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NEWBY HALL

List Entry Summary

This building is listed under the Planning (Listed Buildings and Conservation Areas) Act 1990 as amended for its special architectural or historic interest.

Name: NEWBY HALL

List entry Number: 1150307

Location

NEWBY HALL

The building may lie within the boundary of more than one authority.

County: North Yorkshire

District: Harrogate

District Type: District Authority

Parish: Newby with Mulwith

National Park: Not applicable to this List entry.

Grade: I

Date first listed: 23-Apr-1952

Date of most recent amendment: 29-Oct-1987

Legacy System Information

The contents of this record have been generated from a legacy data system.

Legacy System: LBS

UID: 331785

Asset Groupings

This list entry does not comprise part of an Asset Grouping. Asset Groupings are not part of the official record but are added later for information.

List entry Description

Summary of Building

Legacy Record - This information may be included in the List Entry Details.

Reasons for Designation

Legacy Record - This information may be included in the List Entry Details.

History

Legacy Record - This information may be included in the List Entry Details.

Details

The following amendments should be made to the entry for Newby Hall, Newby Park, Newby with Mulwith (Item 1/28):-

Line 1 of the list description should be amended to read:- 'Country house. Completed by 1697 (Morris, p97) for Sir Edward Blackett, possibly to.....

Line 62 of the list description should be amended to read:- 'organ, possibly by James 'Athaeneum' Stewart, stands against the south wall' .

Line 83 of the list description should be amended to read:- 'bookcases by Belwood remains in the withdrawing room, after extensive C19 and'....

Lines 146, 147, 148, 149, 150and 151 of the list description should be amended to read:- 'Royal and Fountains Abbey Estate of the Vyner family. Mary Vyner inherited Newby in 1915 having married Lord Alwyne Compton in 1866 (he died in 1911); they were the grandparents of the present owner. J Hodgson, History of Northumberland, (1827) Reprinted 1973, Vol 2, p 258. Robin Compton, Guide to Newby Hall, 1987. Jill Low, 'William Belwood: Architect and Surveyor', YAJ 56, 1984, p 131. C. Morris (ed), The Illustrated Journeys of Celia Fiennes, 1685-c1712, (1982), pp96-97. J Cornforth, 'Newby in the 19th Century', Country Life, 25 December 1980, p 2406.

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SE 36 NW NEWBY WITH MULWITH NEWBY PARK

