A mansion that was only a shell, but would soon be no more
In February 1949, The Sphere published photographs of New Murthly Castle, at Dunkeld, in Perthshire, where demolition work was in progress. The stonework, amounting to 200,000 tons, was to be used to build workers’ houses near the new hydro-electric dam at Pitlochry, six miles away, and at Loch Sloy.
The castle, which was never completed, was begun in 1827 by Sir John Archibald Drummond Stewart, 6th Baronet (1794-1838), Laird of Murthly, and was said to be the outcome of his rivalry with John Campbell, 1st Marquess of Breadalbane (1762-1834) who had also started to rebuild Taymouth Castle in grandiose fashion.
Sir John called his residence New Murthly Castle and engaged John Gillespie Graham, said to be the most expensive architect in the country. When Sir John died during the progress of the work, Murthly was left just as it was, a magnificent empty shell.
Charlie Brand, an expert from ICI Nobel, who worked at the world’s largest dynamite works at Ardeer in Ayrshire, supervised the work. ‘The four flanking towers were pulled off their footings using a hawser attached to a huge Caterpillar tractor, then the central block was blown up by ICI’s men, using four tons of gelignite’.
Several hundred spectators turned up to watch.
John Stirling Maxwell, the founder of the National Trust for Scotland, said in 1937, that: “This unfinished house, for dignity, proportion and beauty stood quite alone in its day and is still without rival.”
But these were the days before conservation. The National Trust for Scotland’s founding aim was to protect wild places from development, rather than to save buildings, and New Murthly Castle was lost.
A Victorian country house you’ve most likely never heard of… except you did know it – and twenty-five years ago it fell into the sea
In 1879, when George Alderson-Smith decided to build a new house on a clifftop above Scarborough, he chose not to listen to those people who thought it ill-advised. It was common knowledge that there was a history of cliff collapses in the area, but the house called Wheatcroft Cliff was built anyway. He died here in 1931, reaching the grand old age of 96, still declaring the property ‘safe as houses’.
114 years later, his words were little comfort to Barry and Joan Turner who had bought the property in 1988. In June 1993, after a period of heavy rainfall, the world watched as the now-named Holbeck Hall Hotel fell into the sea, the victim of a rotational landslip. It seemed that the Victorian doom-mongers had been correct after all.
It was a tragic end for the former ‘country house by the sea’. It had to be demolished completely after the incident, and twenty-five years on, there are few traces of its existence.
George Alderson-Smith (1834-1931), a native of Leeds, was the son of Mr John Smith, J.P., of Burley House and Belvedere in Harrogate, a partner in the firm of Beckett and Co. He had lived in Scarborough for nearly half a century, the whole time connected with the fishing industry. He was one of the town’s biggest steam trawler owners, amassing a small fortune and a reputation to match. This wealth allowed him to build Wheatcroft Cliff looking over Scarborough’s picturesque South Bay.
In time, Alderson-Smith became chairman of the Grand Hotel Company, chairman of the South Cliff Tramway Company and a director of the Scarborough Spa Company. His standing in the community also allowed him to become a J.P. for the North Riding of Yorkshire and eventually Deputy Lieutenant of the same county. Two of his mischievous sons, Hubert and Alder, had caused significant embarrassment when they appeared before Scarborough Police Court in 1889 after throwing five public seats over a cliff.
Alderson-Smith’s fishing business didn’t end well, his last three trawlers – the Seal, the Otter and Dalhousie – were sunk by First World War enemy submarines somewhere off Aberdeen, but by this time he was well into retirement. When Alderson-Smith died in 1931 he left gross estate to the value of £107,736 (net £93,812).
Wheatcroft Cliff was described as ‘standing in six acres of secluded grounds at the extremity of the South Cliff, from where it overlooked Holbeck Gardens and the coast, north and south’. The contents of Wheatcroft Cliff were quickly sold at auction. The important collections included antique furniture, oriental porcelain of the Ming and Chinese dynasties, fine old English silver, oil paintings, watercolours, arms and armour and a fine library of books.
In June 1932, Wheatcroft Cliff was bought by Messrs Laughton, the proprietors of the Pavilion Hotel in Scarborough, who announced that the mansion was going to be converted into a first-class hotel. Mr Robert Thomas Laughton was the brother of Charles Laughton, the actor, and whose family had been operating hotels in Scarborough for 30 years. He told the Leeds Mercury that they had been searching for some years through various parts of the country for an estate suitable for an hotel to stand in its own grounds, which he considered to be a feature of the most successful first-class holiday hotels.
All the architectural features of Wheatcroft Cliff were preserved, but a new wing was built to accommodate its new services. Once the conversion was completed it had cost nearly £40,000.
“Charles Laughton is once again in the news. I can hardly pick up a paper without seeing some review of his new film ‘Vessel of Wrath’. Though I will admit to being one of his fans, there is something which appeals to me far more, and that is the Laughton Hotels at Scarborough – the Pavilion, the Royal and Holbeck Hall. Now, the Laughton Hotels at Scarborough are a family concern. Although Charles is a director, it is his mother and his two brothers, Tom and Fred, who are in active control. In nearly every town you will find a local name, and I believe I am correct in saying that the Laughtons have been associated with hotel keeping in Scarborough since the first one was opened. Perhaps my favourite of the Laughton hotels is Holbeck Hall – the hotel with a view. Here there are six acres of private ground stretching down to the beach, and you can walk straight from your bedroom down to the sea in your swimming suit. There are all the characteristics of a country mansion. In the hall is a magnificent baronial fireplace, beautiful parquet floor, a minstrels’ gallery – everything, in fact, to promote a sense of well-being.” – ‘Hotel Discoveries’ by Ashley Courtenay in The Illustrated and Sporting Dramatic News – March 18 1938.
