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Gunnersbury Park House + Gunnersbury House West London

All Features Great and Small

Why are two mansions standing cheek by jowl in west London? It must be the only park in the capital with a pair of very substantial houses almost touching each other. A complicated history of dual and overlapping ownership is the answer. It all began in the 17th century when lawyer Sir John Maynard commissioned Inigo Jones’s amanuensis John Webb to design a large square house inspired by Palladio’s Villa Badoerin in Venetia. The defining feature of this red brick with white stone highlights building was a five bay double height recessed balcony above a ground floor breakfront and below a massive pediment.

A later owner was Princess Amelia, second daughter of George II. The Temple (reflected in the Round Pond) and the Bathhouse are the two most significant extant works she had carried out. Her Royal Highness bought the house and estate in 1762 and lived there until her death 26 years later. The Doric portico fronted Temple in red brick and white stone to match the house was probably designed by Sir William Chambers in circa 1760. The Bathhouse is another estate folly, later described in 19th century sales particulars as “an ornamental diary in gothic style with a cold bath”. In 1801 the house was demolished and the estate sold in lots. Builder Alexander Morrison accumulated the lion’s share of 31 hectares while timber merchant Stephen Cosser acquired a cub’s share of three hectares.

Fashionably rusted freestanding signs strategically positioned across the park inform visitors of its history. One reads: “The Temple. The magnificent 18th century Temple is thought to have been built for Princess Amelia, daughter of George II. She used it as a place of entertainment, enjoying views that reached as far as the Kew Gardens pagoda and beyond. Alexander Copland, the estate’s next owner, played billiards and ate desserts there.”

Alexander appointed his cousin the well known architect Sir Robert Smirke to design Gunnersbury Park House (now called the Large Mansion). A few metres away from the Large Mansion and sharing the same building line, Alexander’s neighbour Stephen built Gunnersbury House (now called the Small Mansion). This long two storey building has bow windows on either side of a lawn facing verandah trimmed with Chinese bells below the eaves. After banker Nathan Rothschild bought the Large Mansion in 1835, he commissioned Sir Robert’s younger brother Sydney to enlarge his house. The three storey Large Mansion lives up to its current name. An enfilade of lawn facing ritzy reception rooms backs onto a cast iron galleried atrium. Both buildings are stuccoed.

Around the same time as designing the Large Mansion, Sir Robert worked up drawings for the Oxford and Cambridge Club on Pall Mall. The previous decade, he had designed Normanby Hall in Lincolnshire for the Sheffield family. Samantha Cameron, Britain’s former First Lady, was brought up at Normanby Hall and her father Sir Reginald Sheffield is still squire of the manor. Sir Robert is best known for the British Museum. The next generation of the Smirke dynasty would design many of the town mansions in Kensington Palace Gardens.

Pharma fortune maker Thomas Farmer bought the Small Mansion in 1827 and appointed father and son practice William Fuller and William Willner Pocock to extend the house. The Pococks also designed the Gothic Ruins Folly below Princess Amelia’s Bathhouse. In 1889, the Rothschilds bought the Small Mansion and Gunnersbury Park once again fell under single ownership. After the renaissance years of the Rothschilds (their heir Evelyn died fighting in Palestine in 1917) the estate and its buildings were bought by the local councils.

A plaque in the arch between the two mansions states: “Gunnersbury Park. Opened for the use of the public 21 May 1926 by the Right Honourable Neville Chamberlain MP Minister of Health. Purchased by the Town Councils of Action and Ealing one fourth of the cost being contributed by the Middlesex County Council. On 1 April 1927 the Brentwood and Chiswick Urban District Council joined the Action and Ealing Councils in the ownership and management of the park.” The Large and Small Mansions were converted to community use. The former building is restored; the latter, under restoration. Princess Amelia’s Bathhouse, the Temple (exterior only), Orangery, Round Pond, Horseshoe Pond and Gothic Ruins Folly have all roared back to life. Sydney Smirke’s East Stables lurk in the shadows waiting their turn.

