Category Archives: Hudson

Farrow & Ball : Such Sophisticated Colours And Creators Of Elephants Breath Amongst Others …


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Farrow & Ball are an English manufacturer of paints, and wallpapers largely based upon historic colour palettes and archives. Their colour names, such as Elephant’s Breath, have become talking points in themselves.

History

The company was started by John Farrow and Richard Maurice Ball in the 1930s in Wimborne Minster, Dorset. They have worked with the National Trust for Places of Historic Interest or Natural Beauty of the UK, in formulating near to exact matches for the restoration of historic building interiors and exteriors. Today they maintain an updated colour card of 132 colours. Farrow & Ball also produce wallpaper patterns made using traditional block, trough and roller methods and made using Farrow & Ball paint.

Showrooms and stockists

The company has 52 showrooms across the UK, US, Canada & Europe as well as a global network of stockists carrying both paint and wallpaper.

Books

Farrow & Ball has produced three books; Paint and Colour in Decoration, The Art of Colour and Living With Colour

OPENING

Paint pioneers John Farrow and Richard Ball founded the company in 1946. They met while working at a local clay pit and later went on to build their first factory in Dorset.

IMPORTANT CONTRACTS

In the 1950s Farrow & Ball won some important commercial contracts which included supplying the paint for Ford Motor Cars in Dagenham and Liverpool, Raleigh bicycles and even the THE FIRE AND THE END OF AN ERA

As the 60s came to an end John and Richard were less and less involved with the business, and eventually sold the company to Bakers which was run by Norman Chappell (of Chappell Green fame!). Following a fire that destroyed the original factory, they moved to their current site near Wimborne where they’ve resided ever since.

NATIONAL TRUST

In the early 1990s Historical Decorator Tom Helme and Corporate Financier Martin Ephson took over the running of the company. They began to branch out by developing a range of National Trust paints, working closely with historical buildings, and helping to restore them with colours sympathetic to their eras.

A DECADE OF FIRSTS

The 1990s was a decade in which they achieved some major milestones and successes

1992 – They appointed our first independent stockist, Paint & Paper, who they still work with today.

1995 – They started to make artisanal wallpapers, ensuring that they followed in their founder’s footsteps by using traditional block and trough printing methods.

1996 – The first flagship showroom opened on the Fulham Road in Chelsea.

1999 – Saw the opening of the first overseas showroom in Toronto, quickly followed by Paris and New York.

1999 – They launched their website http://www.farrow-ball.com and stepped into the digital world.

ECO FRIENDLY

In January 2010 they made the bold decision to move our entire range of paints away from oil based to water based finishes with low or minimal VOC content. This was a forward thinking move, affirming their ongoing commitment towards helping the environment we live in, and once again putting them ahead of the competition.

EMBRACING THE DIGITAL WORLD

Embracing the digital world, they launched their Facebook, page in 2010, which was quickly followed by their Twitter, Instagram, Pinterest and YouTube. accounts. In May 2014 they also launched their online interiors magazine, The Chromologist – a place for people to be inspired by colour. Across all of their digital platforms they have over 300,000 online fans as well as over 500,000 visitors to their website every month.

COLOUR CONSULTANCY GOES GLOBAL

In 2012 their in-home Colour Consultancy service went global! This bespoke service gives their customers the chance to meet one of their trained Colour Consultants in the comfort of their own home. The Colour Consultant will build a colour scheme based on the overall look the client is trying to achieve, as well as taking into account light and architectural features.

People : Thomas Mawson, Garden Designer, Town Planner and Exceptional Landscape Architect.


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Thomas Hayton Mawson (5 May 1861 – 14 November 1933), known as T. H. Mawson, was a British garden designer, landscape architect, and town planner.

Personal life

Mawson was born in Nether Wyresdale, Lancashire and left school at age 12. His father, who died in 1877, was a warper in a cotton mill and later started a building business. He married Anna Prentice in 1884 and the Mawsons made their family home in Windermere, Westmorland in 1885. They had four sons and five daughters. His eldest son, Edward Prentice Mawson was a successful landscape architect and took over the running of his father’s firm when his father developed Parkinson’s disease in 1923. Another son, John Mawson, moved to New Zealand in 1928 as Director of Town Planning for that country. He died at Applegarth, Hest Bank, near Lancaster, Lancashire, aged 72 and is buried in Bowness Cemetery within a few miles of some of his best gardens and overlooking Windermere.

Working life

To make a living, he worked first in the building trade in Lancaster, then at a London nursery where he gained experience in landscape gardening. In the 1880s he moved back north, where he and two brothers started the Lakeland Nursery in Windermere. The firm became sufficiently successful for him to be able to turn his attention to garden design.

Mawson’s first commission was a local property, Graythwaite Hall, and his work there showed his hallmark blend of architecture and planting. He went on to design other gardens in Cumbria such as Langdale Chase, Holehird, Brockhole, and Holker Hall around the turn of the century.

In 1891 Mawson was commissioned to design and construct Belle Vue Park in Newport, Monmouthshire, Mawson’s first win in an open competition. His design was, in fact, designed for the neighbouring field, the site of the then Newport and Monmouthshire Hospital after Mawson misunderstood directions on his first visit. The mistake was not realised until the first site visit, after the contract had been awarded. Between 1894 and 1909 Mawson was commissioned to design and construct Dyffryn Gardens near Cardiff. The Rushton Hall estate in Northamptonshire has early 20th century formal terraced gardens designed by Mawson between 1905–1909 and implemented by his brother Robert.

Later Mawson designed gardens in various parts of Britain, and others in Europe and Canada. In London he designed gardens at The Hill, in Hampstead for Lord Leverhulme. The impressive 800 ft long pergola is now open to the public as part of the West Heath. He designed Rivington Gardens and Lever Park in Lancashire also for Lord Leverhulme. Padiham Memorial Park (1921) was another commission in Lancashire. Mawson also designed the gardens at Wood Hall near Cockermouth, Cumbria, which were completed in 1920. Much of this garden still survives today.

From 1910 to 1924 he lectured frequently at the school of civic design, Liverpool University. He also contributed articles on garden design to The Studio magazine and its annual The Studio Year Book of Decorative Art. In the 1920s he designed gardens for Dunira, a country house in Perthshire.

In 1923 he became president of the Town Planning Institute, and in 1929 the first president of the Institute of Landscape Architects.

International work

In 1908 he won a competition to lay out the Peace Palace gardens at The Hague. He also advised on the development of the Great Smoky Mountains National Park in the United States. In 1912 Mawson toured several Canadian cities, beginning in Halifax and ending up in Victoria, British Columbia. As well as giving talks, he proposed several (unaccepted) designs including for Wascana Centre in Regina, Brockton Point lighthouse, Coal Harbour and Lost Lagoon in Vancouver, and urban design plans for Banff and downtown Calgary. Mawson’s vision for Calgary, had it been implemented, would have changed what was then a dusty prairie town, into a city of the City Beautiful movement.

