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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.”

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Architects Architecture Country Houses People

Hidden Ireland + Clonalis Roscommon

The Portrait of a Lady and Gentleman and Artists as Young Men

Dia dhaoibh ar maidin. There really aren’t many left. A study of the 39 (what an odd number, why not 40?) country houses featured in the book Irish Houses and Castles with its strangely coloured plates, published in 1974, reveals just 13 remain in the hands of the same families. So which ones have been so lucky? Ballinlough Castle, County Westmeath | Bantry House, County Cork | Beaulieu, County Louth | Birr Castle, County Offaly | Dunsany Castle, County Meath | Glin Castle, County Limerick | Kilshannig, County Cork | Lismore Castle, County Waterford | Lough Cutra Castle, County Galway | Mount Ievers, County Cork | Leixlip Castle, County Dublin | Slane Castle, County Meath | Tullynally Castle, County Westmeath. Like Hen’s teeth.

Not so much “Where are they now?” as “What are they now?” They’re not all sob stories. Some have never looked better. Sir David Davies has brought a new lease of life to Abbey Leix. Crazy but true. The London launch of a book by William Laffan celebrating the estate’s rebirth was held with great pomp and happenstance at Lindy Guinness’s Holland Park villa mansion. Nancy Mitford’s cousin Clementine Beit’s old house Russborough looks in pretty good nick, even if restoration comes at the price of paintings disappearing. And nobody’s blaming terrorists this time… John O’Connell has worked his magic at Fota Island, the first residential restoration of the Irish Heritage Trust. And there are high hopes that the Hughes brothers, the new owners of Westport House, despite contending, conflicting lights, will preserve one of the last Richard Castle designed houses for the nation. It’s hard to keep up with Bellamont Forest: it’s seriously serially for sale. Luttrellstown Castle might be corporately owned but Eileen Plunket’s ballroom would still give Nancy Lancaster’s Yella Room a run for its money. Christie’s recently told us Stackallen, which appears in later versions of the book, has been “enriched” since it was bought by the billionaire Naughtons in 1993.

Although Clonalis in County Roscommon doesn’t feature in Desmond Guinness and William Ryan’s book, it has been associated with the same family for millennia rather than centuries. Clonalis is the ancestral home of the O’Conors, Kings of Connacht and erstwhile High Kings of Ireland. The most ancient royal family in Europe, no less. Just to be sure, their ancient limestone inauguration stone dating from 75 AD stands proud outside their front door. While the O’Conors’ possession of the land can be traced back over 1,500 years, the house is relatively recent. No surprise they call Clonalis the ‘New House’. In the very grand scheme of things it’s practically modern. Construction was completed in 1878, the year its English architect Frederick Pepys Cockerell (yes, a descendant of the Clapham diarist and a friend of the O’Conor clients) died aged 45. Like most Victorian practitioners he was versatile, swapping and entering epochal stylistic dalliances with ease. Eclecticism ran in Fred’s blood: his grandfather Samuel Pepys Cockerell did design the batty and bonkers Indocolonial Sezincote in the Cotswolds. A rummage through the Oxford Dictionary of National Biography one evening in the O+C Club reveals the architect’s Irish connection: he married Mary Mulock of King’s County (Offaly). “A genial, charming, and handsome man, knowledgeable in literature and the arts, his premature death was widely regretted,” records author David Watkins.

Tráthnóna maith daoibh. Fred’s 1 South Audley Street, 1870, the Embassy of Qatar for donkey’s years, is an eclectic Queen Anne-ish Mayfair house with just about every ornament imaginable thrown at its burnt red brick and terracotta façade. Arabesques, brackets, corbels, friezes, masks, niches, putti… he really did plunder the architectural glossary… augmenting the deeps and shallows of the metropolis. If, as architect and architectural theorist Robert Venturi pontificates, the communicating part of architecture is its ornamental surface, then the Embassy is shouting!

