Want to lease a Vanbrugh? Kings Weston House, Bristol for sale

Kings Weston House, Somerset (Image: Knight Frank)
Kings Weston House, Somerset (Image: Knight Frank)

For some, the height of connoisseurship is to own a Picasso or a Rembrandt, and, in the same way, one can also aspire to live in a house designed by one of the great architects.  Yet, although some were prolific, the best were often to be found working on the largest projects, limiting their capacity to turn their hands to other projects, making their surviving buildings rare.  The damage and devastation which subsequent generations have wrought on our architectural heritage have also made these special houses all the rarer.  So it is always of particular interest when the opportunity to own one of these houses arises; such as Kings Weston House, Somerset, designed by the wonderful Sir John Vanbrugh.

Vanbrugh (b.1664 – d.1726) was one of the most interesting architects this nation has ever produced.  Yet to think of Vanbrugh is inevitably to also think of Nicholas Hawksmoor (b.1661 – d.1736) who provided the technical support necessary to ensure that Vanbrugh’s flights of architectural fancy were realisable as solid buildings worthy of his aristocratic patrons. However, this was not a partnership which diminished one through association with the other – both were brilliant architects who each gained from their collaboration. As John Summerson put it in Architecture in Britain (1530-1839): ‘The truth can only be that both Hawksmoor and Vanbrugh were very exceptional men.

Vanbrugh was an intensely private person – the few hundred surviving letters in his hand betray few family details or about his early adventures as a soldier, spy, hostage, East India Company trader, or playwright.  His time in the Forces seems to have imbued his style with a tendency towards the militaristic, most clearly expressed in his work in landscapes where huge sham fortified ‘defenses’ march across parkland, defending nothing and fooling few.  Yet this bombastic nature is part of the flamboyant and theatrical nature of the man, part of what gave him the flair to succeed architecturally in an age when statements in stone were as important as any made in print or Parliament.

Castle Howard, Yorkshire (Image: Country Life Picture Library)
Castle Howard, Yorkshire (Image: Country Life Picture Library)

In his grandest buildings, Vanbrugh appears to almost be designing monuments which happen to have living accommodation – but he was especially pleased that Castle Howard was as practical as it was impressive. Writing in 1713 to Edward Southall, his client at Kings Weston, he states:

“I am much pleased here (amongst other things) to find Lord Carlisle so thoroughly convinced of the Conveniencys of his new house, now he has had a years tryall of it.”

Proud of how draught-free the house was, which helped retain heat, Vanburgh stated;

“He likewise finds, that all his Rooms, with moderate fires Are Ovens.”

Kings Weston House, Somerset (Image: Country Life Picture Library)
Kings Weston House, Somerset (Image: Country Life Picture Library)

Kings Weston (built between 1710-19) was to be Vanbrugh’s fourth commission (after Castle Howard, Blenheim Palace and Kimbolton Castle) and was a house very much to Vanbrugh’s style, creating a ‘Noble and Masculine Shew‘.  The house, dramatically sited above the Bristol Channel, was built for Sir Edward Southall, a well-educated civil servant, well-versed in architecture who had spent considerable time travelling in Italy. Southall clearly had strong ideas as to the influences and design of his house; and Vanbrugh, with his long history of collaboration, was the ideal architect to work with this knowledgeable client.  That said, this is clearly a Vanbrugh house – the imposing giant pilasters, the strong Classical detailing, the almost military look which is reinforced by the unusual arcaded design of the chimneys which emphasised a castle-like quality of a central bastion.

(By the way, it’s interesting the close similarity between the entrance to Kings Weston and that of the smaller Iver Grove in Buckinghamshire (built 1722-24) by John James, who had worked with Sir Christopher Wren).

The house passed through several generations of Southalls including Edward’s great-grandson who employed Robert Mylne in 1763 to add stables and the Shirehampton Lodge and also remodel the principal rooms. Edward’s son, also Edward, lived there until his death in 1832 without issue. The house was then sold in 1833 to Philip John Miles for £210,000 (approx. £17m today) who became the local MP, as had the Southalls been before him.  Three generations of the Miles family lived there until the death of Philip Napier Miles in 1935, marking the last time the house was used as a home. The house was sold at auction for £9,800 (approx. £500,000) with the intention of using it as a school.  This was interrupted by the Second World War when it became a hospital – a role it has also fulfilled in the Great War.  Post-war, it became the Bristol College School of Architecture, before becoming a Police training centre from 1970-1995.