Legacy

With the passage of time some of the original features have deteriorated. A number of Mawson’s parks were restored in the early twenty-first century. For example, the two municipal parks at Stoke-on-Trent (Hanley Park and Burslem Park) and a rose garden at Bushey were restored as part of the “Parks for People” programme for historic parks and cemeteries in the UK.

Archive

More than 14,000 plans and drawings together with 6,500 glass plate negatives and photographs comprise the archive of Mawson documents. They are stored at Kendal Record Office having been offered to the Cumbria Archive Service following the closure of Thomas H. Mawson & Son of Lancaster and Windermere in 1978. As at 2010, the material has not been fully catalogued and conservation is proving difficult.

Selected writings

  • 1900: The Art and Craft of Garden Making, 1st edn 1900, 5th edn (recommended), 1926.
  • 1908: “The Designing of Gardens”, article in The Studio Year Book of Decorative Art 1908
  • 1911: Civic Art Covers the principles of town planning
  • 1927: The Life and Work of an English Landscape Architect

 

People : Leonard Stokes, Who Designed Our Telephone Exchanges ? Prolific Art & Crafts Architect, Why Don’t We Know More About Him ?


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Leonard Aloysius Scott Stokes (1858 – 25 December 1925) was an English architect.Leonard Stokes was born in Southport (then in Lancashire) in 1858. He trained in London and travelled in Germany and Italy. Most of his designs were for Roman Catholic buildings, including churches, convents and schools. His first outstanding work was the Church of St Clare, Liverpool. He also designed country houses and around 20 telephone exchanges. In 1919 he was awarded the Gold Medal of the Royal Institute of British Architects, having served as their president from 1910 to 1912. Sir Albert Edward Richardson, who later became President of the Royal Society, trained in his offices.

He died in 1925 in Chelsea

People : Beverley Nichols, Gardener, Garden Designer, Journalist, Playwright, Author ……… etc.


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John Beverley Nichols (9 September 1898, Bower Ashton, Bristol, England – 15 September 1983, Kingston, London, England), was an author, playwright, gardener, garden designer, journalist, composer, and public speaker.

Career

Between his first book, the novel Prelude, published in 1920, and his last, a book of poetry, Twilight, published in 1982, Nichols wrote more than 60 books and plays. Besides novels, mysteries, short stories, essays and children’s books, he wrote a number of non-fiction books on travel, politics, religion, cats, parapsychology, and autobiography. He wrote for a number of magazines and newspapers throughout his life, the longest being weekly columns for the London Sunday Chronicle newspaper (1932–1943) and Woman’s Own magazine (1946–1967).

Nichols is now best remembered for his gardening books, the first of which, Down the Garden Path, was illustrated – as were its two sequels – by Rex Whistler. This best-seller – which has had 32 editions and has been in print almost continuously since first published in 1932 – was the first of his trilogy about Allways, his Tudor thatched cottage in Glatton, Cambridgeshire. The books are written in a poetic manner, with a rich, creative language, evoking emotional and sensual responses, but also with a lot of humour and even a hint of irony. They were parodied by W. C. Sellar and R. J. Yeatman in Garden Rubbish (1936), where the Nichols figure was called “Knatchbull Twee”.

A book about Nichols’ city garden near Hampstead Heath in London, Green Grows the City, published in 1939, was also very successful. That book introduced Arthur R. Gaskin, who was Nichols’s manservant from 1924 until Gaskin’s death in 1966. Gaskin was a popular character, who also appeared in the succeeding gardening books.

A later trilogy written between 1951 and 1956 documents Nichols’s travails renovating Merry Hall (Meadowstream), a Georgian manor house in Agates Lane, Ashtead, Surrey, where Nichols lived from 1946 to 1956. These books often feature his gifted but laconic gardener “Oldfield”. Nichols’s final trilogy is referred to as “The Sudbrook Trilogy” (1963–1968) and concerns his late 18th-century attached cottage at Ham, (near Richmond), Surrey.

Nichols wrote on a wide range of topics, always looking for “the next big thing.” As examples, he ghostwrote Dame Nellie Melba’s 1925 “autobiography” Memories and Melodies (he was at the time her personal secretary – his 1933 book Evensong was believed based on aspects of her life). In 1966 he wrote A Case of Human Bondage about the marriage and divorce of writer William Somerset Maugham and his interior-decorator wife, Syrie, which was highly critical of Maugham. Father Figure, which appeared in 1972 and in which he described how he had tried to murder his alcoholic and abusive father, caused a great uproar and several people asked for his prosecution. His book about spiritualism was not well received, which disappointed him.

His main interest apart from the writing of his books was gardening, especially garden design and winter flowers. Among his huge acquaintance in all walks of life were many famous gardeners including Constance Spry and Lord Aberconway, who was President of the Royal Horticultural Society and owner of the Bodnant Garden in North Wales.

Nichols made one appearance on film – in 1931 he appeared in Glamour, directed by Seymour Hicks and Harry Hughes, playing the small part of the Hon. Richard Wells. The film is now lost.

In 1934, Nichols wrote a best-selling book advocating pacifism, Cry Havoc! By 1938, he had abandoned his pacifism; he later supported the British campaign in World War Two.

Personal life

He went to school at Marlborough College, and went to Balliol College, Oxford, and was President of the Oxford Union and editor of Isis. Nichols was homosexual, having had affairs with Harold Nicolson, Cecil Beaton and Noel Coward.

Nichols died in 1983. He is buried in Glatton, England.

People : Edwin Lutyens, Architect of an Era


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Sir Edwin Landseer Lutyens, OM, KCIE, PRA, FRIBA 29 March 1869 – 1 January 1944), was a British architect who is known for imaginatively adapting traditional architectural styles to the requirements of his era. He designed many English country houses.

He has been referred to as “the greatest British architect” and is known best for having an instrumental role in designing and building a section of the metropolis of Delhi, known as New Delhi, which would later on serve as the seat of the Government of India. In recognition of his contribution, New Delhi is also known as “Lutyens’ Delhi”. In collaboration with Sir Herbert Baker, he was also the main architect of several monuments in New Delhi such as the India Gate; he also designed Viceroy’s House, which is now known as the Rashtrapati Bhavan.

Early life

He was born in London and grew up in Thursley, Surrey. He was named after a friend of his father, the painter and sculptor Edwin Henry Landseer. For many years he worked from offices at 29 Bloomsbury Square, London. Lutyens studied architecture at South Kensington School of Art, London from 1885 to 1887. After college he joined the Ernest George and Harold Peto architectural practice. It was here that he first met Sir Herbert Baker.

Private practice

He began his own practice in 1888, his first commission being a private house at Crooksbury, Farnham, Surrey. During this work, he met the garden designer and horticulturalist Gertrude Jekyll. In 1896 he began work on a house for Jekyll at Munstead Wood near Godalming, Surrey. It was the beginning of a professional partnership that would define the look of many Lutyens country houses.

