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Sizergh CastleList of pictures and sculpture

THE ENTRANCE HALL

ENGLISH SCHOOL, second half of

18th century

Long-horned cattle with a cowherd in a landscape Oil on canvas, 74 × 89cm

SCULPTURE

ANGLO-ITALIAN, c.1815

Thomas Strickland (1792–1835)Marble, 77cm highFor biography, see p.9 (Stone Parlour).

THE UPPER HALL

CLOCKWISE FROM STAIRCASE:

FRANCIS HAYMAN (1708–76)

The ElopementOil on canvas, 132 × 182cmThis painting (illustrating an episodefrom Samuel Richardson’s novel Pamela,1740) and its companion are muchrepainted, but newly restored survivorsof Hayman’s decorations of the supper-boxes at the Vauxhall pleasure-groundsin London. Bought at the VauxhallGardens sale by the 1st Earl of Lonsdalein 1841, they were acquired for Sizerghat the Lowther Castle sale in 1947.

UPPER LEVEL:

JOSEPH ALLEN (1770–1839)

George Strickland (1780–1843)Oil on canvas, 76 × 63.5cmThe eldest son from the secondmarriage of Cecilia Towneley with

Jarrard Strickland of York (1741–95),but for some reason he never succeededto his father’s estate, and he diedunmarried. Allen was a Liverpoolportrait-painter.

LOWER LEVEL:

Manner of JACOB HUYSMANS

(c.1633–c.1696)

Sir Marmaduke Dalton (1655–80)Oil on canvas, 73.5 × 61cmOf Hauxwell, Yorkshire, he was thesecond husband of Barbara Bellasis, thesecond wife of Sir Robert Strickland’ssecond son, Walter. Probably paintedaround the time of their marriage in1677. Her portrait by Riley is in theDrawing Room.

OVERDOOR:

ENGLISH SCHOOL, 1600

Sir Thomas Strickland, KB (1564–1612)Oil on panel, 89.5 × 73.5cmThe earliest surviving portrait of aStrickland of Sizergh. Sir Thomas was aminor when his mother, née AliceTempest, had the Inlaid Chambercreated. He was MP for Westmorland in1601 and 1604–11, and invested as aKnight of the Bath at James I’scoronation in 1603.

UPPER LEVEL:

JOSEPH ALLEN (1770–1839)

Thomas Strickland Standish (1763–1813)Oil on canvas, 75 × 62.5cmThe eldest son of Charles Strickland andthe heiress Cecilia Towneley, through

whom he inherited the estates ofStandish, near Wigan, and Borwick,near Carnforth, in addition to hispaternal estate of Sizergh. In 1807 headded the name of the Standish familyto his own.

LOWER LEVEL:

ENGLISH SCHOOL, c.1675–85

Isabella Stapleton, Lady PenningtonOil on canvas, 74 × 61cmAlthough labelled Margaret Pennington,an unmarried sister of Thomas PeterStrickland’s second wife, who livedmuch later than this portrait, anotherportrait of the same sitter at MuncasterCastle enables her to be recognised asthe elder daughter and coheir of JohnStapleton, of Warter, Yorkshire, and thewife of Sir William Pennington, 1st Bt(1655–1730), of Muncaster. Theirdaughter Elizabeth (p.9; Top Passage)married Thomas Peter Strickland.

FRANCIS HAYMAN (1708–76)

An episode from ‘The Mock Doctor’ or‘The Dumb Lady Cured’Oil on canvas, 132 × 182cmThe second of the two Vauxhall supper-box paintings, it was engraved in 1743.Though largely painted by Hayman’s assistants, it may have been designed byHubert Gravelot (1699–1773). The MockDoctor was Henry Fielding’s adaptationof Molière’s play, Le médécin malgré lui(1732). This scene shows Gregory, the fagot-maker, pretending to be a doctor,holding out his palm for his fee, before

1

Left The Elopement; by Francis Hayman. Right An episode from ‘The Mock Doctor’; by Francis Hayman

treating the pretend-dumb Charlotte.The picture lost a 15cm strip along thebottom edge, no doubt because ofrough usage at Vauxhall. This hasrecently been repainted, following theevidence of the engraving.

EDWARD CARUANA DINGLI (1876–1950)

Lt-Cdr Thomas Hornyold-Strickland,7th Count della Catena (1921–83)Oil on canvas, 84.5 × 56cmSigned: E.C. Dingli/1947

OVER CLOCK:

ALEXIS-SIMON BELLE (1674–1734)

Roger Strickland (1680–1704)Oil on canvas, 115 × 89cmRoger was the fourth (but thirdsurviving) son of Sir ThomasStrickland, who took him into exile atSaint-Germain. His exotic costume isPolish, betokening his appointment aspage to the prince de Conti, who wasthe French candidate for election to beKing of Poland in 1697. Hesubsequently became page to QueenMary of Modena, but died of smallpoxat Toulon when serving with the French army against the English and Imperialforces in 1704. This is the first of theinteresting group of portraits at Sizerghby Belle, who around 1700 became theaccredited painter of the exiled Stuarts.

RONALD DICKINSON, 1978

Angela Hornyold-Strickland, néeEngleheart (b.1928)Oil on canvas, 81 × 58.5cm

Mrs Hornyold-Strickland married thelate Lt-Cdr Thomas Hornyold-Strickland (1921–83) in 1951, and haslived at Sizergh since 1961. She has foursons and two daughters, the eldest ofwhom, Henry Hornyold-Strickland, isnow head of the family.

Ronald Dickinson took to paintingin his retirement, when he wasappointed one of the DeputyLieutenants of Cumbria.

OVER BOOKCASE:


Abbé François Gaultier (d.1723)Oil on canvas, 79.5 × 63.5cmThis is the first of the remarkable groupof French portraits at Sizergh that wasgiven by James II’s widow, Mary ofModena, to the widowed Winifred, LadyStrickland. Gaultier first came to thenotice of the Queen in exile at Saint-Germain as third vicar of the parishchurch, a post he lost by overstaying hisleave in Normandy. He then became asecret, and ultimately an open, agent inLondon of Louis XIV, who in 1712rewarded him with the two royal abbeysof Savigny and Olivet.

