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Architecture Country Houses Design Luxury People Restaurants

The Pig Restaurant + Rooms Bridge Kent

Globetrotters

Not another fabulous weekend! Never ones to fall for a pig in a poke, yet based on recommendations alone we daringly accept an invite to lunch on the eve of the 13th Sunday After Trinity at the unknown terrain of The Pig somewhere beyond Canterbury. We haven’t been this excited since the Montenegrin Government invited Forbes Magazine and Lavender’s Blue to cover their burgeoning tourism economy. Thankfully, this part of Kent turns out to live up to its reputation as the Garden of England. Or in The Pig’s case, the Kitchen Garden of England. The only sow’s ears are on the metal pigs guarding the entrance door. This restaurant and rooms are one of a litter of eight scattered across the English riviera. Definite articled single animals are the whole rage in hospitality nomenclature these days. There’s The Dog (much raved about gastro in Wingham near Bridge). Or The Newt (hotel of the media moment in Bruton, Somerset). Then The Rabbit (a retake of the late 20th century former Templeton Hotel in Templepatrick, County Antrim).

Lunch at The Pig is on a vast verandah and we mean vast. We’re soon persuaded to join the 25 Mile Wide Club, a long held ambition. Our menu is sourced from within a 40 kilometre radius. Suppliers include Kent Crisps (1.5 kilometres away); Simpsons Wine Estate (four kilometres); Core Farm Juice (6.5 kilometres); The Cheesemakers of Canterbury (12 kilometres); Ellies Dairy (25 kilometres); The Potato Shop (32 kilometres); and Turners Cider (39 kilometres). The rule is somewhat bent by inclusion of the Glenarm Estate (610 kilometres away in Northern Ireland) but Lord Dunluce does deliver the best beef in Britain. We pig out on all four courses of honking good portions, going the whole hog. Our starter is sourced from four metres away: the verandah overlooks the Mushroom House. Later, coffee comes with – what else? – piggy fours. Postprandial drinks are served while we’re resting our trotters on fashionably weathered timber deckchairs on the lawn. How very Lavender’s Blue. Post postprandial drinks are on the beach later, watching another Turner sunset, gazing wistfully towards Calais.

Bridge Place as The Pig was once known is a Grade II* Listed Building. The Listers state: “An L shaped building which is all that remains of a large mansion built by Sir Arnold Braems in the late 17th century, the remainder having been demolished… between 1704 and 1729. Red brick. Brick pilasters flank each window bay. Bracketed wood eaves cornice. Brick stringcourse. Steeply pitched hipped tiled roof. The north or entrance front has two and a half storeys. Two hipped dormers… Five windows, irregular, with mostly casements with wooden mullions and transoms, some small square leaded panes but two bung sash windows with glazing bars. Some of the windows at the east end are dummies and were probably blocked when sash windows were inserted in the east front. Rusticated stone doorway with keystone. The east front has two storeys, attic and basement. Four windows and two hipped dormers, windows having glazing bars and hung sashes. The interior has unusual carved cornices in two rooms and two painted stone fireplaces.” And what an architectural remainder! The gloriously atmospheric interiors are jazzed up with clubby antiques.

Framed flyers next to the Burlington Patent Cisterns in the timber beamed cellar bathrooms are a reminder of the former life of the house: “Bridge Place Country Club. Dance or drink, and if you wish, dine in this picturesque old manor. You may drink longer with our supper license. Ladies may come unescorted if they wish: many do!” Forthcoming attractions in 1968 included The Christmas Carnival, Boxing Night Ball and a New Year’s Eve Party with guest musicians Spencer Davis and Long John Baldry. The Pig continues this partying tradition for the escorted and the unescorted, revving it up a notch or two. As the Minister of Sustainable Development and Tourism Pavle Radulović informed us over dinner in Podgorica: “It’s all about knowing how to cater for the needs of high net worth individuals.” We’ve a feeling this isn’t our last fabulous weekend visiting The Pig at Bridge!

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Architects Architecture Country Houses Town Houses

Archery Square Deal + Walmer Kent

Dutch Courage

Holywood and Cultra, County Down. Brighton and Hove, East Sussex. Margate and Westgate, Kent. Deal and Walmer, Kent. Some coastal towns don’t need a committee to be twinned. Each resort itself is dual aspect with a centre and a front. “You can do things at the seaside that you can’t do in town,” went the old music hall saying. Architecture by the sea can also exhibit a frivolity not found so much inland. The 1927 terrace facing leafy Archery Square, a block back from Walmer seafront, is a case in point. These six two storey with attic houses overlook the rather smart Walmer Lawn Tennis and Croquet Club. Their white painted brick walls and louvred window shutters appear suitably nautical but it is the roof that turns to pure whimsy. The dormer of each house and the side elevation of the terrace are framed by extravagant Dutch gables. Provençale style red pantiles add a splash of colour to the roof. The architects, Messrs Kieffer and Fleming, are relatively unknown. One other project they did work on is Barrington Hall in Cambridge. They remodelled that house which also has white painted brick walls and Georgian sash windows, but is American Colonial in essence with a columned verandah overlooking the lawn.