The “Lutyens-Jekyll” garden overflowed with hardy shrubbery and herbaceous plantings within a firm classicising architecture of stairs and balustraded terraces. This combined style, of the formal with the informal, exemplified by brick paths, softened by billowing herbaceous borders, full of lilies, lupins, delphiniums and lavender, was in direct contrast to the very formal bedding schemes favoured by the previous generation in the 19th century. This new “natural” style was to define the “English garden” until modern times.

Lutyens’ fame grew largely through the popularity of the new lifestyle magazine Country Life created by Edward Hudson, which featured many of his house designs. Hudson was a great admirer of Lutyens’ style and commissioned Lutyens for a number of projects, including Lindisfarne Castle and the Country Life headquarters building in London, at 8 Tavistock Street. One of his assistants in the 1890s was Maxwell Ayrton.

Works

Initially, his designs were all Arts and Crafts style, a good example being Overstrand Hall Norfolk and Le Bois des Moutiers (1898) in France, but during the early 1900s his work became more classical in style. His commissions were of a varied nature from private houses to two churches for the new Hampstead Garden Suburb in London to Julius Drewe’s Castle Drogo near Drewsteignton in Devon and on to his contributions to India’s new imperial capital, New Delhi, (where he worked as chief architect with Herbert Baker and others). Here he added elements of local architectural styles to his classicism, and based his urbanisation scheme on Mughal water gardens. He also designed the Hyderabad House for the last Nizam of Hyderabad, as his Delhi palace.

He also designed a chalk building, Marsh Court, in Hampshire, England. Built between 1901 and 1905, it is the last of his Tudor designs and was based on a variant of ancient rammed earth building techniques. In 1903 the main school building of Amesbury Prep School in Hindhead, Surrey, was designed and built as a private residence. It is now a Grade 2* listed building of National Significance.

He also designed a Columbarium for the Hannen family in Wargrave.

Before the end of World War I, he was appointed one of three principal architects for the Imperial War Graves Commission (now Commonwealth War Graves Commission) and was involved with the creation of many monuments to commemorate the dead. Larger cemeteries have a Stone of Remembrance, designed by himself. The best known of these monuments are the Cenotaph in Whitehall, Westminster, and the Memorial to the Missing of the Somme, Thiepval. The Cenotaph was originally commissioned by David Lloyd George as a temporary structure to be the centrepiece of the Allied Victory Parade in 1919. Lloyd George proposed a catafalque, a low empty platform, but it was Lutyens’ idea for the taller monument. The design took less than six hours to complete. Many local war memorials (such as the one at All Saints’, Northampton), Montréal, Toronto, Hamilton (Ontario), Victoria (British Columbia), and Vancouver are Lutyens designs, based on the Cenotaph. So is the war memorial in Hyde Park, Sydney. He also designed the War Memorial Gardens in Dublin, which were restored in the 1990s. Other works include the Tower Hill memorial, and (similar to his later India Gate design) a memorial in Victoria Park in Leicester.

Lutyens also refurbished Lindisfarne Castle for its wealthy owner.

He was knighted in 1918 and was elected a Fellow of the Royal Academy in 1921. In 1924, he was appointed a member of the newly created Royal Fine Art Commission, a position he held until his death.

While work continued in New Delhi, Lutyens continued to receive other commissions including several commercial buildings in London and the British Embassy in Washington, DC.

In 1924 he completed the supervision of the construction of what is perhaps his most popular design: Queen Mary’s Dolls’ House. This four-storey Palladian villa was built in 1/12 scale and is now a permanent exhibit in the public area of Windsor Castle. It was not conceived or built as a plaything for children; its goal was to exhibit the finest British craftsmanship of the period.

Lutyens was commissioned in 1929 to design a new Roman Catholic cathedral in Liverpool. He planned a vast building of brick and granite, topped with towers and a 510-foot dome, with commissioned sculpture work by Charles Sargeant Jagger and W. C. H. King. Work on this magnificent building started in 1933, but was halted during the Second World War. After the war, the project ended due to a shortage of funding, with only the crypt completed. A model of Lutyens’ unrealised building was given to and restored by the Walker Art Gallery in 1975 and is now on display in the Museum of Liverpool. The architect of the present Liverpool Metropolitan Cathedral, which was built over land adjacent to the crypt and consecrated in 1967, was Sir Frederick Gibberd.

In 1945, a year after his death, A Plan for the City & County of Kingston upon Hull was published. Lutyens worked on the plan with Sir Patrick Abercrombie and they are credited as its co-authors. Abercrombie’s introduction in the plan makes special reference to Lutyens’ contribution. The plan was, however, rejected by the City Council of Hull.

He received the AIA Gold Medal in 1925.

Furniture

Less well known is that Lutyens has also designed furniture. Some of his designs are still on the market today.

New Delhi

Largely designed by Lutyens over twenty or so years (1912 to 1930), New Delhi, situated within the metropolis of Delhi, popularly known as ‘Lutyens’ Delhi’, was chosen to replace Calcutta as the seat of the British Indian government in 1912; the project was completed in 1929 and officially inaugurated in 1931. In undertaking this project, Lutyens invented his own new order of classical architecture, which has become known as the Delhi Order and was used by him for several designs in England, such as Campion Hall, Oxford. Unlike the more traditional British architects who came before him, he was both inspired by and incorporated various features from the local and traditional Indian architecture—something most clearly seen in the great drum-mounted Buddhist dome of Viceroy’s House, now Rashtrapati Bhavan. This palatial building, containing 340 rooms, is built on an area of some 330 acres (1.3 km2) and incorporates a private garden also designed by Lutyens. The building was designed as the official residence of the Viceroy of India and is now the official residence of the President of India.

The Delhi Order columns at the front entrance of the palace have bells carved into them, which, it has been suggested, Lutyens had designed with the idea that as the bells were silent the British rule would never come to an end. At one time, more than 2,000 people were required to care for the building and serve the Viceroy’s household.

The new city contains both the Parliament buildings and government offices (many designed by Herbert Baker) and was built distinctively of the local red sandstone using the traditional Mughal style.

When composing the plans for New Delhi, Lutyens planned for the new city to lie southwest of the walled city of Shahjahanbad. His plans for the city also laid out the street plan for New Delhi consisting of wide tree-lined avenues.

Built in the spirit of British colonial rule, the place where the new imperial city and the older native settlement met was intended to be a market; it was there that Lutyens imagined the Indian traders would participate in “the grand shopping centre for the residents of Shahjahanabad and New Delhi”, thus giving rise to the D-shaped market seen today.

Many of the garden-ringed villas in the Lutyens’ Bungalow Zone (LBZ)—also known as Lutyens’ Delhi—that were part of Lutyens’ original scheme for New Delhi are under threat due to the constant pressure for development in Delhi. The LBZ was placed on the 2002 World Monuments Fund Watch List of 100 Most Endangered Sites. It should be noted that none of the bungalows in the LBZ were designed by Lutyens—he only designed the four bungalows in the Presidential Estate surrounding Rashtrapati Bhavan at Willingdon Crescent now known as Mother Teresa Crescent. Other buildings in Delhi that Lutyens designed include Baroda House, Bikaner House, Hyderabad House, and Patiala House.