UPPER LEFT:

ENGLISH SCHOOL, c.1735

Thomas Peter Strickland (1701–54)Oil on canvas, 74 × 62cmThe elder son of Walter Strickland andAnne Salvin, and thus progenitor of thesenior line of the Stricklands, whichheld Sizergh until 1896. Thomas was

succeeded in turn by two of his sons,Walter, and Charles.

UPPER RIGHT:


Mary Strickland, née Scrope (1702–38)Oil on canvas, 74 × 62cmThe eldest daughter of Simon Scrope ofDanby-on-Ure, Yorkshire, she wasmarried to Thomas Peter Strickland ashis first wife in 1728. She was themother of all his children: five sons, andone daughter who died in infancy. Hersister Catherine was married to RogerStrickland of Catterick.

LOWER LEVEL:


Rev. Thomas Strickland (c.1682–1740)Oil on canvas, 114 × 88.5cmThomas was the fifth (but fourthsurviving) son of Sir Thomas andWinifred, Lady Strickland, by whom hewas brought up at the exiled Stuartcourt of Saint-Germain. This picturewas painted around 1703, when hetransferred from the English College atDouai to the Seminary of Saint-Grégoire in Paris. According to LordHervey, who was a political opponent,he passed ‘his whole life in gluttony,drunkenness, and the most infamousdebauchery’. He also rendered himselfodious to the Jacobites by arguing forthe acceptance of the Hanoverians. Buthe did much for his see of Namur, ofwhich the Emperor made him Bishop in1727, for working in his cause.

2

Left Abbé François Gaultier; by Alexis-Simon Belle

Right Rev. Thomas Strickland; by Alexis-Simon Belle

ERNEST CASTELEIN (1881–1945)

Margaret, Lady Strickland, née Hulton(1867–1950)Oil on canvas, 175 × 113cmSigned bottom right: Ern. Castelein.Second wife of Sir Gerald, LordStrickland, with whom she created thegarden.

C.J. THORPE

Sir Gerald Strickland, Lord Strickland,GCMG (1861–1940)Oil on canvas, 111 × 84cmThe eldest son of Cdr Walter Strickland,RN, and Louisa Bonici, through whomhe inherited a Maltese title and estates.Becoming a colonial administrator, andultimately Prime Minister of Malta, hewas also an English MP, and was madein 1928 Baron Strickland of Sizergh,which he had rescued by acquiring itfrom his fourth cousin in 1896. Havingno surviving sons, he settled it on hiseldest daughter, Mary, wife of HenryHornyold.

GIUSEPPE CALÌ (1846–1930)

Lady Edeline Strickland, née Sackville(1870–1918)Oil on canvas, 256 × 148cmSigned: G. Calì/Malta 1902Daughter of the 7th Earl De La Warr,she was married in 1890 to GeraldStrickland as his first wife. They had twosons, both of whom died in infancy, andsix daughters, all but one of whomsurvived.

THE DINING ROOM

CLOCKWISE STARTING TO RIGHT OF DOOR TO

UPPER HALL:

FRENCH SCHOOL, after Sir GODFREY

KNELLER (1646–1723)

Charles II (1630–85)Oil on canvas, 99.5 × 79cmThis is one of a pair of paintings of thetwo last Stuart kings that, though basedon portraits by Kneller, were, from theirhandling, clearly painted in France. Theartist seems very close to François deTroy (1645–1730), who made, however,his own rather different portrait ofJames II from the life (privatecollection). The two pictures wereprobably painted for the apartments ofSir Thomas Strickland at Saint-Germain.

Attributed to ALEXIS-SIMON BELLE

(1674–1734), after FRANÇOIS DE TROY

(1645–1730)?

Mary of Modena (1658–1718)Oil on canvas, 99 × 79.5cmLike almost all the French portraits atSizergh, this one was previously ascribedto Hyacinthe Rigaud (1659–1743),which cannot be right, both on accountof its style, and because he never paintedthe exiled Stuarts. Who did paint it ismuch harder to determine. The imagehas clearly been reduced from a three-quarter-length, apparently to make it apair to the James II. This could suggestthat it is the portrait of herself by deTroy that is known to have been owned

by the exiled Queen. But the handlingseems cruder than de Troy’s, whilst theFrench frame of c.1700 appears to beoriginal to the picture. This maytherefore be an adapted copy by theexiled Stuarts’ painter, Alexis-SimonBelle, of a lost original by de Troy.

FRENCH SCHOOL, after Sir GODFREY

KNELLER (1646–1723)

James II (1633–1701)Oil on canvas, 99.5 × 80cmWhy this portrait of James was notpainted from the life is not clear, unlessit was so that it should harmonise withthe portrait of Charles II, which couldnot have been.


Princess Louise (1692–1712)Oil on canvas, 135 × 103cmThe only surviving daughter and lastchild of James II and Mary of Modena,she died young of smallpox. This portraitwas probably painted around 1708–10,when marriage to a grandson of LouisXIV was mooted – hence her beingshown fingering orange-blossom. Belle’spendant of her brother, James III(Government Art Collection), was also atSizergh until the unfortunate sale of 1896.

NICOLAS DE LARGILLIERRE (1656–1746)

St Margaret, Queen of Scotland(c.1045–93)Oil on canvas, 135 × 103cmSigned on the footstool: N. deLargillierre Pinx./Ao. 169[2?]

3

Left Mary of Modena; attributed to Alexis-Simon Belle after

François de Troy

Right Princess Louise; by Alexis-Simon Belle

Margaret was granddaughter of theEnglish King Edmund Ironside, and,after moving in exile from theContinent to Scotland, was compelled tomarry King Malcolm III in 1067. Sheintroduced Roman practice (for which,and for her good works, she wascanonised in 1250) to the church, andmore civilised ways to the court. It washer relic of the True Cross that her son,David I, gave to his monasticfoundation, hence its name ofHolyrood. This picture of the ancestressof the Stuarts was painted for Mary ofModena, and Gantrel’s engraving of itwas dedicated to her by the ScotchCollege at Douai, which possessed therelic of St Margaret’s head.