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Architects Architecture Country Houses

Wilmont House + Sir Thomas + Lady Dixon Park Belfast

Magic Mushroom Off Season

Originally Belfast’s grandest pair of semi detached houses, built in the 1850s for banker James Thompson Bristow and his son, Wilmont House was combined into one house by the Dixon family in the 1920s. Its name comes from a previous house on the estate built by William Stewart circa 1740. Wilmont House is generally attributed to Thomas Jackson, a Waterford City born Belfast based architect. His prolific output was typically eclectic for its day ranging from the wedding cake gothic of St Malachy’s Church to the robustly rusticated Italianate Scottish Amicable Building. Wilmont House is much more reticent: balanced red brick elevations discreetly softened by sandstone dressings. If it falls under the Italianate genre, it only does so as a Belfast variant.

A high two storey main block, a low two storey ancillary block and a three storey campanile type tower all fit more or less into one rectangular footprint (except for south and east facing bow windows and north and south facing porches), neatly threading together the polite and service rooms of the house. Tall chimneystacks, some a storey in height, rising over slate hipped roofs, form a stimulating roofscape. Wilmont House is the centrepiece of a 54 hectare estate on the outskirts of Belfast.

Today, the estate is named after its last private owners Sir Thomas and Lady Edith Dixon, shipowners and timber merchants, who bought it in 1919. This philanthropic couple handed over the house and its grounds to Belfast Corporation, the forerunner of Belfast City Council, just 40 years later. Conveyancing conditions included: “Not to permit the sale of intoxicating liquor upon the said land and premises or any part thereof” and “To use the house and lands for the greatest good of the Citizens of the City of Belfast and in particular to use the lands as a public park and public playing fields and not to erect buildings thereon except as may be necessary in connection with these purposes.”

The park was officially opened to the public in 1963 and the house was converted to a nursing home, so fulfilling Lady Dixon’s wishes. The following year a large rose garden was planted near the house and before long the estate became synonymous with the annual Rose Trials. The horticultural attractions were augmented by a Japanese Garden in 1990. While the park has flourished, the house has not, lying vacant for over three decades. Various attempts by Belfast City Council at reinventing the house have seemingly gone awry.

“Sadly what we look at now bears little resemblance to what the house was in its heyday,” Lady Dixon’s great great nephew Andrew Dixon told the Belfast Telegraph in 2019. “They [the Council] have said they would like to talk to the family. I have plenty of ideas on how it could be used and surely that’s more preferable than letting it go to ruin. I and my father Robin Dixon, Baron Glentoran, have already watched how another of the properties at Cairndhu in Larne has been handled and I would hate to see Wilmont House go the same way.” The Council responded, “We’re currently preparing an invitation for expressions of interest to go to the market to seek a suitably qualified developer for the restoration and regeneration of Wilmont House, to bring it into a new use.”

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Architects Architecture Country Houses

Drum Manor Cookstown Tyrone + Irish Georgian Society London + Ulster Architectural Heritage Society

Lambeg

“Ruins in Ireland have always been political in light of the country’s history,” lectured University College Dublin Professor Fiona O’Kane to the Irish Georgian Society London some years ago. “In contrast, they possess an insouciance in English paintings. Ruins can be framing devices to real landscape. But the perception of how Ireland is drawn carries a long shadow. There’s a constant iterative of land.” Nothing frames a real landscape better than the remains of Drum Manor outside Cookstown in Ulster’s “West of the Bann” territory. The description of a torn history.

The Ulster Architectural Heritage Society’s latest addition to the country house book genre is Kimmitt Dean’s The Plight of the Big House in Northern Ireland. The writer reports that then owner Augusta Le Vicomte and her second husband Henry James Stewart went to town and country on her inherited house, William Hastings of Belfast in 1869 “hugely extending the existing villa”. It was executed in that Hilary Mantel stoked Tudor soaked Elizabethan oaked castellated vein that architects so excelled at across 19th century Ireland. But then, he summarises, “It was acquired by the Forestry Service in 1964 with consequences for the house, being partly demolished in 1975 to leave the present shell.” The destruction in part of a big house.

