Viscountess Rothermere at Ferne Park

The entrance (north) front of Ferne Park,
the home of Viscountess Rothermere.
Built 2000 to 2002 to designs by Quinlan Terry.
Image via QFT.

After the sale of Daylesford (see previous posts on the quintessential Cotswolds country house here, here, here, and here) to Baron Thyssen-Bornemisza, was Viscount Rothermere left without a proper country seat?  Not for long.  Jonathan Harmsworth, 4th Viscount Rothermere (born 1967, son of Vere and Pat "Bubbles" Harmsworth, see earlier post here), built an exemplary new country house, 2000 to 2002, on the 200 acres known as Ferne Park.


An aerial view of Ferne Park.
Image via QFT.

The present house is the third that had stood on the site with a view to the Dorset Hills.  The second house had been demolished in 1965.  The Harmsworths had been looking for a property with views and old out-buildings that could be developed;  Ferne Park filled those requirements.  The local planning authority had three restrictions that were gladly respected:  the house must be built of local stone, be classical in design, and be no larger than the previous house that had occupied the site.  As of this writing, Viscount Rothermere spends most of his time at his chateau in the Durdogne where he is visited by his wife and children who otherwise live at Ferne Park.


The approach to Ferne Park is on an angle
rather than axial, characteristic of
many Palladian buildings.
Image via QFT.

Claudia Caroline Clemence Harmsworth, the Viscountess Rothermere, was familiar with the work of classicist English architect Quinlan Terry who with his son Francis are principals in the firm Quinlan Francis Terry LLF in Dedham, England; subsequently, the firm was engaged to create a new classical mansion on the property.


The entrance elevation of Ferne Park
drawn by Martyn Winney.
Image from RADICAL CLASSICISM: THE ARCHITECTURE OF QUINLAN TERRY

One of the inspirational models for the new house was Came House, built in 1754, in Winterborne Came, Dorset.  Lady Rothermere thought it an imbalance, however, to have the three smaller upper windows between the engaged columns.  So the upstairs windows at Ferne Park are all the same size. (There is no traditional hard-and-fast rule on this, it must be noted.  There are other examples of similar houses of the eighteenth-century that also had all the upstairs windows the same size).


Came House, Dorset, influenced the
design for Ferne Park.
Image via Wikipedia.

The house has views to both Dorset and Wiltshire, both having rich resources of building stone.  Four different stones were used on the exterior of the house with the slight variations adding to the visual interest.


The entrance elevation of Ferne Park.
Photo via QFT.

The principle stone used for the facades was Chilmark stone, a Jurassic oolitic limestone.  In the 13th century, it was used for Salisbury Cathedral; in the 16th century, for Langford Castle; and in the 17th century for Wilton House.


The entrance elevation of Ferne Park
showing the subtle variation of stones.
Photo from RADICAL CLASSICISM:
THE ARCHITECTURE OF QUINLAN TERRY

Portland stone, another local Jurassic oolitic limestone, was used for the rusticated basement story, the columns, the entablature, and the chimneys.  Andrew Tanser carved the Rothermere coat of arms for the pediment, a feature seen in almost all the houses Palladio illustrated in Quattro Libri (The Four Books of Architecture).

The capitals of the engaged columns
are over 6 feet tall and in the composite style.
Photo via RADICAL CLASSICISM
THE ARCHITECTURE OF QUINLAN TERRY



Quinlan Terry's drawing of the capital
and corner pediment of Palladio's
S.Giorgio Maggiore, Venice,  1564 to 1580,
a model for the capitals at Ferne Park.
Image via RADICAL CLASSICISM
THE ARCHITECTURE OF QUINLAN TERRY
 

A detail of the door surround of the main entrance.
Photo from RADICAL CLASSICISM:
THE ARCHITECTURE OF QUINLAN TERRY.
 



The Rothermere coat of arms, supporters, and crest
fill the  entrance front pediment of Ferne Park.
Photo from RADICAL CLASSICISM
THE ARCHITECTURE OF QUINLAN TERRY.
 

Upper Greensand sandstone, another local stone but of the post-Jurassic period, was also used.  This pale green-ish gray stone was used as ashlar in many of the important 18th century Dorset buildings.


The long cheek walls of the entrance stairs
was inspired by the Temple of Antionius and Faustina,
Rome, AD 141.  From Palladio, I QUATTRO LIBRI, 1570.
Image via RADICAL CLASSICISM:
THE ARCHITECTURE OF QUINLAN TERRY.
 

The fourth stone, not local, was York stone.  For durability, it was used for the entrance front staircase and the south terrace paving.


The Garden (South) Elevation of Ferne Park.
Photo from RADICAL CLASSICISM:
THE ARCHITECTURE OF QUINLAN TERRY.