Attributed to JACQUES VAN SCHUPPEN

(1670–1751)

James III, ‘The Old Pretender’(1688–1766), as Prince of WalesOil on canvas, 137 × 106cmIt was the birth of James, raising thespectre of a Catholic dynasty in Britain,that led to the expulsion of James II.Shown here ‘alla romana’ (ie in classicalarmour), the portrait signalled theprince’s breeching in 1695. It wasevidently not done from fresh sittings,since the face-mask is still essentiallythat of Largillierre’s portrait of thenaked boy in 1691 (Scottish NationalPortrait Gallery). That portrait, oranother using the same face-mask, wasengraved by Pierre van Schuppen in1692. It seems most likely that this

picture is by his son, who had also beenLargillierre’s pupil.

SCULPTURE

After JEAN-BAPTISTE LEMOYNE THE

YOUNGER (1704–78)

Prince Charles Edward Stuart (‘TheYoung Pretender’) (1720–88)Gilt plaster, 50cm highThe original of this bust is lost. Anearlier cast, bearing the date of it, 1746,is in the Scottish National PortraitGallery.

THE QUEEN’S ROOM

CLOCKWISE FROM FIREPLACE:


?Thomas Peter (1701–54) and Jarrard(1704–91) Strickland as boysOil on canvas, 122 × 96cmThis picture and the next were reputedto show two of the sons of RobertStrickland of Catterick (1639–1709),Treasurer to Mary of Modena in exile:this one Francis (1691–1746), being ledby the hand by her son James III. Butboth pictures were patently painted inEngland after 1700 by a provincial artist,yet none of the Stricklands of Catterickreturned from exile before 1718, nordoes the older boy here display any signsof royalty. They must rather be the twosons of Sir Thomas’s eldest son, Walter(1675–1715), who was allowed to returnfrom Saint-Germain to Sizergh in 1699,and who could never have employed an

expensive London portrait-painter. Thetwo boys shown here were founders ofthe senior and junior lines of theStricklands of Sizergh.


Thomas Peter Strickland (1701–54)Oil on canvas, 121 × 98cmThis portrait was said to show JamesStrickland (1684–1714) of Catterick, butit must really be Thomas Peter ofSizergh, who, as eldest son and heir ofWalter Strickland, is shown with ablazon of the four chief quarterings ofthe senior line, on the pedestal besidehim (clockwise, from top left):Strickland, Deincourt, Neville andWard.

Manner of JACOB HUYSMANS

(c.1633–c.1696)

Alice, Lady Blount, née Strickland(?1648–80)Oil on canvas, 125 × 100cmThe elder surviving daughter of SirThomas Strickland’s first marriage, toJane Mosely, Lady Dawney. She wasmarried in 1670 to Sir Walter KirkhamBlount, 3rd Bt (d.1717), of Sodingtonand Mawley, Worcestershire. They hadtwo sons, both of whom died in infancy.

The Master ‘JH’ (active 1647–66)

Walter Strickland (1647–56)Oil on canvas, 101 × 89cmSigned: JH [in ligature]: Pinxit:/Ano.1651: Æta Suæ 4:The signature on this picture and its

4

Right James III, ‘The Old Pretender’, as Prince of Wales;

attributed to Jacques van Schuppen

companion has never been identified forcertain. That may be because it is that ofDom Jerome Hesketh, both a pupil ofWilliam Dobson and a Catholic priest,who practised as an itinerant portrait-painter in the North (the largestconcentration of his work is at LymePark, Cheshire [NT]), as a cover for hisministrations as a priest. The twoportraits were thought to be of the twoknown daughters of Sir ThomasStrickland by his first wife, but that isprobably because they are wearing skirts(as in fact both boys and girls did, untilthe former were ‘breeched’ between theages of six and eight), and because theirmemory alone was preserved by theirhaving survived to adulthood. Thefalcon and dog clearly denote this as aboy, however, so he is probably theeldest son, whose extraordinary virtuesare sung on his tomb in Kendal church.

ENGLISH SCHOOL, 1660s

?Jane Strickland, Mrs MiddletonOil on canvas, 71 × 58.5cmDespite their labels, this and thefollowing picture were clearly paintedby the same artist at the same date, andare most probably of sisters.The onlyplausible candidates are the twosurviving daughters of Sir ThomasStrickland.The sitter in this onecertainly bears no resemblance to theaccepted portrait of Barbara Bellasis,Mrs Walter Strickland. Jane Stricklandwas married to John Middleton(c.1652–1700) of Stockeld,Yorkshire,

in 1677.They had no issue and evenher date of death remains unknown.The oval seems to have been paintedon at a later date – probably to matcha portrait of her husband.

ENGLISH SCHOOL, 1660s

?Alice Strickland, Lady Blount(?1648–80)Oil on canvas, 71 × 58.5cmApparently the same sitter as in thethree-quarter-length in the manner ofHuysmans, but – from her hairstyle –painted a little earlier, and so like thatof Mrs Middleton as almost to be hertwin.


?Alice Strickland (?1648–80)Oil on canvas, 102.5 × 90.5cmSigned: JH: Pinxit: and dated: Ano. 1651:Æta Suæ: 3.This may be a boy or a girl (foursiblings of unstated sex are buried inthe same tomb as Walter), but the actof plucking apples would seem moreappropriate to the latter. In which case,this may be, as labelled,AliceStrickland, later Lady Blount, who wasprobably the elder of the twosurviving children, since she was thefirst to marry. If not, it may be of hersister, Jane, who was married to JohnMiddleton of Stockeld (c.1652–1700).

THE DRAWING ROOM

CLOCKWISE, STARTING ABOVE DOOR TO

DINING ROOM:


Sir Robert Strickland, MP (1600–71)Oil on canvas, 70 × 50cmMonogrammed bottom left: JHThe son of one Sir Thomas, and fatherof another. He was knighted in 1641and fought for Charles I in the CivilWar, but by the time that this picturewould have been painted, the armourwas purely emblematic.