At least the damson’d gardens and rolling parkland remain and are open to the public. A silent drum beats again. Balustrades and battlements and buttresses protecting nothing and going nowhere. Transoms and mullions holding air. Crocketed pinnacles pointing heavenward. Metre high green carpet pile. Pearl necklaced capitals. A damsel’d Ayesha Castle tower with no Enya to come to its rescue. And yet Drum Manor has fared slightly better than its neighbour Pomeroy House. All that remains of the latter is a derelict portion of the stable block outbuilding. An adjacent marking on the ground provides a ghostly outline of the house’s footprint encircled by forestry. The demise of a demesne.

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Architecture Art Country Houses Hotels Luxury People Restaurants

Culloden Estate + Spa Cultra County Down + Art + Soul Art + Sculpture Fair

Across the Water

In the land of champ and Portavogie scampi and pasties (Ulster not Cornish) and soda farls and wheaten bread and dulse and Tayto crisps and fifteens and rocky roads and yellowman there’s something new and exciting to go and explore for a wee dander. The original house at the heart of the Culloden Estate – the Bishop’s Palace – may be 145 years old but Art and Soul, the Holywood International Art and Sculpture Fair filling its grounds and interiors, is very much a meantime use.

Dr Howard Hastings, Managing Director of Hastings Hotels, explains “At Hastings Hotels, I believe that we can distinguish from our competitors by highlighting the local culture and heritage surrounding our hotels. One way we do this is by focussing on our own locally grown produce in our menus. At Culloden Estate and Spa, another way we achieve this is through the artwork on display throughout the hotel. Some of these paintings were acquired by my father, Sir William Hastings. He selected paintings he liked and which he thought were in keeping with the Bishop’s Palace setting. More recently we’ve concentrated on supporting our local artists, many of whom have international reputations, yet still live and work in Northern Ireland.”

For just three weeks this summer, the five star hotel is brimming over with the work of sculptors Paddy Campbell and Orla de Bri, textile artist Karen Fleming, oil painters Gladys Maccabe and Tracey Quinn, watercolourists Neil Shawcross and Catherine Thompson, and lots more. There are also fine art prints by a certain Andy Warhol. These new arrivals will complement the Culloden Estate’s impressive permanent collection. Upon arrival, visitors are greeted by 125 sculptures gracing the law with six figure prices for the bigger pieces. Organised by Gormley’s Fine Art, the exhibition is the largest of its kind in Ireland. There’s always refreshment time too for sipping a wee Bushmills whiskey or West Coast Cooler or C+C brown lemonade in the Culloden Estate’s Cultra Inn.

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Architects Architecture Country Houses Hotels Luxury People

The Old Rectory + St Martin’s Church Great Mongeham Kent

Outer Upper Deal

“An exceptional level of hospitality and quality accommodation is assured at this 18th century country house bed and breakfast,” proclaim hosts Helga and Gordon Kitney. “Thoughtful luxury touches are provided at every turn. Nestled in the heart of a peaceful Conservation Area and less than two miles from Deal, The Old Rectory overlooks rolling countryside and St Martin’s Church with its Saxon origins. This picturesque setting is the perfect base for a relaxing short break on the East Kent coast.” Spread across the red brick house and coach house are The Empire Room overlooking the courtyard; The Polo Room with a coronet bed; The Attenborough Suite with an exposed brick wall; and The Maynard Suite named after villager Captain Robert Maynard who killed the pirate Blackbeard in 1718.

While the parish church next door dates back to Norman times, it has a more recent appearance due to a comprehensive restoration in 1851 by William Butterfield. The prolific Victorian architect is best known for his churches, whether new or reimagined, from Ascot to Ash, Belfast to Bristol, Country Dublin to Melbourne. St Martin’s Church is one of his more hidden gems. The village of Great Mongeham lies just beyond Deal and Little Mongeham, well, a little further. They’re pronounced “Munjum”. Despite being three kilometres inland, Great Mongeham was once a port. The ancient Mongeham Docks have long since silted up. Queen Elizabeth The Queen Mother, Lord Warden of the Cinque Ports, often visited the village from her nearby official residence Walmer Castle.

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Architecture Country Houses Luxury

Georgian Houses Kent +

Journeying Mercies

Occasionally a casual perambulation turns into a mud spattered stumble across a farmer’s field but it’s all worth it for the greater good of capturing picturesque rural Kent houses in the Turneresque sunlight. If a picture tells a thousand words, this feature is half a thesis.

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Architecture Country Houses Hotels People

Mourne Park House Kilkeel Down + The Earls of Kilmorey

The Four Winds of Heaven

The first time we visited Mourne Park House, November 1992, the recently widowed Julie Ann Anley whisked us off on a whistlestop tour. “It’s great!” she laughed. “No one ever bothers us here because the house isn’t architecturally important.” This was no tourist attraction. The country house as time capsule may have emerged as a phenonomen in the Eighties when Derbyshire’s Calke Abbey came to the public’s attention, but it certainly was applicable to an extreme at MPH in the wilds of County Down. While the Treasury saved Calke, sadly no knight in shining armour would come to MPH’s rescue.