And so Wheatcroft Cliff began life as the four-star Holbeck Hall Hotel. Although it was used briefly as part of a scheme to re-settle returned prisoners of war after World War Two. The property passed through other owners until it was bought by Barry and Joan Turner, who added it to their English Rose Hotels portfolio.
Until that fateful day in 1993. Cracks had been seen near the hotel some weeks before, but it took until the night of 3 June for the cliff near the hotel to finally give way. Guests had to make a quick exit after its owners realised the seriousness of the situation following the landslip which left the building perched perilously close to the edge. As the cliff continued to collapse, parts of the building soon began to follow.
The hotel was in ruins by the time the ground finally stabilised by the end of the weekend, and what was left was bulldozed into the ground two weeks later. The Turners later used the insurance money to buy a new hotel in Malton and continued to build up their hotel empire.
A country colony for Londoners: A house that became part of the ‘garden city movement’. Three years later it was lost
On Monday 6 January 1913, the members of Park Langley Golf Club were shocked to find that their club house was on fire. The blaze had started about eight o’clock at night in the dining-room, the cause unknown, and quickly consumed the interior, including the fine Adam ceiling.
On that cold January evening firemen from Beckenham and Bromley rushed to Langley Park. They laid their hoses to the pond 300 yards away and frantically pumped water into the house. By midnight the fire had consumed most of the building and by first light on Tuesday it was evident that only the outer walls remained.
The remains of Langley Park were demolished soon afterwards and a replacement club house constructed nearby.
Previous to this, Langley Park mansion, standing at the centre of Langley Park in Beckenham, Kent, had been an age-old family home. Parts of the house were said to date back from 1476, built for the De Langele (Langley) family, although the main part of the property was Georgian. The Langley family remained until the 1820s when it was bought by Emmanuel Goodhart. In total, there were twenty rooms, many containing valuable objets d’art, Adam fireplaces and about twenty sepia frescos.
After the death of its last occupant, Emmanuel’s son, Charles Emanuel Goodhart, D.L., J.P. in 1903, the property had been empty. However, with one eye on the advance of London, there were plenty waiting patiently to exploit Beckenham’s rural location.
The estate was sold by the excecutors of Charles E. Goodhart in 1908 and 700-acres of its parkland bought by H & G Taylor, a Lewisham building firm, to build a new ‘garden estate’ – Parklangley –‘the most luxurious and beautiful attempt at town-planning in the country’.
The initial phase (1909-1913) was based on the ‘garden city movement’. The layout of the estate and most of the houses were designed by Reginald C. Fry, but there were other designs from Edgar Underwood, H.T. Bromley, Sothern Dexter and Durrans & Groves.
The first roads to be laid out were Wickham Way, Elwill Way and Hayes Way in 1909. Malmains Way, Whitecroft Way and Styles Way followed in 1910. The golf club moved into Langley Park in 1910, occupying the house and remaining parkland.
Originally envisaged as a self contained garden city complete with circular shopping centre, church and dance hall building, around 80 houses had been built before the development was interrupted by World War I.
Work resumed on the ‘garden city’ in 1918, but the scheme never fully materialised. However, consisting mainly of sizeable detached and semi-detached housing it remains ones of Beckenham’s most exclusive and unspoilt areas.
The site of Langley Park mansion is now occupied by Langley Park School for Girls, behind what is now the 3rd green of Langley Park Golf Club.
On the eve of ‘The Destruction of the Country House’ exhibition, an aspiring writer traced the social and economic reasons for the decline of the English country house and described the dangers that threatened those remaining
In October 1974, a landmark exhibition opened at the Victoria and Albert Museum in London. The Destruction of the Country House had been conceived following a conversation between the museum’s director, Roy Strong, and John Cornforth, the architectural historian, then compiling his important report on the ‘present’ state of our country houses, the first since the 1950 Gowers Report. The exhibition included a Hall of Destruction decorated with falling columns and illustrations of some of the hundreds of country houses demolished since 1875.
By the end of the exhibition, the total number of houses was found to be over 1,600. Forty years later, Matthew Beckett, ‘the statistician of loss’, found that between 1880 and 2014, the number of houses demolished was 1,921. A record of these can be found on his Lost Heritage website, and the number keeps increasing as we find more candidates – vanished, forgotten and then remembered again!
The exhibition was curated by Roy Strong, John Harris, then working at the Royal Institute of British Architects, Marcus Binney, soon to become Architectural Editor of Country Life Magazine, and Peter Thornton, from the V&A’s Department of Furniture and Woodwork. The exhibition did more than anything to bring the plight of our ‘suffering’ country houses to the attention of the public.
Days before the opening of The Destruction of the Country House, an article appeared in the Illustrated London News, written by John Martin Robinson, a 26-year-old Lancastrian who had just been awarded a doctoral degree for work on the architect Samuel Wyatt. By the end of the year, he was working for Greater London Council’s Historic Buildings Division, contributing to the Survey of London, inspecting buildings in Westminster and revising the Statutory Lists of Historic Buildings across the city. In time, we would know Robinson as an Architectural Writer for Country Life, as well as being the author of almost thirty books.