Perhaps one of the saddest aspects is how the setting of this fine house has been compromised: to the north, a road and housing estate, to the west, more houses, and to the south, a golf course.  This is often the outcome of houses which lack a determined owner with the need to keep a large estate, and particularly of houses which fall into the clutches of local authorities who are only too happy to build over the parkland, often with little sensitivity as to the overall setting.

With the departure of the Police, the house was boarded up, neglected and facing an uncertain future.  However, in 2000, it was bought by a local businessman, John Hardy, who converted the house in to a successful wedding and conference venue, apparently pouring significant funds into the project.  His commitment ultimately cost him his marriage and the remaining lease – probably 115-years – is now for sale for £2m (the freehold is still owned by Bristol City Council).  Although this would still make an ideal family home, Mr Hardy has expressed a desire that it remain open to the public.  Whoever buys Kings Weston will certainly be buying one of the finest houses in the country. Perhaps it will remain open to the public, but it would be equally exciting to see the house restored as a home, a private retreat overlooking the Bristol Channel where the owner can contemplate the genius of Vanbrugh and enjoy knowing that an architectural DNA links their domain with the palaces of Castle Howard and Blenheim, a smaller scale distillation of the grand flamboyance which came to define English Baroque.

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Original story: ‘Bristol’s Kings Weston House up for sale for £2 million to help pay for owner’s divorce‘ [Bristol Evening Post]

More details: ‘Love affair with a £2m mansion that ended in divorce… King Weston House’s owner was ‘totally consumed’ by major Georgian renovation‘ [Daily Mail]

Property details: ‘Kings Weston House‘ [Knight Frank] – £2m

More images: ‘Kings Weston House‘ [Country Life Picture Library]

History of the house: ‘Kings Weston House‘ [kingsweston.com]

Possibly for sale – a landmark for landowners: Crichel House, Dorset

Crichel House, Dorset (Image: BNPS / Daily Mail)
Crichel House, Dorset (Image: BNPS / Daily Mail)

When to believe the rumours? Occasionally one of the old families will decide that they no longer wish to hold onto the estate which has been the family seat for many years – sometimes centuries. When these estates come to market they usually attract a significant price-tag which truly reflects their beauty, significance and acreage.  If the unconfirmed rumours which feature very prominently on page 2 of the Sunday Times (26 June 2011) are to be believed, then the Marten family of Crichel House in Dorset have decided to sell – almost 60-years after the family won a decision against the government of the day which became a landmark in the rights of landowners against government.

Crichel House is widely regarded as one of the best houses in the county – indeed, John Julius Norwich states that it “…possesses the most spectacular series of state rooms in all Dorset.“.  Crichel started off as a modest house in 1743; hastily built to replace a charming Elizabethan house which was burnt down in 1742.  This smaller seat of a country squire – brick-built and just five bays by seven – was for Sir William Napier, who left it to his nephew, Humphry Sturt, in 1765.  Sturt had inherited not only his uncle’s house and wealth but had also married well. He didn’t feel the house was grand enough for a man of his fortune, and so embarked on an impressive rebuild, creating a house “…so immensely enlarged that it has the appearance of a mansion of a prince more than that of a country gentleman.” (Hutchin’s ‘History of Dorset‘ – 1774).

Dining Room, Crichel House, Dorset (Image: A. E. Henson / Country Life Picture Library)
Dining Room, Crichel House, Dorset (Image: A. E. Henson / Country Life Picture Library)

Sturt, using an unknown architect (though thought to be from nearby Blandford), effectively wrapped a new house around the old one to the east and the west, and linking the two on the south front with an impressive recessed portico and suite of rooms on the first floor.  However, the need to accommodate the dimensions of the old house created a slightly cramped feeling to the first floor elevations.  However, all is forgiven by the splendid interiors which are, in parts, a curious mix of early Georgian created late (e.g. the staircase, the library), and fashionable later Georgian, particularly in the stunning Hall, Dining Room and Drawing Room where Adam-style plasterwork reigns.  The latter rooms were probably designed by James Wyatt who was working nearby at Milton Abbey and at Bryanston.  The Dining Room is considered the finest room in the house; a coved ceiling framing delicate plasterwork and decorative panels in the style of Cipriani and Angelica Kauffmann.

