When the doors to Cherkley Court in Surrey closed to visitors in December 2009, it was thought that low visitor numbers had proved it uneconomic to keep the house and gardens open. However, as predicted by a commenter to my original blog post [thanks Andrew], Cherkley Court is now for sale and has been launched with a double-page centre spread in the Sunday Times Home section today [19 Sept 2010].
If one was to try an define what might constitute a perfect trophy estate in Surrey, Cherkley Court might well tick most of the estate agents’ criteria. The grade-II listed house, built c1870 (and rebuilt after a fire in 1893), is a four-storey, chateau-style mansion extending to over 24,000 sq ft with home cinema and five grand reception rooms, with nearly 400-acres of gardens and parkland.
The house is now for sale following a 7-year, £10m restoration of the house and grounds orchestrated by the architect Christopher Smallwood and David Mlinaric, the interior designer. The house became a famous venue for parties under the ownership of Max Aitken (later Lord Beaverbrook) and his wife Gladys who lived there until her death in 1994. It was her death which sparked a bitter legal dispute between beneficiaries of the will which has forced the sale.
So if you have £20m and don’t mind the restriction on not landing your helicopter in the grounds, have a word with Savills.
Cowdray Park House, West Sussex (Image: Knight Frank)
Despite a house having been in the family for over a hundred years, sometimes it can seem the most rational choice to sell. For the current Lord Cowdray, the idea that he might saddle his heir with what he considers a burden has led to his decision to put the impressive Cowdray Park House up for sale.
If you mention Cowdray often the first house which springs to mind are the atmospheric ruins which are all that are left of one of the grandest Tudor houses in the country. The fire in September 1793 destroyed not only a large part of the house but also many priceless and historically important artefacts including William the Conqueror’s sword and also the roll-call of those present at the Battle of Hastings. Just two weeks after the fire the 8th Viscount Montague drowned whilst swimming in the Rhine, forcing the title to a distant descendent of the the 2nd Viscount, who died childless, extinguishing the Viscountancy.
The tragedies continued – the 8th Viscount’s sister inherited but both her sons died whilst swimming off Bognor in 1815. The three daughters who then inherited in 1840 eventually decided to sell and it was bought by the 6th Earl of Egmont for £300,000. The current Cowdray Park House dates from 1878 when the 7th Earl, who had inherited the estate in 1874, massively enlarged the Keeper’s Lodge to create the house we see today. A large rambling, but very picturesque creation, it obviously has taken its cues from houses such a Knole and Penhurst with their varied rooflines and many courtyards. The grounds had been previously landscaped by Lancelot ‘Capability’ Brown between 1768 and 1774 with the ornamental gardens laid out in the early 18th-century.
The house was bought in 1908 by Sir Weetman Pearson who was created Viscount Cowdray in 1917. Sir Weetman was a brilliant engineer who not only built the Blackwall Tunnel under the Thames but also had extensive oil interests in Mexico. The house then passed through the Pearson family with few changes until the 3rd Viscount, in pursuit of his passion for polo, created one of the premier polo grounds in the country within the 16,500-acre estate.
Yet being a titled aristocrat living in a 16-bedroomed, 44,000 sq ft house in the middle of a fine estate proved to not be what the current Viscount hoped for after he inherited in 1995. In May 2009 it was announced that he and his wife and son were to move out of the main house and into a smaller house on the estate, Fernhurst, where they had lived before inheriting. The 2009 plan involved finding someone to take a long lease and create a hotel and spa in the house but the wider economic circumstances have forced this plan to be abandoned. Unwilling to continue managing such a large house, with all the attendant issues with staffing and maintenance, the Viscount has decided to sell, putting it on the market, with 110-acres, for £25m, whilst retaining the rest of the estate including the world-famous polo grounds. Renting the house out, he says, would just be delaying the decision.