Lutyens was made a Knight Commander of the Order of the Indian Empire (KCIE) on 1 January 1930.

A bust of Lutyens in the former Viceroy’s House is the only statue of a Westerner left in its original position in New Delhi. Lutyens’ work in New Delhi is the focus of Robert Grant Irving’s book Indian Summer. In spite of his monumental work in India, Lutyens had views on the peoples of the Indian sub-continent that, although commonly held by those of his class and times, would now be considered racist.

Ireland

Works in Ireland include the Irish National War Memorial Gardens in Islandbridge in Dublin, which consists of a bridge over the railway and a bridge over the River Liffey (unbuilt) and two tiered sunken gardens; Heywood Gardens, County Laois (open to the public), consisting of a hedge garden, lawns, tiered sunken garden and a belvedere; extensive changes and extensions to Lambay Castle, Lambay Island, near Dublin, consisting of a circular battlement enclosing the restored and extended castle and farm building complex, upgraded cottages and stores near the harbour, a real tennis court, a large guest house (The White House), a boathouse and a chapel; alterations and extensions to Howth Castle, County Dublin; the unbuilt Hugh Lane gallery straddling the River Liffey on the site of the Ha’penny Bridge and the unbuilt Hugh Lane Gallery on the west side of St Stephen’s Green; and Costelloe Lodge at Casla (also known as Costelloe), County Galway (that was used for refuge by J. Bruce Ismay, the Chairman of the White Star Line, following the sinking of the R.M.S. Titanic).

Lutyens is thought to have designed Tranarossan House, located just north of Downings on the Rosguill Peninsula on the north coast of County Donegal.

Spain

In Madrid Lutyens’ work can be seen in the interiors of the Liria Palace, a neoclassical building which was severely damaged during the Spanish Civil War. The palace was originally built in the eighteenth century for James FitzJames, 1st Duke of Berwick, and still belongs to his descendants. Lutyens’ reconstruction was commissioned by Jacobo Fitz-James Stuart, 17th Duke of Alba. The Duke had met Lutyens while he was the Spanish ambassador to Great Britain.

Marriage and later life

Two years after she proposed to him and in the face of parental disapproval, Lady Emily Bulwer-Lytton (1874–1964), third daughter of The 1st Earl of Lytton, a former Viceroy of India, and Edith (née) Villiers, married Lutyens on 4 August 1897 at Knebworth, Hertfordshire. They had five children, but the union was largely unsatisfactory, practically from the start. The Lutyens’ marriage quickly deteriorated, with Lady Emily becoming interested in theosophy, Eastern religions and a fascination – emotional and philosophical – with Jiddu Krishnamurti.

The couple’s daughter Elisabeth Lutyens became a well-known composer; another daughter, Mary Lutyens, became a writer known for her books about Krishnamurti. A grandson was Nicholas Ridley, cabinet minister under Margaret Thatcher.

Children

  • Barbara Lutyens (1898–1981) married 10 May 1920 (as his 2nd wife) Capt. The Rt. Hon. (David) Euan Wallace, MC, MP, PC (1892–1941). (Euan Wallace was first married 1913–1919 to Lady Idina Sackville, and had two sons by her.) Barbara’s third and only surviving son (Wallace and the two older sons died in the Second World War) was Billy Wallace (b. 1927), a former escort of Princess Margaret. Barbara Lutyens married secondly in 1945 Lieutenant Commander Herbert Agar, USNR.
  • Robert Lutyens (1901–1971/1972), an architect with his father; he was also an interior designer, journalist and writer. He married twice and had a son by his first marriage and a daughter Candia, a furniture maker, by his second marriage.
  • Ursula (1904–1967) married 1924 The 3rd Viscount Ridley, by whom issue included The 4th Viscount Ridley (1925–2012), his brother Nicholas Ridley, Baron Ridley of Liddesdale (1929–1993), the father of Jane Ridley, who has written a biography of Lutyens, and also a daughter.
  • Agnes Elisabeth Lutyens (1906–1983); twice married, and had issue, one son and twin daughters by her first husband. By her second husband Edward Clark, she had a son born in 1941 before marriage in 1943.
  • Edith Mary Lutyens (1908–1999); married firstly a stockbroker Anthony Rupert Herbert Franklin Sewell. They had issue, one daughter. She married secondly 1945 the art historian and royal furrier J. G. Links (d. 1997).

During the later years of his life, Lutyens suffered with several bouts of pneumonia. In the early 1940s he was diagnosed with cancer. He died on 1 January 1944 and was cremated at Golders Green Crematorium where he had designed the Philipson Mausoleum in 1914–1916. His memorial, designed by his friend and fellow architect William Curtis Green, is in the crypt of St. Paul’s Cathedral in the City of London.

Major buildings and projects

  • 1901: Deanery Garden, England
  • 1925: British Medical Association, London, England
  • 1925: Old City Hall Cenotaph, Toronto, Canada
  • 1928: Hyderabad House, New Delhi, India
  • 1929: Rashtrapathi Bhavan, New Delhi, India
  • 1930: Castle Drogo, Drewsteignton, Devon, England
  • 1935: The Midland Bank, Manchester, England

1936: Baroda House, New Delhi, India

People : Gertrude Jekyll, Influential Garden Designer and Writer


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Gertrude Jekyll ; 29 November 1843—8 December 1932) was an influential British horticulturist, garden designer, artist and writer. She created over 400 gardens in the United Kingdom, Europe and the United States, and wrote over 1,000 articles for magazines such as Country Life and William Robinson’s The Garden. Jekyll has been described as “a premier influence in garden design” by English and American gardening enthusiasts.

Early life

Jekyll was born at 2 Grafton Street, Mayfair, London, the fifth of the seven children of Captain Edward Joseph Hill Jekyll, an officer in the Grenadier Guards, and his wife Julia Hammersley. Her younger brother, the Reverend Walter Jekyll, was a friend of Robert Louis Stevenson, who borrowed the family name for his famous novella Dr Jekyll and Mr Hyde. In 1848 her family left London and moved to Bramley House, Surrey, where she spent her formative years.

Themes

Jekyll was one half of one of the most influential and historical partnerships of the Arts and Crafts movement, thanks to her association with the English architect, Sir Edwin Lutyens, for whose projects she created numerous landscapes, and who designed her home Munstead Wood, near Godalming in Surrey. (In 1900, Lutyens and Jekyll’s brother Herbert designed the British Pavilion for the Paris Exposition.)