GIUSEPPE CALÌ (1846–1930)

Cdr Walter Strickland, RN (1824–67)Oil on canvas, 135 × 105cmSigned: G. Calì/1898The fifth son of Jarrard EdwardStrickland, head of the junior line ofthe Stricklands of Sizergh, and AnneCholmeley, but the eldest to haveissue, which included Sir Gerald,Baron Strickland. His naval serviceincluded suppression of the slave tradeoff Africa, and in the Mediterraneanand Baltic fleets. In 1858 he married inMalta Louisa Bonici (1833–1907),which began the family’s associationwith that island.This portrait isposthumous – probably painted from acarte-de-visite photograph.

5

Left Walter Strickland; by The Master ‘JH’

Right ?Alice Strickland; by The Master ‘JH’

SOPHIE RUDE (1797–1867)

Mary Matthews, Mme de La Chere(1823–90)Oil on canvas, 146 × 94.5cmInscribed and dated 1843 on the back.The daughter of Henry Matthews, ofBelmont, Herefordshire (author ofDiary of an Invalid, 1820), and EmmaBlount, of Ovleton, Herefordshire. Herbrother was the Tory lawyer andpolitician, Henry,Viscount Llandaff(1826–1913), the first Catholic to holdCabinet Office (as Home Secretary)since the Act of CatholicEmancipation. She married Julien deLa Chere, of Paris, and their youngestdaughter,Alice, married AlfredHornyold, father of Henry.

JOHN RILEY (1646–91)

Barbara Strickland, née Bellasis(c.1645–1708)Oil on canvas, 124 × 100.5cmThe seventh daughter of the Hon.Henry Bellasis and Grace Barton, andsister of Thomas, 2nd ViscountFauconberg. She was married to theformer royal page and mayor ofRipon,Walter Strickland (c.1628–71),Sir Robert’s second son, for just a yearbefore his death, bearing him onedaughter, Dorothy, who marriedWilliam Grimston. She was marriedagain, in 1676/7, to Sir MarmadukeDalton (p.1; Upper Hall), to whom shebore three more daughters.

MICHAEL DAHL (1656/9–1743)

?Anne Strickland, née Salvin (d.1731)Oil on canvas, oval, 74 × 62cmYoungest daughter of Jarrard Salvin ofCroxdale, Co. Durham (from a branchof which family the Victorian architectAnthony Salvin was later to spring)and Mary, daughter of RalphClavering of Callaly Castle,Northumberland. She was married toWalter Strickland of Sizergh in 1700,and bore him the progenitors of thesenior and the junior lines,ThomasPeter and Jarrard. It is, however, morethan doubtful that both pairs ofpictures in this room purporting to beof Walter and Anne Strickland can beso.

GEORGE ROMNEY (1734–1802)

Margaret Strickland, née Messenger(b.1737)Oil on canvas, 121 × 99cmDaughter of Michael James Messenger,of Fountains Hall, near Ripon.Previously identified as CeciliaTowneley (1741–1814), wifesuccessively of Charles (1734–70;m.1762) and Jarrard (1741–95;m.1779) Strickland, this is in fact ofthe wife of Charles’s even shorter-livedeldest brother,Walter. Romney waspaid 10 guineas for the pair of portraitsof them in June 1760. It quite oftenhappens when members of a family –like Walter and Margaret – leave nodescendants, the identity of theirportraits gets subsumed into those of

family members with more claim toremembrance.

Attributed to JACOB HUYSMANS

(c.1633–96)

Sir Thomas Strickland PC, MP(1621–94)Oil on canvas, 73.5 × 60.5cmSir Thomas was an unlucky figure. Onthe losing side in the Civil War, hisefforts to recover his fortunes after it,via a salt tax, only led to deepertrouble, and to the sale of ThorntonBridge to his cousin.The Test Act(1673) resulted in his forfeiting anyoffice, as a Catholic; and the brief reignof the Catholic King James II endedwith his following him into exile atSaint-Germain. In 1692 ill-healthcaused him to retire to an Englishconvent in Rouen, where he died.Twice married, to Jane Mosely, LadyDawney, in 1646, and to WinifredTrentham in 1674, he had twosurviving daughters by the former, andfour surviving sons by the latter.

Attributed to DANIEL GARDNER

(1750–1805)

Sir John Lawson, 5th Bt (1744–1811)Pastel, oval, 25 × 19cmThe penultimate baronet of BroughHall, Catterick, and father-in-law ofThomas Strickland Standish, via hisfirst wife. Probably painted by thisKendal-born specialist in crayons andgouache before he went to London in1767/8.

6

Left Margaret Strickland, née Messenger;

by George Romney

Right Sir Thomas Strickland; attributed

to Jacob Huysmans


Walter Strickland (1729–61)Oil on canvas, 121 × 99cmEldest son of Thomas Peter Stricklandand Mary Scrope, he succeeded toSizergh on the death of his father in1754, but only lived to enjoy it sevenyears. In 1758 he married MargaretMessenger, but they had no children.This picture of 1760 by his Kendal-based contemporary was previouslybelieved to be that of his youngerbrother and successor at Sizergh,Charles. Romney’s early portrait of thelatter, however, showing him fishing bythe cascade below Force Bridge on theRiver Kent, was sold in 1896.

MICHAEL DAHL (1656/9–1743)

Walter Strickland (1675–1715)Oil on canvas, oval, 73.5 × 61.5cmThe eldest son of Sir ThomasStrickland and Winifred Trentham. Hejoined his father in exile at Saint-Germain, becoming a Groom of theBedchamber to James II; but in 1699he obtained permission to return toEngland to look after his estates, whilstretaining his post of Groom andmaking several journeys back toFrance. He married Anne Salvin in1700, and died when visiting theirdaughter Mary at her convent inRouen.