So, how did part of the Crichel estate become so significant that it became immortalised as a set of planning procedures known as the ‘Crichel Down Rules’? In part, it was due to the bureaucratic arrogance of the post-War era which meant the Civil Service felt able to deal rather high-handedly with anyone, and particularly landowners who were not popular under Attlee’s socialist government. In 1937, 742-acres of Crichel Down had been compulsorily bought as part of a larger area for use as a bombing range. Churchill had given a very public commitment in the House of Commons in 1942 that land purchased in this way would be offered back to the original owners once it was no longer required for the original purpose.

Hinton Ampner, Dorset (Image: ec1jack / flickr)
Hinton Ampner, Dorset (Image: ec1jack / flickr)

However, there was an even greater danger of compulsory purchase for houses which had been adapted for wartime use under the ‘Requisitioned Land and War Works Act (1945)’ (sections 8 & 9 Geo. 6 c.43 in case you were wondering!) which gave officials the right to buy, regardless of the wishes of the former owner or any previous assurances. At Hinton Ampner in Hampshire where Ralph Dutton (the 8th and last Lord Sherborne), having just finished an extensive remodelling in 1939 only to be turfed out by a girls school, received a letter saying that the Royal Observatory were interested as a new Royal Observatory.  Dutton took the day off work at the Foreign Office and was on the doorstep when the officials arrived and gave an impassioned speech about the importance of the house, how it had been in the family for generations and that losing it would be akin to an amputation. The officials apparently looked somewhat embarrassed but gave no sign of retreating until a short note arrived a little later confirming that they were taking Hurstmonceaux Castle instead.

At Crichel Down, the government had decided to retain the land as a new model farm.  Lt-Cdr George Marten (who had married Mary Sturt, the only child of the 3rd Lord Alington), began a vigorous one-man campaign to examine the conduct and procedures of the relevant departments.  In doing so, he exposed a series of administrative errors as officials tried to evade the requirement to offer back the land and retain it for the government’s use.  Eventually, in 1954, public and press criticism led to the minister in charge, Sir Thomas Dugdale, resigning in one of the first examples of a minister taking responsibility even though he had not been involved in the earlier decisions and the land was sold back to the Martens.  To avoid a repeat of such failings, new planning rules regarding compulsory purchase were drawn up which are today known as the ‘Crichel Down Rules’ and are a vital part of the framework protecting landowners from the sometimes autocratic decisions of officials.

The death of Mary Marten in 2010 (her husband pre-deceased her) led to the recent sale of some of the contents of the house including a small collection of Asian jade ornaments which raised some £12.5m.  However, if the rumours are right, the rest of the house and 5,000-acre estate are also quietly on the market with an estimated price tag of around £100m, which, if it sold as a whole estate, would make it the most expensive sale ever outside of London.  It’s always a regret when families no longer wish to keep an estate which has been in the family for centuries, however, with the demands of sibling equality it is understandable that each of the six children – five females, one male – should wish to share their inheritance.  It would be a wonderful outcome if it could be bought in its entirety and remain one of the most important estates in Dorset, with the glorious Crichel House at it’s heart.

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Update – 7 July 2013: Crichel House has been sold

Daily Mail confirms that the house plus 400-acres has been bought by Richard L. Chilton, a US hedge fund billionaire.  Initial reports indicate that he is a ‘conservationist’ having rescued other houses in the States so it seems promising that he is the right buyer; one with both the right attitude and pockets deep enough to do the house justice.  Though sadly it’s the end of an era for the Marten family, one hopes that this next phase will see the house restored to its former glory.

And if Mr Chilton happens to read this, it would be great to get your perspective – please do email me.