Jekyll is remembered for her outstanding designs and subtle, painterly approach to the arrangement of the gardens she created, particularly her “hardy flower borders”. Her work is known for its radiant colour and the brush-like strokes of her plantings; it is suggested by some that the Impressionistic-style schemes may have been due to Jekyll’s deteriorating eyesight, which largely put an end to her career as a painter and watercolourist. In works like Colour Schemes for the Flower Garden (reprinted 1988) she put her imprint on modern uses of “warm” and “cool” flower colours in gardens.

Jekyll was one of the first of her profession to take into account the colour, texture, and experience of gardens as the prominent authorities in her designs, and she was a lifelong fan of plants of all genres. Her theory of how to design with colour was influenced by painter J.M.W. Turner and by impressionism, and by the theoretical colour wheel. Later in life, Jekyll collected and contributed a vast array of plants solely for the purpose of preservation to numerous institutions across Britain. This pure passion for gardening was started at South Kensington School of Art, where she fell in love with the creative art of planting, and even more specifically, gardening. At the time of her death, she had designed over 400 gardens in Britain, Europe and a few in North America. Jekyll was also known for her prolific writing. She penned over fifteen books, ranging from Wood and Garden and her most famous book Colour in the Flower Garden, to memoirs of her youth. Jekyll did not want to limit her influence to teaching the practice of gardening, but to take it a step further to the quiet study of gardening and the plants themselves. Her concern that plants should be displayed to best effect even when cut for the house, led her to design her own range of glass flower vases.

Jekyll later returned to her childhood home in the village of Bramley, Surrey to design a garden in Snowdenham Lane called Millmead. She was also interested in traditional cottage furnishings and rural crafts, and concerned that they were disappearing. Her book Old West Surrey (1904) records many aspects of 19th-century country life, with over 300 photographs taken by Jekyll.

Upton Grey Manor House

In 1908 Gertrude Jekyll drew plans for a garden at the Manor House in Upton Grey for the magazine editor Charles Holme. It has been restored in recent years. It is on a smaller scale than the majority of her other commissions.

To the west of the house is the Wild garden. Some of Jekyll’s original drifts of daffodils remain at the end of the Wild Garden, still in the drifts she designed.

To the east of the house stands there is the formal garden. Here there are no curved lines, Jekyll designed a Rose Lawn and typical herbaceous borders whose colours run in drifts from cool to hot and the return to cool again. These, with the tennis and bowling lawns are enclosed in yew hedging.

Outside the hedging lies the nuttery, orchard, kitchen garden, stable cottage and cottage beds.

The whole of the garden has been faithfully restored to the many plans and plants that Jekyll prescribed.

Awards

Jekyll was awarded the Victoria Medal of Honour of the Royal Horticultural Society in 1897 and the Veitch Memorial Medal of the society in 1929. Also in 1929, she was given the George Robert White Medal of Honor of the Massachusetts Horticultural Society.

Death

Jekyll is buried in the churchyard of Busbridge Church, formerly known as St. John the Baptist, Busbridge, Godalming, next to her brother and sister-in-law, Sir Herbert Jekyll, KCMG and Lady Agnes Jekyll, DBE. The monument was designed by Sir Edwin Lutyens.

People : James Lees – Milne , The National Trust bed-hopper who persuaded aristocrats he slept with – women and men – to leave their homes to the nation.


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Even back in the Thirties, anyone watching the scene might have guessed they were witnessing the end of an era.

Shortly after lunch, the grand doors of Longleat, one of Wiltshire’s most celebrated stately homes, were thrown open and two rows of liveried footmen hurried out to line up on either side of the steps leading down to the drive.

After a short pause, two figures duly emerged, blinking in the sudden sunlight.

One, resplendent in his frock coat, was the old Lord Bath, one of the most courteous aristocrats of his day. The other was a handsome young man, politely pouring praise on the glories of the house and quietly pretending that this was the sort of thing that happened every day.

There would have been an awkward moment as Lord Bath waited for his guest’s transport to be brought round to the front. But it already had; the rusty bicycle being held gingerly by a footman at the bottom of the steps was his guest’s transport. The man from the National Trust was leaving in the same way he’d arrived – on his bike.

What James Lees-Milne, the young man on that bicycle, would always remember, however, was pausing after he had pedalled some considerable way down the long straight drive and turning for a last admiring look at the house.

There, still, was Lord Bath, flanked by his two rows of footmen, waiting at the top of the steps, impeccably observing the old-world tradition of remaining in view until one’s guest was out of sight.

It didn’t matter that the meeting had been unsuccessful, that Lord Bath would not be donating Longleat to the Trust.

That was the pattern of things, as Lees-Milne soon realised; at some grand houses he never made it past the front door, at others he was welcomed with open arms by families desperate to relieve themselves of the financial burden.

Lees-Milne – Jim to his friends and destined to become one of the most celebrated diarists of his day – had embarked on the work that more than half a century later would cause him to be described as ‘the man who saved England’.

What the 28-year- old Oxford graduate was engaged in was saving England’s stately homes – and one or two in Wales, too.

It was his pioneering work to persuade their aristocratic owners to donate their houses to the National Trust that helped turn it into the hugely successful institution that it is today, with more than 300 houses and 3.5 million members.

But back in the Thirties the Trust – already 40 years old but with barely 5,000 members – owned almost no grand country houses at all. That situation would slowly change, as Jim criss-crossed the country, searching for houses of sufficient architectural merit to justify the Trust acquiring them, and to begin the often tortuous process of persuading their aristocratic owners to part with them, often after centuries of family ownership.

But Jim, as charming and tactful as he was good-looking, was both persuasive and patient. One by one, some of the most important stately homes in Britain passed into the Trust’s ownership, a process that accelerated significantly during World War II, as more and more owners realised the old order of things had gone for ever.

Jim, who was invalided out of the Irish Guards in 1941 after being caught in a bomb blast and developing a rare form of epilepsy, returned to the National Trust and found himself busier than ever, his work bringing him into daily contact with the rich tapestry that was England’s often highly eccentric aristocracy.

Some owners received him in bed in their nightcaps, others took him to the estate pub; one particularly blimpish owner even proudly took him up to the tower to show him how he peppered the nearby lake with rifle-shots in winter to stop the locals skating on the ice. Jim took it all in his increasingly practised stride.

His success seemed hardly surprising. Born to a landed Worcestershire family and educated at Eton and Oxford at a time when both establishments were shamelessly elitist, Jim – as he flirted with elderly duchesses and politely deferred to curmudgeonly dukes – was, to outward appearances, simply mixing with his own sort of people.

But all was not as it seemed. Jim’s father, George, had derived his fortune mainly from a Lancashire cotton mill and he had bought the house, Wickhamford Manor, where Jim was brought up, only two years before his son was born.

At a time when to be so closely associated with ‘trade’ could have spelt social death, it’s not surprising that Jim kept fairly quiet about his background, simply describing his family as ‘lower upper class’.

However, as Michael Bloch’s fascinating new biography reveals, Jim had another secret, known to his circle of immensely well-connected friends – many of whom seem to have stumbled out of the pages of an Evelyn Waugh novel – but not to the outside world.