WILLIAM WISSING (1655–87)

Winifred Trentham, Lady Strickland(1645–1725)Oil on canvas, 120 × 96cmA daughter and coheir of SirChristopher Trentham of RocesterPriory and of Winifred Biddulph ofBiddulph, Staffs. Second wife of SirThomas Strickland, she was appointedUnder-Governess, under theMarchioness of Powis, to James, Princeof Wales, at his birth in 1688. Fleeingwith Mary of Modena to France at theend of the year, she became herdevoted companion, Governess to thePrince (1694–5), and BedchamberWoman (1700) and Keeper of theQueen’s Privy Purse (1701).After theQueen’s death she retired to theEnglish Convent of Poor Clares atRouen, taking with her the royalportraits now at Sizergh.

After GEORGE ROMNEY (1734–1802)

Col. John Matthews (1755–1826)Oil on canvas, 124.5 × 100.5cmThis picture and its companion arecopies of pictures that were given towhat is now Tate Britain in 1929.Henry Hornyold(-Strickland)’s aunt,Berthe de La Chere, who gave awaythe originals, was the niece of HenryMatthews,Viscount Llandaff, who hadinherited these portraits of hisgrandparents from his father, HenryMatthews.The sitter is shown here inhis guise as an occasional poet. In theoriginal, a relation of his house,

Belmont, is shown at the table: his waseither never painted, or has beenpainted over in this copy, apparentlybecause Lord Llandaff was disbarredfrom inheriting Belmont because hewas a Catholic.

After GEORGE ROMNEY (1734–1802)

Elizabeth Matthews, née Ellis(1757–1823)Oil on canvas, 124 × 100cmPair to the portrait of her husband,Col. Matthews. Elizabeth was thedaughter and heir of Arthur Ellis.Theoriginals of these two portraits werepainted in 1786.

OVER DOOR TO PASSAGE:

ENGLISH SCHOOL, 1760–70

Arthur EllisOil on canvas, oval, 52 × 42cmThe father of Elizabeth Matthews.


Anne Strickland, née Salvin (d.1731)Oil on canvas, 73.5 × 61cmFor biography, see p.6, a somewhatlater portrait of the same sitter.

WILLIAM OWEN (1769–1825)

Col. John Matthews, MP (1755–1826)Oil on canvas, 74.5 ? 61.5cmThis third portrait of Col. Matthews, ashe liked to be called after his service ascolonel of the 1st Regiment of theHerefordshire militia during theNapoleonic wars, shows him in oldage. Having retired to Herefordshire,

7

Left Walter Strickland; by George Romney

Right Winifred Trentham, Lady Strickland; by

William Wissing

he had bought an estate at Clehonger,where James Wyatt had built Belmontfor him (1788–90), and had becomeMP for Hereford (1803–6).

JOHN ST HELIER LANDER (1869–1944)

Alfred Hornyold (1850–1922)Oil on canvas, 90 × 70cmSigned: John St. Helier Lander/1912The youngest son of VincentHornyold, of Blackmore Park,Worcestershire, and the father ofHenry Hornyold-Strickland.

FRENCH SCHOOL, c.1880

Alice Hornyold, née de La Chere(1856–1943)Oil on canvas, 90 × 70cmYoungest daughter of Julien de LaChere and Mary Matthews, she wasmarried to Alfred Hornyold in 1888.

JOHN OPIE (1761–1807)

Dr John Matthews (1755–1826)Oil on canvas, 75 × 62.5cmGreat-grandfather of Alice de LaChere, the wife of Alfred Hornyold.The same sitter as in the Romneycopy and as in the much later portraitof him by Owen, but as a fashionableyoung physician, in his robes as adoctor of medicine.A label on theback records that this was painted for10 guineas in 1784, the year in whichMatthews delivered the GulstonianLectures, after resigning as physician toSt George’s Hospital, and just beforehe retired to the country. Opie was the

sensation of the day,‘The CornishWonder’, who had been brought toLondon by Dr John Wolcot three yearsbefore, and exhibited his first majorsubject-picture, The School (LoydCollection), at the RA the same yearas he painted this portrait.


Walter Strickland (1675–1715)Oil on canvas, 74 × 88.5cmFor biography, see p.7, a somewhatlater portrait of the same sitter.

SCULPTURE

FRENCH, manner of LOUIS-FÉLIX DE LA

RUE, 19th-century

Three Putti playingBronze, 28cm high

THE STONE PARLOUR

CLOCKWISE, STARTING TO RIGHT OF WINDOW:

ENGLISH SCHOOL, early 19th-century

Katherine Hoskyns, née Gregory(1679–1726)Oil on canvas, 43.5 × 36cm

Philip Hoskyns (1667–1738)Oil on canvas, 43.5 × 35.5cm

John Hoskyns (b.1618)Oil on canvas, 43.5 × 35.5cm

Elizabeth Hoskyns, née ScudamoreOil on canvas, 43 × 35cmThese four copies or pastiches were

probably painted for Col. Matthewsearly in the 19th century, to provide‘ancestors’ for his new house, Belmont.They represent the parents andgrandparents of his mother, Jane, whowas the daughter of Philip Hoskyns ofBernithan Court, Herefordshire(whose origins account for his havingbought an estate in that county).

ENGLISH SCHOOL, late 17th-century

Sir William Gregory, MP (1624–96)Pastel, 29 × 34cmGrandfather of Katharine Gregory,Mrs Hoskyns.A principled lawyer, andvery briefly Speaker of the House ofCommons (1679), he was removedfrom office as a baron of theExchequer by James II in 1685, forruling against the King’s dispensingpower, but was appointed a judge ofthe King’s Bench under William III.He suffered from gallstones, whoseeffects seem visible in this portrait.

CHARLES WHYMPER (1853–1941)

A BlackcockWatercolour, 36 × 38cmThe blackcock was the Matthewsfamily crest.

WILLIAM HOBDAY (1771–1831)

Anne Matthews (1793–1864)Oil on canvas, 59 × 48.5cmAnne would appear to have been oneof the youngest daughters of JohnMatthews and Elizabeth Ellis(m.1778).

8

Right Anne Matthews; by William Hobday

JOHN OPIE (1761–1807)

William Matthews (1722–99)Oil on canvas, 74.5 × 62cmThe father of John Matthews by hiswife Jane, daughter of Philip Hoskyns.He lived at Burton, in Linton,Herefordshire. His son presumablycommissioned this portrait at the sametime as his own, from Opie, whosestudy of Rembrandt made himparticularly good at depicting old age.

