All the wallpapers are by Morris & Co apart from the CFA Voysey print (sourced from an American company which owns the copyright) in the compact shower room. ‘We know that the original interiors were by Morris & Co so it’s probable that Hale White used his wallpapers. They were certainly in production in 1868.’ In the main bedroom, the Trellis wallpaper was designed in 1862. The pattern was inspired by the garden at The Red House with bird drawings by Webb. Likewise, all the furniture and furnishings might have come with the house. A settle and rush-seated chair or the set of heavy, crewel work curtains, salvaged from a country house, which fitted perfectly.
The double-height family room at the back of the house was probably added around 1899 and has remained almost unchanged since then. ‘It was used as an artist’s studio and later a printing works.’ It was Ben who designed the bookshelves which span one wall. In keeping with Hale’s preference for the ‘plain’ and unfussy, he suggested that they paint all the woodwork the same shade of white. The only exception is the former scullery where they broke rank. The deep chocolate paintwork was inspired by a visit to Webb’s masterpiece, Standen, in West Sussex.
Rebeka likes to imagine that some of the ‘spirit’ of the house crept into Hale White’s writing. Its aesthetic atmosphere has undoubtedly inspired her craft-led publishing business. The cloth-bound books, printed in the UK on thick, creamy paper with illustrated covers and spines, are aimed at bibliophiles. Every detail is considered. ‘I believe you should be able to judge a book by its cover. If you are going to charge a premium it has to look good, feel great – and read well.’