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More images – both interior and exterior: ‘Crichel House, Dorset‘ [Country Life Picture Library]

The Country House Revealed – Clandeboye, County Down

Clandeboye, County Down (Image: Paul Barker / Country Life Picture Library)
Clandeboye, County Down (Image: Paul Barker / Country Life Picture Library)

One of the great glories of the private incomes afforded to previous generations was the ability to indulge in their passions.  Given the opportunity, many of us would similarly be happy to devote our lives to our interests and, for some, in doing so they have created great collections – not just of art, but in the fields of anthropology, Egyptology, armour, botany…the range is endless.  In this week’s ‘The Country House Revealed‘, Dan Cruickshank visits Clandeboye in County Down, Northern Ireland; seat of a branch of the Guinness family, but also home to an impressive collection of artefacts.

Clandeboye (also sometimes known by the original name Ballyleidy) sits in a 2,000-acre estate in the heart of the Ulster countryside – a smart, elegantly Georgian seat; the design semi-Soanian (originally), part-the-owner (later additions).  The professional architect involved was a former pupil of Sir John Soane, Robert Woodgate, to whose designs the house was built in 1801-4.  Woodgate had a brief career, cut short by his early death in 1805, having joined Soane’s practice as an apprentice in 1788, before graduating in 1791 and then being sent to Ireland to Baronscourt, Co. Tyrone (note the triffid-like march of the wind turbines now marring the skyline!), to supervise the building Soane’s commission of a new house for the Marquess of Abercorn.

Clandeboye, for the 2nd Baron Dufferin, was one of Woodgate’s earliest commissions and is unusual, ignoring the more common ‘Palladian’ central block with flanking wings layout, of houses at the time.  At Clandeboye, whilst still Soanian in it’s style, the layout is focussed on two wings at right-angles to each other with the corner due south taking maximum advantage of both the setting and the sun.  All-in-all, a good, competent design by a well-trained young architect – though perhaps lacking some of the drama a more experienced architect might have brought to the plan.

What is particularly special about Clandeboye today is that it contains the remarkable and diverse collections of the wonderfully named Frederick Temple Hamilton-Temple-Blackwood, 5th Baron Dufferin and Claneboye (note the different spelling of the title).  A prominent politician and administrator, he served as Governor General of Canada  (1872-1879) and Viceroy of India (1884-1888).  The Lord Dufferin was also something of a radical social reformer and fell out with the PM, Gladstone, believing that the land ought to be owned by the farmers.  Not content with just arguing for this, he sold off much of the 18,000-acres the family had amassed, leaving the estate we see today.

Very well-educated, Lord Dufferin, as with many other wealthy Victorians, used the opportunities of his many diplomatic postings to acquire large quantities of objects – not just the usual art and furniture but curiosities from around the globe.  This led to a new programme of work in the mid-19th century to enlarge the house to display these prizes, resulting in a large west wing.  Dufferin had toyed for years with grand plans for the complete rebuilding of Clandeboye to a faux-Elizabethan nostalgic ideal.  After a few years, his tastes changed and he then sought out Benjamin Ferrey to provide a French-chateaux style house – but again this came to nothing.  In 1865, his preferences had ebbed back towards a more ‘romantic’ style and he began a long collaboration with William Henry Lynn, who then advised Dufferin on the alterations to Clandeboye which are what we see today.   One aspect of the process which probably infuriated Lynn was, as Harold Nicolson has described, that Lord Dufferin’s ‘passion for glass roofing was… uncontrolled‘, leading to the broad use of skylights.  Considering how Soane, and therefore probably Woodgate, sought to carefully manage the effects of light, this crude flooding of the interior spaces may not have met with approval from the original architect.

Today, the contents of the house can be seen as a snapshot of the passions and interests of a wealthy aristocrat at the height of the British Empire. Victorian Britain seemed to foment this type of collector with other houses similarly becoming self-indulgent museums – though often with a great intellectual rigour which helped drive forward our understanding of the world and science.

Quex Park, Kent (Image: ..george / flickr)
Quex Park, Kent (Image: ..george / flickr)

For example, Quex Park in Kent became the showcase of the Powell-Cotton family, who, over six generations, created a superb collection of natural history with specimens taken during Major Percy Horace Gordon Powell-Cotton’s expeditions to Africa,which has subsequently been expanded by later generations.  Another showcase was Goodrich Court (dem. 1950) which was designed by the owner Sir Samuel Rush Meyrick specifically to accommodate his world-renowned collection of arms and armour which forms an important part of the incredible Wallace Collection in London.