The last time we visited the house, April 2003, it was teeming with members of the public rummaging over the soon to be dispersed contents. Everything was beginning to unravel. Beige auction labels dangled like insipid baubles from Christmas past, hanging on everything including the kitchen sink. A striped marquee consumed the courtyard while the building itself was crumbling at the edges. The auction was the outcome of a long and bitter family feud which erupted following the death of Nicholas Needham Fergus Philip Gore Anley in 1992, dragging through the courts until the opening days of 2003. On 14th February, without much filial or inter sibling love, it was finally settled.

“It’s something which all our family very much care about,” Marion Scarlett Needham Russell, Julie Ann’s younger daughter with the looks of a young Liza Minnelli, told us back in 1994. “We’ve always known that this house and its land were non negotiable and it was something we would do everything to keep,” agreed her older sister Debonaire Norah Needham Horsman or ‘Bonnie’.

But by the end of the decade, the close of last century, this harmony of outlook had floundered following much brouhaha over how the estate should be run. Events reached a dramatic climax when Marion removed what she considered to be her fair share of the contents from the house in a midnight flit. Her refusal to reveal the whereabouts of these “chattels” as the courts would archaically call them resulted in Marion spending a week at Her Majesty’s Pleasure. Five years of arduous legal wrangling costing hundreds of thousands of pounds only concluded when it was finally agreed that she could keep her share and her brother and sister would auction off their two thirds of the contents.

MPH was the seat of the Earls of Kilmorey (pronounced “Kilmurray”). What is it about the upper classes and their delight in orthographic nuances? Althorp is “Althrup”; Beauchamp is “Beecham”; Beaulieu is “Bewley”; Belvoir is “Beaver”; Blakley is “Blakely”; Calke is “Cock”; Coke is “Cook”; Londonderry is “Londondry”; Monson is “Munson”; St John of Fawsley is “Sinjin of Fawsley”. One gets the idea. The Kilmorey family can trace its roots to the Elizabethan soldier, Nicholas Bagenal, founder of Newry. The 4th Earl of Kilmorey died in 1982. Before his death the family inheritance was rearranged because he had no sons, allowing his English nephew and heir, Major Patrick Needham, subsequently 5th Earl of Kilmorey, to waive his right of succession to MPH in exchange for assets of equal value. And so the title returned to England where Charles I had created the original viscountcy in 1625.

This compromise allowed the 4th Earl’s widow Lady Norah and her two daughters to continue living in the house. Patrick’s son, the 6th Earl, is better known as Richard Needham, a former Northern Ireland Office Minister. He’s now the Deputy Chairman of a vacuum cleaning company and declines to use his Anglo Irish title. However his son styles himself Viscount Newry and Mourne. Nicholas, the son of the 4th Earl’s elder daughter, married Julie Ann Wilson at the start of the Sixties and together they had moved into the stables at Mourne Park. He had inherited the estate minus the title in 1984.

Julie Ann may have modestly described the house as being architecturally unimportant and it doesn’t boast the baronial battlements of Ballyedmond Castle or share the symmetrical severity of Seaforde House, to take two other South Down seats. But it is a rare example of a substantially Edwardian country house in a county where Georgian and Victorian are the norm. MPH oozes charm with its long low elevations hewn of local granite and its lavish use of green paint (Farrow + Ball’s Folly Green?) on bargeboards and garden furniture, window frames and porches, and the endless array of French doors. Much of the interior decoration dates from the early 20th century lending the house a magical nostalgic air. And the setting is second to none. Looming behind the house and stables are the craggy slopes of Knockcree Mountain rising 130 metres above oak and beech woodlands. A Victorian visitor, William Russell, waxed lyrical on Mourne Park. “The scene… from the front entrance is indeed very fine. Before you, in the precincts of the mansion, is a lake. Beyond this lake, the demesne stretches away with a gently rising slope, which hides the intervening land, till one can fancy that the sea waves lap the lawns of the park.”

The genesis of the current building dates back to at least 1818 when the 12th Viscount Kilmorey employed Thaddeus Gallier of County Louth to build the central block. It replaced an earlier house on the site. An architect or ‘journeyman builder’, he had already completed Anaverna at Ravensdale a decade earlier. Baron McClelland commissioned that five bay two storey house near Dundalk in 1807. It’s now the des res of the Lenox-Conynghams. Too grand for a glebe, too modest for a mansion, the middling size house, tall, light and handsome, stands proud in its sylvan setting overlooking a meadow. A glazed porch under the semicircular fanlight partially obscures the double entrance doors in the middle of the three bay breakfront. Otherwise, Thaddeus Gallagher’s façade remains untouched. Relieving arches over upstairs windows introduce a motif he was to later employ at MPH. At Anaverna he proved himself to be a designer of considerable sophistication. His was no vainglorious provincial hand. Thaddeus Gallagher’s son James, who recorded in his autobiography that his father worked at MPH for nine months in 1818, emigrated to New Orleans where he carried on the dynastic tradition of designing fine architecture. His grandson, James Gallier Junior, was a third generation architect and his 1857 New Orleans townhouse is now the Gallier House Museum.

