Wilma Custers

wrote ‘A Sense of Theatre’,

Throughout her career, Wilma has been immersed in interiors, travelling the globe looking for interesting homes. While living in the Netherlands, she started working for interior and lifestyle magazines and established her own editorial agency.

‘I love the De Pont Museum of contemporary art in Tilburg in the Netherlands. Housed in a former factory, the layout makes you feel as if you’re alone – it’s amazing!’

When I walked into the entrance hall I knew within 11 seconds that I wanted to buy this property,’ Peter Gabrielse remarks of the manor house he owns in Normandy. As a Dutchman living in the Netherlands, this swi ! and con "dent reaction is all the more startling. In fact, when the estate agent recommended a second viewing, Peter was adamant that this wouldn’t be necessary. He sent his o#er by fax machine and the next day the deal was done. ‘At this point it suddenly struck me – I’d just bought a large property and had no idea what to do with it!’

Built in 1727, the house was still very much in its original state when Peter took it on. A !er carrying out some research on the building, Peter discovered that, during the French Revolution, revolutionaries threatened to burn it down, but were dissuaded by the local priest. Instead they looted it, burning all personal belongings next to the church. ‘Sadly we never found anything belonging to the former family,’ he says.

Peter perhaps has his parents to thank for his a$ raction to this romantic, tumbledown dwelling. Both antiques dealers, they chose an old

house in Zeeuws-Vlaanderen (Zeelandic Flanders) as the family home. Bordered to the south by Belgium, Peter jokes that, ‘ My front door was Dutch and my back door was Belgian!’ A ! er studying art at college, Peter worked in theatre and television set design for 30 years. It was during this time that he began creating his three- dimensional architectural ‘ box’ sculptures – enchanting vigne"es in miniature – which he has exhibited in Amsterdam, Antwerp, Brussels, Paris and New York.

Despite appearing to be living a pre" y charmed existence, 18 years ago Peter began to grow tired of the Netherlands, # nding it much too crowded and noisy. ‘ I wanted to live somewhere surrounded by peace, away from the sound of other humans,’ he recalls. His objective was to buy a small chateau or a manor house in the Netherlands, Belgium or France. ‘ I was used to travelling to France, about once a month, to # nd materials for my box sculptures, and already had a strong connection with the country.

Being so drawn to the past and the building’s heritage, Peter has naturally decided to keep the original state and atmosphere of the place as much as possible.

I have always liked the lifestyle of the French,’ he explains.

During his search, Peter’s a! ention was consistently drawn to Normandy but he decided it was too far away. Just a mere month later, when a French estate agent o"ered him photos of this manor house, Peter was so entranced that he simply forgot about the geography. ‘ I instantly liked the property from the images he showed me and wanted to take a look.’

Now se! led in France, Peter spends most of his time and energy renovating the interior of his 18th- century manor house. In many ways his home has much in common with the threedimensional interiors of his box sculptures – they all achieve a sense of the past with a theatrical crumbling elegance. ‘ Buying materials in France is so much more fun and so much more inspiring. Now that my studio is larger, I have found the perfect excuse to buy so many more materials!’ he says.

Being so drawn to the past and the building’s heritage, Peter has naturally decided to keep the original state and atmosphere of the place as much as possible. ‘ This was one of the reasons I instantly liked this property – the authentic style.’ He moved in with his entire belongings from Zeeuws-Vlaanderen, but soon realised the new house was a great deal larger. A fact that has resulted in many treasure hunts to obtain additional furniture. ‘ I soon got to know all the brocanteurs of the region,’ he says. He thoroughly

enjoyed this process of seeking out pieces for his home and the process continued for years. But, these days, he spends less time ! nding things for his home: he’s content with what he lives with, although he’s always sourcing extra material for his sculptures.

Peter has only made two necessary changes to make the manor house habitable – he designed a kitchen and two bathrooms and even assisted on the build with a handful of local professionals. Everything else was all le" in its original state, including the layout. As for the extensive gardens and the surrounding grounds, Peter maintains them himself. ‘ When I take time o# from my workshop, you’ll ! nd me in the garden. There is always something to do.’

THIS PAGE, FROM TOPLEFT The gateposts are original; Peter has a passion for collecting antique Delft floral tiles; at work in his atelier. LEFT The floor in the living room is thought to be older than the construction of the house.

CLOCKWISE FROM LEFT This is the exhibition space in which Peter receives visitors and talks them through his work. A couple of his sculptures are displayed on the mantelpiece; in Peter’s home you will find drawers and boxes filled with accessories for his work; the manor provides the perfect space for Peter to exhibit his art. RIGHT View from the exhibition space into the store room.

CLOCKWISE FROM ABOVE The wallpaper in the bedroom is original to the house; these decorative pieces were used inside the walls of fireplaces during the 18th century; the fireplace is also original to the house.LEFT The antique armchair in the hall was purchased from a dealer in the Netherlands. The 17th-century table came with the house when Peter bought it.

CLOCKWISE FROM RIGHT Peter maintains his own garden and the surrounding grounds of the house; inside Peter’s atelier with all the different bits and pieces he uses for his box sculpture work; the logs for the open fires are all cut on the grounds of the property and stored in one of the annexes; Peter makes miniature furniture and accessories for all of his sculptures. He’s exhibiting his pieces at Antica Namur 2018 this November (antica.be).