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Pollock Family + Mountainstown House Meath

Unbright Light

Mountainstownhouse Navan © Lavender's Blue Stuart Blakley

It’s a doll’s house on steroids. Toy peacocks guard it. So pretty. John O’Connell, RIAI accredited Conservation Practice Grade I architect and founder of John J O’Connell Architects established 1978, calls Mountainstown House, “A baroque box due to the use of the giant order. And this recalls not only Castle Durrow, County Laois, but refers back to the work of hero Michelangelo who used this device for the first time at The Capitol, Rome. The presence of the dormer windows is rare, as they were not used or decayed. It is also an essay in ‘duality resolved’, though there may have been remodelling when the house was fluently extended in the early 19th century.” John observes, “The design and the adornment of urns to the entrance door is very confident. The date is 1740, and I would say, not by Richard Castle.” Around the windows the house makes a solid frame.

Back in the days when Mountainstown was in the hands of Johnny and Diana Pollock, over supper in the kitchen Diana had said, “It wasn’t easy auctioning many of the contents of the house. But you can always buy back furniture and paintings in the future. Once you sell land it’s – well it’s gone. We kept the pieces with the closest links to the house.” Lot 1122: ‘A pair of composition urns, the vase shaped bodies with gadrooned socles and spreading fluted bases, on square plinths, £5 to £10.’ Lot 237: ‘An equestrian portrait of Mr Dixon, Master of the Meath Hounds, on his chestnut hunter with eight couples of hounds at heel, by Thomas Bretland, £20,000 to £30,000.’

Together the couple sunk the funds raised from Christie’s 1988 auction into restoring the house.They also let out Mountainstown as a film location. “The film September was set here,” she had recalled. “The house was filled with stars – among them Jacqueline Bisset, Virginia McKenna, Edward Fox and Michael York.” A generation and great recession later, one quarter of a millennium of Pollock ownership is coming to an end. Mountainstown was passed down to Arthur Pollock, Johnny and Diana’s elder son, in 2004. Arthur moved in with his wife Atalanta and their three children. They continued the restoration work, installing a new kitchen to the former billiard room wing and painting the staircase hall fawn. But now Mountainstown is for sale through Savills for almost £3 million.

Atty explains, “It was a huge decision and not one that came easily. But we don’t want the children to struggle to keep it, y’know. We want it to be enjoyed to the full by a new family. Somebody who would use all this amazing pasture – and permanent pasture, 120 acres of it. Someone who has an interest in horses. Maybe someone who likes hunting. I mean there are copious stables, a lovely yard.” She knows the history well: “Samuel Gibbons who built the house, after he died an impression was taken of his face and it was embossed onto the ceiling in the hall.” As for the wild boar image which appears throughout the interior, Atty comments, “The story is and it may – it may well be true, that the King of France was being charged by a wild boar that they were hunting and Lieutenant Pollock killed it with an arrow. So he was given a crest – the family crest. And the house has so much personality cause you see all over the house this motif of a wild boar recurring.”

Atalanta Pollock reminisces, “We’ve had really memorable parties here. We filled the house with people and friends. We’ve had lots of people to stay the night which makes for much better parties as we all know. And it’s been a fun place to live in, yeah. It’s been a lot of work but it’s been a lot of fun as well.” Hopefully Mountainstown will remain a private house whoever buys it. Surely Ireland has reached country house hotel saturation? That said, one country house hotel has never looked better. After languishing on the property market for several years, Castlebellingham finally sold for £1.25 million, a quarter of its 2008 asking price. The Corscadden family have since spent over £3 million on a convincing restoration.

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Lady Lucy French + St James Theatre Westminster London

A Class Act

Lady Lucy French copyright Stuart Blakley

Lavender’s Blue catch up with Lady Lucy French, Director of Development at London’s first and only 21st century theatre. Take two. The scene is coffee in the theatre’s ground floor brasserie. Walls of windows capture lively visual interaction with the streetscape, heightened by the dado level pavement. The world is a stage.

French Park Roscommon copyright Stuart Blakley

First, a little introduction. Lady Lucy French is the great granddaughter of the 1st Earl of Ypres, Commander in Chief on the Western Front in the 1st World War and Lord Lieutenant of Ireland. Sir John’s grandson, the 3rd and last Earl, had three daughters from his first marriage and one from his second. He died in 1988. Lucy is his youngest daughter. The 1st Earl’s elder sister was the suffragette and writer Charlotte Despard. A founding member of the Irish Women’s Franchise League and the Women’s Prisoners’ Defence League to support Republican prisoners, she didn’t quite see eye to eye politically with her brother.