The first of multiple incarnations of MPH, Thomas Gallagher’s design was a typical late Georgian two storey country house with Wyatt windows on either side of a doorway similar to Anaverna’s. Next a third storey was added and then some time after 1859 a new two storey front of the same height was plonked in front of the existing house, so that the rooms in the newer block have much higher ceilings that those behind. The replacement façade is three bays wide like the original front but in place of the Wyatt arrangement are twin windows set in shallow recesses rising through both storeys with relieving arches over them. It is the combination of these paired windows and gentle arches, like brows over the eyes of the building, which lends the garden front such a memorable look. In the central breakfront the bottom of the shallow recess floats over the entrance door which is treated as another window, flanked on either side by a window of similar shape and size. A low parapet over a slender cornice partially conceals the hipped roof which wraps round the roof lantern over the staircase. Five attic bedrooms are tucked under the eaves with windows overlooking the roof lantern, unseen from the outside world.

Contemporaneous improvements were made to the estate itself. In the 1840s the 2nd Earl – the Kilmoreys had climbed a rung or two up the aristocratic ladder when his father the 12th Viscount was made an earl for his services to the development of Newry – commissioned a ‘famine wall’. This was a method used at the height of the Irish Famine by many Big House families to create work and keep locals from starving. The cheaply constructed three metre high granite walls also benefitted the estate. The 2nd Earl built Tullyframe Gate Lodge, the third of four gatelodges, at this time. Whitewater Gate Lodge was built in the 1830s and Ballymaglogh Gate Lodge in the 1850s.

But it was the alterations of the 3rd and 4th Earls which gave MPH its Edwardian air. “It’s not fit for a gentleman to live in!” raged the 3rd Earl upon his inheritance. His gentrifications began in 1892 when he added rectangular ground floor bay windows to the garden front and continued up until 1904 when he built a single storey peninsular wing perpendicular to the back of the house. Long Room Passage leads to Lady Kilmorey’s Sitting Room and onwards to the dual aspect Long Room (four pairs of French doors face four sash windows) with its hammerbeam roof, the latter finished in time for his son’s 21st birthday celebrations. The 3rd Earl completed the estate buildings in the 1890s with Green Gate Lodge, a two storey house finished in the same granite as MPH.

A century or more of each generation making their mark on MPH has produced a fascinating interior full of surprising variations in floor levels and ceiling heights and room sizes. The main block is arranged like three parallel slices of a square cake, each different in essence. The oldest three storey slice at the back of the house has low ceilings and small windows, some retaining their Georgian glazing bars. A row of rooms overlooking the stables is accessed off the Long Corridor on the ground floor, the Rosie Passage on the first floor, and the Servants’ Passage on the second floor. The middle slice contains the Hall, Inner Hall, Staircase Hall and Blue Room, opening off each other like first class railway carriages. The first floor bedrooms in the front and middle slice are clustered together off two lobbies except for the Best Bedroom which appropriately takes pride of place in the middle of the garden front and is the only one to be accessed directly off the landing of the Staircase Hall. The ground floor of the newest slice contains the enfilade of reception rooms: the Dining Room (Farrow + Ball’s Calke Green?), the Ante Room and the Drawing Room where Sir Malcolm Sargent had once played the piano. A low two storey kitchen and nursery wing parallel to the Long Room wing links with the stables to create a courtyard to the rear of the house. Room naming at MPH clearly follows the Ronseal approach (“It does what it says on the tin”).

All the ground and first floor rooms were open during the auction preview weekend. We began the tour that we’d gone on a decade earlier, only with a printed rather than personal guide and without the troop of 13 Persian cats that had followed us around the first time round. “Come on, get out now!” Julie Ann had bellowed as she shut the door of each room. “Otherwise you could be locked in for a year or two! It’s not as if the cats even catch mice; they just watch them race by.” Now people were talking in mellow hushed murmurs as if at a wake, respectfully leafing through issues of The Connoisseur in the Estate Office, thoughtfully gazing at caricature prints in the Rosie Passage.

