Glimpses of Kings Weston’s artistic wealth on display

A recent visit to Bristol Museum and Art Gallery came with something of a surprise. Hanging on the wall of the British and European Art: The Age of Enlightenment and the Birth of Romanticism gallery is a pair of paintings we recognised immediately as being from Kings Weston!

Venice, the Molo by Canaletto, now at Bristol Museum and Art Gallery 

The paintings are by none other than Canaletto, and it’s after them that the Canaletto Room in Kings Weston house was named. The two paintings were auctioned in 2002 from the collection of Southwell family portraits still in the ownership of the family trust. The sale paid for the expensive restoration of the rest of the collection, but the two Canaletto’s went into private hands. They are now hanging in the museum on a five-year loan from a private collection.

The two paintings were originally bought for Kings Weston by Edward Southwell II. At 21 the young Southwell had been dispatched to the Continent on his grand tour, returning home in August 1726. It appears that it was only in the following year that Southwell  purchased the first two paintings through Owen Mc Sweeney (or Swiny). Mc Sweeny had become resident in the Italian city in 1721, becoming agent for several artists and selling his works to English gentlemen on the Grand Tour. It may be that Southwell placed orders for the paintings when he was in Venice in early summer 1726, for them to be sent to him the following year.  

Venice, Piazza San Marco by Canaletto, now at Bristol Museum and Art Gallery 

The latter wrote to the Duke of Richmond in 1727: “The pieces which Mr. Southwell has, (of Canals painting) were done for me, and they cost me 70 sequeens. The fellow is whimsical and vary’s his prices every day: and he that has a  mind to have any of his work, must not seem to be too fond of it, for he’ll be ye worse treated for it, both in the price and in the painting too. He has more work than he can doe, in any reasonable time, and well: but by the assistance of a particular friend of his, I get once in two months a piece sketch’d out and a little time after finished, by force of bribery. l send yr Grace by Captain Robinson [ … ] who sails from hence tomorrow, Two of the Finest pieces, I think he ever painted and of the same size with Mr. Southwell’ s little ones (which is a size he excels in)”.

It’s worth noting that Mc Sweeney was an Irishman and Southwell maintained strong links with his ancestral homeland, shortly to become Secretary of State to that Kingdom in succession after his father. The pair may have connected in Venice over a patriotic bond.

Edward Southwell II, 1705-1755, who commissioned Canaletto’s paintings. 

Edward Southwell became one of the earliest gentlemen to boast Canaletto’s amongst their collections, at the forefront of a trend that would eventually see the artist coming to England to satisfy demand for his paintings.
 
By 1777 there were four paintings by Canaletto hanging at Kings Weston. Is it possible that Southwell had returned from Venice with a pair in 1726, the two commissioned through Mc Sweeney adding to the collection?
 
The four views of Venice were hung together in the Dressing Room of Lady de Clifford, a large first floor reception room with a bay window overlooking the Severn. Here, most of the family’s best and most intimate paintings were to be found, those intended to be seen by the family’s closest friends and most important guests. They were clearly held in high regard.
 
When the last in the line of Southwells, the 21st Baron de Clifford, died and his property was sold in a series of London Auctions, the paintings were described and “St Mark’s Quay” and “St Mark’s Place – the companion”. The original attribution to Canaletto was later amended in the catalogue to name Guardi, another Venetian artist, as their creator. They sold for £31 and £25 respectively, possibly bought back by family members. But what of the other two recorded in the house a generation before?
 
In a year when a number of other paintings that once hung at Kings Weston have gone to auction, it’s gratifying to find two such important paintings being shared with the public so generously.

John Vanbrugh: The drama of architecture

For the first time, the history of Kings Weston house has been accurately delineated in print. A new biography of the architect Sir John Vanbrugh has just been published, one that finally sets out the dates for design and construction accurately.

Author and former director of the National Gallery Sir Charles Saumarez Smith, has been in dialogue with KWAG for the last couple of years, sharing research and thoughts on the book. We have been delighted to support his work and have been kindly mentioned in the acknowledgements.

The book focusses on Vanbrugh’s architectural work in the context of his life experiences and personality. It adds colour to the man’s character and shows how he used his charm and enthusiasm to convince patrons of his ability to execute extraordinary projects with relatively little experience.

Kings Weston is well covered in the book, with seven whole pages. With the accurate start-date of the house finally confirmed in print as 1712, this is the first book to be able to show how the design and construction fits into the wider picture.

We were delighted to be able to attend the book’s launch at Wigmore Hall in London, where Charles Sumarez Smith gave a fascinating and illuminating lecture on Vanbrugh’s transformation from playwright to architect.

The book is published by Lund Humphries and would make an ideal Christmas present for anyone interested in Kings Weston’s famous designer and the backdrop against which it was built.     

