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Mindful that a collection of modern art should not create a museum-like atmosphere, a London-based interior designer has thoughtfully combined furniture, lamps, rugs, and sculpture in a loose and very twentieth-century manner. Inspired by Kettle’s Yard, Jim Ede’s private museum of twentieth-century art in Cambridge, this first-floor apartment is set out in a free-form manner, unusual in this early nineteenth-century space. For the drawing-room, the largest space in the apartment, Sandy Jones designed cushions and carpets in the Modernist style.

A new fireplace was installed, designed to be a bridge between the contents of the room and its architecture, and works by Sean Scully and Robert Motherwell hang on the same wall. There are Arne Jacobsen chairs and behind then a striking painting by Howard Hodgkin. The study is imbued with a powerful African influence, the reductionist forms of which had a major effect on our twentieth-century visual vocabulary. A pair of 1930s French python-skin chairs is set beside a palm-wood and ebony desk; beneath them lies a conquered Sandy Jones rug. The bedroom contains a collection of paintings from the 1960s, including Kenneth Noland’s Target and a vertical stripe by Morris Louis, which hang above and beside a country Chippendale Chest.

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