Didlington Hall, Norfolk - demolished 1950/52 (Image: Lost Heritage)
Didlington Hall, Norfolk - demolished 1950/52 (Image: Lost Heritage)

As at Clandeboye, Egypt has long held a fascination in Britain.  One early and noted collection was assembled by William Amherst Tyssen-Amherst (the 1st Baron Amherst) at Didlington Hall in Norfolk (dem. 1950/52).  By chance, Lord Amherst employed a Mr Samuel Carter, a well-known artist to paint at the house, and he would often bring his son, who spent many an hour in the extensive Egyptian museum in the house.  That son was Howard Carter who famously went on to discover Tutankhamun’s Mask with George Herbert, 5th Earl of Carnarvon.  Highclere Castle also holds a small but important collection of Egyptian antiquities amassed by the 5th Earl and which are now on display in a purpose-built gallery in the cellars of the house.

Waddesdon Manor, Buckinghamshire (Image: National Trust)
Waddesdon Manor, Buckinghamshire (Image: National Trust)

Perhaps the greatest example of a house built to show a collection is Wadddesdon Manor in Buckinghamshire; that slice of French architecture which enchantingly appears in the middle of the English countryside.  Funded by the vast Rothschild fortunes, the mansion, designed by Gabriel Hippolyte Destailleur, was built between 1874-1889 for Baron Ferdinand de Rothschild primarily to showcase what must easily be one of the finest collections of Dutch and English paintings and French art, tapestries and furniture.  Used only in the summer months for parties and entertaining this was the ultimate expression of the desire to use a private residence as a gallery – or was it merely a gallery with bedrooms?

So Clandeboye is part of a long and fine tradition of the wealthy owners of large houses not merely adding a scattering of objet d’art to show-off the taste of their interior decorators. These houses are true collections, in some cases museums, even monuments, to the eclectic passions of their owners.  The wide-ranging nature of these collections demonstrates one of the many benefits of single family ownership, such as at Clandeboye, where intellect and wealth can be combined over generations to create a rich and interesting tapestry that no public organisation would be likely to be imitate; and our nation would be all the poorer without it.

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Official website: ‘The Country House Revealed‘ [BBC2]

A wonderful interview (and slideshow) with the Countess of Dufferin and Ava: ‘The Marchioness‘ [wmagazine]

The Clandeboye estate: official website / history [clandeboye.co.uk]

The Country House Revealed – Easton Neston, Northamptonshire

Easton Neston, Northamptonshire (Image: Trish York)
Easton Neston, Northamptonshire (Image: Trish York)

The stated objective of Dan Cruickshank’s series ‘The Country House Revealed‘ is to “…explore Britain’s finest country houses” and after the relatively low-key start with South Wraxall Manor, it upped the ante with the elegant Kinross House, and now it truly reaches one of the finest houses in the country: Easton Neston, Northamptonshire.  The only country house by one of the finest architects of his generation, when it was put up for sale in 2005, it marked the end of one of the great family estates.

Although many fine adjectives can be applied to Easton Neston, one seems to sum it up: noble.  Sitting on a slight rise of ground, this beautifully proportioned house neither lords it over the area but neither does it shirk from elegantly dominating its environment.  That the house looks as it does is due to a unique set of circumstances which gave the opportunity for Nicholas Hawksmoor (b. c.1662 – d.1736) to design his only country house – though he did help with others.

Hawksmoor was born in Nottinghamshire and, after finishing school, was employed as a clerk by a local landowner.  Such was his ‘early skill and genius‘ that word of his talent reached the finest architect in the country, Sir Christopher Wren, who took him on as a clerk at the age of 18.  This employment gave Hawksmoor a role in almost all Wren’s projects from c.1684 onwards, including Winchester Palace, the London City churches and St Paul’s Cathedral. In 1689, thanks to Wren, Hawksmoor obtained the post of Clerk of Works at Kensington Palace – the first in a series of official state roles he was to hold throughout his life, which provided both opportunities and frustrations.