In 1974, John Martin Robinson was an unknown entity, but mature enough to write The Future of England’s Country Houses for a magazine that had been published since 1842. Unfortunately, like many of the country houses featured, the magazine eventually disappeared. However, forty-four years later, Robinson’s narrative still provides a definitive account as to how England’s country houses had got into such a perilous situation.
“No country can rival England in the number and beauty of its country houses in their setting of gardens, avenues and parklands. They are an association of beauty, art and nature achieved through centuries of effort, which has seldom, if ever, been equalled in the history of civilisation. The English country house is the greatest contribution made by England to the visual arts: thus, the Gowers Report on ‘Houses of Outstanding Historic and Architectural Interest’ summed up the object of its investigations in 1950. Yet despite their unquestionable artistic importance the survival of these houses has been increasingly jeopardised in this century and many have been destroyed.
“With hindsight the rumblings of the avalanche can already be discerned behind the apparent calm and opulence of the Edwardian heyday of the country house, threatening the tranquil world of tea under the cedar trees and white-gloved footmen festooning smilax around the dining-room candelabra.”
“From 1870 onwards, English agriculture faced an increasingly serious crisis and its economic viability was destroyed by large imports of cheap grain from North America. As a result, land ceased to be profitable and the economic base of the country house was undermined. The effects were not immediately apparent because the overall financial power of the country’s trade and industry helped subsidise country house owners, but that was a situation that could not last forever.
“The huge staffs of Edwardian houses were partly a response to the rural unemployment caused by agricultural decline. In many areas domestic service was the only means of providing a livelihood for the inhabitants of whole villages. One result of the agricultural slump was disastrous, and that was the amendment of the settled land law in 1882, which enabled landowners to sell entailed heirlooms, particularly works of art, to meet their debts and day-to-day expenses. This opened the floodgates, and the systematic disposal of the fabulous collections assembled here between 1610 and 1850 has gone on ever since.”
“Estate duty was first introduced in 1897 and greatly increased in Lloyd George’s 1909 budget. This was followed quickly by the First World War in which it was common for two or three heirs to be killed one after the other, thus incurring multiple death duties. Then in the period between the wars came drastic increases in the rate of income tax which bore more heavily on landowners than on any other section of the community.
“The destructive effect of increased taxation upon the upkeep of country houses is well known. Another equally powerful but less widely recognised factor has been the steady encroachment of industry and urban development in certain areas, and it is those areas which have seen the worst losses of country houses – particularly South Lancashire, parts of Durham, Nottinghamshire, Staffordshire and outer London. South Lancashire has sustained the worse losses of all and today only two country houses are still lived in. Six are museums, over 50 have been demolished and the remainder lie derelict or have been converted into institutions.”
“The first two important English houses to go, heralds of doom, were Giacomo Leoni’s Bold Hall in Lancashire in 1900 and (Sir Charles) Barry’s Trentham in Staffordshire in 1910. In both cases industrial development was immediately responsible for the abandonment of the house. At Trentham the river had become so polluted with sewage from Stoke-on-Trent as to render that palatial seat no longer pleasantly habitable. In the case of Bold Hall, the coal mines crept up to the park walls and the owner finally sold out to the colliery company which demolished the house, thus contributing to an ironic pattern of development whereby the lucrative mineral, which had paid for so many fine houses, now destroyed them.”
“The crash occurred in the 1920s. In 1922 Stowe was sold up, and though the house was saved from demolition for use as a school the interior was largely dismantled, and the surroundings littered with gymnasiums, laboratories and all sorts of necessary new buildings, to the permanent spoliation of the gardens, the finest in England. Then house after house was demolished. In 1922 the worst loss was Cassiobury Park near Watford, where a Wyatt exterior concealed splendid seventeenth-century state rooms. In 1925 Leoni’s finest English house, Lathom House in Lancashire, was razed to the ground. In 1929 occurred the most regrettable vandalism of all, the wanton smashing of domed Nuthall Temple in Nottinghamshire, which contained superb rococo plasterwork. And so, the melancholy story continued until the eve of the Second World War.”
“However, the horizon was not one of unrelieved gloom. New country houses continued to be built, often on a considerable scale, particularly such late works of Sir Edwin Lutyens as Gledstone Hall, Castle Drogo and Middleton Park. The latter was completed only in 1938, and had 12 principal bathrooms including Lady Jersey’s, which was lined in pink onyx and white marble with a vaulted ceiling. A casual glance through the pages of Burke’s ‘Landed Gentry’ shows that ‘new’ families continued to be recruited throughout the period. They bought estates and either built their own houses or brought new life to old ones. Those who restored old houses often assembled in them fine art collections and laid out gardens on an almost eighteenth-century scale. Three of the most notable achievements of this type now belonging to the National Trust: Buscot Park and Upton House near Oxford, and Anglesey Abbey near Cambridge.
“This period also saw the beginning of a constructive attempt to save the country house from ruin. In 1924 the National Trust first pressed for legislation to grant tax concessions to the owners of country houses. This was unsuccessful, but in 1934 Parliament passed a Bill enabling the Trust to accept historic houses. The first house received by the Trust, Blickling in Norfolk, was bequeathed in 1940 by the Marquess of Lothian. It was followed in the same year by Wallington in Northumberland, and today the Trust owns and maintains some 150 great houses.”