1/28 Newby Hall (formerly listed with stables) 23.4.52

GV I

Country house. c1695-1705 for Sir Edward Blackett, possibly to designs by Sir Christopher Wren; north and south wings added on east side c1775 - the ground floor by John Carr, upper storeys added by William Belwood pre 1785 and house reversed by addition of entrance porch on east side, the interior remodelled at the same time, to designs by Robert Adam and William Belwood, all for William Weddell. The west side extended northwards by the addition of a single-storey dining room in 1808 by John Shaw with contributions by Thomas Weddell Robinson, 3rd Lord Grantham and Earl de Grey for whom it was built. Upper storey added to dining room and northern range of service rooms added late C19 for Lady Mary and Robert de Grey Vyner. Red-brown brick, Flemish bond, ashlar quoins and dressings, grey slate roofs, wrought- iron details. The original building is a 3-storey, 9 x 5 bay block, with a central entrance (now window) to the west side, the entrance to the house now to centre of east side; wings are of 2 storeys and 7 bays. The added north dining room is of 3 x 2 bays and 2 storeys high, facing west. Original house, west front: the 2 outer and central bays project and all are defined by ashlar quoins. Central doorway, now a window, flanked by paired Corinthian columns supporting richly carved entablature and a broken segmental pediment; an entablature with a segmental pediment over to the first floor of central bay. Fenestration: unequally hung 15-pane sashes to ground and first floors, 9-pane unequally hung sashes to second floor, all with moulded sills, and in eared architraves,those to ground and first floors with keystones. Deep moulded string courses at first- and second-floor levels continuous round the building, bracketed eaves cornices and balustraded parapet with bulbous balusters. Banded stacks flank the central bay and bays 3 and 7. To left - added range: quoins; central 3-window section breaks forward, central glazed door flanked by 15-pane sashes, recessed panels above. Added first floor: central glazed door flanked by plate-glass sashes, wrought-iron balcony. High parapet with balustraded top, hipped roof, corniced stack left. East front, main entrance: central 6-panel double door under a fanlight with flanking pilasters. Porch: paired Ionic columns, entablature and cornice, blocking course carved with scrolls and swags. The porch is flanked by a railing composed of an anthemion frieze in wrought-iron, with bands of Greek key and guilloche motifs; the railings linked to a rectangular and a square pier on each side. Fenestration, and facade details as west front. South (garden) front: original house - the central bay breaks forward, with a central doorway, now window, below segmental pediment supported by consoles with panels of finely carved fruit and flowers. All the ground-floor windows have sills lowered to the internal floor level, and 18-pane sashes, the outer windows blind. The remaining windows as west front, the first floor of centre bay with similar entablature and segmental pediment. Added south wing to right: the central 3 bays break forward, central panelled doors flanked by blind recesses containing classical busts all beneath portico with 6 Tuscan columns (those to ends paired), entablature and balustrade. Sashes with glazing bars in architraves with cornices to ground floor, 6-pane sashes to first floor. Eaves cornice, high central parapet with 3 swagged panels, flanked by balustrading. North front: the central 3 bays break forward, with central glazed doors. The facade details as main front, the right 2 bays obscured by the added C19 range. North and south wings projecting on east side; facades to courtyard: fenestration and details as south-facing front of south wing, with projecting central bays and parapets with swags; canted bays to east ends. Interior: the house contains some of the finest Neoclassical detail in Europe, introduced during a remodelling of the interior for William Weddell during a period of about 20 years from 1765. The designs were by Robert Adam and William Belwood, with influences from Sir William Chambers; the artists involved included Joseph Rose, Antonio Zucchi, Angelica Kaufmann and Thomas Chippendale, with materials brought from Italy and France. Ground floor, principal rooms: the entrance hall with marble floor reflecting the ceiling pattern, the walls decorated with Roman trophies in plaster and pictures incorporated into the ornament. An organ, possibly by James 'Athaneum' Stuart, stands against the south wall. The entrance hall is flanked by a staircase hall to each side: the grand staircase to south, giving access to the 'State Lodging Apartment' on the first floor, for which Belwood drew up plans in c1775. Italian marble columns in antis support the upper floor, the cantilevered stone stairs of 3 straight flights have a wrought-iron balustrade with palmette and anthemion motifs and a beaded mahogany handrail. The staircase on the north side of the entrance hall gave access to William Weddell's private apartments; the wrought-iron balustrade is in a geometric style decorated with scrolls and leaf motifs. This staircase and the rooms in the northern wing (formerly estate offices and Mrs Weddell's bedroom suite above) were not seen in detail at resurvey. On the west side of the house the original entrance hall became the Tapestry Room, completed 1776, flanked by William Weddell's study and dressing room, now a withdrawing room and sitting room to the north, and an anteroom, incorporated into the staircase hall when a partition wall was removed in the C19, to the south. The tapestries were from the Gobelins factory in Paris, Robert Adam designed the ceiling of geometric panels with sphinxes and husk chains and painted roundels, the 