French Park Roscommon

“One day, Charlotte was leading a suffragettes march down O’Connell Street in Dublin,” relates Lucy, “when she met a brigade led by her brother.” Awkward. “Neither of them was quite sure what to do. By rights the Lord Lieutenant should have arrested the protestors!” Instead, they each moved to the side and continued marching in opposite directions.” Literally and metaphorically.

French Park in Roscommon was the Italian inspired French family’s Irish seat designed by the German born architect Richard Castle. Like Russborough, French Park was Castle’s 18th century take on Palladio with curvy colonnades attaching wings to a colossal main house. Drama set in stone. It was the seat of the Barons de Freyne before it was demolished in the 20th century. Charlotte Despard spent a lot of time at French Park where she was born. The current Lord de Freyne, Lucy’s cousin Charles, lives in Putney. “Hampstead and St John’s Wood are my neck of the woods. A few years back I visited Roscommon,” recalls Lucy, “but couldn’t find the house. Some of the locals pointed it out. It’s a pile of rubble now.”

Back to St James Theatre. “I got involved over 18 months ago when it was just a building site,” she explains. The location is an enclave of to-die-for Georgian houses opposite Buckingham Palace. “After the previous theatre burnt down, Westminster Council had a clear vision for the site. The Council granted permission for 35 flats but insisted on a replacement theatre as well. It’s been an exciting journey for the team.” Lucy works alongside creative director Robert Mackintosh, executive artistic director David Gilmore, executive theatre director Guy Kitchenn and James Albrecht, studio director.

“It doesn’t look like a stereotypical theatre, does it?” muses Lucy, gazing towards the contemporary open plan ground floor reception and sweep of marble staircase. “St James is multifunctional. You can come here for coffee downstairs and fine dining upstairs. There are some great Italian signature dishes and a varied series of seasonal menus. Oh and never mind The Goring, we do afternoon tea here too! You can come see a show or play in the main house. And there’s comedy and cabaret in the studio.”

Lucy began her career in Liverpool, “a great city”, working in journalism and gradually moving into arts fund raising. It was the time when Liverpool was gearing up to be European Capital of Culture. She has since swapped the skyline of cranes over the northern city for that of Victoria. Lucy sits on the board of Victoria Business Improvement District. On her return to London, the theatre called. A five year stint as head of development at Hampstead Theatre was followed by the same post at Regent’s Park Open Air Theatre. All good grounding for her latest role.

St James Theatre is privately funded which gives us tremendous freedom,” Lucy confirms, “We’re self funding. With all the arts cuts and changes to arts funding, art and business are increasingly intertwined. I believe we’re at the forefront of this approach. We’ve secured a five year deal with Create Victoria which is fronted by Land Securities. We’ve got a lot of local support as well.”

The joy of building anew means there isn’t a bad seat in the house. No awkward pillars – actually make that no pillars at all – in this theatre thanks. Just a shallow curve of seats descending to the stage below in ever decreasing arcs. Comfort is key in the quietly decorated interior. Drama is saved for the stage. “It’s a highly successful theatre for actors and the audience alike,” Lucy observes. “It’s got terrific acoustics – pitch perfect for classical concerts!”

“So far we’ve hosted five plays, all wonderfully different, from Sandi Toksvig’s Bully Boy to Jean Webster’s Daddy Long Legs. In our first six months we even received an Olivier nomination.” A huge show is planned for next year. Lucy reveals a series of spoilers will be released in the run up to a September announcement. Next year’s a big year for her family history too. She’s planning a large scale event in honour of her great grandfather to mark the centenary of the outbreak of the 1st World War. Australia House on the Strand is the venue. Sir John French attended its opening in 1918.

St James Theatre 1 copyright lvbmag.com

Lucy herself cuts quite a dash, complementing her innate prettiness with millinery zeal. Her theatrical headpieces have become something of a fixture at premieres. When the theatre’s staircase, designed by Mark Humphrey, was unveiled, she wore – what else? – a maquette of the staircase. To scale, of course. “I used to make a lot of my hats,” she says. “Recently I’ve been trying something a bit different – a collaboration with a local florist. Orchids are great – they last all evening without drooping.” Her most extraordinary hat to date was a three foot sofa atop an extravagance of ostrich feathers. She wore it to the Royal Enclosure at Ascot. “It was properly upholstered by a Liverpudlian furniture maker.” Was it not a little heavy? “Darling, by mid afternoon I’d got used to it.” And with that, Lady Lucy French leaves the building.

St James Theatre 2 copyright lvbmag.com