Quinlan Terry's drawing of the design
for the south terrace balustrade at Ferne Park.
Image from RADICAL CLASSICISM:
THE ARCHITECTURE OF QUINLAN TERRY.
 

The balusters of the (south) garden terrace utilize a design of alternating forms in order to meet building safety regulations that would prevent a child from falling through.  A Baroque rhythm, such as that used at Longhena's Ca' Pesaro in Venice, 1649 to 52, provides an appropriate solution to modern demands on classical architecture.


Jonathan and Claudia Harmsworth,
the Viscount and Viscountess Rothermere.
Photo by Francois Halard for Vanity Fair,
November 2006, via Indy Media.

Although the floor plans were well thought out in terms of proportion and natural light, they might not be suitable to the lifestyles of many American billionaires in terms of expected convenience.


A collage of images of Ferne Park by
Francois Halard for Vanity Fair ,
via Indy Media.

That said, the simplicity of plan does allow some grand Georgian rooms with handsome details.  Interior designer Veere Greeney was brought in early in the design process to help create a comfortable décor compatible with the architecture.


Another collage of images of Ferne Park by
Francois Halard for Vanity Fair,
via Indy Media.
 

In an article for Country Life magazine, May 5, 2010, David Watkins writes, "Oil paintings, watercolours, drawings and engravings of an exceptionally wide range of dates and styles, create the impression of a collection that has grown over many years.  All the [bathtubs] are old ones that have been refurbished, but there are no coloured marbles or gold taps in the bathrooms, which are plain and discreet."


The Entrance Hall of Ferne Park.
Photo via QFT.

When the house is filled with guests, the Entrance Hall also serves as a Sitting Room.  The doorway behind the folding screen leads to the service stairs and, beyond, the Kitchen.  On the opposite wall, there is a doorway to a vestibule with a coat closet and powder room, with a sitting room beyond.


The Staircase of Ferne Park.
Photo via QFT.

It is difficult to see in this photo of the stairs, but there are 'Venetian' or 'Palladian' windows, an arched head window flanked by a narrow flat head window, on both the first (main) and second floors at each end, as the house was originally built.


The Drawing Room at Ferne Park.
Photo via veeregrenney.com

The Drawing Room on the center of the south side has a shaped, ornamented plaster ceiling.  On either side is a Dining Room (which later became the Breakfast Room) and the Study.


Veere Grenney's fabric "Ferne Park."
Photo via Veere Grenney Associates

No views of the second floor have been published, but this photo of designer Veere Greeney's fabric "Ferne Park" might offer a glimpse.  It appears to be the corner of tailored bedhangings, the be-ribboned flat-pleated corner of the canopy in a Georgian room.  (T.D.C.'s note:  this detail was later discovered to be from the designer Veere Grenney's own bedroom).


The gardens of Ferne Park were designed
by Rupert Golby.
Paul Highnam photo via gardenmuseum.org.

The gardens, designed by Rupert Golby, are occasionally open to the public to benefit charities or non-profit organizations.  Such was the case on at least two occasions earlier this year.


The garden front of Ferne Park
viewed through a gate.
Photo via QFT.

Check the Events website of the Garden Museum for the schedule of Garden Open Days for private gardens that are open on behalf of the Garden Museum Development Appeal which supports the creation of the Garden Design Archive.  It is an excellent way to visit exceptional properties such as this.


Another garden gate view at Ferne Park.
Photo via Southern Spinal Injuries Trust.

There are several entrances to the estate and one still maintains a carriage entrance for the second house that stood at Ferne Park.


Original gateway from the second Ferne Park.
Photo via Images of England.

Architect Quinlan Terry used the original design as a model for a larger, modern entrance that was an interpretation of the historic precedent.


Quinlan Terry's entrance gateway to Ferne Park
based on the design for the previous house.
Photo via Indy Media.

The outbuildings from the time of the second house were made more picturesque in some instances and renovated to suit modern needs of the family.


An outbuilding at Ferne Park that has
been renovated and adapted to modern use.
Photo via MOULDING.

In 2006, an application was made to extend the main house.  Adding a Library on the west and a Dining Room on the east main floor level, plus a Billiard Room and additional service areas on the basement level, the extensions maintained the symmetry and original design concept of the house.


The extended garden front at Ferne Park.
Photo from private collection.

False windows of the north face in the added rooms conceal a fireplace and chimney.  Venetian/Palladian windows look out to the garden.


The extended east end of Ferne Park
showing the Library addition.
Photo via MOULDING.

The main house won The Georgian Group award for the Best Modern Classical House in 2003.  In 2008, The Georgian Group cited the added Pavilion, also designed by Quinlan and Francis Terry, with the award for Best New Building In The Classical Tradition.


The Pavilion at Ferne Park.
A loggia spans this side of the new building.
Photo via The Georgian Group.