Speaking to the Sunday Times in 2009 when he announced his plans, Viscount Cowdray admitted that “I’m not the sort of person who feels hugely attached to things, and it’s a big house.” and later speaking to the Observer that same year he said “I have worried whether I will be leaving Perry a wonderful asset or a noose around his neck. I fear it is likely to be the latter,”.
Whilst the arguments put by the Viscount seem rational it does seem a shame to divorce the house from the estate. The Cowdray estate has long adapted to changing circumstances but to dismember it seems to be a short-term solution which his son may, with hindsight, regret when he comes to take over, as it leaves one of the most significant estates in Sussex without a principal house.
*Update* Remarkably, Cowdray Park House is unlisted so any buyer has the opportunity to make any changes they wish – and I’m willing to bet they won’t be good. Knight Frank are touting this as a benefit but perhaps representations ought to be made to Chichester District Council to nominate it for listing using this form.
Wilton House, Wiltshire (Image: John Goodall/Geograph)
Any time of economic difficulties can often lead to any expenditure being put on hold, including vital restoration projects. So it’s encouraging to see projects still being completed – but as some of these were approved and started back in the heady days of government largesse, perhaps these are the last we’ll see for a while except where private money can fill the gap?
One of the most impressive has been the award-winning restoration of the family dining room at Wilton House, Wiltshire – and maybe all the more impressive as it was funded privately by the owner, the 18th Earl of Pembroke. Although ranked as joint 574th in the Sunday Times Rich List 2010, with an estimated worth of £115m, most of this wealth is tied up in the value of the house, the contents (including superb paintings by Van Dyck and Rembrandt), and the estate.
Anyone undertaking an architectural project at Wilton is following in some fairly illustrious footsteps. The main house, one of the finest still in private hands, is unusual in that the scale of the house was a response to the incredible gardens designed by Issac de Caus in 1632. The design is sometimes attributed to Inigo Jones but a drawing found by Howard Colvin at Worcester College by de Caus showed he was responsible for the original plan for a much larger, 21-bay palace, with a grand central portico, running to a total length of 330-ft. However, the untimely death of the newly-married Earl in 1636 and the subsequent return of the huge £25,000 marriage dowry (approx £40m today) to the bride’s father, the Duke of Buckingham, meant that the scheme was now too ambitious and so just one half of the original design was built; which is what we see today. The half-a-house was considered plain so Jones became involved, adding the one-storey corner towers to the design.
Private dining room - Wilton House (Image: Historic Houses Association)
Wilton’s interior, in particular the celebrated set of seven state rooms in the southern facade which includes the famous Double Cube room, were largely the creation of Jones, assisted by his able deputy John Webb. Yet there are other fine rooms which had become misused over the years and one has now been restored in sumptuous style as a private dining room. Formerly cluttered with the normal ephemera of family life – CDs, books, old furniture etc – it was fairly sorry sight. The current Earl and Countess of Pembroke have spent an undisclosed, but undoubtedly substantial, sum on creating a glorious dining room but which will sadly not be included on the tourist trail. Tapestries now cover the deep green walls, interspersed with family portraits by Reynolds, completing what James Stourton, chairman of Sotheby’s UK described as “…one of the outstanding country house renovations of the decade.” and winning the 2010 HHA/Sotheby’s Restoration Award.
One of the largest of the recent projects has been the £5.6m restoration of grade-II listed Bedwellty House in Tredegar, south Wales. Built in 1818 for the owner of the first iron works in Tredegar, it was increasingly at risk of falling into dereliction. Realising the importance of the building, the local council spent four years securing grants to fund the ambitious programme from organisations such as the Heritage Lottery Fund, the Welsh Assembly, Blaenau Gwent council, and Cadw [Welsh equivalent to English Heritage] . The works have included work on the ornate plaster ceilings, the sash windows and shutters, and the main structure. Work will now continue on the parkland and gardens to bring them back to their former glory.