The Hall, dressed like a long gallery with paintings hung on pale painted (Farrow + Ball’s Wimborne White?) panelled walls, is the first in a processional series of spaces which culminates in the Staircase Hall, MPH’s most exciting interior moment. The staircase was extended between 1919 and 1921 to stretch out in the direction of the new entrance while the original flight accessed through an archway into the Inner Hall was retained. Above, more archways and apertures afford tantalising glimpses of corridors filled with shadowy ghosts. MPH, a Mary Celeste in granite.

Close to the new entrance, Lord Kilmorey’s Study has an air of formality in contrast to the intimacy of Lady Kilmorey’s Sitting Room tucked away in the far corner of the house. A seven metre long oak bookcase, used as a temporary display cabinet for the preview (sold for £3,000), and a chesterfield sofa (sold for £800) completed the butch mood of the good Lord’s space. On the other hand, the feminity of Lady Kilmorey’s Sitting Room was enhanced by the delicate double arched overmantle (sold for £1,000) and the 17th century Chinoiserie cabinet on a carved giltwood stand (sold for £11,000) similar to those in the State Drawing Room of 11 Downing Street. Outside, a life size marble garden statue of Ulysses and His Dog by Lawrence MacDonald sold for £110,000. HOK auction staff were making last minute notes on a pile of books in the middle of the kitchen floor. The house no longer felt private.

The main reception rooms were quintessentially Edwardian. Chintz sofas and family portraits mixed comfortably with period pieces. Shabby chic, to use another Eighties cliché, sprung to mind. Decades of decadence had descended into decay, where once the Ascendancy and the Prince of Wales (later King Edward VII) had whiled away halcyon days. In the Billiard Room (or Morning Room), a corner timber and brick chimneypiece defiantly declared this room to have been decorated in the early 20th century. Paint (Farrow + Ball’s Calke Green?) was peeling, curtains were crumbling. An air of faded grandeur pervaded the Long Room. Triumphal flags now in tatters and coloured wall lamps dulled by the passage of time poignantly hinted at past glories and forgotten parties. A suite of oak bookcases had been supplied by John McArevey of Newry to fit between the rows of window openings. One pair sold for £3,000. The kitchen had lost the lived in look that we remembered. It was neater now with rows of copper jelly moulds and tin pots arranged museum-like along the painted pine dressers. The rows of ceiling hooks for hanging game had gone. High up on the wall above, the clock had stopped.

The principal bedrooms – Avenue Bedroom, Corner Room, Caroline’s Room, Best Bedroom, His Lordship’s Bedroom, Her Ladyship’s Bedroom – contained plain sturdy furniture. A mahogany breakfront wardrobe and matching half tester or four poster bed dominated each room, accompanied by a matching desk and pair of pot cabinets. On average the wardrobes sold for £3,000; the beds, £5,000. The bedrooms looked slightly sparse. Perhaps they had been fuller in happier times. Minor bedrooms – Captain’s Room, Chinese Room, Knockcree Room, Garden Room – and servants’ rooms had brass beds (the one on the Housekeeper’s Room sold for £70), lower ceilings, less dramatic views, and were full of clutter. Not for much longer.

“People say it’s as if time stood still in the house,” Philip Anley told us on the opening day of the auction. “That’s a tribute to mum,” he added, acknowledging Julie Ann’s efforts to maintain MPH while working full time as a teacher. Sales had taken place at Mourne Park before. Shortly before his death, Nicholas had sold more than half the original 800 hectare estate to Mourne Park Golf Club (since renamed Kilkeel Golf Club), allowing it to extend from a nine hole to an 18 hole course. A decade before he had bought out the interest of his aunt, Lady Hyacinth, which allowed her family to remove various heirlooms in lieu of any stake in the house itself. The inheritance of the title and estate had already split in 1960. However this sale was different. It was “the end of an era” according to Philip.

In the words of Herbert Jackson Stops’ introduction to the 1920s sales catalogue of Stowe: “It is with a feeling of profound regret that the auctioneer pens the opening lines of a sales catalogue which may destroy for ever the glories of the house, and disperse to the four winds of heaven its wonderful collections, leaving only memories of the spacious past.” A rare level of disarming honesty compared to recent excuses for flogging the family silver. Try, “We are delighted that others will have the chance to enjoy objects which it has given him so much pleasure to discover…” Or, “In this sale which has been carefully selected so as not to damage the overall integrity of the collection…” Alternatively, “In order to allow for reinvestment which will underpin the long term future of the estate, the trustees have carefully selected a number of pieces to be sold at Christie’s this summer…”

The raven haired Sara Kenny from HOK Fine Art (she would later set up on her own launching Sara Kenny Fine Art in 2005) conducted the auction raising a total of £1.3 million. Prices were high with dealers bidding against collectors against locals. “My dad worked on the estate so we want some sort of keepsake,” we overheard. It seemed everyone wanted their piece of MPH. Auction excitement reached fever pitch on the last day when lot 1391 came up. It was the ‘Red Book of Shavington, in the County of Salop, a seat of The Right Honble [sic] Lord Viscount Kilmorey’. For those who don’t know, Red Books were the invention of Humphry Repton, a pioneer in the field of landscape architecture. He created or transformed over 200 English estates. His mantra was natural beauty enhanced by art. His practice was to complete a Red Book for each client.