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Architects Architecture Country Houses

Charlton House Greenwich London +The Young Irish Georgians

The Wind Returns Again

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The Young Irish Georgians’ trip. We’re not that young. We’re off to a Jacobean House. And at least one of us is Dutch. How terribly Irish. Autumn falls. Days shorten. Frieze’s here. Today, a carpet of golden leaves gently billows round Charlton House. The house is in Greenwich but forget the fashionable part. Charlton Village’s charm, to put it politely, is faded, a bit frazzled. A ski-slope roofed pepperpot pavilion heralds the house’s presence at the top of the hilly high street. This Grade I listed lodge, possibly once a summerhouse, is now a public convenience (or inconvenience – it’s shut).

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“The lodge is widely attributed to Inigo Jones. Of course it is – he did most of Greenwich! Someone once attributed the lodge to him and it stuck.” Aimee Felton, Associate at Donald Insall Associates should know. She is undertaking a conditions survey as part of a long term masterplan for the house and estate. “A variety of historic fabric is remaining. Some in my opinion was later heavily edited by the various occupants. And heavily rebuilt following bomb damage.” This is most obvious in the north wing where the original imperial red brick and whitish grey stone has been patched up with metric red brick and yellow stone. These mid 20th century repairs included placing the sundial upside down.

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“It’s the best Jacobean house in London and is of pivotal importance to its era,” Aimee declares. A southern Temple Newsam. “It displays a full modern appreciation of flow and sequence of rooms. An H plan was so innovative. There are lots of Jacobean houses of E plan and E with a tail, but not H. Charlton is first in its class: to walk in through the front door – and see its garden beyond. The axis through the building is what makes it so special. The kitchen was always on the north side of Jacobean houses to cool dairy produce and meat, with bedrooms above as heat rises. But this house is laid out to take in the views to the north towards the river and to the west to the King in Greenwich. This is a really bold statement and the only Jacobean house facing north.”

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The first floor long gallery stretches the full length of the north elevation. Like much of the house, the long gallery is a puzzle. “The floor and ceiling are original,” Aimee highlights, “but the panelling isn’t. Charlton has some of the best fireplaces of the Jacobean era. The long gallery marble and slate one is odd but exquisite.” No architect is recorded. “There is incredibly scarce information both on the Jacobean era and Charlton. You’ll notice I say… attributed to… we suspect that…a lot.” At least there’s a dated keystone of 1607 and the staircase is engraved 1612.

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Built by Sir Adam Newton, tutor to James I’s son Prince Henry (teaching must have paid better in those days), Charlton House was last lived in by the Maryon-Wilson family. Sir Spencer Maryon-Wilson sold the house to Greenwich Council and auctioned the contents in 1920. The house has been used ever since by various community bodies. Donald Insall Associates are tasked with applying a holistic approach to its fabric and future use or uses. Furnishing rooms in the original period like a National Trust house is not an option. “There simply isn’t enough Jacobean furniture,” says Aimee. “Even the V+A wouldn’t have enough and any pieces it has are so special they’re kept in glass cases.”

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There’s plenty of pictorial evidence of how the rooms were furnished in the latter Maryon-Wilson years. Aimee smiles, “If you can’t find a decent photo of a country house look in Country Life because someone is always bragging about their home!” Charlton House is no exception. Black and white Country Life images of the early 1900s show the interior chockablock with Chippendales and brown furniture and taxidermy and tapestries. This eclecticism is reflected in plasterwork additions. She points out the ceiling in the Henry Room isn’t original. “The cornice is beyond wrong! As offensive as the ceiling is, it’s a nice ceiling, but one that’s just not for this house. Just because it’s not right, doesn’t mean it shouldn’t be preserved to show history. Everyone has their oddities and we just move on.” Much more in keeping with the original architecture is the 1877 extension to the south. Unsurprisingly, really, as it was designed by the great Arts and Crafts architect Norman Shaw. “Jacobean with a Shaw twist,” is how Aimee sums it up.

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Frieze is the international art show that consumes Regent’s Park every autumn. Jacobean furniture may be in short supply but we discover a source of art from the period: The Weiss Gallery’s ‘A Fashionable Likeness: Court Portraits 1580 to 1625’. There are enough gentlemen and ladies choking on their lacy antimacassars (or at least that’s what their collars look like) to coverthe walls of Charlton House’s long gallery. On the subject of fashion, the blue velvet jacketed chef Giorgio Locatelli is busy setting up tables in his eponymous temporary restaurant. Just like its permanent namesake, lunch at Locanda Locatelli under the canvas of Frieze Masters is the epitome of Milanese cooking:

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