The grounds of our country houses were also not just a buffer to keep the world from intruding but also a stage on which to create idealised landscapes and views. To this end they were often populated with follies or architectural creations to catch the eye of those looking out from the house but also those walking the grounds. Sadly, the isolation of these buildings has often meant that in recent years they have been cut-off from the main house, forgotten, or neglected and vandalised. Nowadays these wonderful architectural vignettes have been increasingly valued and urgent works undertaken to restore them. One fine example is the grade-I listed Wentworth Castle Rotunda in Yorkshire. Started in 1739 and finished in 1742, the design is based on the Temple of Vesta at Tivoli near Rome. One of 26 listed buildings in the 500-acre parkland, the temple has now been restored following a grant of £300,000, which has enabled the removal of overgrowing shrubs, and the cleaning and repair of the stonework, roof, and floors.
Thankfully the official organisations don’t have a monopoly on generosity. Perhaps those selling a house in need of some restoration might take a lead from admirable seller of Newberry Hall, Ireland, Richard Robinson. Realising that the elegant Palladian house with its wonderful flanking pavilions is in dire need of restoration, the elderly owner has put the house on the market but with the offer of a substantial contribution towards the costs of restoration to bring the house back to its former glory. With such generosity, one hopes a suitably sympathetic buyer can be found who will be willing to take on the project and complete an appropriate restoration.
Restoration has always been expensive so in their straitened times we can only hope that funds for basic care and maintenance are found so that in a few years time we are not faced with a slew of houses and monuments suffering from any short-sighted desire to save a few pence today at the cost of many pounds tomorrow. Long may the stories be of enhanced glories such as that at Wilton House rather than urgent appeals to save buildings at risk.
Tidmington House, Warwickshire (Image: Philip Halling/Geograph)
With sad co-incidence, having recently posted about how owners respond to fires in country houses, news comes through that Tidmington House in Warwickshire was badly damaged whilst undergoing renovations.
Tidmington was built in the early 17th-century but was re-fronted in the 18th-century giving it a pleasing and elegant facade, which is visible from the road. Distinctive gables top a neat front which successfully mixes Elizabethan elements with the classical. The recessed central section runs from a smaller middle gable featuring a Diocletian (or thermal) window, above a first floor tripartite Venetian window, sometimes known as Palladian or Serlian after the two architects most associated with popularising it, with finally the two wings being joined by a Tuscan colonnade. Two 1-bay pavilions extend to the left and right, providing a clever balance to the height of the main house.
The grade-II* listed house was once the home of Thomas Beecham, 2nd son of the famous conductor, before being put up for sale in 2009 for £3.95m by the owners who had moved there in 1988. The house was then given a glowing write-up in The Times by Marcus Binney who relished the bold use of colour; the sky-blue library, the jade green dining room – but I wonder if the bold colours in the house contributed to the situation as it was during renovations by the new owners that the fire started.
The blaze is reported to have badly damaged the first floor where the fire started and also part of the ground floor but hopefully a majority of the 8,500 sq ft house will have been spared from the flames – though the inevitable smoke and water damage will have spread beyond the immediate blaze. Again, it shows that insurance companies are right to demand to be told when works are taking place as it is so often during renovations when these fires seem to break out – please don’t let this be another workman being careless with a blow-torch.
West Acre High House, Norfolk (Image: Strutt & Parker)
In any age, once someone is successful they often seek the traditional status symbols – with a country house being high on the list. For footballers it seems that the modern, bling-laden mansions are the favoured style but for an increasing number of modern artists it’s the historic houses which are finding favour. The news that Anthony Gormley has bought West Acre High House in Norfolk adds him to a distinguished roll-call of artists who are forming what has been glibly named, the ‘artocracy’.
Artists moving to the country to help their work has a long history including Peter Paul Rubens buying the Castle of Steen Manor House in the Netherlands in 1635 which led to some of his finest landscape paintings. West Acre High House was regarded as one of the prize estates when it came up for sale in 2008 for £9.5m with 1,000-acres. Yet, it languished on the market despite the nearby 1,600-acre Kelling estate being sold which was listed at the same time.