It was this close relationship with Wren which gave Hawksmoor the opportunity to design the house at Easton Neston for Sir William Fermor.  Wren seemed not to display much of an interest in designing country houses but, as he was related by marriage to Sir William, he had originally been consulted about a new house in 1682 and had provided designs for two wings built in the early 1690s, of which one now survives (despite a serious fire in 2002).  Importantly, these two facing wings were 125-feet apart, limiting the size of the main house which would site between them.

Oak model of Easton Neston, c.1690 (Image: Sotheby's?)
Oak model of Easton Neston (as proposed? as built?) (Image: Sotheby's?)

Due to the lack of virtually any drawings or documents relating to Hawksmoor and Easton Neston, there seems to be some debate between such distinguished historians as Howard Colvin, John Julius Norwich and Kerry Downes as to exactly what Hawksmoor designed.  The couple of surviving letters relating to the build from Wren and others indicate that there was possibly a brick house, to Wren’s design, which looked similar but the house as it is today differs in several notable ways, not least the use of engaged columns and giant pilasters.

The first use of the giant pilaster order in English residential architecture can be seen in the south front of Chatsworth, designed by William Talman in 1687 and which also introduced the rectangular silhouette, the echoes of both of which can be seen in Easton Neston.  If the house as modelled is what was proposed or built then it is Wren’s design as Talman’s influence was not yet to be felt.

Staircase, Easton Neston (Image: English Heritage / NMR)
Staircase, Easton Neston (Image: English Heritage / NMR)

Norwich argues that the form of the house was substantially Wren’s, as was the interior, though Downes argues that, on the evidence of Hawksmoor’s sophisticated alterations for the interior at Ingestre Hall in 1688, with its clever use of internal screens of columns and dramatic spaces, and similarly demonstrated with the original hall and the brilliant cantilevered, shallow-stepped staircase at Easton Neston, he comes down firmly on the side of Hawksmoor.

The overall look of the house as it stands today is clearly Hawksmoor – it’s exciting, erudite, and draws on his extensive knowledge of classical architecture to create  bold fronts but with brilliant proportions which make perfect use of the form.  Hawksmoor also had the advantage of the use of Helmdon stone which, due to its durability and exceptional crispness when carved, ensures the house looks as good today as when it was first built.

Easton Neston as shown in 'Vitruvius Britannicus' (Image: wapedia)
Easton Neston as shown in 'Vitruvius Britannicus' - click for larger image (Image: wapedia)

Hawksmoor never undertook the usual Grand Tour to Italy so his architectural style was essentially drawn from a close study from various books of earlier classical architects.  This gives his work an intellectual quality which others lacked but also gave him the vocabulary to be inventive.  Easton Neston appears as a much bigger house, including a huge forecourt, in Colen Campbell‘s ‘Vitruvius Britannicus‘ though, thankfully they were never executed.  However, the drawing clearly show a clear link between Hawksmoor’s country house and the six London churches (of the 12 built from the proposed 50) he designed: St Alfege’s Church, Greenwich, St George’s Church, Bloomsbury, Christ Church, Spitalfields, St George in the East, Wapping, St Mary Woolnoth, and St Anne’s, Limehouse.

Hawksmoor was also to work, from 1702, with that other genius architect of that age; Sir John Vanbrugh; the playwright turned architect who came to rely on Hawksmoor’s practical skills to translate his fanciful visions into a reality at Castle Howard and Blenheim Palace (even more so when he had to take over following Vanbrugh’s bitter falling out with the Duchess of Marlborough).  Hawksmoor can therefore be seen as a link between Wren’s classicism and the exuberance of Vanbrugh’s particular brand of English Baroque.

Easton Neston remained essentially unchanged (except for some later flamboyant and slightly rampant interior plasterwork by a local artisan in the 18th-century) and in the Fermor-Hesketh family for nearly 500-years until in 2004 Lord Hesketh decided that he was not willing to burden his children with running a house and estate which “…in a good year it loses £500,000 and in a bad year it could lose £1.5m.” and risk seeing the family wealth slowly ebb away on maintenance. He was possibly also influenced by the likely cost of the restoration of Wren’s badly-damaged East wing which suffered a serious fire in 2002. Originally the house and 3,000-acres were put on the market for £50m in a once-in-a-generation opportunity to purchase one of the finest estates to come on the market for decades. Yet with no takers for the whole, Knight Frank sold over 2,200-acres for around £20m leaving just the house and 600-acres for £15m.

