Reflections on 2024’s Attingham Summer School

Dr. Mark Baker, director at Gwrych Castle, was 2024’s Historic Houses Attingham Scholar. He shared his reflections on this year’s Attingham Summer School below.

The Attingham Summer School stands as a benchmark for individuals like myself who are passionate about historic houses, gardens, landscapes and the collections they hold. This experience has been nothing short of transformative, offering me the opportunity to immerse myself in the world of the British Country House and gain knowledge and insights that will significantly impact my rescue of Gwrych Castle, Abergele, North Wales.

Attingham has been an once-in-a-lifetime experience. The programme’s intensity, coupled with its sheer depth and breadth, made it both challenging and exhilarating. From early morning lectures to late evening discussions, each day was packed with learning opportunities that allowed the cohort of forty to explore the intricacies of country house histories and their uses today. The combination of lectures, tours, and interactions with fellow scholars created an environment that was both academically rigorous and incredibly enjoyable.

The Attingham Summer School cohort on the steps of Petworth House, West Sussex. 

First and foremost, Attingham offers a rare opportunity to immerse oneself in an environment of country house studies, both in terms of theory and practice. The school’s structure, which included visits to some of Britain’s most significant country houses – Chatsworth, Hardwick, Arundel Castle, Longleat to name a few – allowed us all to engage with first-hand the architectural developments, contents and collections, as well as the narratives that define these stately homes. The access we had to private collections, behind-the-scenes tours, and conversations with experts in the field was unparalleled. These experiences have provided me with a deeper understanding of the broader context in which Gwrych Castle exists and the various influences that have shaped its development.

One of the most enriching aspects of the Attingham Summer School was the opportunity to meet and interact with peers from across the globe. The diverse group of scholars brought with them a wealth of knowledge about their own collections and unique approaches to the interpretation of their properties. Engaging in discussions with these colleagues allowed us to learn about the different ways in which heritage properties are managed and presented worldwide, broadening our perspectives and providing me new ideas for how Gwrych Castle’s collections and history can be shared with the public.

I was particularly intrigued by conversations with American colleagues who were experts in Chinese export art. Their insights were invaluable, particularly in identifying two of Gwrych Castle’s portraits as part of this genre. The portrait of Lord Napier, husband of Elizabeth Cochrane-Johnstone, who died in Macau in 1834, was previously thought to be a European work, but thanks to these discussions, it was identified as a Chinese export piece. The portrait of Elizabeth has also been tentatively identified as being by George Chinnery, who was known to have been in the Napier’s circle in Macau in the 1830s. These discoveries not only add depth to our understanding of the castle’s collection but also highlights the importance of international collaboration in the field of heritage preservation. The painting’s newfound significance has encouraged me to delve deeper into the collection with aid of the Peabody Essex Museum’s collection of Asian Export Art.

These exchanges were not one-sided; I was also able to share my own expertise, particularly in the area of Welsh artists and the patronage they received. It was rewarding to see how my knowledge of Welsh cultural heritage could contribute to understanding somewhat forgotten art and help piece together the context for Welsh items found in overseas collections. This kind of knowledge-sharing is crucial for building a more comprehensive understanding of the global connections that exist within our collection.

One of the most exciting aspects of the Attingham Summer School was the opportunity to apply the knowledge gained directly to my work at Gwrych Castle. Gwrych, with its own unique history and architectural significance, can be better understood and appreciated when placed within the broader narrative of British country houses—a narrative that the Attingham programme so expertly elucidated.

A particular area of interest that I explored during the program was the influence of royal patronage on country house design and decoration. This topic is of direct relevance to Gwrych Castle, especially considering the fascinating yet often overlooked chapter in its history involving Winifred, Countess of Dundonald. In 1924, upon Winifred’s death, she surprised everyone, including her husband, by bequeathing Gwrych Castle and its contents to King George V and Edward, Prince of Wales, as a potential Welsh royal residence. This unexpected bequest was rooted in Winifred’s long-standing connection with the Royal courts of Edward VII and George V, where she had closely observed the decoration and renovation works at Buckingham Palace.

Winifred, Countess of Dundonald by Ellis Roberts (c. 1896)

Around 1909, Winifred began to explore the idea of redecorating and expanding Gwrych Castle, influenced by her experiences at Buckingham Palace. Her relationship with Queen Mary, the wife of George V, which deepened from 1910 onwards, played a significant role in shaping her vision for Gwrych. Winifred took an active interest in Queen Mary’s redecoration efforts at Buckingham Palace, and this influence is evident in the design choices she made for Gwrych. The parallels between Gwrych Castle and Buckingham Palace, particularly in the use of specific materials, colours, and architectural elements, are striking and speak to Winifred’s aspirations for the castle. Moreover, Winifred’s use of celadon green throughout Gwrych’s interiors, a colour favoured by Queen Mary at Buckingham Palace, further underscores the connection between the two residences. This colour choice was likely a conscious decision by Winifred, aimed at attracting the Royal Family to consider Gwrych as their Welsh royal residence.

Despite Winifred’s efforts to position Gwrych Castle as a potential royal residence, her plans ultimately came to naught. When Winifred passed away in 1924, her bequest of the castle to King George V and Edward, Prince of Wales, was reluctantly declined. Her husband exercised his life interest in the property, effectively nullifying the bequest. This turn of events marked the end of Winifred’s ambitious vision for Gwrych as a Welsh royal home. However, the renovations and design choices she made during her lifetime have left an indelible mark on the castle, shaping its identity and historical significance.

One of the most interesting aspects of this was the array of different houses we visited during the programme, both private and publicly owned. The behind-the-scenes access we received enabled me to see how these sites operate, from the challenges of conservation to the creative strategies used to interpret and display collections. This exposure has provided me with practical insights that I can apply to my work at Gwrych, particularly in terms of enhancing visitor experiences and ensuring the long-term preservation of the castle’s heritage.

Gwrych Castle

The Summer School has provided me with a renewed joie de vivre as we embark on the reintroduction of roofs and floors into the castle (thanks to the generous support of National Heritage Memorial Fund). The insights I gained into the historical and architectural contexts of country houses have enriched my understanding of Gwrych’s place within this tradition. I am now better equipped to appreciate the nuances of its design and the motivations behind the choices made by the figures who created and curated Gwrych in the past. The Attingham Summer School has been more than just an educational experience—it has been a catalyst for future projects and collaborations, and I am excited to see where this journey will take me next.