JOHN FERNELEY (1780–1862)

Thomas Strickland (1792–1835) andhorse in the hunting fieldOil on canvas, 84.5 × 97cmSigned: J. Ferneley/MeltonMowbray/1819Because of the specialist painter, thisattractive portrait is more of the horsethan the man.The second son ofThomas Strickland Standish andAnastasia Lawson, he succeeded in1813 to the Strickland estate ofSizergh and the Standish estate ofBorwick, whereas his elder brotherCharles succeeded to Standish andtook it as his name.Thomas latermarried Gasparine de Finguerlin (p.12;Top Passage).

WILLIAM LANE (1746–1819)

Alfred Matthews (1792–1873)Coloured chalks, 36 × 29cmSigned: W. Lane Del./1808One of the eight sons of JohnMatthews, done at the age of sixteen.

SCULPTURE

Attributed to JOSEPH NOLLEKENS

(1737–1823)

Head of the young BacchusMarble, 26cm high

THE FIRST-FLOORPASSAGE

CLOCKWISE, STARTING TO RIGHT OF DOOR TO

OLD DINING ROOM:

J. DE LAGESSEAU, 1870

Alice de La Chere, later Mrs Hornyold(1856–1943)Drawing, oval, 36 × 26cmSigned: J. de Lagesseau/1870For biography, see p.8 (DrawingRoom). Pair to the portrait of Berthede La Chere (opposite).

VAN DEN ANKER

Alice de La Chere, later Mrs Hornyold(1856–1943), as a childOverpainted photograph, 20 × 25cmSigned: Disderiphot/Van den Ankerpinxt.For biography, see p.8 (DrawingRoom). Pair to the portrait of Gastonand Alice de La Chere.

BRITISH SCHOOL, early 19th-century

Cows coming through a gate onto acountry trackOil on canvas, 60 × 50cm


Sir Gerald Strickland, Baron Strickland ofSizergh (1861–1940)Oil on board, 66 × 36.5cmSigned: E.C. Dingli/38Depicted in his robes as a KnightGrand Cross of the Order of StMichael and St George. For hisbiography, see p.3 (Upper Hall).Thefull-scale version of this portrait is inMalta.

VAN DEN ANKER

Gaston and Alice de La Chere as childrenOverpainted photography, 20 × 25cmSigned: Disderiphot/Van den Ankerpinxt.Pair to the portrait of Alice de LaChere (opposite).

J. DE LAGESSEAU

Berthe de La ChereDrawing, oval, 36 × 26cmSigned: J. de LagesseauOne of the daughters of Julian de LaChere and Mary Matthews (seebiography on p.6; Drawing Room),and thus a niece of Henry Matthews,Viscount Llandaff (see biography onp.10; Old Dining Room). She lookedafter him in later life, and he left to herthe Matthews heirlooms thatsubsequently passed to her nephew,Henry Hornyold-Strickland. Pair tothe portrait of Alice de La Chere.

9

Right Sir Gerald Strickland, Baron Strickland of Sizergh; by Edward Caruana Dingli

THE OLD DINING ROOM

CLOCKWISE STARTING TO LEFT OF FIREPLACE:

UPPER LEVEL:

ELIZABETH MATTHEWS (1781–1860)

Henry Matthews (1789–1828)Oil on canvas, 43 × 34cmPainted by his sister in Montem dressof Eton. He was the fifth son of JohnMatthews, became a Fellow of King’sCollege, Cambridge, and was called tothe bar. Having travelled abroad for thesake of his health in 1817–19, hepublished in 1820 his Diary of anInvalid, which was a great popularsuccess.Appointed Advocate-Fiscal ofCeylon in 1821, he died seven monthsafter being promoted to Chief Justice.He married Emma Blount of OvletonManor, Herefordshire, by whom hehad an only son, Henry, later ViscountLlandaff, a daughter Mary, who was tomarry Julian de La Chere, and anotherdaughter, Helen, who became a nun.

ELIZABETH MATTHEWS (1781–1860)

Self-portrait painting cherriesOil on canvas, 40.5 × 34cmThe artist was one of the six daughtersof John Matthews.

UPPER LEFT:

BRITISH SCHOOL, c.1845/50

Charlotte Hornyold, née Langdale(d. 1904)Watercolour, 53 × 40cm

UPPER RIGHT:

BRITISH SCHOOL, c.1845/50

Vincent Hornyold (1818–1902)Watercolour, 53 × 40cmVincent Hornyold of Blackmore Park,Worcestershire, and his wife Charlottewere the parents of Alfred Hornyold(p.8; Drawing Room).

LOWER LEFT:

WILLIAM HOBDAY (1771–1831)

Anne (1793–1864), Mary (1790–1860)and Charlotte Matthews (1796–1874)Watercolour, 21 × 27cmThe three younger daughters of JohnMatthews of Belmont (p.7; DrawingRoom) and Elizabeth Ellis.

LOWER RIGHT:

SAMUEL SHELLEY (c.1750–1808)

Jane (1787–1861), Elizabeth(1781–1860), and Eleanor Matthews(1784–1861)Black chalk and watercolour, 21 ×27cmThe three elder daughters of JohnMatthews of Belmont, portrayed by amore refined artist (who was also apainter in miniature) than that of theyounger daughters.

OVERDOOR:

LAFAYETTE

Alice Hornyold, née de La Chere(1856–1943)Hand-coloured photograph, oval, 35.5× 26.5cmFor biography, see p.8 (DrawingRoom).


Mary Hornyold-Strickland, néeStrickland, CBE (1896–1970)Oil on canvas, 111 × 85cmSigned: E.C. Dingli/1934Eldest of the daughters of Sir Gerald(later Baron) Strickland and LadyEdeline, she inherited her father’sproperty and interests in England. Shewas married in 1920 to HenryHornyold, who in 1950 donatedSizergh Castle and its estates to theNational Trust.

