#Sambourne House

[ulysses-posts]

Sambourne House  

[prose2passion]

lon674 by Michael Gross Via Flickr: A visit to Sambourne house, Kensington, London. I found out about it when visiting nearby Leighton House (home to the painter Frederic Leighton), in 2022, as the two are managed as a pair. Wouldn't have known about the Sambourne person otherwise, who was a Victorian photographer and illustrator (Linley Sambourne, 1844 - 1910). Loving all the interiors in both places.

[lizzardtown]

That moment when you're watching a movie but you can't pay attention because they also used the same set for Maurice

[whinlatter]

Beasts chapter 8 this week out now!

i will simply never stop with the vibes 🚂🧣☕️🏔️🌨️

art credits: sambourne house interior (royal borough of kensington and chelsea) | shakin steven by jerrybones | 155-oxford street in the late 1980s by warsaw1948 | picadilly by berk aksen | how soon is now/please please please let me get what i want by the smiths | the grapes by ron donoghue | modern life is rubbish by blur | sambourne house interior 2 | petit grand cafe by dutchamsterdam | a christmas carol by charles dickens

[ancav]

Sambourne House - Kensington, London

[joostjongepier]

Wat?   Sambourne House

Waar?   Sambourne House, Londen

Wanneer?   7 januari 2023

In navolging van Frederic Leighton lieten verschillende kunstenaars rond Holland Huis studiohuizen bouwen. Echter niet iedereen kon zich zo’n luxe optrek veroorloven. Linley Sambourne (1844-1910) was illustrator en cartoonist voor het satirische tijdschrift Punch. Hij verdiende niet genoeg voor een huis zoals dat van Leighton, maar dat weerhield hem er niet van zijn eigen kunstpaleisje te creëren. Hij kocht in 1874 een rijtjeshuis (18 Stafford Terrace). Linley decoreerde het huis van onder tot boven. Na de dood van Sambourne en zijn vrouw zorgden de kinderen en later hun kleindochter ervoor dat het huis in de staat waarin het was grotendeels werd behouden. Als rasverzamelaar heb ik heel wat spullen in huis, maar als mijn woning zo vol zou zijn als die van de Sambournetjes dan ging ik acuut te rade bij opruimgoeroe Marie Kondo. Maar aangezien mijn huis niet zo vol is en ik niet op 18 Stafford Terrace hoef te wonen, geniet ik van alles wat er hier te zien is. Sambourne House is een mooie tegenhanger voor het luxe Leighton House.

[ganhosdoelefante]

London, 07 de janeiro do Ano 1 - Domingo - Doc - 25 anos.

08:30 - Bru nos acorda com café da manhã:

09:40 - Nos despedimos e vamos embora. 10:30 - Chego em casa, tomo um banho e me arrumo. 11:10 - Saio de casa para um programa que combinei com Anne e Patricia. 11:30 - Vamos ao museu: Sambourne House

12:00 - Saímos. 12:30 - Outro local: National Trust - 2 Willow Road

12:52 - Vamos a um bar: Freemasons Arms Hampstead

14:20 - Vamos embora de trem. 14:50 - Chego em casa e tiro uma soneca.

16:00 - Acordo e fico vendo filme. 18:40 - Tomo banho e me arrumo para sair. 19:40 - Janto com Bruno: Ekstedt at The Yard

21:55 - Chego em casa e durmo.

