Nunnington Hall is a country house situated in the English county of North Yorkshire. The river Rye, which gives its name to the local area, Ryedale, runs past the house, flowing away from the village of Nunnington. Nunnington Hall is owned, conserved and managed as a visitor attraction by the National Trust.
The present building is a combination of seventeenth and eighteenth century work. Major changes took place during the early 1920s, under the architect Walter Brierley. Most of the building seen today was created during the 1680s, when Richard Graham, 1st Viscount Preston, was its owner.
The Hall stands within eight acres of organically managed grounds, with the main walled garden lying to the south of the building. The Walled Garden includes lawns, orchards, formal Rose beds, mixed borders, a Tea Garden, and an Iris Garden. The orchards are managed as wildflower meadows containing flowers such as Cowslip, Primrose, Snake's Head Fritillary, Buttercup and Camassia all growing below the fruit trees of which most are traditional Ryedale varieties. Another feature of the gardens are the resident peacocks. On June 10th 2007 Bluey, head of the peacock family, died under suspicious circumstances.
The property lies in the valley of the river Rye. A stone bridge over the river separates the grounds of the house from the village. Above, a ridge known as Caulkley's Bank, lies between Nunnington and the Vale of York, to the south. The Vale of Pickering and the North York Moors lie to the north and east.
The first Nunnington Hall was mentioned in the thirteenth century and the site has had many different owners. They include William Parr, Robert Huicke, Richard Graham, 1st Viscount Preston, the Rutson family and the Fife family. Mrs Fife gave Nunnington Hall and its gardens to the National Trust in 1952.
This space comprises the National Trust's reception area, and it is lit by two high windows which face a gravelled area to the west.
Also on the west wall a modern, (1920s) fireplace, in the style of the sixteenth century. The steps heading to the Dining Room in the South and the archway to a corridor in the East are of the same hand.
While this may have been the site of an earlier Great Hall, Lord Preston may have converted the Stone Hall to become a kitchen, alongside his own bedchamber, now dressed as a dining room.
The hunting trophies consist not only of animal hides and heads, elephant, rhinoceros, lion, tiger and antelope among them, but also of the souvenirs from World War II. Of the antelope specimen, which themselves cover one wall, both the giant eland and the tiny dik-dik are included. These all belonged to Colonel Fife. As well as a German tank crewman's helmet with its blast visor, Colonel Fife owned a Prussian Officer's helmet, flintlock pistols and a bayonet, all of these on display together in the Stone Hall.
As you walk around the room clockwise from the entrance, you see a centre table with carving and inlay which might be from the 1630s in Germany and behind it an English press of oak. Against the south wall is a long and tall settle made of panels recycled from the seventeenth century.
A picture of the son and grandson of the 1st Viscount Preston, bought for display at Nunnington Hall by local supporters of the National Trust. Both of these sitters were heirs to Nunnington Hall, and both died in early life. The title Viscount Preston was lost on the death of Charles Graham in 1739. He left Nunnington Hall to his aunts Catharine, Lady Widdrington and Mary. The fine rococo frame has bounded this portrait for more than a century, but may have been designed for a mirror.
A Meissen set, with six flower decoration coffee cups and saucers, covers the side table. A coffee pot alongside is dated 1765, and was made by Priest of London. There is also a creamer of 1803 presented alongside.
A sideboard in the Sheraton style dates from the late eighteenth century. One side drawer front opens to reveal a wine keeping box lined with lead, and the other contains press-drawers for linen. On the sideboard two 1888 sauceboats reflect the late nineteenth century taste for a revival of Georgian styles. There are also two knife boxes with cutlery of a mixture of dates, from around 1750 to the early nineteenth century. A pair of scissor-shaped candle snuffers of silver bears a crest of the Rutson family which owned Nunnington Hall.
These panels join the two family crests in one work. They include family mottoes and lie within a clouded background bordered with gold seraphim. This style of painting is also found on funerary hatchments.