UPPER LEVEL:

MARCEL-ANTOINE VERDIER (1817–56)

Mary de La Chere, née Matthews(1823–90)Oil on canvas, 88 × 115cmSigned: Verdier/1843For biography, see p.6. Her portrait inthe Drawing Room was painted inthis same year, which was probablythat of her marriage.

LOWER LEVEL:

ALFRED EDWARD CHALON (1780–1860)

Henry Matthews, later Viscount Llandaff(1826–1913)Watercolour, 27 × 20cmSon of Henry Matthews (p.10; OldDining Room) and Emma Blount, he

was born in Ceylon, and raised in hismother’s religion, as a Catholic,although his father had stipulated thathe should not be sent to a Catholicschool.After a career as a lawyer, heembarked in 1868 on one as aConservative politician, becoming in1886 Home Secretary, the firstCatholic to hold Cabinet office. In1895 he was raised to the peerage.When he died, the Matthewsheirlooms passed to his niece, Berthe,aunt of Henry Hornyold(-Strickland).


Henry Hornyold-Strickland (1890–1975)Oil on canvas, 111 × 85cmSigned: E.C. Dingli/1934Henry was the only son of AlfredHornyold and Alice de La Chere. In1920 he married Mary Strickland,adding her name to his in 1932, afterSizergh and its estates were transmittedto them both. In 1950 he donatedthese to the National Trust. HenryHornyold-Strickland was LordLieutenant of Westmorland from 1957to 1965.

Jarrard Edward Strickland (1782–1844)Photograph of a drawing of c.181530.5 × 20cm Grandfather of Sir Gerald, LordStrickland.The drawing itself recentlyreappeared locally, unrecognised, andwas acquired by the family.

SCULPTURE

?FRANCO-NETHERLANDISH, c.1700

Marine VenusIvory, 19cm high

FRENCH, late 19th-century

Nymph with flowers in her bonnet,contemplating billing dovesIvory, 32cm high

10

THE LINENFOLD ROOM

CLOCKWISE, STARTING TO LEFT OF FIREPLACE:

After J.H. NEWMAN

Thomas Hornyold (1791–1859)Oil on canvas, 42 × 26cmSigned: J H Newman 1853This is a one-eighth-size replica of theoriginal in the Guildhall,Worcester,painted by the artist himself.The sitterwas Henry Hornyold(-Strickland)’sgreat-great-uncle. He died withoutissue.


Rev. William Strickland (1731–1819)Oil on canvas, 104 × 86cmThe second son of Thomas PeterStrickland (1701–54),WilliamStrickland received a Jesuit educationin the Netherlands, taught philosophyat Liège, and was ordained a priest in1766, returning to England to serve inthe Jesuit mission at Stonyhurst inLancashire. He had renounced hisclaim to the Sizergh estate, which in1761 passed from his elder brother,Walter (see p.7; Drawing Room), tohis younger brother, Charles.Thisintriguing portrait, which probablydates from the time of Romney’s briefreturn to the North-West fromLondon in 1765, shows him as agentleman scholar in his library.

BRITISH SCHOOL, c.1880

Henry Matthews, Viscount Llandaff(1826–1913)Oil on canvas, 36.5 × 29cmPainted from a photograph. Forbiography, see p.10 (Old DiningRoom).

J. T. TUITE (active 1818–40)

Landscape with Fishermen mending NetsOil on canvas, 75 × 61cmSigned lower right: J.T. Tuite/1840Tuite seems to have lived in Boulogne.

BRITISH SCHOOL, 1812

Rev. Arthur Matthews (1788–1840)Oil on board, 58 × 40cmThe fourth son of John Matthews,shown as a fellow of BrasenoseCollege, Oxford, at the age of 24.

JOSEPH SLATER (c.1779–1837)

Members of the Matthews FamilyFive coloured chalk drawingsSigned and dated 1821 and 1832

?THOMAS GEORGE (1790–1840)

John Holder Matthews (1783–1849)Watercolour and grey wash, 21 ×17.5cm Inscribed on mount: George 1833

THE SECOND-FLOORLANDING

E. SMITH, 1841

Mrs Thomas LedmoreWatercolour, 23.5 × 28.5cmMrs Ledmore lived in King Street,Hereford, and was Housekeeper toCol. Matthews at Burton,Herefordshire.

THE BOYNTON ROOM

FLEMISH SCHOOL, 1574

The CrucifixionOil on panel, 75 × 57.5cmThis precise picture would appear tobe by an artist working in Bruges, suchas Pieter Pourbus the Elder (Gouda1524–Bruges 1584).

THE BINDLOSS ROOM

LEFT OF DOOR:

Ascribed to LAZZARO PISANI (1854–1932)

Lady Edeline Strickland, née Sackville(1870–1918)Oil on canvas, 80 × 62.5cmLady Edeline’s father, Reginald, 7thEarl De La Warr (1817–96), had beenportrayed by Pisani – presumably inMalta – when she was six.The presentportrait would appear to have beenpainted about a decade after hermarriage to (Sir) Gerald Strickland(later Lord Strickland of Sizergh) in

11

Right Rev. William Strickland; by George Romney

1890. It looks as though it may havebeen cut down, which may accountfor the absence of any signature ordate.

OVER DOOR:

After JOHN HOPPNER (1758–1810)

Lady Mary, Lady Elizabeth and LordGeorge SackvilleColour mezzotint, 81 × 61cmLady Edeline Sackville’s father, 7thEarl De La Warr, inherited Knole in1870, but when he also inheritedBuckhurst in 1873, his youngerbrother, Mortimer, later 1st BaronSackville, successfully maintained thatKnole should pass to him.The originalof this reproductive print was one ofmany Sackville heirlooms sold in thelate 19th century. It is now in theMetropolitan Museum in New York.

BRITISH SCHOOL, c.1920

Lady Margaret Sackville (1881–1963)Oil on canvas, 89 × 60cmLady Edeline Strickland’s youngestsister.