[scribblescreative]

ARCHITECTURE PROMPT DAY FIVE

[Image ID: An instagram square with a grey concrete background and green creeping vines. The text says “FIVE” in black font, in the centre of the image. /.End ID]

[Image text: Leighton House - Sambourne House. Philip writes: Twilight at the Sambournes: Punch cartoonist Linley Sambourne bought No. 18, Stafford Terrace, Kensington in 1874, and lived there with wife Marion and children Maud and Roy until his death in 1910. The house stayed in the family; it was Roy’s home for his entire life, and eventually passed to Maud’s daughter Anne Rosse, who retained it until the late 1970s. The house was subsequently transferred to the GLC, and then RBKC, and has been open to the public as a museum since that time. Extraordinarily, the house was decorated and furnished by Linley and Marian in the 1870s, and stayed fundamentally unchanged for the next century and a half. It survived the war largely unscathed, and is one of London’s finest period interiors, because it is so complete, and so original. I have recently started volunteering with the visitor experience team at Sambourne House, and it’s a privilege to invite people to step back into the aesthetic era. The house feels as though the family has just stepped out, perhaps to dine with Rider Haggard, Oscar Wilde or John Tenniel; and as the light changes through the day, the rooms change as well. Dusk falls, and while I waited for one of the maids to light the fires, draw the heavy velvet curtains and bring me a whisky and soda, I set up my “detective camera” and grabbed a few snapshots for the album. If you haven’t called on the Sambournes, you really should. Find at more at @leightonsambournemuseums - Key Emoji, Clock Emoji. /.End ID]

[Image ID: Ten photographs on a grey concrete background. The photographs show the inside of a dated house, turned museum. Each photo shows a different perspective of different rooms inside the house and every room is filled with all manner of antiques these include; decorative plates, ornate vases, analogue freestanding clocks, many many photos on the walls, fancy fireplaces, lots of antique furniture including many tables and chairs, a settee, and a metal framed bed. One photo shows a patterned tiled floor in the hallway. /.End ID]

[Image text: Writing Prompt - Come Inside: No! It can't be over already. Thankfully, Philip posts new, brilliant images and captions of London's architecture daily. I think you will continue to find much inspiration there. Thank you @philip.downer. For our final prompt, we are going inside. Architecture leads us in, and it's the paraphernalia of life that perhaps tells even more stories. Look at the way the stuff in this house has been preserved. How much does it tell us about Linley and Marion? SO, Choose an object or an area in the house and tell it's story. We hope you have enjoyed this week and that you've put pen to paper a few times. /.End ID]

[Image text: Artist Prompt - Come Inside: Wow, that’s a lot of subject material! I’d love to go and visit Sambourne House and just spend the whole afternoon combing through every inch of the place and nosying through all the photos and furniture, I’m sure I could do it ten times and still find something new each time. What would it be like to be a little Borrower living in those walls? Have a look through these images and choose something that really stands out to you, an object, the tiling, whatever calls out to you from your screen and recreate it in your own style. And now ends our week of prompts. We hope you’ve enjoyed the imagery and discovered something new, be that a technique, a subject, or information (perhaps you’ll submit it for Scribbles’ next magazine DISCOVERY). Don’t forget to show Philip’s instagram some love @philip.downer. /.End ID]

[angelkarafilli]

Linley Sambourne House

[expo63]

Clive’s Amusing London Set™

@queerclivedurham

[fermencja]

Maurice: deleted scene:

''Take care of yourself. Don't overdo the ruins.''

[delicatuscii-wasbella102]

Sambourne House, London

[muslimaltag]

John William Godward, R.B.A.

1861-1922

BRITISH

THE FRAGRANT ROSE

signed J.W. GODWARD. and dated 92. (lower left)

oil on canvas

50 by 35 1/2 in.

127 by 90.2 cm

PROVENANCE:

Thomas McLean, London (1892)

C.G. Sloane, Washington, D.C. (by circa 1976)

LeRoy Carson (and sold, Sotheby Parke Bernet, New York, October 7, 1977, lot 282, illustrated)

Williams & Son, London (acquired at the above sale)

Mitsukoshi, Japan (acquired from the above, December 1978)

Acquired from the above

EXHIBITED:

London, Thomas McLean, 1892, no. 30

LITERATURE:

Vern G. Swanson, John William Godward: The Eclipse of Classicism, Suffolk, 1997, p. 186, no. 1892.15, illustrated