His country houses show more restraint. Predating Clonalis by a few years, his first Irish one was the neo Elizabethan Blessingbourne in County Fermanagh. Clonalis is loosely Italianate. Terribly civilised; a structure raised with an architectural competence, spare and chaste. Happens to be the first concrete house in Ireland, too. A few years earlier he’d a practice run in concrete construction at Down Hall in Essex. A strong presence amongst the gathering shades of the witching hour, a national light keeping watch. Every house has a symbolic function, full of premises, conclusions, emotions. Clonalis rests at the far end of the decorative spectrum from 1 South Audley Street. Venturing a Venturesque metaphor: it talks smoothly with a lilt. Symmetrically grouped plate glass windows, horizontal banding and vertical delineation are about all that relieve its grey exterior. An undemonstrative beauty. Rising out of the slate roof are high gabled dormers, balustraded parapets and tall chimney stacks. The central chimneys are linked by arches – whose identity lie somewhere between function, festivity and topography – creating a two dimensional Vanbrughian temple of smoke. Clonalis isn’t totally dissimilar albeit on a grander scale to another late 19th century Irish champion, Bel-Air in County Wicklow. Especially the three storey entrance towers (campaniles, really) attached to both buildings.

Pyers and Marguerite O’Conor Nash accept paying guests (heir b+b?) under the auspices of Hidden Ireland. Furnishings read like a chapter from Miller’s Guide to Antiques: Boulle | Limoges | Mason | Meissen | Minton | Sheraton. If painting and art measure the refinement of sensibility, as Isabel Archer believes in Henry James’ The Portrait of a Lady, we’re in good company. Who needs money when you know your Monet from their Manet? Ding dong dinner gong. Variations of Valkyries veer toward Valhalla. Suavity bound by gravity. A patrician set of gilt framed ancestral portraits, provenance in oil, punctuate the oxblood walls of the dining room. Plus one (romantic dinner). Plus three (communal dining). Plus fours (we’re in the country). Plus size (decent portions). “Farm to fork,” announces our hostess. A whale of a time. Tableau vivant. Our visceral fear of dining on an axis is allayed by a table setting off centre. Phew. Triggers to the soul, spirit arising, the evening soon dissolves into an impossibly sublime conversation of hope and gloss in the library, while at arm’s length, Catherine wheels of a pyrotechnic display implode and disintegrate like embers in the fire. Beyond the tall windows, a flood of summer light had long waned, and the heavy cloak of dusk, to quote Henry James, “lay thick and rich upon the scene”.

“Yes, that’s the bore of comfort,” complains Lord Warburton in The Portrait of a Lady, “We only know when we’re uncomfortable.” We’re happy to embrace boredom in that case. Like the other three guest bedrooms, ours is light and airy thanks to a cream carpet, summery colour scheme and deep penetrations of natural light. Touches of 19th century grandeur (a marble chimneypiece reassures us this was definitely never a servants’ wing) blend with 21st century luxury. Our bedroom would meet with Lord Warburton’s chagrin: carefully curated completely accomplished comfort. Actually, the niches for turf set into the marble fireplaces of the dining and drawing rooms suggest the O’Conors always had one eye on grandeur, the other on comfort. “Blessingbourne has similar fireplaces,” shares Marguerite. “This season is opulence and comfort,” Kris Manalo, Heal’s Upholstery Buyer, informs us at a party in 19 Greek Street, Soho. Clonalis is bang on trend, then. “And £140 Fornasetti candles to depocket premium customers.” They do smell lovely. We’re digressing.

Donough Cahill, Executive Director of the Irish Georgian Society, reminded the London Chapter of the recent fire at the 18th century villa Vernon Mount in Cork City. “’A study in curves’ is how the Knight of Glin described this classic gem,” lamented Donough. “A great loss. The community are heartbroken and we too are heartbroken.” It’s a reflection on the rarity and fragility of Irish country houses and makes the flourishing survival of Clonalis all the more remarkable. A former billiard room is now a museum of letters and papers from family archives, one of the best collections in private ownership in Ireland. Correspondence from the likes of William Gladstone, Samuel Johnson and Anthony Trollope is displayed in mahogany bookcases next to the harp of Turlough Carolan, a renowned 17th century blind musician. Oh, and a pedigree of 25 generations of The House of O’Conor Don hangs on the wall, starting with Turlough Mor O’Conor, High King of Ireland, who died in 1150. One ancestor brought a certain captive named Patrick to Ireland. And the rest, as they say, is history. Our patron saint. A Catholic chapel is discreetly located to the rear of the house. “There are only three such private chapels in Ireland,” remarks Marguerite. “The other two are at the Carrolls’ house in Dundalk and DerrynaneDaniel O’Connell’s house . Tread carefully. Thin places. “There is really too much to say.” Henry James again. Tráthnóna maith daoibh.