William Kent's Praeneste at Rousham in Oxfordshire was given as the inspiration for the new Pavilion.  A seated statue of the influential philosopher Immanuel Kant is placed in the ornamental pool.


The Pavilion at Ferne Park.
Photo via MOULDING.

There has been much speculation in the British Press that the Viscount's French residency status is a scheme to avoid paying British taxes.  As there are several other countries that would have a much more favorable tax structure than France, that theory is inconclusive.  In any case, the new construction at Ferne Park is a great monument to new classicism in residential design and what can be accomplished with talent, taste, and a lot of money wisely spent in the concentrated effort.

Daylesford's Colefax & Fowler Furnishings

 

A view of the Saloon at Daylesford
as decorated by John Fowler for the
2nd Viscount Rothermere.
Christie's.

 As Part II in the Notable Homes series on Daylesford, a closer look is given to the furnishings selected by John Fowler and Esmond Harmsworth, the 2nd Viscount Rothermere.  (For the previous post, Part I, click here).  After the viscount died in 1978, his widow and third wife, the former Mary Murchison, returned to live in the U.S. where she died in 1993 at age 62 in a West Palm Beach, Florida, hospital.  A native of Dallas, Texas, Viscountess Rothermere was the daughter of Kenneth Murchison, the founder of a successful insurance partnership, and the niece of Clinton W. Murchison, once one of the world's wealthiest men.  According to her obituary, she maintained homes in Palm Beach, Manhattan, Monte Carlo, and Newport, Rhode Island where she was a supporter of Save the Bay.  In addition, she served on the board of directors of Stratford Hall Plantation in Virginia and the Salk Institute in La Jolla, California.  Although it was her stepson and step-grandson who inherited the viscountcy, her six sons by a previous marriage and her son with Esmond were well taken care of by a trust that included some shares in the Daily Mail and Daily Standard group of newspapers; a 1997 partial sell-off of shares netted her seven sons GBP 163 million.

A view of Daylesford from the
Image from VIEWS OF THE SEATS OF
NOBLEMEN AND GENTLEMEN
OF ENGLAND,WALES, SCOTLAND AND IRELAND
by J.R. Neale, 1823.

Although Daylesford House had been sold (with the next owners to be discussed in following posts), many of the furnishings remained with Mary, Viscountess Rothermere until a sale on April 16, 1994, in New York at Christie's.  So there were no photos in the catalogue of the furniture in situ at Daylesford, but some of the lots could be seen in a series of delightful but uncredited watercolors, included in this post.


Another watercolor view of the Saloon
at Daylesford as decorated by John Fowler.
Image via Christie's.

Among the most memorable furnishings during the Fowler period at Daylesford are the suite of seat furniture by Thomas Chippendale for Sir David Garrick.  Of course, Chippendale is one of the most famous names in furniture, but Garrick, an acclaimed actor and manager of the Drury Lane Theatre, was a celebrity in his time.


David Garrick's Hampton Villa.

Married to the famous Viennese dancer Eva Marie Viegel, Garrick purchased a furnished villa on the banks of the Thames on the outskirts of London in Hampton in 1754.  Utilizing the top talent of the day, he employed Robert Adam for architectural improvements, Jean Pillement to decorate the drawing room walls with chinoiserie painting, and Capability Brown to landscape the grounds.  From 1768 to 1778, Chippendale was involved with the interiors and the work was documented in bills, correspondence, inventories, and sale catalogues.  An invoice, provided in the Christie's catalogue, which runs from 21 May to 23 September 1768, lists the seat furniture as follows:

      David Garrick, Esq

      To Thomas Chippendale

1768                                                                                L  s  d

Aug 3

      To 8 French Arm Chairs very neatly

      Carv'd & painted Blue & white, stuff'd

      & cover'd with your own Blue

      Damask & Brass nail'd                                         24  -  -

      To 2 large Tub Chairs carv'd &

      painted to match stuff'd & Cover'd

      with damask & large Down Cushions

      for the seats                                                           12  -  -

      To a large French sofa to match the

      Chairs and cover'd with your damask

      & nail'd & a large Feather Cushion

      Blue Cheque cases for the sofa & Cushion            2  -  -                                                  

 



In addition to this commissioned suite of furniture, Chippendale altered and repaired Garrick's existing furniture.  Also, Chippendale made a bed (now painted green and white) to match this suite that is exhibited in the collection at the Victoria and Albert Museum (click here to see access. no. W.21-1917)



A pair of George III painted bergeres,
circa 1768 by Thomas Chippendale
from the Saloon of Daylesford.
Christie's.  Lot 142, Sale 7906.

A set of six George III painted armchairs,
four circa 1768 by Thomas Chippendale,
two of a later date.  From the Saloon at Daylesford.
Christie's. Lot 143, Sale 7906.