The Shavington Red Book was a slim volume encased in red leather containing his proposals for “Improvements” outlined in neat copperplate handwriting and illustrated with maps, plans, drawings and watercolours. Several bidders appreciated its exquisite beauty and historical importance. In the end it went under the hammer for £41,000. The 3rd Earl of Kilmorey had sold Shavington, the family seat in Shropshire, in 1881 to pay for debts his father had accrued. He crammed much of the furniture into MPH. Shavington items auctioned included two early 19th century pieces by Gillows of Lancaster which each sold for £11,000: the Corner Bedroom wardrobe and the architect’s desk from the Library.

Mourne Park estate may not have benefitted from the romantic touch of Humphry Repton but its rugged character, derived from the granite face of Knockcree, remains mostly unchanged from sepia tinted 19th century landscape photographs. The same can’t be said for the interior of the granite faced house. “I’ll always remember the day you visited Mourne Park,” Julie Ann had said, strolling up the old drive, “as the day the boathouse collapsed.” And sure enough, the gable ended half timbered boathouse, which had stood there for centuries, not so much collapsed as gently slipped into the lake like a maiden aunt taking a dip in the water. After a few ripples, it disappeared. Forever.

And so 11 years later, masterpieces and miscellany, a record of Edwardian living in its original setting, is gone, just like the boathouse. It was a sad ending for the collection that formed the soul of one of Ulster’s Big Houses. Sad for the family and for the people of Newry and Mourne whose toil allowed the family to amass a fortune in very fine things. In the middle of the (now) 57 hectare estate still stands the house itself, stripped of its contents, naked as the classical statues that once graced the lawns around the lake, awaiting its fate.

Much Ballyhoo! That was then and this is now. Following the auction, Marion placed MPH on the market. “Life is taking us in a different direction,” she said wistfully. “We’re spending more and more time abroad. So it’s made a bit of a nonsense us being here. Em, so a very difficult decision. But we’ve decided to put the estate on the market. I’m sure the moment that I leave is going to be difficult. But having made the decision, you just have to go with it, really.” Its £10 million boom time price guide soon slumped to £6.5 million then £3.5 million but there were still no takers. Marion clung on, admirably restoring the house and beginning to add suitable furniture. Impressively she uncovered and restored an extensive lost Edwardian rock garden. “It was so exciting,” she enthused, “A bit like an archaeological dig. Every day a bit more would emerge.” A happy ending of sorts, but this is MPH, forever permeated by Ibsenesque melancholy.

In June 2013, Marion and her family returned from holidays to find fire engines lining the driveway. More than 80 firefighters were tackling an inferno which had engulfed the main block. The roof, where the fire had started, had collapsed – molten history. Fire Service Area Commander John Allen said, “Our priorities were, one, to prevent the fire from spreading to the adjoining wings of the building and, two, to save as many of the artefacts in the building as we could. Not only the artefacts in terms of history and legacy, but also, this is a family home where children live. Our intent was also to save their items which were of sentimental value.”

Mourne Park House: the place with the endless postscript. The irrepressible Marion Scarlett Needham Russell has plans to transform the house into a 126 bedroom hotel and spa. Since 2000, Irish architects Mullarkey Pedersen have been working up a vision to convert and extend the house and its outbuildings. The châtelaine confirms, “Since the fire, we have done everything we can to preserve the structure of the building: removing, storing and shoring up where necessary. We’re absolutely committed to seeing the restoration of Mourne Park once again and have open minds as to how this would be achieved. The rebuild is currently on hold until the right person or group comes forward to claim the opportunity.” Is a northern Castle Leslie in the making?

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Architects Architecture Country Houses Design Developers Town Houses

Lee Manor House + Garden Lewisham London

Banking on Success­­­­

Vitruvius’ desirable virtues of “firmness, commodity and delight” spring to mind. “There are so many moments of true quality within and outside this villa,” believes heritage architect John O’Connell. “An inspection of the exterior would suggest that there were once small wings. This is such a clever and compact plan. The vaulted lobby on the first floor is so accomplished and structurally brave. The first floor central room with its closets has a bed alcove.” Lee Manor House and its remaining three hectares of grounds form one of the thrills of southeast London. The house has been repurposed as a crèche, a library and a doctors’ surgery with reception rooms for hire. The garden is open to the public.