In July 2005 it was announced that Easton Neston had been sold to the American clothing retail tycoon Leon Max, the Russian-born owner of the California-based Maxstudio.com retail chain.  For all the fear about overseas buyers, Mr Max appears to have taken his custodianship of this grade-I masterpiece very seriously; hiring the architect Ptolemy Dean to oversee the work and investing an estimated £5m on the restoration to update the services of the house but also to restore the damaged wing to create a European headquarters for his company.  The interiors are equally splendid, overseen by Henrietta Spencer-Churchill (who grew up at Blenheim), with Max taking an ‘almost pedantically historicist approach‘ to sourcing furnishings and furniture which includes Aubusson tapestries from a chateau in France, Louis XVI chairs, and even a couple of the paintings sold by Lord Hesketh as he emptied the house of everything in a series of grand country house sales before moving out.

Easton Neston probably now looks better now than it has done since it was built, with the investment from the new owner likely to have secured the future of one of our greatest and most interesting country houses.

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Book of the series: ‘The Country House Revealed‘ [Waterstones]

Official listing: ‘The Country House Revealed‘ [BBC2]

Quotes, figures and details in final paragraph come from an interview with Leon Max in the Sunday Times ‘Home’ section – 3 October 2010.

The Country House Revealed – Kinross House, Kinross-shire

Kinross House, Kinross-shire (Image: The Daily Telegragh)
Kinross House, Kinross-shire (Image: The Daily Telegragh) - click for larger, but different, image from 'buildings_fan' on flickr

For houses which are owned by the same family for hundreds of years, the rhythm of their fortunes can often be read in the architecture of the house as it grows and shrinks accordingly.  This was certainly the case with South Wraxall Manor in Wiltshire, featured last week in ‘The Country House Revealed – A Secret History of the British Ancestral Home‘.  Yet the object of our, and Dan Cruickshanks’, affections this week, Kinross House, Kinross-shire, is a more dramatic, and relatively short-term, reflection of the rise and fall in the fortunes of a key Scottish gentleman architect, Sir William Bruce.

Kinross was described in Country Life magazine (February 16, 1951) as ‘the complete expression in stone of the Renaissance in Scotland’ – a not inconsiderable accolade for a man who combined his passion for architecture with a sometimes turbulent career in politics.  ‘Sir William, the politician’, was certainly ambitious and profited from the fluctuations in the fortunes of Charles II.  Active in the Royalist cause prior to the Restoration, on the King’s return William Bruce, younger son of a small Perthshire laird, was knighted in 1668.  Basking in the King’s favour, and under the patronage of the Earl of Lauderdale, he secured a series of minor but lucrative political appointments, the most important as Surveyor-General of the royal works in Scotland.

His political career was matched with equal vigour by ‘Sir William, the architect’ with an enthusiasm for not only architecture but also horticulture, literature, and languages.  Yet Sir William’s importance is mainly founded on his country houses, approximately ten in total – two of which where built for his own use, which helped establish his position as one of the most important architects in Scotland by breaking away from the widespread practice for nobles to still live in castles.

His early building work was mainly with existing houses, with his involvement first recorded in the enlargement and remodelling of the once magnificent Leslie House, Fife, between 1667-72.  Sir William’s involvement was relatively minor as custodian of the working drawings but he also gave advice with regards to the interior.  Sadly, three of the four sides of this quadrangular house burnt down in a fire in 1763 leaving just one side which was later remodelled again to create the currently Leslie House – though this was also severely damaged in a blaze in 2009 whilst undergoing conversion into apartments.

Balcaskie House, Fife (Image: Morton Design) - click for more views
Balcaskie House, Fife (Image: Morton Design) - click for more views

Sir William’s next project is thankfully still visible today, almost unchanged from the day he  finished.  Balcaskie House, Fife, was bought by Bruce in 1665, and rather than demolish it, between 1668-71 he proceeded to enlarge and improve the existing house. It was here that his official role proved useful, employing some of the plasterers and painters he had also engaged in rebuilding Holyrood Palace, in Edinburgh between 1671-79.