He was bisexual and, indeed, as a young man was rather keener on going to bed with men than with women.

At school and university, he had a steady succession of male lovers. At Eton, his great affair was with Tom Mitford, brother of the later famous Mitford sisters; at Oxford, his lovers included the future Colonial Secretary Alan Lennox-Boyd, and an up-and- coming young actor called John Gielgud, who would treat him to meals at the Spread Eagle tavern in Thame.

One of his greatest romantic interests was the fellow conservationist Rick Stewart-Jones.

But unlike many of his homosexual friends, Jim also enjoyed both the company and the physical charms of women.

Having lost his virginity at the age of 17 to a voluptuous, recently divorced cousin, Jim – a hopeless romantic – would fall sporadically in love with women for the rest of his life.

An early object of his affections, which were welcome but not wholly reciprocated, was Diana Mitford, to whom he was attracted not only because she was the most beautiful of the Mitford girls, but because she reminded him of his Eton flame, Tom.

Shortly after coming down from Oxford in 1931 and finding himself with little idea of what to do next, Jim worked as a political campaigner for Sir Oswald Mosley, who had founded his New Party in 1930 (he would not embrace fascism until 1932) and was now fighting the General Election.

Mosley, whose aunt had married Jim’s uncle, had not yet met his future wife Diana Mitford, with whom Jim had recently been in love.

Mosley lost in Stoke-on-Trent, but not before Jim had met another New Party candidate, someone who was to become one of the most influential figures in his life – Harold Nicolson, ex-diplomat and man of letters who combined marriage to Vita Sackville-West – the poet, author and celebrated creator of the garden at Sissinghurst in Kent – with a penchant for the company of intelligent, always handsome young men.

What the world knows now, of course, but was then known only to a select few, was that the Nicolson-Sackville-West marriage was highly unusual.

While devoted to each other and having produced two sons, they were both basically homosexual and allowed each other complete freedom to pursue their respective sexual interests.

Within two years, Nicolson was pursuing his interest in Jim with enthusiasm. He frequently invited him to dinner in London and, in 1934, whisked him off to Paris (while Vita was in Italy conducting an affair with Harold’s sister, Gwen St Subyn).

It was in the French capital that he introduced the impressionable 25-year-old, with his youthful passion for famous writers, to James Joyce, author of the acclaimed but controversial novel Ulysses.

In his subsequent and discreetly worded letter to Jim, Nicolson, 22 years his senior, encouraged the younger man to have no regrets about what had passed between them on that trip.

It was, he wrote, quite possible to derive both affection and tenderness from contacts that others might find objectionable.

Jim and Harold were to remain close friends for the rest of the older man’s life.

Jim would live with him at his London flat in Kings Bench Walk, and seek his urgent advice when he fell in love with – and for a time became engaged to – Lady Anne Gathorne-Hardy (Nicolson advised that the basis of a successful marriage was intelligence and esteem, not physical lust).

And it was Harold’s influence, after a tip-off from Vita, that secured Jim the job at the National Trust.

Jim may not have been entirely surprised by the Nicolsons’ unusual arrangements. His own mother and father both had flings and longstanding affairs during their nevertheless enduring marriage.

His beautiful and flirtatious mother, upon whom Jim had doted as a child, ended World War I far closer to Jim’s dashing, polo-playing godfather then she was to her own husband.

Not surprisingly George Lees-Milne, a man whose main passions were hunting, shooting and fishing, and who disapproved so strongly of his son’s ‘cissiness’ that he denied him financial assistance, sought consolation elsewhere.

Given the example set by his parents and the Nicolsons, Jim may have had something similar in mind when, in 1951, at the age of 43, and to the surprise of his friends, he decided to get married himself.

What he couldn’t have known, however, was how miserable what ensued would make him.

The object of his heterosexual affections was Alvilde Chaplin, a wealthy heiress who was still married to her first husband when Jim met her.

There is no doubt he was genuinely smitten – Alvilde was intelligent, sharp and an accomplished hostess and organiser.

Perhaps too equine to be described as pretty, Jim would later describe her beauty as ‘proud, guarded, even shrouded’. But, as others had already discovered, she could also be aloof, impatient, dictatorial, argumentative and possessive.

Even her unusual Christian name should have been a warning. Her father, General Sir Tom Bridges, was, as well as being a successful soldier and diplomat, a notorious philanderer.

While serving with military intelligence in Scandinavia, he had conducted an affair with a Norwegian ballerina of that name.

When his pregnant wife, Janet, discovered the affair, it is said she insisted on giving the child the name of his mistress as a permanent reminder to her husband of his adultery.

Alvilde confessed to Jim that, as a girl, she had herself succumbed to her father’s sexual advances. Small wonder – especially after her first husband turned out to be another serial seducer of young women – that she preferred the company of sexually ambiguous men such as Jim.

But, like Vita Sackville-West, Alvilde also enjoyed the company of women; indeed in Paris in 1937, tormented by her husband’s infidelities, she began a long lesbian affair with the city’s great musical hostess, Princess Winnie de Polignac. The Princess was 72 at the time, Alvilde just 27.

Jim, who had met Alvilde with the Princess shortly before the latter’s death in 1943, would have been aware of this when, six years later, he started seeing Alvilde regularly in London. (She was now a rich woman, having inherited a slice of the Princess’s enormous fortune.)

Jim had a habit of falling in love with people who reminded him of others he had known in the past and in Alvilde’s case, it seems that her determined personality reminded him of Kathleen Kennet, the sculptor and widow of the polar explorer Captain Scott, with whom Jim had forged a deep friendship as a young man that had bordered on the erotic.

Jim’s romance with Alvilde proceeded at some pace; a succession of dinners and trips to the theatre and cinema was eventually followed by a holiday in Italy, which not only saw Jim having to borrow money to get there, but was taken with Alvilde’s zoologist husband, Anthony, in full attendance.

Anthony was quite relaxed about the relationship, as throughout his marriage he enthusiastically pursued women on his own account.

Jim had fallen in love with Alvilde, writing in his diary. ‘My mind a turmoil. A fire has been lit.’ It was, he said, the first time his love for a woman had been fully reciprocated.

Alvilde divorced her husband and, on November 19, 1951, she married Jim at Chelsea Register Office, despite his concerns about her argumentative and possessive nature.

There were four witnesses, including Harold and Vita and James Pope Hennessy, the exotically handsome and quick-witted young man who had taken Jim’s place in Harold’s life.

Two more couples joined the party for lunch, and Jim must have taken quiet reassurance for the matrimonial life ahead that of the five men present, including the three husbands, all were homosexual; three of them being his own ex-lovers.

It may also not have escaped Jim’s notice that of the women present, at least two had experience of lesbian relationships: Vita, obviously, and Alvilde.

Married life did not work out quite as Jim had presumably planned, although for the first few years the couple were happy, helped by the fact that for part of the year they lived apart – Alvilde in tax exile in the south of France, while Jim returned to London to work part-time for the National Trust and to resume his bachelor lifestyle.