“During the Second World War houses were used as hospitals, schools and army barracks. The eventual result of this was, in many cases disastrous. As readers of ‘Brideshead Revisited’ will know the Army was not an appreciative tenant. A typical example is Egginton Hall in Derbyshire where, when the Army relinquished the house in 1945, all the taps were left running. The interior was irreparably damaged by water and the house was subsequently demolished. Schools were reckoned to be more civilised occupants, although while Castle Howard was in use as a school half of it was gutted by fire.”
“At the beginning of the war the Government refused to give guidance and help to private owners over the storage and protection of art collections. As a result, a great deal of unnecessary damage was caused. The Duke of Bedford relates how, on inheriting Woburn, he found the famous Sèvres dinner service lying loose in the straw in the stables, while French eighteenth-century chairs were piled up in heaps with kitchen table legs stuck through the seats.”
The subject of wartime requisitioning was one that John Martin Robinson would return to. His book, The Country House at War was published in 1989. Twenty-five years later, it was followed with the weightier Requisitioned: The British Country House in the Second World War.
“In 1945 the country house presented a huge, seemingly insoluble problem. No general maintenance had been done for at least six years, and many garden buildings and subsidiary structures had not been repaired since before the First World War because owners had had no money to spend on such ‘inessentials’. In many cases there seemed no alternative to demolition and over the next ten years hundreds were pulled down or truncated, as at Woburn, where half the house was demolished because of dry rot. The losses in this period were quantitively much greater than in the 1920s and 30s, though it could be argued that individually the houses destroyed were not of such great importance. The one absolutely irreparable loss was Coleshill, a statement of the utmost value to English architecture. It was gutted by fire in 1952. The Government declined to serve a preservation order on the shell, which as a result was demolished.”
“By the early 1950s it seemed as if the end had come for the country house, but there was in fact a remarkable recovery. This was largely due to the efforts of individual owners and also the post-war Labour Government. In 1945 the Minister for Housing and Local Government was empowered to make lists of buildings of special architectural and historic interest which were to be legally protected from demolition or unsympathetic alteration. Although slow in compilation (only 120 houses out of a target of 1,450 were listed in the first five years) and full of omissions and inconsistencies, they were better than nothing, and have developed in the succeeding years to become the foundation of all preservation work in this country. Then, at the invitation of Stafford Cripps, Chancellor of the Exchequer, a committee was set up to investigate the possibility of making grants and tax concessions to the owners of outstanding historic houses. In 1950 this committee produced the Gowers Report, as a result of which the Historic Buildings Council was established with the power to make annual grants for the restoration of great buildings.
“At the same time there was a dramatic revival in English agriculture. Landowners have reorganised their estates much more efficiently, and together with Government subsidies this has led to a doubling of the output of English farming and the restoration of its economic viability. Large-scale opening to the public, which started with Longleat in 1949, also provides funds for the upkeep of houses. This has given them a completely new raison d’etre, as well as presenting owners with additional incentive to maintain and improve their houses. As a result, many of the greatest country houses have been splendidly restored since 1960, and Chatsworth, Wilton, Holkham, Ragley and Althorp have never been so well cared for or looked so magnificent as they do today.”
John Martin Robinson’s use of the Duke of Devonshire’s Chatsworth House was a good example. The property had been ‘closed-up’ for many years but is now regarded as one of the country’s most popular visitor attractions. The other houses remain open to the public, in the case of Althorp in Northamptonshire, its popularity reached unprecedented heights for being the home and final resting place of Lady Diana Spencer, later Princess of Wales.
“A year ago, this article could have finished on that happy note, but now there are new dangers. The possibility of increased taxation, together with general economic recession, threatens the precarious finances of the owners of great houses. If a wealth tax were to be imposed upon such houses and their contents it would lead to certain ruin. Already there have been disquieting events. For example, Heveningham Hall in Suffolk had to be sold as a result of capital gains tax in 1969 and although bought by the Government most of its contents were dispersed and it stands today empty and without a use, a sad place to visit.”
The Wealth Tax didn’t materialise. Denis Healey, the Labour chancellor misquoted for saying “squeeze the rich until the pips squeak” came closest in his 1974 election pledge but was forced to backtrack. However, the possibility remains a distant threat as is the recurring menace of a Mansion Tax, a common name for an annual property tax on high value homes. There was a happy end for Heveningham Hall, after all. The halls and grounds were bought in 1994 by Jon Hunt and his wife to use as a family home. Extensive work has been carried out to restore the house and the Capability Brown grounds.
“The great increase in the monetary value of works of art is also, ironically, a threat. Not only are owners tempted to sell, as in the case of the Longford Castle Velasquez, but the increased monetary value of country house collections makes them a great security problem, as was highlighted by the recent spectacular theft of pictures from Russborough in Ireland. These treasures, however, form the greatest portion of the works of art in this country and far surpass in both quantity and quality the contents of our provincial museums. As well as the furniture and portraits which obviously form a unity with the architecture, about 100 great English houses contain important collections of European works of art formed between the seventeenth and mid nineteenth centuries, which as collections are of the greatest and aesthetic importance. England is the only country in the world where such historic collections survive on such a scale, and it would be tragic if they were to be dispersed.”
When John Martin Robinson referred to the theft of pictures (by the IRA) from Russborough House in County Wicklow, he wasn’t to know that they would be recovered, but stolen a further three times.