CATALOGUE NOTE

The model for The Fragrant Rose is Lily Pettigrew, one of the famous "sisters Pettigrew" (Harriet, Lillian and Rose), celebrated for their beauty and well-known as artist’s models in London. They posed for John Everett Millais, James McNeil Whistler, John Singer Sargent, and Edward John Poynter, among others, their features synonymous with the Pre-Raphaelite aesthetic. The youngest sister, Rose, remembered Lily as the most beautiful of the three girls: “My sister Lily was lovely… She had [the] most beautiful curly red gold hair, violet eyes, a beautiful mouth, classic nose and beautifully shaped face, long neck, well set, and a most exquisite figure; in fact, she was perfection” (as quoted in Swanson, p. 27). John William Godward, it appears, always painted an exact likeness of his models, rather than altering them or creating composite figures, and this allows for comparison with photographs of Lily in the Edward Linley Sambourne collection held at Leighton House (fig. 1). Upon viewing the present work, Lily’s great nephew, Neil Pettigrew, confirms that the likeness is hers. Lily was Godward's favorite model, sitting for him no less than five times in 1892 and at least four times in 1893. In these paintings there is evidence that Godward was romantically involved with Lily (or that he wanted to be) and in his painting, Yes or No? (fig. 2) Lily is seen with a man, believed to be a rare self-portrait of the artist.

In 1892, when the present work was painted, Godward was poised on the brink of his great career. He had exhibited two oils at the Royal Academy the previous year, Sweet Siesta of a Summer Day (see lot 39) and Clymene (1891, location unknown, also featuring Lily as model), earning him critical accolades. As seen in Clymene, Godward excelled at single-figure compositions and unlike his pictures from the 1880s, which presented anecdotal narratives within architectural settings, those from the 1890s held an Aesthetic focus. With their brilliant coloration and solid compositions, these works present a more abstract suggestion of mood and subject and are similar to those of Godward's artistic hero, Frederic, Lord Leighton. Paintings like Leighton's Lachrymae (The Metropolitan Museum of Art, New York) and Flaming June (Museo de Arte de Ponce, Puerto Rico) appear to have been the precedent for Godward's solitary women in marble settings. In The Fragrant Rose, Godward has scaled his canvas to be among his largest, with her three-quarter length figure essentially presented in life-size. Behind her is a budding oleander and richly painted Mediterranean landscape overlooking an azure bay, a harmonious paradise where flowers bloom, the sun always shines, and lapping waves are faintly heard from far below.

From the very beginning of his career, Godward was an exacting researcher, sourcing every element of his paintings from public collections or from photographs and objects that he acquired himself, which would reappear in multiple compositional arrangements. Here the model’s golden peplos (also seen in Clymene) is belted with a ribbon that is dyed in expensive Tyrian purple, which was extracted from snails. At her shoulder are circular brooches made of garnet cabochons mounted in gold with filigree decoration, likely Victorian in Etruscan-style. The artist contrasts these vivid details with the expertly rendered three-dimensionality of the cool, white frieze, a detail of a horseman from the Parthenon (fig. 3), part of the Elgin Marbles held in the Duveen Gallery at the British Museum. Recognized as the “master of marble,” Godward lavishes attention on his depiction of the material, and treats these elements as if they are broad planes of gemstones in variegated hues, as seen in the verde antico at lower left.

We would like to thank Neil Pettigrew for his contribution to this catalogue entry.

https://www.sothebys.com/en/auctions/ecatalogue/2018/european-art-n09869/lot.7.html

[robert-hadley]

18 Stafford Terrace, formerly known as Linley Sambourne House.

Photo - AD Italia

[cheekyrobots]

