How a Historic English Country House Was Transformed Into a Lived-In Family Home

A bright breakfast nook with built-in banquette seating, patterned pillows, and large glass doors that open onto a lush garden courtyard — (Image credit: Astrid Templier)

Some homes make your heart beat faster thanks to experimental finishes and trend-driven designs. Others reveal their beauty more gradually, offering a sense of familiarity that feels both cozy and reassuring.

This house design, part of a country estate in England, Shropshire, belongs in the latter category. A grand entrance, striking architectural lines, a sweeping staircase, and back hallways leading to hidden nooks all evoke a sense of the past. Yet, under the direction of interior designer Guy Goodfellow, every element has been thoughtfully updated for modern living.

(Left) A cozy library featuring built-in bookshelves, a green floral sofa, and a large window looking out to a park; (Right) A spacious kitchen with sage green cabinetry, a large island with brass accents, and a blue tiled backsplash with hanging copper pots. — **Library (left):** Guy rebuilt and re-gilded the cornice board to allow for fuller curtains. Lammertin wallpaper in Malachite, Guy Goodfellow Collection. Rug, Tim Page Carpets. Custom Alexandra sofa in Jasper Fabrics’ Grace-Willow, Michael S Smith. Custom ottoman in Fermoie’s Satchel. Mahogany side table, Sotheby’s. **Kitchen (right):** The island countertop has a built-in heating system to keep buffet dishes warm. Kitchen by Cleary & Hall, with Lacanche range. Custom hand-painted Alcazar backsplash tiles with border detail, Douglas Watson Studio.

‘For me, a successful country house needs to feel authentic and unpretentious rather than overwhelming,’ says Guy, who worked on this project for four years. ‘That means embracing the blended nature of classic English decorating, where “pristine” sits comfortably alongside “slightly worn,” and furniture is always a bit mismatched.’

When Guy began working on the building, designed in 1814 by architect John Hiram Haycock, the interiors didn’t match its impressive setting. His client, who lives here with her adult son and often hosts guests, wanted to honor the English country house style she had long admired.

‘She has roots in Germany and Denmark, but she considers herself an Anglophile,’ he explains. ‘The idea was to enhance that classic appeal – essentially bringing the house back to what it once was: a place for friends and guests to gather – without any sense of stuffiness or, for that matter, unreliable bathroom plumbing.’

A formal dining room with expansive floor-to-ceiling windows, dramatic pink drapery, a crystal chandelier, and walls adorned with large-scale classical tapestries — **Dining room:** 'This room has hosted many memorable lunches and dinners,' says Guy. 'A chandelier adds grandeur, balanced by the simplicity of the rug.' Design GII-03 sisal and hemp rug, Alton-Brooke. Chair seats in Rigoletto Velvet in Peat, Kerry Joyce; chair backs in Hintlesham in Tomato, Guy Goodfellow Collection. George II mirror, circa 1740, Edward Hurst. Fireplace, Jamb.

Known for his attention to detail and his maximalist style, Guy is skilled at making changes so subtle they’re almost impossible to pinpoint. ‘I have an obsession with old houses,’ he admits, ‘but that doesn’t mean you shouldn’t update them. In this case, we moved the kitchen to a sunny addition and created space for the kind of bathrooms I love – ones that feel more like furnished rooms than purely functional spaces.’

(Left) A detailed view of a mahogany console against a wall covered in intricate antique tapestries; (Right) A sunlit hallway leading through open double doors, featuring a red marble pedestal and a natural fiber rug. — **Dining room:** Guy finished the doors in faux bois to create a rich mahogany effect. ‘I like that there are lots of through-views in the house,’ he says. ‘It gives a sense of coziness.’ Curtains in Harris in Red Earth, Susanna Davis; lining in Howe’s Lattice in Old Stone. Oak painted and gilded curtain pole, David Bedale. Scagliola column, Max Rollitt. Cast bronze bust of Plato on breccia marble, Guinevere.

That approach carries throughout the home, where antique finds sit alongside original period details, and lush floral prints mingle with wall murals in rich ochres, chocolates, and tobacco tones. If everything looks as though it has always been there, that’s exactly the goal – though in reality, many elements were added recently.

The dining room walls are covered with a digitally reproduced version of a tapestry series from Dumfries House called Triumph of the Gods, with technology allowing the borders to be adjusted to fit each wall perfectly. The richly textured finish immediately softens the room’s grand scale.

A grand, traditional bedroom featuring a four-poster bed with floral chintz fabric, a vintage pink armchair, and a large gilded mirror reflecting a soft grey wall. — **Main bedroom:** A pear-shaped mirror adds a softening touch. Curtains and bed canopy in Bennison’s Palampore in Original on Oyster. Window seat (at foot of bed), Wakelin & Linfield; upholstered in Pierre Frey’s Dolino in Galet.

In the entryway, Guy refinished white columns in a deep oxide red to mimic porphyry, while doors throughout the house feature a faux bois painted finish. The library bookcases were taken apart and rebuilt on a larger scale, and original pelmet boards were reworked, regilded, and reinstalled to support fuller curtains. Even the stainless–steel island in the kitchen includes a hidden heating system to keep plates warm.

(Left) A serene bedroom with sage green walls, a canopy bed, and a portrait of a woman in traditional dress; (Right) A dressing area with blue and white floral wallpaper, a marble-top wooden dresser, and a striped fabric wardrobe cover. — **Bedroom (left):** ‘We had fun decorating every bedroom individually, from abundant florals to textured plains,’ says Guy. Headboard and valance in Temple in Lilac, Veere Grenney. George III table, Windsor House Antiques. **Bedroom (right):** This playful scheme features tent storage in smart ticking. Trumeau mirror, Kate Thurlow. Walls in English Toile fabric in Pale Blue on Oyster, Bennison. Tented wardrobe in Ian Mankin’s Ticking Stripe 1 in Airforce. Louis XVI fruitwood and inlaid marble top commode, Hugh Leuchars.

‘The best part was the excitement of finding just the right piece,’ Guy recalls. ‘We spent many happy mornings with our client at different antiques fairs. One day, we came across an oak curtain rod with gilded brackets and finials that fit the dining room window perfectly without any modifications – that was a wonderful moment.’

An outdoor brick courtyard featuring a classical stone wall fountain decorated with shells, surrounded by manicured greenery and bistro-style tables with striped cushions

It may be for this reason that the renovation unfolded gradually over several years, giving the impression that the home’s design evolved naturally over time. For Guy, that’s the essence of a successful country house.

‘You want to come home from a damp walk with the dog to a roaring fire and a hint of wood smoke,’ he says. ‘It’s about gathering your closest friends and family in lively rooms that encourage conversation and fun.’ If that’s the formula for happy country living, this home seems to have mastered it.

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Emma writes across interiors, design, lifestyle, and travel for a number of titles, from The Times Magazine to Living Etc. A born and bred Londoner, she has written two books that celebrate her passion for architecture and design in the capital, including London Shopfronts and London Interiors.