“Another threat is to the landscaped parks in which these houses are situated. Unlike historic buildings, they enjoy no statutory protection despite the fact that they form some of the greatest works of art ever produced in this country. Those at Petworth and Chillington, designed by Capability Brown, as well as Port Elliot by Repton, are threatened by motorways. At Audley End the local council wish to place a sewage works in the middle of Capability Brown’s landscape, and many other eighteenth-century parks are also menaced by incongruous developments.
“It is essential therefore that the machinery of Statutory protection be expanded to cover the parks, gardens and the essential contents of historic houses. At the same time the system of grants should be extended to pay for such works as the renewal of the planting in eighteenth-century parks and the proper maintenance of the pictures and furniture in all privately-owned houses regularly open to the public. In 1950 the Gowers Report recommended that all the repair and maintenance costs of historic houses and their contents should be subject to tax relief. It was also recommended that landowners should be able to set aside part of their estates to produce a tax-free income for the support of the house in perpetuity.
“These recommendations were not adopted at the time, but their implementation is even more urgent now, and it is to be hoped that the Government will at least introduce effective legislation to protect country houses, their contents and collections, their parks and gardens from ruin. It would be tragic if despite the hard work of the last 18 years, the cultural achievement of five centuries were still to be needlessly sacrificed.”
And so he ended. Nine years after Robinson wrote about parks and gardens, the ‘Register of Historic Parks and Gardens of Special Historic Interest in England’, was established in 1983. It now identifies over 1,600 sites, including many country house properties, assessed to be of particular significance and which are graded similar to that of historic buildings.
Of course, there were many things John Martin Robinson couldn’t have foreseen in 1974.
The resurgence in agriculture was to stall, the full impact of joining the Common Market in 1973 still around the corner. The days of quotas and subsidies from the European Union were still to come. In fact, agriculture was to see the biggest change ever.
Country house visits increased in popularity during the remaining years of the 20th century. Those houses managed by the National Trust and English Heritage (formed in 1983) are now some of the country’s biggest visitor attractions. They’ve been joined by those properties belonging to the Historic Houses Association (now known as Historic Houses), a not-for-profit organisation representing about 1,600 privately owned historic houses, and created in 1973, a year before Robinson’s magazine article.
More than anything, the country house has had to reinvent itself. This was highlighted in the television series, Country House Rescue, which showcased large properties heading for oblivion. The programmes made intelligent attempts to persuade owners that the house must pay for itself. Some succeeded; some failed due to the stubbornness of the property holder. A large number of country houses are now hotels, conference centres, training facilities, wedding venues and specialist event centres. The trend of the seventies and eighties, when mansions became offices for large companies has reversed – many of these given over to the hospitality industry and even reverting back to residential use.
Sadly, the days of aristocrats in their big houses are a thing of the past. A large number are still in private ownership, but you’ll far more likely see a country house owned by a self-made businessman, a Russian oligarch or a middle-eastern billionaire.
Thankfully, the number of country houses being demolished is now a trickle, confined to those unfortunate not to be included on Historic England‘s ‘National Heritage List for England’ (NHLE). Probably more houses have been destroyed through fire, as in the cases of Clandon Park, Kelsale Hall and Parnham House, whose shells still survive due to the listing process, one that wasn’t afforded the magnificent Coleshill back in 1958.
A secretive house built on the riches of West Indian sugar plantations and slavery
Country Life magazine describes this house as ‘a fitting addition to the market in Humphry Repton’s bicentenary year’. Dullingham House, near Newmarket, Cambridgeshire, is being marketed by Savills with a guide price of £2.75 million.
The country house is understood to have been built for Sir Christopher Jeaffreson in the early part of the 18th Century – possibly on the site of an earlier house and is a fine example of red brick Georgian architecture, with patterned burnt headers beneath a slate roof.
A look into the history of Dullingham House shows it was likely constructed from the riches of sugar and the slave trade.
In 1878, two volumes entitled A Young Squire of the Seventeenth Century, edited by John Cordy Jeaffreson, made up from the papers of Christopher Jeaffreson (1676-1686) of Dullingham House, were published.
Within these volumes we learn that Christopher Jeaffreson was born in 1650, and that he was in his seventy-fifth year when he died at Dullingham House.
His father was a ‘fortunate adventurer’, one John Jeaffreson, became a landed proprietor in St. Christopher’s Island, and obtained the title of Colonel from his command of the militia on the island. The Colonel became a rich man and among other estates in England, where he spent the last years of his life, he acquired ‘the manorial property and farms pertaining to Dullingham House in 1656 (from the infant Sir Richard Wingfield), so that his son Christopher, the ‘young squire’, on reaching the age of 22, at which he succeeded to his inheritance, ‘had the revenue of an affluent country gentleman, apart from the rents of his West Indian property’.
Christopher married soon afterwards, but his wife soon died, leaving him a disconsolate widower. He set out on a voyage to St. Kitts ‘in order that he might settle and restore his estate on the island’. He ended up staying five years in the West Indies, where he worked energetically as a planter and merchant, and took an active political interest in the colony.
On his death in 1725, the estates in the West Indies and Suffolk passed to another Christopher Jeaffreson, M.P. (1699-1749), the man thought responsible for building the Dullingham House we see today.
At a by-election in 1744 he was returned unopposed for Cambridge on the interest of his friend, Samuel Shepheard. He was replaced by Shepheard at the general election of 1747, but on Shepheard’s death the next year was again returned. He died in 1749, according to William Cole, the Cambridge antiquary, ‘from too much drinking, which brought him into a consumption. He was one of the tallest men I ever saw’.