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William Laffan + Abbey Leix Book Launch

Holland Days Source

Neither a Monday evening nor (apropos to an Irish shindig) drizzly weather could possibly dampen spirits. Not when it’s a party hosted by the dashing Sir David Davies and the lovely Lindy Hamilton-Temple-Blackwood last Marchioness of Dufferin and Ava the artist otherwise known as Lindy Guinness. And it’s probably worth mentioning the setting: the mid Victorian splendour of Lindy’s Holland Park townhouse city mansion.

International banker and businessman Sir David is President of the Irish Georgian Society. In between rescuing companies and country houses, Sir David leads a high profile social life (he counts Christina Onassis among his exes). Like all the greats, he once worked at MEPC. This party is all about the launch of a book on his Irish country house Abbey Leix. And Averys champers served with prawns and pea purée on silver spoons.

Two vast bay windowed reception rooms on the piano nobile of the Marchioness’s five storey house easily accommodate 100 guests. One room is hung with her paintings. Renowned Anglo American fine art specialist Charles Plante is an admirer: “Lindy Guinness brings forth abstraction in painting that mirrors the cubism of Cézanne and Picasso. Her works are irresistible.” It’s hard not to notice the staircase walls are lined with David Hockney drawings. Lucien Freud was Lindy’s brother-in-law and old chums included Francis Bacon and Duncan Grant.

The party’s getting going. Interior designer Lady Henrietta Spencer-Churchill is admiring the garden. Sir David’s glamorous sister Christine and her son Steffan are chatting in the hall. They’re from Ballybla near Ashford County Wicklow: turns out they’re big fans of Hunter’s Hotel. Writer Robert O’Byrne is talking to designer, artist and collector Alec Cobbe in the drawing room. “I still live in Newbridge House when I’m in Ireland,” confirms Alec. BBC3 Radio broadcaster Sean Rafferty is busy playing down his former illustrious career in Northern Ireland where he’s still a household name. “You must visit my cottage in Donegal.” A party isn’t a party without Nicky Haslam. Perennially topping Best Dressed Lists, the interior designer extraordinaire smiles, “I didn’t realise I was such an icon to you young guys!”

Fresh off the treadmill finishing the definitive guide to Russborough, a mighty tome on another Irish country house, Abbey Leix was erudite architectural historian William Laffan’s next commission. Sir David Davies bought the estate from the Earl of Snowdon’s nephew, Viscount de Vesci, for £3 million in 1995. William’s book celebrates the restoration of the house and its 1,200 acre estate.

“Thank you to Lindy for inviting us to her home,” he announces. “It’s very much a home not a museum. Someone asked me earlier was this my house. I wish it was! The only thing better than a double first is a double Guinness! Lindy is a Guinness by birth and a Guinness by marriage. And thank you to William for all the hard work. I asked him to write 100 pages and three years later he’s written hundreds of pages! The photographs are beautiful but do make sure you all read a bit of William’s great text too!”

The Knight of Glin’s widow Madam Olda Fitzgerald, mother-in-law of the actor Dominic West, is present. Sir David continues, “Desmond Fitzgerald was a great inspiration to me. Bless him, bless the Irish Georgian Society. I feel very honoured to follow in his footsteps as President. There are three other people I wish to thank without whom the restoration of Abbey Leix wouldn’t have been possible. John O’Connell, the greatest conservation architect in Ireland. Val Dillon, the leading light of the antiques trade. John Anderson, former Head Gardener of Mount Usher Gardens and Keeper of the Gardens at Windsor Great Park. I had to prise him away from the Royals!”

“Bravo!” toasts the Marchioness. She also owns Clandeboye, a late Georgian country house in Northern Ireland. Its 2,000 acre estate is famous for yoghurt production. The party is a resounding success: the launch is a sell out. A (fine 18th century) table stacked high with copies of William Laffan’s Abbey Leix book at the beginning of the evening is laid bare. Fortunately a few copies are available at Heywood Hill, Peregrine ‘Stoker’ Cavendish 12th Duke of Devonshire’s Mayfair bookshop.