This Rutson bought Nunnington in 1839 from Sir Bellingham Graham. His motto means 'judge us by our actions'.
Involved in the intrigue to restore James II's kingship, Richard Graham was imprisoned for his Royalist fidelity and was kept at the Tower of London. Upon his release, Preston spent the remainder of his life at Nunnington.
Pediments above doorcases are split, and very finely carved, along with the three arches on the north side of the room. Another split, triangle pediment surmounts the large cartouche bearing the Viscount Preston family coat of arms above the fireplace, and this high quality carving has been attributed to John Etty, the master carpenter from York (c.1634–1708), a comparison drawn with his work at Sprotborough Hall in Doncaster. Sprotborough was demolished in 1926. The fireplace itself is carved from Hildenby stone, with its own split triangle pediment below the cartouche. Within this latter device, the Preston coat of arms rests above a supporting group of eagles, foliage and scrolls, terminating at either side with cherub's heads in profile. A likely inspiration for this design is the Livre d'Architecture by French architect Jean Barbet. Robert Pricke used Barbet's pattern in his 1674 work The Architect's Store-House.
In his Book of Sundry Draughts (1615), Walter Gedde included a pattern repeated on the floor of this room in stone flags, the squares and hexagons intersecting. An earlier source for this pattern came from Sebastiano Serlio's Il Quattro Libri Dell'Architettura, which came to England in 1611, a cornerstone of the late English Renaissance.
Edward Graham, (c.1679/81–1710), with his sister Catharine (1677–1757), as children. Edward was the second Viscount Preston in 1695, and for fifteen years before his early demise. Meanwhile Catherine, who lived to eighty, was married to Lord Widdrington. A Jacobite, Widdrington was convicted and condemned to death after the Jacobite uprising in 1715. Catherine however pleaded for his life and married him thereafter. The National Trust Associations part funded the acquisition of this picture along with the Victoria & Albert Museum, in 1987.
A Groom and Two Hunters, by John Ferneley, (1782-1860). Dated 1820, signed by the artist and inscribed 'Melton Mowbray'.
A Grey Hunter, by John Ferneley, (1782-1860). Dated 1820, signed by the artist and inscribed 'Melton Mowbray'.
William Rutson (1791-1867) on a Grey Hunter, by John Ferneley, (1782-1860). Dated 1820, signed by the artist and inscribed 'Melton Mowbray'. The sitter for this last of three pictures by John Ferneley, William Rutson, was an owner of Nunnington Hall. Rutson bought the estate in 1839, nineteen years after he had ordered these pictures from Ferneley.
Found in a store at Nunnington by housekeepers, Shrimpers at Lyme Regis, a small picture in oils on board, has been attributed to Joseph Mallord William Turner (1775 – 1851)
The picture returned to Nunnington in 2006, having been studied by National Trust and Tate Gallery specialists in London over five years.
When the picture was found in a rack during routine housekeeping, cleaning revealed a faint and faded inscription-
Presented to me by JM Turner, 1832. J Harding
And another -
Lyme Regis. Shrimpers
Research and investigation identified J Harding as James Duffield Harding, (1797 – 1863), eminent watercolorist and draughtsman, and friend of Turner’s. Comparing the handwriting on the inscription with Harding’s manuscripts at the Royal Watercolour Society proved a match.
The title is in a different hand and a different medium, which fits the idea that Turner made the gift to Harding in 1832, and that the title was added later, by another.
Further evidence was found in the similarity between this picture and Turner’s watercolour of 1811, held in Glasgow’s art gallery - Lyme Regis, Dosetshire: A Squall, [sic].
Today Shrimpers at Lyme Regis hangs in the Drawing Room in a frame selected by the National Trust, a purchase made possible by the generosity of the Association of National Trust Members in Belgium.
The piano was recently restored by the local York firm of Banks.
The longcase clock in the corner was sold c.1720 by William Troutbeck of Leeds.
For winelovers and children the painting "Grape Harvest in the South of France" attributed to Hendrick van Ballen the Younger (1623-61)provides a glimpse of rural social history.