In the late 20th century a glass lift was inserted in the middle of the staircase hall. “I used to be disturbed when I saw alterations like this super lift, but now am more understanding,” remarks John. “But one is always encouraged to place the lift on the exterior of an historic building. The best example I know, apart from Montalto in County Down, is Palazzo Spinola di Pellicceria in Genoa. An astounding museum, and a must. Indeed Genoa is a city of palaces and many are accessible. This city is the Liverpool of Italy: rough in parts!” Another successful example is the Office of Public Works’ elegant full height glass and steel shaft abutting the rear of the Irish Architectural Archive on Merrion Square, Dublin.

Architectural historian Dr Roderick O’Donnell summarises, “Stylistically the Manor House is quite conservative – Taylorian rather than Chambersian.” Bridget Cherry and Nikolaus Pevsner’s entry in their Buildings of England South London, 1983, reads: “The Manor House (Lee Public Library), probably built for Thomas Lucas in 1771 to 1772, by Richard Jupp, is an elegant five by three bay structure of brick on a rusticated stone basement, and with a stone entablature. Projecting taller three bay centre. Four column one storey porch, now glazed; a full height bow in the centre of the garden side. Inside, the original staircase was removed circa 1932, but the large staircase hall still has a screen of columns to the left, and on the landing above a smaller screen carrying groin vaults. Medallions with putti. Pretty plasterwork in other rooms, especially a ceiling of Adamish design in the ground floor room with the bow window.”

At the end of the 18th century the house and estate were sold to Francis Baring, director of the East India Company and founder of Baring’s Bank. The better known architect Sir Robert Taylor designed villas for several of the East India Company directors. “Lee Manor House is extremely well handled,” John remarks, “and exhibits a lovely, almost James Gandon, flow. Moving around, it has at least three lovely elevations. The brickwork is very accomplished but the basement rustication has been crudely handled of late. The original high execution elsewhere displays the architect’s ability to bring a design forward to fruition.”

Marcus Binney provides this summary in Sir Robert Taylor From Rococo to Neoclassicism, 1984, “Taylor’s major contribution to English architecture is his ingenious and original development of the Palladian villa. The first generation of Palladian villas in BritainChiswick, Mereworth and Stourhead are three leading examples – had all been based purposely very closely on Palladio’s designs. They were square or rectangular in plan with pedimented porticoes, and a one-three-one arrangement of windows on the principal elevations. Taylor broke with this format. First of all his villas (like his townhouses) were astylar: classical in proportion but without an order; that is, without columns or pilasters and with a simple cornice instead of a full entablature.” Lee Manor House does have Taylorian features such as the semi elliptical full height bay on the garden front but is missing others such as his trademark Venetian window. In that sense, Richard Jupp is even more conservative than Sir Robert Taylor.

Lee Manor House conforms to the House of Raphael formula: a basement carrying a piano nobile with a lower floor of bedrooms under the parapet. “This is very interesting as it sits within the gentleman’s villa format. Pray how did you find it?” enquires John. “Lee Manor House is a very fine villa. On the ground floor, I would expect the large apse or exedra to the saloon contains or contained a fireplace. It reminds me of the first floor back room of Taylor’s 4 Grafton Street in Mayfair. This large apse is of added interest, as it would be taken up by Robert Adam in the arresting hall at Osterley Park, Isleworth, and again by our hero James Wyatt for his first and most daring scheme at Abbey Leix, County Laois, and again at Portman House on Mayfair’s Portman Square. The latter is now a smart club.”

John continues, “Another villa that comes to mind is Asgill House, in Richmond, circa 1770, which is both fine and intact. This villa was restored with the advice of Donald Insall and can be seen from the railway line. One can even go back to Marble Hill House in Twickenham, and on to James Gibbs at the exquisite Petersham Lodge – a knockout villa – which is now the clubhouse for Richmond Park Golf Course. Petersham Lodge is really worth a visit too; even the ‘landscape’ and bevelled edged mirrors over the fireplace are still in position!”

“Finally, there is the equally arresting Parkstead House designed for the 2nd Earl of Bessborough by Sir William Chambers with its very heroic portico. Lord Bessborough was an Anglo Irish peer. This can be visited. Indeed there is a good publication by English Heritage on this very subject. The original wings have vanished but the garden front and saloon are intact. There is mention of the remains of a garden temple in the grounds.” Joan Alcock writes in Sir William Chambers and the Building of Parkstead House Roehampton, 1980, “The design of Parkstead is based on the Palladian villa.” John O’Connell postscripts, “Richard Jupp was chief architect to the East India Company. His successor was Henry Holland. Lee Manor House fits into a form that one can see emerge in the 1770s.”