A view of the Saloon showing the back of the settee
en suite with the previous seating.
The settee was of a later date, commissioned by
John Fowler, but it is presumed that all had
the same yellow fabric.  The settee was offered in
the catalog as Lot 144 but was not pictured.

The suite is included in a 1779 inventory when Garrick died and again in the sale catalogue when his widow died in 1823.  Her solicitor bought the house and many of the furnishings, but when the house and contents were sold again in 1864, the suite did not appear in the auction catalogue.  The whereabouts were unknown until Colefax & Fowler assistant Tom Parr found them during John Fowler's decoration of Daylesford.  The existing paint finish was scraped down to find traces of the old blue and white decoration;  thinking the paint finish was more stylish than gilding, Fowler had them painted grey-blue and antique white.

A George III giltwood mirror,
circa 1765, in the manner of John Linnell
from the Saloon at Daylesford.
Christie's. Lot 161. Sale 7906.

A pair of Regency lacquer-mounted and grained rosewood
side cabinets from the Saloon at Daylesford.
Each with a later black slate top.
Christie's. Lot 162. Sale 7906.

The Dining Room at Daylesford
during the Rothermere residency.
Image via Christie's.



A pair of  George III cut-glass, ormolu and blue glass
three-light candelabra, late 18th century.
Christie's.  Lot 96, Sale 7906.

A Regency mahogany four-pedestal drop-leaf
dining table, early 19th century.
Christie's. Lot 186, Sale 7906.

A set of 10 Regency chairs along with 8 of a later date
commissioned by John Fowler for Viscount Rothermere.
Christie's Sale 7178, 2005.

The largest room of the house is the sitting room known as the Long Gallery.  It was comfortably furnished for everyday use. 


The Long Gallery at Daylesford
during the Rothermere residency.
Image via Christie's.



A Scottish George III mahogany open armchair,
mid-18th century.
Christie's. Lot 131, Sale 7906.

A Queen Anne stool, together with a matching copy
of a later date.
Christie's. Lot 164, Sale 7906.

A Louis XVI ormolu-mounted and brass-inlaid ebony
longcase regulateur with equation of time, circa 1780.
The case stamped J. JOLLAIN twice.
Christie's. Lot 113. Sale 7906.

Another view of the Long Gallery
during the Rothermere residency.
Christie's.



The Morning Room pictured in JOHN FOWLER, PRINCE OF DECORATORS and discussed in the previous post of The Devoted Classicist is also known as the Chinese Room because of artwork.  In the reflection in the mirror, note the curtains designed by Fowler and how the swags connected around the curved bay.


The Morning Room at Daylesford
during the Rothermere residency.
Image via Christie's.

A pair of Regency ormolu-mounted rosewood side cabinets,
early 19th century.
Christie's. Lot 130, Sale 7906.

The Library at Daylesford
during the Rothermere residency.
Christie's.

An early George III mahogany kettle stand
with a later canted square top.
Christie's. Lot 172, Sale 7906.

An English bronze bust of Warren Hastings
cast from a model by Thomas Banks.
See the previous post for more on Hastings.
Christie's. Lot 1, Sale 7906.

Another view of the Library at Daylesford
during the Rothermere residency.
Christie's.

Portrait of Warren Hastings
by Lemuel Francis Abbott.
Christie's London, April 15, 1994.

The auction catalogue consisted of property from the estate of Mary, Viscountess Rothermere, and was not limited to furnishings that had been at Daylesford.  The portrait of Warren Hastings might have been at another residence, but that is unlikely and is shown here because of the significance to the history of the house.


Portrait of Margaret Layton of Rawdon,
circa 1620, oil on panel.
Christie's. Lot 191, Sale 7906.





 Margaret Layton's doublet,

the jacket or waistcoat seen in the portrait.

Linen embroidered in silver and silver-gilt thread,

with sequins and gold lace, lined in pink silk.

English, circa 1620 to 1620.

Christie's.Lot 192, Sale 7906.

(A pair of matching leather gloves was offered as Lot 193).

The portrait of Margaret Layton and associated garment were most likely from the Rothermere's London mansion Warwick House.  Facing Green Park, it was built 1770 to 1771 to a design by Sir William Chambers (the architect of Somerset House, the pagoda at Kew, and Albany), but largely rebuilt during the 19th century in the French Renaissance taste.  Purchased in 1924 by Esmond Harmsworth (before he was a viscount), the principal rooms were remodeled in the 18th century style.  A photo of the Rothermeres posing with the portrait and jacket in the background was shown in the previous post.

The catalogue also showed silver and art from the estate that was offered in 13 additional specialty auctions in New York and London, including a portrait by El Greco.

The next post of The Devoted Classicist will present Daylesford as it was decorated by Renzo Mongiardino during the residency of its next owner, Baron Hans Thyssen-Bornemisza.