Once part of the Drawing Room as can be seen from the unfinished look of the corner panelling.
On show are memorabilia from The Colonel's army career including his campaign medals and notices of Mentions in Despatches together with presentation cups from his days in India where he enjoeyed success on the polo field and race course.
Photographs of Col Fife also demonstrate the substantial nature of the restoration work to Nunnington Hall.
One of the small watercolour paintings on display is a "View of Philae" by Edward Lear better known for his owls and pussycats in seagreen boats.
The bedspread was worked by Fanny Wrather, great grandmother of Mrs Fife.
The bed is painted in Neo-Classical style but is probably an Edwardian revival of this style.
Among the family portraits on display is a charming portrait of Mrs Fife (nee Margaret Rutson) as a young girl in pastel by Paul-Cesar Helleu (1859-1927) and a pencil drawing of Col Fife signed and dated 1915 by William Strang (1859-1921).
This room also has another much earlier example of Fanny Wrather's needlework; a sampler hanging adjacent to the late 19th century pastel portrait of her.
Similar to the room running off the Dining Room on the ground floor and part of the same remodelling undertaken by the 1st Viscount Preston.
The mezzotint female portraits are late 18th century after the style of Reynolds and form part of a collection given to the National Trust by Kathleen Cooper-Abbs owner and donor of Mount Grace Priory.
The miniature walnut-veneered bureau is likely to be either an apprentice's masterpiece or a furniture's salesman's showpiece.
The panelling in this room dates back to the Norcliffe family's occupation of the house (1583-1643) but the corner fireplace was put in during Lord Preston's remodelling in the late 17th century.
In front of the fireplace is a painted leather firescreen made from a piece of a set of leather wallhangings which according to a local historian, the Rev. Eastmead once decorated a room at Nunnington but which were shreds relegated to an attic room by 1824.
The oak bed is an interesting example of an old stretcher base being updated at intervals by the addition of later posts and canopy.
The late 17th century marquetry and turned side-table at the side of the bed opens out to reveal a tapestry of ?.
Over the door to the Bedroom Corridor is an early example of a "borrow" light window allowing natural light to reach the corridor which was probably formed as part of Lord Preston's alterations.
The Bedroom Corridor leads to the he Reading Room where visitors can stop for a rest. This room was used in later years as a dressing room for the next door room, the Panelled Bedroom.
The panelling in this room is also from the period of the Norcliffe occupation. The defacing of the panelling round the window is believed to have been the "work" of Cromwellian soldiers whoe were billeted at Nunnington during the Civil War.
The eared overmantel surround of the fireplace is believed to be a later addition and may be the work of the York joiner John Etty (1634-1708).
The room and its little adjacent Oratory are reputed to be haunted by a presence that passes over the bed and through the wall.
The various samplers displayed on the walls are a testament to the skill and diligence of their young creators from a time when a neat hand with a needle and an "improving" text was a sign of a good upbringing.
The bed in this room is an officer's travelling bed which can be dismantled for transportation in the baggage trains that have been an essential part of a campaigning army on the move throughout history.
In the 1920s this room was occupied by the "odd boy" whose job was to run the household's errands. It is now furnished as the Nursery as the room originally used for this purpose by the Fifes is in a part of the house not on the visitor's route.
Most of the children's furniture and toys on display are from the Victorian period onwards.
"The Baby House" (c.1800-10) is furnished and decorated in 18th century taste and was made for the Rutson family in the 19th century. It would originally have been kept in the Drawing Room as it was not made as a children's toy.
These form the attic floor which housed the servants' quarters in the 1920s and 1930s. Interestingly Miss Holdaway, Mrs Fife's personal maid occupied the room that currently is used as the main exhibition room but the cook only had the much smaller exhibition room next door. The room now housing the Carlisle Collection of miniature rooms was formerly divided with one part being a sewing room with rooms beyond housing the third housemaid, kitchen-, scullery- and parlourmaids and the remaining two housemaids.