West Acre High House was built in 1756 by Edward Spelman (d. 1767), a writer and translator and known eccentric, who had inherited the estate from the Barkhams. The design raised eyebrows, particularly for that part of the world, with its novel piano nobile arrangement which was also being used around that time in the construction of Holkham Hall and Houghton Hall. A visitor in that year, Caroline Girle, reported:
“I paid a droll visit to see an odd house, of a still odder Mr Spelman, a most strange bachelor of vaste fortune but indeed I’ll not fall in love with him. We were introduced to him in the library where he seemed deep in study (for they say he’s really clever) sitting in a Jockey Cap in stiff white Dog’s Gloves. On seeing Mr Spelman one no longer wonders at the oddity of the edifice he has just finished.”
The house is also unusual in that the south front is 7 bays with the central 5 deeply recessed, but the north front is 13 bays due to the flanking wings being built level with the main block. The wings were built by Anthony Hamond (b.1742 – d. 1822), a nephew of Richard Hamond who had bought the estate from Spelman in 1761. The next major change was put in effect by Anthony’s second son, another Anthony, who, in c.1829, employed the well-known country house architect, W.J. Donthorn, who refaced the whole house in pale oatmeal Holkham brick, crenellated it and created the spectacular internal double-flight staircase. The staircase leads to a picture gallery modelled on the one in Buckingham Palace and is formed of five perfect cubes of 18ft.
The house was bought by Henry Birkbeck in 1897 who might have inherited it having married Anthony Hamond’s daughter in 1849 but, for reasons unknown, purchased it instead. It remained in the Birkbeck family until the sale to Gormley, who has bought the house plus 100-acres for just £3m having had the price reduced by wanting less land and after factoring in the £1.5m cost of restoration.
Toddington Manor, Gloucestershire (Image: Images of England/Heritage Gateway)
The restoration costs may well turn out to be much higher – as Damien Hirst, another of the ‘artocrats’, has found out. He has admitted recently that he has been affected by the recent economic turmoil and in addition to closing down his studios, he has paused the vast, £10m restoration programme he is undertaking at his equally vast country house, Toddington Manor in Gloucestershire, which he bought in 2005 for £3m. Built in 1819-35 for Charles Hanbury-Tracy, later 1st Baron Sudeley, using his own very accomplished designs. He drew his inspiration from the Perpendicular architecture of Oxford and Pugin‘s work, to create an important Gothic-revival building at a cost of £150,000 (equivalent to £15m in today terms). The design clearly influenced Sir Charles Barry in his design for Highclere Castle in Berkshire (built between 1838-78) and the Houses of Parliament (started in 1840) – but perhaps Barry was playing to the audience with the latter as Hanbury-Tracy was also on the committee which chose the design for the new Parliament. After being empty for 20 years until Hirst bought it, the house was a cause for serious concern with outbreaks of dry-rot and a pressing need to replace the acres of roof. After being saved from becoming a hotel, Hirst bought the grade-I listed house as both a home but also to eventually become a gallery for his work.
Another artist seeking the country life is Anish Kapoor who was apparently interested in taking the lease on Ashdown House in Berkshire – though it eventually went to Pete Townshend of The Who. One of our prettiest country houses, and now owned by the National Trust, leasing it would have given him the status without the huge restoration costs.
One of the most encouraging aspects of both Gormley and Hirst’s purchases has been the willingness and ability to finance the necessary huge restoration projects. For Hirst, this has involved covering the whole of Toddington Manor in some ‘Christo’-esque scaffolding with the expectation that the restoration will be a lifetime’s work. Any restoration has an element of being a labour of love but, in exchange, their houses will give them status, but most importantly, a home – these are houses to be lived in, albeit on a much grander scale than most.
Property listing: ‘West Acre High House‘ [Strutt & Parker] – marked as ‘Sold’ so may not be on the website for long.
Detailed architectural listing: ‘West Acre High House‘ [British Listed Buildings]
The Country Seat 