LEFT OF WINDOW:

ALEXANDER BLAIKLEY (1816–1903)

Constance, Lady De La Warr(1848–1929)Pencil and pastel, 77.5 × 58cmSigned and dated 1871Lady Edeline’s mother, eldest daughterof the politician and author,AlexanderCochrane-Baillie, 1st BaronLamington, and AnnabellaDrummond. She was married toReginald, 7th Earl De La Warr in1867, and secondly, in 1902, to theRev. Paul Wyatt, Chaplain of the Savoy.

THE TOP PASSAGE

STARTING OPPOSITE TAPESTRY AND MOVING

FROM LEFT TO RIGHT:


Capt. John Whitby, RNOil on canvas, 74 × 61cmCaptain and Mrs Whitby had an onlydaughter,Theresa, who in 1827 wasmarried, as his second wife, to

Frederick West (1799–1862), ofRuthin Castle, grandson of the 2ndEarl De La Warr.


Mrs John WhitbyOil on canvas, 74 × 61cm

After SIR HENRY RAEBURN (1756–1823)

General Henry WynyardOil on canvas, 74 × 61cmGeneral Wynyard came from a militaryfamily. In 1793 he married LadyMatilda West, younger daughter of the2nd Earl De La Warr and Mary,daughter of Lt Gen. John Wynyard.

JOHN HOPPNER (1758–1810)

Lady Georgiana West/Buckley (d.1832)Oil on canvas, 73.5 × 61cmEldest daughter of John, 2nd Earl DeLa Warr (1729–77) and Mary Wynyard.She married Edward Percy Buckley in1782.

OPPOSITE WINDOW:

Attributed to HAMLET WINSTANLEY

(1694–1756)

Elizabeth Strickland, née Pennington(b.1679)Oil on canvas, 73.5 × 61cmThe daughter of Sir WilliamPennington, 1st Bt (1655–1730) andIsabella Stapleton (p.1; Upper Hall).She was first married to Dr JohnArcher (d.1735) of Oxenholme, andthen to Thomas Peter Strickland as hissecond wife.This picture was probablypainted during her first marriage, by apainter born and based in Warrington.

RIGHT OF WINDOW:

EDWARD HASELL-MCCOSH, 1970

Pointer with dead gameOil on canvas, 122 × 122cm

LEFT OF WINDOW, FROM LEFT TO RIGHT:

FRENCH SCHOOL, 1815

Rose-Henriette Peronne de Sercey,Baronne de Finguerlin (b.1773)Oil on canvas, 74 × 58cmIndistinctly signed: F.V. Douine (?)/1815A Creole orphan niece of thenotorious Mme de Genlis, governess

to Philippe Egalité’s children, andmother of some of them, Henriettewas taken by her on the outbreak ofthe French Revolution to England andthen to Hamburg, where she marriedthe banker Johann Conrad Matthiessenin 1796.Their daughter EmmaConradine (1801–31) was married toCharles Standish (1790–1863), theeldest son of Thomas StricklandStandish, in 1822. In 1801 Henriettedivorced Matthiessen and married theSwiss Baron Henri de Finguerlin deBischinsen.Their daughter, Gasparine,was married to Charles’s youngerbrother,Thomas Strickland of Sizergh(1792–1835).

FRENCH SCHOOL, c.1835

Gasparine-Ida de Finguerlin, MrsThomas Strickland (1805–46)Oil on canvas, 84 × 64cmThe younger daughter of the secondmarriage of Henriette de Sercey, shewas married in Paris to ThomasStrickland of Sizergh in 1824. Fromher hairstyle and dress, this portraitwould appear to have been painted adecade later.As she is wearing black,and the dexter (left-hand) coat of armsis left blank, it may have been paintedin her widowhood and sent toSizergh, expecting that the Stricklandarms would be added to it. Less thansixteen months after Thomas’s deathshe was married again, to Roger deMontesquiou, comte de Fezensac,which may account for their havingbeen left blank. She was for a periodlady-in-waiting to Queen Adelaide.

SCULPTURE

E. BERTUZZI

Female BatherSigned: E. Bertuzzi Roma 1875Marble, 81cm high

12

THE BANQUETING HALL

OVER FIREPLACE:

JOHN FERNELEY (1782–1860)

Fox and duckOil on canvas, 98 × 121.5cmSigned bottom right: J. FerneleyPinxt./1813

OVER CUPBOARD:

NICHOLAS POCOCK (?1741–1821)

Conway CastleOil on canvas, 76.5 × 116.5cmSigned on the boat: N. Pocock 1794

OPPOSITE FIREPLACE:

ENGLISH SCHOOL, late 17th-century

An unknown man in armourOil on canvas, 124 × 99cm

THE INLAID CHAMBER

P. ATKINSON, 1805

View of Sizergh Castle from the SouthOil on canvas, 83.5 × 193.5cmSigned: P. Atkinson pinx. 1805This picture is rather curiouslyexecuted in brown monochrome,apparently to harmonise with theantiquarian air of the panelling whenit was inserted as an overmantel intothe adapted chimneypiece.The artist isunknown, but was clearly provincial.There was, however, a James Atkinsonwho is recorded as a travelling house-painter turned portrait-painter atDarlington at the end of the 18thcentury. But thereafter,‘a gentlemanfound him the means to become asurgeon, and secured him a post inIndia, where, by the aid of his taste forhigher accomplishments in life, hepushed his fortune and sent his agedparents £200 a year for their lives’: washe the son of this P.Atkinson?

© 2007 The National TrustRegistered charity no.205846

Text by Alastair Laing

Illustrations: National TrustPhotographic Library/John Hammondfront cover, pp.1 (left and right), 2 (leftand right), 5 (left and right), 6 (left), 7(left), 8, 11, 13 (left); NorwynPhotographics pp.3 (left and right), 4,6 (right), 7 (right), 9, 13 (right).

Designed by Matt Bourne

Front cover picture Roger Strickland; by Alexis-

Simon Belle (Upper Hall)

13

Left Fox and duck; by John Ferneley. Right View of Sizergh Castle from the South; by P. Atkinson

sizergh castle - nt.global.ssl.fastly.net · castle enables her to be recognised as the elder...

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