The Underground is on strike today so we visited two historic houses in the neighborhood: Leighton House and Sambourne House. Both Lord Leighton and Linley Sambourne were famous 19th century artists: Leighton was a painter and Sambourne was an illustrator, primarily for Punch, the satire magazine. Interesting to see how they lived. Leighton’s house was more of a gallery than a comfortable home, while Sambourne’s, while smaller and simpler, felt more friendly and comfortable. #leightonhouse #leightonhousemuseum #sambournehouse #londonhistory #londonhistorichouses (at Leighton House Museum) https://www.instagram.com/p/CkydclRtpSw/?igshid=NGJjMDIxMWI=

[joostjongepier]

Wat?   John Soane en John Soane Junior en George Soane door William Owen, huis en kunstcollectie van John Soane

Waar?   Sir John Soane’s Museum, Londen

Wanneer?   6 augustus 2023

Vanochtend bezocht ik het vroegere woonhuis van architect John Soane (1753-1873). Soane was zoon van een metselaar, maar ontwikkelde zich tot een veelgevraagd architect. De Royal Academy onderkende het talent van de jonge Soan en kende hem een reisbeurs toe, waardoor hij een Grand  Tour door europa kon maken. Terug in Engeland begon hij een enorme collectie kunstvoorwerpen aan te schaffen. De voorwerpen variëren van schilderijen tot beeldhouwwerken, van architectuurtekeningen tot modellen en van Griekse vazen tot een Egyptische sarcofaag.Toen ik in januari van dit jaar Sambourne House bezocht, dacht ik dat een huis niet meer kunstvoorwerpen kon bevatten dan dat. Soane’s House wint het op alle fronten!  Zijn huis is nagelaten aan de staat met de clausule dat het in de staat moest blijven waarin het was bij Soan’s dood. Het resultaat is dit bijzondere museum.

In plaats van gewoon een bezoek aan het museum te brengen, heb ik een rondleiding geboekt. Dat heeft het voordeel dat ik ook een kijkje mag nemen in de kleine privévertrekken en de Picture Room. Het huis is door Soan zorgvuldig ontworpen met het oog op zijn collectie. Overal zijn lichtkoepels aangebracht, in de zogenaamde Breakfast Room, waar hij potentiële gasten ontving is er naast zo’n koepel in het dak ook geel glas aangebracht, dat zorgt voor een zuidelijk aandoend licht. Talloze spiegels zorgen bij bepaalde lichtinval voor een spectaculair effect.

De kunstvoorwerpen staan van de kelder tot verdieping, maar het meest intrigerende vertrek is de Picture Room. Gebouwd om de schilderijencollectie van Soane te herbergen. Het is een niet zo heel grote vierkante ruimte. Centraal hangt een schilderij van Venetië door Canaletto. Ook is er een serie van vier werken van Hogarth: The Election. Maar de echte verrassing moet nog komen. Aan beide zijden van de kamer bestaan de wanden uit twee beweegbare panelen. Zodra deze worden geopend komen er meer werken tevoorschijn, waaronder de serie A Rake’s Progress door William Hogarth. Achter de rechterpanelen bevinden zich nogmaals twee beweegbare panelen, waarachter zich nog meer kunstwerken bevinden.

Dat John Soane een geobsedeerd man was, lijdt geen twijfel. Iemand die zo gedreven verzamelt en zijn hele huis op die verzameling bouwt en inricht, durf ik wel fanatiek te noemen. Of het een erg aangenaam mens was, waag ik te betwijfelen. Hij dwong zijn twee zoons om architectuur te gaan studeren. Zijn oudste zoon George, die liever schrijver wilde worden, lag dwars. George’s levenswandel was verre van voorbeeldig. Hij kwam gevangen te zitten omdat hij schulden niet kon afbetalen. Toen hij uiteindelijk vrij kwam schreef hij in een krant artikelen vol kritiek op Sloane Seniors werk en persoon. Het leidde tot een onherstelbare breuk. Soane onterfde zijn zoon en liet zijn huis na aan de staat. Jammer voor George, maar een geluk voor alle bezoekers die tot op de dag van vandaag dit bijzondere huis in originele staat kunnen bewonderen.