sort of log, but it was very<br />

informal. I sketched plans of where to<br />

display everything on scraps of paper.”<br />

Somehow, the haphazard nature of his<br />

planning worked. In 2008, Oakham<br />

Treasures opened its doors, with the<br />

collection housed in four former barns.<br />

Since then, the collection has<br />

continued to grow. At first, Keith sourced<br />

additional items from car boot sales,<br />

antiques markets and auctions. Now he is<br />

more selective. “There’d be parcels arriving<br />

almost every day,” he says. “I don’t buy as<br />

much as I used to because we’re limited by<br />

space.” He admits the collection has grown<br />

so big that he has no idea how many pieces<br />

of memorabilia there are. “I couldn’t even<br />

hazard a guess. But there’s a lot.”<br />

Two years ago, a fifth shed was<br />

converted for use in the museum. Like the<br />

others, it was fitted with air conditioning<br />

and artificial lighting. “We find it helps to<br />

preserve the collection, but it also<br />

somehow keeps the dust down,” he says.<br />

Use of space<br />

The farm shop, too, has had a change of<br />

purpose, and it now houses a bustling café<br />

which serves hot food and cakes. Even<br />

here, none of the space is wasted. “Those ›<br />


The 60 tractors in Keith Sherrell’s collection are lined up like prized cars. The oldest, dating from the<br />

early 1900s, sit, like champions, on wooden blocks. There is a 1948 John Deere, shiny green with yellow<br />

wheels; a bright red 1946 Case; and an impressive 1917 gunmetal grey Titan. “Each tractor was driven<br />

into position, so we know they all work,” says Keith.<br />

Other items include a 500-strong collection of cast iron tractor seats with the UK’s oldest example<br />

taking pride of place. Tools are displayed like artworks on wooden boards. In addition to the tractors,<br />

there is a range of agricultural machinery and accessories. These include a hand-powered sheep<br />

shearing device and a potato harvester. “I’m always surprised by how much the women love this part of<br />

the collection,” he says. “But then, during the war, they were the ones in charge of the land.”<br />


Above: The museum was originally based around farming, and those exhibits can still be<br />

seen on display, including Keith’s enormous collection of cast iron tractor seats.<br />

Below: Many of the vintage tractors at the museum are still in working order.<br />

Above: The general hardware store includes<br />

household items such as pots and pans, balls of<br />

twine, paints, varnishes and light bulbs.<br />


92<br />


Ceramicist Siobhan Newton captures the raw beauty of a<br />

rugged landscape in her gilded spheres<br />


IT IS AUTUMN, and the trees in a country park are<br />

rapidly dropping their leaves. Those clinging to the<br />

branches are shades of red and amber; their fallen<br />

neighbours blanketing the ground below. In a clearing,<br />

two magnificent stags approach one another warily;<br />

more so, the challenging male, who is here to wrestle<br />

supremacy from the incumbent. As they advance,<br />

each utters a loud, deep roar. This is the height of the<br />

annual red deer rut, and the event is in full swing.<br />

Often the challenger will simply back off, having sized<br />

up his chances and realised he will not be victorious.<br />

But when the two animals are evenly matched, the<br />

physical battle begins. Time and again, the rivals clash<br />

together, locking their huge antlers momentarily before<br />

pulling apart and starting again. Meanwhile, the other<br />

males, and more importantly the females, who will mate<br />

with the eventual winner, stand on the sidelines, simply<br />

watching and waiting for the conflict to be resolved.<br />

Antlers are only found in the deer family, Cervidae.<br />

There are almost 100 living species, only one of which,<br />

the Chinese water deer, does not have antlers at all,<br />

preferring to rely on its sharp tusks. In almost all cases,<br />

antlers are confined to males, though female reindeer do<br />

have small antlers, which they use to clear away snow<br />

when searching for food.<br />

Show of strength<br />

Antlers vary hugely in size from species to species,<br />

the largest being those of the fallow deer and reindeer.<br />

They also vary considerably in shape and complexity, ›<br />

In Britain, the fallow deer, Dama dama, is distinguished by its palmate<br />

antlers. It is most commonly seen in England and Wales.<br />

The majestic red deer stag, Cervus<br />

elaphus, with its branch-like antler<br />

headdress, pauses in a forest clearing<br />

during an autumn rut to determine<br />

dominance in the mating ritual.


During the annual autumn rut, the stag uses his magnificent antlers to<br />

establish dominance over a harem of potential mates

5.<br />

Step 5: Using the size 8 brush,<br />

add touches of the dark green mix<br />

for background foliage, applying<br />

the paint with the tip and letting<br />

it soften in. The paint will largely<br />

do the work itself, but if it starts to<br />

run out of control, wait a moment<br />

for the background to dry a little<br />

before trying again.<br />

8.<br />

Step 6: Pick up some pure<br />

lemon yellow, either straight<br />

from the tube or from the<br />

palette well. With the tip of<br />

the size 2 brush, touch in<br />

some highlights at the top<br />

edge of the dark green area.<br />

Step 8: Once the picture has dried, use a brush that is relatively dry,<br />

but still holding paint, to cover the main branches of the tree, using the<br />

orange, then the purple mix. This will create masses of leaves quickly,<br />

without having to paint each leaf individually. Add some sunlit leaves in<br />

the same way, using the lemon yellow. Once dry, use a clean finger to<br />

remove the masking fluid.<br />

6.<br />

Step 7: Change to the size 10<br />

round brush and make long<br />

sweeping strokes to paint the<br />

grasses in the foreground, using<br />

the bright green mix. Paint<br />

beyond the edges of the picture,<br />

to ensure it is filled evenly. Add<br />

some aureolin highlights, as in<br />

step 4, then change to the size<br />

6 brush and create shadows in<br />

the dark green mix, again making<br />

approximately horizontal strokes.<br />

9.<br />

Step 9: Using the size 6 brush, wet the whole tree with clean water.<br />

Build up a variegated wash by adding the bright green mix, very diluted.<br />

While wet, add touches of the purple and the orange mix here and there.<br />

7.<br />

10.<br />

Step 10: In order to make the tree trunk look cylindrical, add stronger,<br />

darker tones on one side as shadows. Use the size 4 brush to add the dark<br />

green mix, while the tree is still wet. Do not aim for a clean effect or the<br />

tree will look unnatural, like a pipe. Adding a little texture makes it appear<br />

weathered and naturalistic. Add some very light-toned colour, such as the<br />

lemon yellow, on the opposite side, as a highlight.<br />

Step 11: Change to the size 2 brush and the dark green mix to paint in the finer<br />

branches, working outwards from the trunk and lifting the brush away to create a<br />

tapering, fine effect. To finish the painting, work over the surface in a mix of neat lemon<br />

yellow and burnt sienna, using the size 4 round brush and the dry brush technique to<br />

create the impression of leaves in front of the trunk. Add a few small dashes of the same<br />

mix to create a few individual leaves in the foreground with the size 2 brush. Anchor the<br />

tree to the ground by using the same mixes as the trunk to soften it into the dry grass<br />

area. Finally, use the dark mix to create a shadow on the left-hand side.<br />

11.<br />


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