When Sir Christopher died in 1749, the estate, its new house and small pleasure ground passed to his son, also Christopher, who remained at Dullingham until his death in 1788. His only son, Colonel Christopher Jeaffreson inherited and in 1799 called in Humphry Repton (1752-1818) to give advice on the alteration of the grounds.
Christopher Jeaffreson died in 1824, and the estate passed to his daughter Harriet, who married William Pigot in 1827. Their son, Christopher William Pigot, born in 1836, took the name of Robinson in 1857 under an inheritance from his maternal grandmother. In 1870 he married Mary Marianne Mariana Dunn-Gardner, the eldest daughter of John Dunn-Gardner, MP, DL, JP of Chatteris, and sister of Algernon Dunn-Gardner, of Denton Hall, Suffolk.
When Christopher Robinson died in 1889, Mary Robinson, a lady of peculiarly fine character, had a high sense of duty and took her responsibilities as the owner of a large estate very seriously, frequently lending the grounds of Dullingham House for flower shows and fetes.
Mary Robinson lived at Dullingham until she died, aged ninety-one, in 1939. The estate then descended to her half-brother’s daughter, Miriam Leader, who sold it in 1947 to Frederick Boyton Taylor (1894-1959). His son, Peter Boyton Taylor (1921-1996), divided up the property, the house, gardens and park being purchased by Angela Tomkins who, together with her father, developed the park as a race-horse stud.
In 1994 the House and its immediate grounds were purchased by Sir Martin and Lady Nourse and the stable courtyard developed for private housing.
Dullingham House is Grade II listed as being of Historical and Architectural interest. The property has been the subject of various additions and alterations over the centuries – at one point (according to the listing) it is described as having had ‘two projecting cross wings to the east and west which were substantially reduced in the 1950’s to be replaced by flanking, shaped walls’. The façade looked very different in Victorian times with altered fenestration, and according to Savills, the top floor was added about 1900 by Mary Robinson. Indeed, there were dormer windows on the upper floor before subsequent alterations resulted in the existing elevations.
Apart from the normal reception rooms, Dullingham House has eight bedrooms and comes with the Repton ‘pleasure’ grounds and walled gardens, set within 8-acres.
Nothing remains of this former mansion; the only reminder of its existence is the balustrading which once encircled the garden at the front of the house.
The age of opulence. In October 1902, The Sketch visited Aston Clinton House, to the south-east of the village of Aston Clinton in Buckinghamshire, thought to have been the most charming of the country houses belonging to various members of the Rothschild family and their immediate descendants. As one observer said: “This typically English homestead gains rather than loses by contrast with its stately neighbour, Waddesdon.”
The long, low white building was unpretentious in general design, and had been bought in 1851 by Sir Anthony de Rothschild from a well-known Aylesbury banker. Both the house and the estate had been improved and altered; but the general appearance of the fine old square manor had not been altered, and the additions were charmingly picturesque, while the views from the windows commanded the loveliest prospects.
Sir Anthony Nathan de Rothschild (1810-1876) was the third child and second son of Nathan Mayer Rothschild and Hanna Barent Cohen, and had worked for N.M. Rothschild & Sons in London as well de Rothschild Frères in Paris and M. A. Rothschild Söhne in Frankfurt. In 1840 he married Louise Montefiore (1821-1910), a cousin, and daughter of Abraham Montefiore and Henriette Rothschild.
Sir Anthony and his wife Louisa made alterations from 1853 using the architectural talents of George Henry Stokes, assistant of Joseph Paxton, and using the builder George Myers. Extensions to the existing house included a ‘billiard room building’, dining room, offices and a conservatory. Between 1864 and 1877, they turned to the steady work of George Devey who designed the park gates and various cottages on the estate.
Back in 1902, Constance Flower, Lady Battersea (1843-1931), the only surviving child of Sir Anthony, and his widow, the venerable chatelaine of Aston Clinton, were interested in gardening, long before horticulture had become a fashionable hobby; accordingly, the gardens of Aston Clinton were full of rare and interesting plants and shrubs. Fortunately, Cyril Flower, 1st Baron Battersea (1843-1907), was as keen a horticulturist as was his wife, and both at The Pleasaunce, their other property at Overstrand, Norfolk, and at Aston Clinton, he had given up much time and thought to the practical beautifying of the grounds.
The interior of Aston Clinton was arranged in an artistic and original manner. The rooms weren’t large, but a corridor connecting the principal apartments was full of objets d’art, collected by the Rothschilds. Particularly beautiful was the china, arranged in such a fashion that it added to the artistic effect, instead of, as was too often the case, detracting from it.
Lady de Rothschild’s boudoir was hung with fine tapestries, and the white panelling in the dining room had been carved by a sixteenth-century Dutch artist. The drawing-room contained more fine works of art, worthy of inclusion in any world-famous collection, and among hundreds of curios was an old clock showing a mighty Sovereign walking in a procession, while above his head waved a Royal umbrella.
According to the commentator in The Sketch, “Pictures were here, there and everywhere, sharing the space with books, etchings and prints.” Sir Anthony Rothschild had been a generous patron of painters and etchers, and had been ready to back his own taste, a love of creative art that was shared by his son-in-law Lord Battersea, whose study at Aston Clinton contained a remarkable series of amateur photographs, several watercolours and engravings, each chosen with reference to their intrinsic interest or artistic value.