These periods of separation worked as a safety valve.

It’s not clear when the unhappy aspects of his marriage began to outweigh the happy ones, but certainly by 1958, Jim felt trapped in a union he considered a mistake.

Alvilde had declined to have further sexual relations with him. For a still highly physical man, this must have been a terrible blow and Jim compensated with a series of transient homosexual affairs.

Why had she gone off sex with her husband? There was one possible, if extraordinary explanation: Alvilde had abandoned herself to a passionate lesbian affair with Vita Sackville-West, whose husband had, of course, been Jim’s lover 20 years previously.

Alvilde said nothing to Jim about the affair until it was almost over, and nor did Vita mention it to Harold. But Jim certainly knew about it, given that letters arrived for Alvilde from Vita ‘almost daily for several years’.

Those letters – now archived in New York Public Library – make it clear that by 1955 the two women were much in love, although Vita was racked with guilt for the potential hurt it would do Jim, who had been her friend for almost as long as he had been Harold’s.

But finally, at Sissinghurst, on October 26, 1955, under a full moon, their love was consummated.

Alvilde’s growing and genuine passion for gardening gave her the pretext for visits to Sissinghurst, and Vita’s letters to her lover began to be spiced with love-verses.

Vita, however, whose past loves included socialite Violet Trefusis and novelist Virginia Woolf, was as famous for her lesbian passions fading as she was for starting them in the first place, and in 1957 she wrote to Alvilde bringing their affair to a close. There could be no more ‘LL’ – lesbian love. Alvilde was consumed with grief.

In the circumstances, Jim could be forgiven for thinking that his own romantic adventures would now be tolerated by Alvilde, but he couldn’t have been more wrong. With Vita out of her life, Alvilde turned her famous possessiveness on her husband.

So when, in October 1958, shortly after his 50th birthday, Jim fell desperately in love, a marital crisis loomed. The object of his considerable affections was a handsome 27-year-old who, ironically, was introduced to him by Harold Nicolson.

Harold hoped Jim would be able to help the young man, who had an extensive knowledge of both architecture and sculpture, to get a job at the National Trust, just as Harold had helped Jim more than 20 years earlier.

Jim and his protege were immediately attracted to each other, with Jim no doubt seeing a reflection of his own youth in the younger man. Almost overnight, his mid-life melancholia turned to euphoria. However, when Alvilde learned of Jim’s love for his new friend, she hit the roof.

After her suspicions had been confirmed by steaming open a few letters (a habit that was to stay with her for the rest of her life), she confronted Jim. Believing her own affair with Vita had set a precedent, Jim confessed freely. It was a dreadful mistake.

Alvilde was consumed with jealousy. Terrible scenes ensued, and many of their friends regarded the marriage as doomed.

Although relations between Jim and Alvilde were never quite the same again, and she remained both suspicious and jealous of his male friends, the marriage endured.

What saved it was their discovery of a house they both adored in the Cotswolds, where they went to live in 1961.

Alderley Grange, a Jacobean house with Georgian additions, was of sufficient architectural interest to satisfy Jim, while its large garden enabled Alvilde to indulge her passion for gardening, which had been encouraged by Vita (and which would later result in a new career designing gardens for such celebrities as Mick Jagger).

It was, to all intents and purposes, their Sissinghurst and would keep them busy for years. They would live there – increasingly happier as they got older – for the next 14 years.

The man who saved England, the man who had bicycled his way up so many an aristocratic drive, had been saved by his own little corner of English country life.

Munstead Wood : Gertrude Jekyll’s Home and the First Lutyen’s, Jekyll Collaboration.


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Munstead Wood is a Grade I listed house and garden in Munstead Heath, Busbridge on the boundary of the town of Godalming in Surrey, England, 1 mile (1.6 km) south-east of the town centre. The garden was created first, by garden designer Gertrude Jekyll, and became widely known through her books and prolific articles in magazines such as Country Life. The Arts and Crafts style house, in which Jekyll lived from 1897 to 1932, was designed by architect Edwin Lutyens to complement the garden.

Munstead Wood was the first in a series of influential collaborations between Lutyens and Jekyll in house and garden design. The number of these collaborations has been put at around 120; other well known ones include Deanery Garden in Berkshire and Hestercombe House in Somerset.

The entire original area of Jekyll’s property is grade I listed in the National Register of Historic Parks and Gardens. Since Jekyll’s time, it has been divided into six plots with different owners.

The main house, which retains the name of Munstead Wood and whose plot contains most of the original gardens, is a grade I listed building. The properties in the other plots, which are to the north and west of the main house, also include listed buildings designed by Lutyens, in the lesser two categories; these were mostly Jekyll’s outbuildings.

Garden

Jekyll purchased Munstead Wood in 1882 or 1883, just across Munstead Heath Road from Munstead House, where she had been living with her mother since 1878. A part of Munstead Heath, Munstead Wood was a triangular area 15 acres (6.1 ha) in total, sloping upwards from its north-west corner, which was a sandy field, to 9 acres (3.6 ha) of former Scots pine woodland, on heath soil.

Jekyll transformed Munstead Wood gradually over many years. She allowed the felled woodland to grow back, but thinned the young trees, creating areas of different varieties and different combinations of varieties, and gave each area its own underplantings of flowers and shrubs. The resulting woodland garden was viewed via a series of long woodland walks. Nearer the house the woods merged gradually into lawns. Seasonal gardens flowered in succession through the year: the “spring garden”, the “hidden garden”, the “June garden”, and the main herbaceous border, 200 feet (61 m) long, which flowered from July until October. Each garden displayed carefully arranged shades of colour.

Jekyll turned the lower field into a kitchen garden. There was also a plant nursery from which she supplied plants to her clients. She also bred improved varieties of plants such as Munstead bunch primroses.

The garden of Munstead Wood became widely known as a result of Jekyll’s descriptions and photographs, in her books such as Wood and Garden (1899), Home and Garden (1900), and Colour in the Flower Garden (1908), and in her many articles, particularly in Country Life and William Robinson’s magazines The Garden and Gardening Illustrated. William Robinson was a frequent visitor. Jekyll’s long relationship with Country Life began when proprietor Edward Hudson first visited Munstead Wood in 1899. Her garden was notably recorded in Country Life in subsequent years by photographer Charles Latham and Herbert Cowley.

The gardens attached to the main house have been privately restored. Public viewing of the gardens is possible by arrangement.

House

At Jekyll’s first meeting with Lutyens in 1889 she invited him to Munstead Wood, and their collaboration began. They explored the local vernacular architecture, gathering ideas for the construction of Jekyll’s house. His first building for her was The Hut, a cottage built in the grounds of Munstead Wood in 1895. Jekyll used this as a workshop, and lived in it until Lutyens completed the main house in 1897. While the house was still being built, Lutyens obtained another, larger commission in Surrey, Orchards, as a result of his future clients being impressed with Munstead Wood when they happened to walk past the construction site. Jekyll lived at Munstead Wood until her death in 1932.