Also in 1670, Sir William undertook several private commissions for his patron, the Duke of Lauderdale, including the remodelling of the Duke’s main Scottish seat at Thirlestane Castle.  Perhaps the most interesting aspect of this work are the interiors which draw heavily on the designs, and indeed the workmen, from Ham House in Richmond, Surrey, owned by the Countess of Dysart, who married the Duke in 1671, bringing that fine and beautiful house into that family.

Moncreiffe House, Perthshire (Image: NMR) - burnt down, 1957
Moncreiffe House, Perthshire (Image: NMR) - burnt down, 1957

With so many projects it is unsurprising that Sir William’s next major commission wasn’t until 1676; the construction of a new house at Dunkeld for the 1st Marquess of Atholl, described by the Marquess’ son as ‘…extrodinarly convenient though not larg & and it will not cost much expences ether.‘ This house is important as not only was it his first chance to build on a fresh plot but which shows a clear style of design which was to flourish at Kinross.  Sadly the house was pulled down in 1830 as a much larger house had been built for the 4th Duke.  Sir William’s next commission in 1679 was Moncreiffe House, near Perth, which was also to display a very similar style.  This house has also now been lost; demolished after a devastating fire in November 1957, leaving no surviving house to mark the emergence of these new elements of classical architecture in Scotland.

Sir William’s political star continued to shine, providing a fortune which enabled him to purchase the Kinross estate in 1675, and his first opportunity to give full rein to his architectural skills with only himself as client.   Work first started to level the site in 1679 and by 1686 the main outline of the gardens and forecourt were in place, ready for the construction of the house which started in the autumn of that year.  What rose up was one of the finest houses in the country but also one of the most important in Scotland.

Sir William was able to introduce new ideas around the layout of a house, drawing on the same ideas that Sir Roger Pratt and Hugh May were also promoting in England to create the form of the country house we know today. Similarities can be seen between the works of these architects, particularly Pratt at Coleshill, Berkshire (tragically burnt down in 1952) and the use of the double-pile layout.  Another interesting aspect of the design of Kinross is that it is lined up axially with  the ruined island castle of Loch Leven, providing an ‘eye-catcher’ for anyone looking out of the house across the water.

Kinross was to be Sir William’s physical statement of his vision of the country house as the primary stage for the aristocracy to parade.  The house was to be part of a whole, made up of the estate, parkland, gardens, exterior and interiors; each playing their part to create a visible record of the owner’s standing and wealth.  To do so, Bruce took the architectural fashions of England and combined them with his own knowledge of the works of Palladio and Serlio, and some innovative ideas of his own with regards to the use of mezzanines to create extra rooms and corridors for privacy, to create a design which also reflected the new political realities; classicism being aligned with structure, order and symmetry in society.

Craighall, Fife (Image: A.J.B. Hope)
Craighall, Fife (Image: A.J.B. Hope)

Yet just as his costs mounted, his political career waned with the turmoil following the death of Charles II in 1685.  Having spent at least £10,000 (approx. £15m) with the house still unfinished,  he was forced to scale back the lavish interiors and his ambitions.  He now started taking on commissions again, working on Craighall between 1697-99 (ruined by 1793, demolished 1955), Craigiehall c1699, Hopetoun between 1699-1703, Mertoun c.1703-7, and his final contribution being to design the House of Nairne c.1710 (pulled down c.1760), though illness meant he wouldn’t have supervised the construction. Sir William had earlier made over Kinross to his son and moved back to the old Kinross house before moving to Edinburgh at the end of his life, dying there in 1710.

With limited family wealth the house declined until, in 1777, Kinross was bought by George Graham, a Scot merchant who had made a fortune in Jamaica, and since then had passed down through the family (latterly  Montgomery after a marriage in 1819).  Sadly the house was put up for sale in 2009 having been a family home since it was built and was sold in 2010 along with 75-acres with planning permission for conversion into a hotel – a rather depressing outcome for such an important house.

Book of the series: ‘The Country House Revealed‘ [Waterstones]

Official listing: ‘The Country House Revealed‘ [BBC2]

Note: having watched the first episode it seems that Dan is concentrating more on the family history aspect than the architectural so I hope these entries will balance this out.