A feature at Aston Clinton was a splendid winter-garden (conservatory) which had been arranged in such a manner that it became part of the long corridor already mentioned. ‘Lady de Rothschild, bringing, as it were, the varied delights of leaf, fruit, and blossom into the house itself’.
Both Lady Battersea and her mother showed a practical interest in the welfare of their poorer neighbours. Anthony Hall, a building erected by Sir Anthony’s widow in memory to him, formed a centre not only for those in the neighbourhood, but also for the many practical philanthropists who met there at the invitation of Lord Battersea. The Aston Clinton Coffee Tavern was another familiar benefaction conferred on the village by the Rothschild family, and successful had been the Training Home for Girls, an institution that had solved locally ‘that difficult modern problem – the servant question’.
Both were keenly concerned in what was going on in the political, artistic, and philanthropic worlds. The Sketch painted a lavish, if not saccharine, portrayal. “They are among those whom the nation should delight to honour, for they have done all in their power to make happier and better the many large circles of human beings with whom they are brought in contact. Lady Battersea has the energy of her wonderful race, and she is ardently interested in all that affects the welfare of her own sex.”
When Lady de Rothschild died in 1910, Aston Clinton reverted to the Rothschild estate, but Lady Battersea and her sister, Annie Henrietta (1844-1926), remained in occupation until the First World War. It was given over to the Commanding Officer of the 21st Infantry Division, then based on the Halton estate.
The Rothschild estate sold Aston Clinton for £15,000 in 1923 – a house with seven reception rooms, billiard room, ballroom, thirteen principal bedrooms and dressing rooms, seventeen secondary and servants’ bedrooms, four bathrooms and domestic offices. To commemorate the sale the Rothschilds placed a tablet in the wall of the portico recording that the family had owned Aston Clinton between 1853 until 1923, a period of 70 years.
The country house was bought by Dr Albert Edward Bredin Crawford who used the house as a school for boys. Evelyn Waugh was a schoolmaster for a short time from 1925, and in his diaries he referred to it as “an unconceivably ugly house but a lovely park” and “a house of echoing and ill-lit passages.”
After a brief period as the Aston Clinton Country Club in 1931, the house was on the market again the following year and described as being suitable for a club, school or institution.
Aston Clinton became the Howard Park Hotel in 1933, ‘a first-class country hotel’ complete with a landing strip for aeroplanes. It was run by Mr Stanley Cecil Howard, the son of a well-known hotelier, and had studied hotel improvement across the world. (The house itself was owned by Charles Richard Stirling of Sysonby Lodge, Melton Mowbray, and was rented on a five-year lease). Howard had trained as a hotel manager and a restaurateur in Paris and Dusseldorf and had been the general manager of the Royal Hotel in Scarborough.
The Howard Park Hotel was a business failure and became the Green Park Hotel in 1938, run by Douglas Haslett of Surrey. The curtain came down on Stanley Howard’s career when he was declared bankrupt in 1939. (The ownership of the house had since transferred from Richard Stirling to Stanley Howard; on his bankruptcy it was seized by H.M. Treasury before being sold to Thames Side Property Developments Ltd).
The Green Park Hotel was more successful and survived until the late 1940s. During the Second World War it became the temporary headquarters for Oxo Ltd, while the stables were used by Eric Kirkham Cole for his Ecko Radio Company, which used them as offices and for the development of radar.
Buckinghamshire County Council bought the country house and land in three lots between 1959 and 1967. Aston Clinton House was demolished in 1956, and Green Park Training Centre eventually built in its place. The extended garden of Aston Clinton House is now incorporated into Green Park, while the stables survive as part of the training centre.
“It is the kind of house that takes a lot of living up to,” Evelyn Waugh wrote in his diary, as if rehearsing his favourite role as country squire
The selling point for Piers Court, on the market at Knight Frank with a £3 million guide price, is its connection with Evelyn Waugh, the author of Brideshead Revisited, who lived here between 1937 and 1956.
Notwithstanding, Piers Court at Stinchcombe, near Dursley, has a history going back much farther. The Grade II* listed house stands on the site of a medieval manor of that name burned down by Parliamentary troops searching for Prince Rupert on his march from Cirencester to Berkeley Castle (about six miles away) in 1645. Piers Court, a safe house for Royalists, was owned by the wealthy land and mill owning Pynffold family who remained for 150 years.
According to Historic England, the remains of the earlier building were incorporated into an 18th century property which is the house we see today.
Evelyn Waugh was born in Hampstead in 1903, the second son of Arthur Waugh, who was a contributor to The Yellow Book, an essayist and a publisher. He was educated at Lancing and Hertford College, Oxford, and, like many other writers, he taught in a private school for a time. His first novel, Decline and Fall, was published in 1928 and he followed it with nine years of travel which included the Arctic, tropical America and Abyssinia. He became a Roman Catholic in 1939 and had a varied war service, including membership of the British Military Mission to Yugoslavia in 1944. He married Laura, a daughter of Colonel Aubrey Herbert, an MP for Yeovil, in 1937 and settled at Piers Court, where he collected books. His novels included Decline and Fall (1928), Vile Bodies (1930), Black Mischief (1932), A Handful of Dust (1934), Scoop (1938), Put Out More Flags (1942), Brideshead Revisited (1945), The Loved One (1948), Helena (1950) and Men at Arms (1952).