The house was built in a U-shape around a courtyard open on its north side. The west wing contained Jekyll’s workshops, and to the east lay a service wing. On the house’s south, garden elevation, the tiled roof extends down to the top of the ground floor, broken by two large gables. On the right of this elevation, a narrow, south-projecting porch wing has an arch, the house’s main entrance, on its east side, where this wing forms a continuation of the house’s east facade.

The house was built of local Bargate stone, lined inside with brick. The casement windows were set flush with the outside walls to maximise the internal window sills. Oak timbers were extensively used. These were obtained from local oaks, silvered using a treatment with hot lime. Other features included a large hooded fireplace, and a shallow-stepped staircase leading up to a long oak-beamed gallery overhanging the central courtyard.

The other buildings in the north and west of Munstead Wood have become separate properties. Besides The Hut, these were originally Jekyll’s gazebo, potting shed, gardener’s cottage and stables.

Cenotaph of Sigismunda

A garden seat built by Lutyens for Jekyll at Munstead Wood, consisting of a large block of elm set on stone, was ‘christened’ the Cenotaph of Sigismunda by their friend Charles Liddell. Until then Lutyens had not known the term “cenotaph”, meaning empty tomb. Jekyll later wrote:

The name was so undoubtedly suitable to the monumental mass of Elm, and to its somewhat funereal environment of weeping Birch and spire-like Mullein, that it took hold at once, and the Cenotaph of Sigismunda it will always be as long as I am alive to sit on it.

The Cenotaph

In 1919 Lloyd George asked Lutyens to design a catafalque to serve as a temporary memorial structure in Whitehall, Westminster, London. Recalling the term he had first heard at Munstead Wood, Lutyens proposed that a cenotaph would be more appropriate. Lloyd George accepted and this concept was used for the 1919 structure and its permanent replacement in 1920, The Cenotaph, which became the principal war memorial of the United Kingdom for World War I and World War II. At Munstead Wood, only a copy of the original seat remains.

Castle Drogo & Gardens Devon : Another Lutyens Vision…..


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Castle Drogo is a country house near Drewsteignton, Devon, England. It was built from 1911 and was finished in 1930 for Julius Drewe (businessman and founder of the Home and Colonial Stores) to designs by architect Edwin Lutyens, and is a Grade I listed building. It is currently undergoing a 5 year conservation project to finally make it watertight. Castle Drogo was the last castle to be built in England, and probably the last private house in the country to be built entirely of granite.

Background

Julius Drewe’s first cousin was Richard Peek, the rector of Drewsteignton, named after Drogo de Teigne, and alleged forefather to the Drewes. Julius stayed on several occasions with his cousin and it must have been here that he conceived the idea of building a castle on the home ground of his ancestor. He found an ideal site, and in 1910 he bought about 450 acres (1.8 km2) south and west of the village (By the time of his death in 1931 he had bought up an estate of 1,500 acres). He then went to Edwin Lutyens, one of the most interesting architects of the time, and asked him to build his castle. According to his son Basil, he did so on the advice of Edward Hudson, proprietor of Country Life magazine, who was both a patron and a champion of Lutyens. Drewe was now 54 years old, but he still had time, energy and money to create his new family seat. On 4 April 1911, Drewe’s 55th birthday, the first foundation stone was laid.

Construction

The castle took many years to complete, with the First World War and the economic downturn causing many delays. Castle Drogo was finally completed in 1930, considerably reduced in scale from Lutyens’s 1911 designs, and only a year before Julius died; he had, however, been able to live in the house since around 1925.

Features of the building

The stately home borrows styles of castle building from the medieval and Tudor periods, along with more minimalist contemporary approaches. A notable feature is the encasement of the service staircase, around which the main staircase climbs. Its defensive characteristics are purely decorative. Additionally, the castle had electricity and lifts from the outset, with power being supplied by two turbines on the river below.

Gardens

The castle has a fine formal garden, designed by Lutyens with planting by George Dillistone, which contrasts effectively with its striking setting on the edge of Dartmoor. The garden is noted for its rhododendrons and magnolias, herbaceous borders, rose garden, shrub garden and circular croquet lawn.

Later use

After Julius’s death, his wife Frances and her son Basil continued to live at the castle. During 1939–45, Frances and her daughter Mary ran the house as a home for babies made homeless during the bombings of London.

Frances Drewe died in 1954 and Basil was then joined at Drogo by his son Anthony and his wife. In 1974, Anthony and his son, Dr Christopher Drewe, gave Castle Drogo and 600 acres (2.4 km2) of the surrounding land to the National Trust. It was the first 20th-century property the charity acquired. A new visitor centre with shop and café opened in the summer of 2009, after English Heritage required that industrial kitchen equipment such as that used by the previous café within the house, be removed from Grade I listed buildings. In February 2011, the National Trust launched a public appeal for money to fund necessary restoration work.

Owletts : A Kent Home and Garden Where Jekyll, Lutyens and Baker Hung Out And New Delhi was started to be designed.


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Owletts

Owletts, Kent, is a country house 1.3 kilometres (0.8 mi) to the northwest of the village of Cobham, Kent, England.

It is a Grade II* listed building.

History

The house was originally built for Bonham and Elizabeth Hayes, successful farmers in the Cobham area. The red-brick Kentish Yeoman’s house is symmetrical, two storeys high, with sliding sash and dormer windows. The house interiors date in part to 1684, and include a remarkably ornate Carolean plasterwork ceiling above the prinicpal staircase.

The house passed in 1894 to the Edmeades family of Nurstead (also in the parish of Gravesend), then by marriage to the Baker family.

In 1862 the renowned architect Sir Herbert Baker was born here. Owletts became Herbert Baker’s home in later life and he made numerous alterations including the addition of a porch and a wing on the north-west corner of the house. He also removed the wall between the entrance hall and the drawing room and in that room installed an ornamental ‘Empire’ clock. The family filled the house with specially commissioned or collected furniture.

The house has a garden partly designed by Gertrude Jekyll, who was introduced to Baker by Edwin Lutyens (her friend) when he was working with Baker in Ernest George and Harold Peto’s architectural office in London.

Acanthus plants growing in the garden are symbolic of Herbert Baker’s architectural profession. Also within the garden is a bird-bath formed from Tivoli Order variant Corinthian capitals salvaged from the old Bank of England building by John Soane when Sir Herbert rebuilt the Bank (between 1925 and 1939).

When Herbert Baker died at the age of 83 on 4 February 1946 he left Owletts to the National Trust. The National Trust let it out, but some rooms and the garden are regularly open to the public. The current tenant is David Baker and his family; the great-grandson and heir of Sir Herbert Baker.

The house closed in 2011 for a £1 million refit, during which the collection of 900 objects and 1,400 books was carefully packed and stored off-site. It reopened on 7 April 2013.

The garden is tranquil and filled with chickens clucking around which adds to the ambience.