2 French pier tables and glasses between the windows and the chairs are all part of the original scheme. The sitting room and withdrawing room have pine fireplaces; Robert Adam's ceiling for Weddell's study and 1 of the bookcases by Belwood remain in the withdrawing room, after extensive C19 and C20 redecoration. On the south-facing side of the house the Weddell dining room was altered to a library/sitting room in the early C19 but Robert Adam's interior of 1767-9 remains. The ends are apsidal (hence the blind windows), with wooden Corinthian columns in antis and an arched recess at the west end but a doorway at the east end leading to the Sculpture Gallery. The ceiling panel depicts Bacchus and Ariadne in a border of finely worked vine leaves; the marble fireplace has masks and classical motifs, the doorcases are richly moulded, with consoles supporting a cornice. The Sculpture Gallery comprises 3 inter-connecting rooms, 2 square flanking a central top lit rotunda. Robert Adam's plasterwork almost overwhelms the classical statuary which it was intended to set off. Adam is also thought to have designed several of the pedestals, some with openwork grills and possibly intended to contain charcoal or hot water stoves - there is no fireplace in the gallery. The new dining room, added onto the north side of the house in 1808 is square with alcoves to either end. The cambered ceilings of the alcoves have square recessed panels containing flower paterae, similar to the plasterwork (by William Belwood) of the portico (by John Carr). The ceiling frieze of cups and lion skins with modillioned cornice was taken by the 3rd Lord Grantham from a design by his father for Baldersby (then Newby) Park. First floor: some original early C18 features survive including doorcases to landing and one fireplace. Most rooms were redecorated in the mid-late C19, including the motto room by Lady Mary Vyner in 1857. Improved plumbing resulted in a bathroom being inserted into William Weddell's main lodging room on the south side. The original refurbishing of both the private apartments and Lodging Apartments for important guests was by William Belwood; only the Circular Room (opposite the top of the Grand Staircase) retains the original decoration. This was a dressing room with curved doors painted in 'grotesque' work, possibly by Elizabeth Ramsden, who married Weddell in 1771. The remaining rooms on the south side of the house were altered in the C19 and redecorated c1980-85, but retain ceiling cornices, fireplaces and door and window fittings of the late C18. Second floor not investigated. An oak staircase in flamboyant late C19 Jacobean style behind the added dining room gives access to a billiard room on the first floor, decorated in the same style, incorporating some original C17 panelling and carving. The wallpaper, coved and glazed ceiling, billiard table and light fittings are all original. History: in 1680 Sir William Blackett of Wallington, Northumberland,died. He had been a successful merchant and was Sheriff, then MP for Newcastle, owning many manors and the mineral rights in the county, much of his wealth coming from the coal mines. In his will he left £500 for an estate to be bought for his son Edward, along with manors, mines and collieries in the county. Edward was Sheriff of Newcastle in 1681 and in 1689 MP for Ripon, by that time having bought the Newby Estate from the Crossland family. In c1695 Sir Edward began the new Newby Hall, costing £32,000. He died in 1718. In 1748 the estate was sold to Richard Elcock Weddell, who bought it for his son, William, then aged 12. In his late 20's William made the Grand Tour and in 1766 work began to remodel Newby in the latest Classical style. It appears that as well as changing the main entrance from the west to the east side Weddell divided the building into 2 sections: his own private apartments north of the entrance hall, and a suite of rooms for display from the Tapestry Room facing west, the grand staircase behind, to the elaborate reception/dining room and Sculpture Gallery on the south. The first floor reflects the same division, the private rooms to north, and a 'State Lodging Apartment' facing west and south. William Weddell employed Robert Adam to apply decoration to the principal rooms and William Belwood to work with him on the basic scheme, with consultations from John Carr and Sir William Chambers. The layout of the remodelled house reflects the late C18 desire to use the building as a display in itself, as well as a container for beautiful objects collected in Europe by a man of wealth and standing. William Weddell died in 1792, leaving the house to Thomas Philip Robinson; through this inheritance the Newby Estate is linked with 2 other great estates in the area: Newby (now Baldersby) Park near Ripon, and the Studley Royal and Fountains Abbey Estate of the Vyner family. Mary Vyner inherited Newby in 1915 and married Lord Alwyne Compton; they were the grandparents of the present owner. J Hodgson, History of Northumberland, (1827) Reprinted 1973, Vol 2, p 258. Robin Compton, Guide to Newby Hall, 1987. Jill Low, 'William Belwood: Architect and Surveyor', YAJ 56, 1984, p 131. J Cornforth, 'Newby in the 19th Century', Country Life, 25 December 1980, p 2406.

Listing NGR: SE3478667436

Selected Sources

Books and journals
Compton, R, Guide to Newby Hall, (1987)
'Yorkshire Archaeological Journal' in Yorkshire Archaeological Journal, , Vol. 56, (1984), 131
'Country Life' in 25 December, (1980), 2406
Hodgson, J, 'A History of Northumberland' in A History of Northumberland Part 2, , Vol. 2, (1927), 258
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 32 North Yorkshire,

National Grid Reference: SE 34786 67436

Map

Map
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End of official listing