Evelyn Waugh bought Piers Court for £3,600 in 1937, having been given the money by his future parents-in-law, in readiness for his marriage to Laura Herbert, his second wife. (His first marriage to Evelyn Gardner had been annulled in 1926).
The outbreak of war meant their stay at Piers Court was cut short. The Waugh’s let the house to a convent school for £600 a year in October 1939, Laura moved to Pixton Park in Somerset, and Evelyn served with the Army in Crete and Yugoslavia. It wasn’t until September 1945 that they returned.
There are contradictory stories about Evelyn Waugh’s feelings towards Piers Court. He was initially said to have ‘fallen in love’ with the house; his son, Auberon Waugh, later recalled in his book Will This Do? how he and his siblings knew “the front of the house belonged strictly to my father . . . one detected his presence as soon as we walked into the pretty hall, with its white and black stone floor and glass chandelier”. The enforced absence might have been responsible for his later abating attitude regarding Piers Court.
Frances Donaldson, in Evelyn Waugh – Portrait of a Country Neighbour, wrote in 1968:
“I always loved the drawing-room at Piers Court. The rest of the house was a question of taste – Evelyn’s taste. Personally, I became very fond of that too, but I could understand why other people disliked it. Evelyn liked dark surfaces and pattern, heavy furniture, silver and glass. There was much that was Victorian in the house, but his taste was masculine and, although the house was enlivened with personal eccentricities, it was genuinely of the period.
“In his library the carved shelves were built out in bays as they are in a public library and painted dark green, but it was a big room and the effect was rather beautiful while this arrangement provided room for his collection of books. The dining-room was sombre but the hall, staircase and landing above were light and elegant. The whole house right down to the Abyssinian paintings in the gentlemen’s lavatory was uniquely different from any other house I have ever been in.
“The drawing-room into which we were shown on that first night spoke as much of Laura as of Evelyn. They both loved and had considered knowledge of fine furniture and they bought eighteenth-century pieces when they could afford to. On the walls hung pictures from Evelyn’s collection of Victorian painters including the Augustus Egg of two girls in a boat, and I remember with vivid affection the faded green velvet curtains banded with chintz which hung in the circular bay window and the cushions which they had bought in a country house sale. On this night a fire burned in the grate and the chintz-covered chairs and sofa were reassuring.”
According to Knight Frank, much can be learnt about Evelyn Waugh and his time spent at Piers Court from his diary entries and the letters he wrote to his friends, many of whom were noted intellectuals in the twentieth century.
Ironically, it was also Knight, Frank and Rutley who handled the sale of Piers Court when the Waughs tired of the house. The official line was that Evelyn had, in June 1955, received an unsolicited visit from Nancy Spain, a reporter from the Daily Express, demanding an interview. He showed her the door, but the damage had been done. Spain wrote up the episode and, within weeks, Waugh put Piers Court on the market. “I felt as if the house had been polluted,” he wrote to the estate agent, furious at the invasion of his privacy. “If you happen to meet a lunatic who wants to live in this ghastly area, please tell him.”
The truth about their departure was probably best summed up by Frances Donaldson:
“Whether or not I am right in my view, the happy days came to an end in 1956. Evelyn began to be restless, ostensibly because he believed the town of Dursley was creeping up to his gates, but really I think because he wished for change, to break the rut of boredom in which he was sunk.”
Various buyers came to light, among them a Colonel and a Sir Anthony Lindsay-Hogg, but it wasn’t until June 1956 that a Mrs Gadsden made an offer of £9,500 for Piers Court, which was accepted. The Waughs moved to a manor house at Combe Florey in Somerset where Evelyn died in 1966.
Piers Court is approached up a long drive, lined with high beech hedges.
According to Knight Frank, the house is extremely well presented and benefits from both an imposing, formal layout ideal for entertaining, yet to the rear of the property lies a homelier arrangement of rooms ideal for family living. Off the main entrance hall are the formal drawing room and library, both of which provide the grandeur that would be expected of a Georgian manor house.
Described by Country Life as a genial, pleasantly rambling family house with some 8,400sq ft of accommodation, including five reception rooms. There is also a kitchen/breakfast room with a beautiful beamed ceiling, tiled floor and lovely rustic feel. Upstairs there are eight bedrooms and six bathrooms … plus extensive attics and a one-bedroom staff wing.
The front garden is lawned with a circular clipped yew hedge encompassing an ornamental fountain. The secret garden is of particular note, with high clipped yew hedges and bordered by a stone wall. Gravel walkways lead to the Gothic edifice which was built by Evelyn Waugh when he was creating the gardens. The croquet lawn and tennis court are well screened by a high beech hedge which creates a corridor of alternating green and copper beech.
Piers Court has an array of deep beds which fill with colour in the spring and summer months. There are many garden components. The Coach House looks over the oval walled garden with ornamental ponds framed by careful planting. The park is arranged as pasture with parkland trees including horse chestnut, lime, oak and copper beech. Lying to the south of the parkland is further grassland divided by a hedgerow. A footpath crosses part of the land to the west of the house.
Of course, there have been a few owners since, and probably most traces of Evelyn Waugh’s existence have long-since disappeared. Back in 2004, the then-custodian revealed that his beloved library was long gone. “Under a previous owner, the library where Waugh wrote was shipped, piece by piece, to Texas, where it was supposed to be reconstructed as a museum but is still in packing cases.”