Detail of an oval pier-glass in the Queen’s Bedchamber at Ham House, one of a pair by supplied by William Bradshaw, c.1743. It reflects a carved and gilded garland by John Bullamore dating from the 1670s. ©National Trust Images/John Hammond
I have just been perusing an advance copy of the book Ham House: 400 Years of Collecting and Patronage. The sale copies of this book are apparently somewhere on the high seas en route from the printer, and are due become available within the next a few weeks, but I thought I might provide a little preview here.
Fruitwood armchair, c. 1730, in the Queen’s Bedchamber at Ham House, with velvet upholstery in red, green and cream silk velvet woven in either Genoa, Lyons or Spitalfields. ©National Trust Images/John Hammond
This book is the result of a conference held a couple of years ago about the history and collections of Ham House, one the best preserved 17th-century houses in Europe. It includes 28 essays by internationally recognised scholars accompanied by specially commissioned photography, as well as transcriptions of Ham’s historic inventories.
Detail of the silk velvet upholstery of the fruitwood furniture in the Queen’s Bedchamber at Ham House. ©National Trust Images/John Hammond
Ham is justly famous for its 17th-century interiors and has acquired the reputation of being a kind of ‘sleeping beauty’, a house where nothing ever changed. However, several essays in this book puncture that myth and focus on restorations and embellishments carried out by its 18th- and 19th-century owners.
Detail of the marble topped pier table in the Queen’s Bedchamber at Ham House, by William Bradshaw, c.1743, with a Portoro marble top and carved and gilded legs. ©National Trust Images/John Hammond
Christopher Rowell, the National Trust’s furniture curator, discusses the taste and patronage of Lionel Tollemache, the 4th Earl of Dysart (1708-70), who inherited Ham in 1727. The 4th Earl repaired and remodeled a number of rooms in the house, and introduced new furniture, but Christopher demonstrates that he did so with great sensitivity to what was already there.
Parcel-gilt pier-glass and table possibly by William Bradshaw, c.1740, in the Volury Room at Ham House. ©National Trust Images/John Hammond
The 4th Earl commissioned cabinetmakers George Nix (1744-51) and William Bradshaw (1700-75), among others, to supply chairs, tables, stands and even tapestries. But the new acquisitions were designed to harmonise with the existing furnishings, or to function as facsimiles of items which had become damaged or worn out.
Gilt X-frame sofa, 1735-40, in the style of William Kent and with velvet upholstery, in the Volury Room at Ham House. ©National Trust Images/John Hammond
The subtlety of the 4th Earl’s contributions have almost caused him to be written out of Ham’s history.
Torchere by Peter Hasert, one of a pair, 1741, in the Marble Dining Room at Ham House. ©National Trust Images/John Hammond
Horace Walpole (171-97), who lived in nearby Twickenham, may have started that process by describing Ham, in his characteristically vivid and sweeping manner, as a house that time forgot: ‘Close to the Thames in the centre of all rich and verdant beauty, it is so blocked up an barricaded with walls, vast trees and gates that you think of yourself an hundred miles off and an hundred years back.’
Pier-glass, pier-table and stands veneered with incised Chinese lacquer, c. 1675, in the Withdrawing Room at Ham House. The table and stands were supplied with new supports by John Hele in 1741. ©National Trust Images/John Hammond
I hope to do a few more posts highlighting aspects of this splendid new book in the near future.