Sir Charles Sumarez Smith presents a lecture on Vanbrugh at the launch event at Wigmore Hall, London

Working Party update: Lanky laurels laid low 

We focussed on a key spot in Penpole Wood in November 2025, one where the middle path had become heavily overgrown with cherry laurel. The steep hillside along the north edge of the woods results in cherry laurel growing lanky and drooping in much the same direction. The thin soils here see the overgrown shrubs pull out by their roots and fall downhill, often continuing to grow when they have.

Before and after work along the Middle Path in November, looking eastwards. 

The spot we started work on in November had all of these issues and had resulted in low-growing laurels threatening to block the route completely. Our volunteers worked hard in slippery conditions on steep inclines to cut and fell the laurel, using fallen boughs to line the lower edge of the path and reduce erosion; here, it had been undermined by roots pulling-out the ground where trees have fallen downhill.

The results have been transformative, and have ensured the area is safer and more accessible for a few years yet. A surprising change resulted from relatively few volunteer hours, and the results speak for themselves we hope.

en transformative, and have ensured the area is safer and more accessible for a few years yet. A surprising change resulted from relatively few volunteer hours, and the results speak for themselves we hope.

 A view opens up along the path looking towards Penpole Point. 

Town house, Country house: the story of Kings Weston’s London counterpart 

Kings Weston was the country estate of the Southwell’s from 1675 to 1832, but every landed family of note also maintained a London address. The Southwell’s were no exception, and their interest in London pre-dated their acquisition of Kings Weston.

Sir Robert Southwell, 1635-1702

Sir Robert Southwell made himself indispensable to the government of King Charles II on his return from his Grand Tour of Europe in 1662. By 1665 he had been knighted and held important government and diplomatic roles. Four years later he was sufficiently well off to purchase a lease from the Crown for his own property close to the heart of Court life in Whitehall.   

He bought the reversionary lease on a parcel of land called Spring Gardens that backed on to St James’s Park. There was a brick-built house here, around 20 years old, and a small park, where he set up home.

Sir Robert’s circle of friends was drawn heavily from other members of the Royal Society. His interest in the Natural Sciences had encouraged him to become an early member of this auspicious group of learned gentlemen. One of his closest friendships was with Robert Hooke; Southwell was noted for his outgoing and genial character whilst Hooke was a man noted for his difficult and irritable temperament, but the two bonded over their interest in science.

Hooke was one of the most important and prolific scientists of the era. As well as interests in astronomy, geology, mechanics, and microscopy, Hooke was an accomplished architect, perhaps second only to Sir Christopher Wren at the time. Indeed, he succeeded Wren as Surveyor of the Royal Works in 1670. Perhaps his best known work is the monument to the Great Fire of London, still standing close to the site where the fire began.  It was to his friend that, in 1674, Southwell turned to provide drawings for the rebuilding of his Spring Gardens house and paid him 5 guineas for his trouble.

The plans of Spring Gardens house in the Kings Weston Book of Drawings (Bristol Archives) 

A drawing survives today in Bristol Archives that likely represents Hooke’s plan for the building. It was a substantial town house for the era, its status marked by being set detached in its own grounds. It was designed with two wide frontages of seven bays each, set out over four floors, with the semi-basement housing services and the attic of garret floor being the usual servants’ accommodation. The family rooms occupied two floors: ground floor elevated above the street by nine steps and ’piano nobile’ at first floor equipped with a large dining room where grandstand views across St James’s Park could be obtained.  

Spring Gardens house seen from the west, roughly from above where Buckingham Palace is today 

The external appearance of Sir Robert’s new house is detailed in an engraving of 1720, after his son Edward had inherited it but largely unchanged. Here it is in its ‘perfect’ state, before alterations and development around it. It was a smart but unostentatious building, brick-built but with stone quoins at its corners. As was fashionable at the time, it had a modillion course (a projecting cornice) supporting a hipped roof. The engraving shows a balustrade around the leads of the roof, providing an elevated position for guests to enjoy distant views across the park. The gardens around the house are depicted behind high walls, formally arranged, and with ornamental garden buildings dotted about.   

The location of Spring Gardens house in 1730 and in 1778, showing the Southwell’s own development gradual encroaching on their house and garden. 

As might be expected, land in London was valuable. Even though much of Court life moved away after Whitehall Palace burned, Westminster remained the seat of Government, and at the periphery of the Royal Park, land was in demand. The Southwell’s had begun capitalising on their central-London estate by gradually developing it with new houses. Already, in 1668, in Sir Robert’s time, new houses were built to let.

Initially, new houses were large, detached, and with their own gardens, but made inefficient use of the land. By the early 18th Century the market demand for courtly town houses had waned, replaced by a demand from politicians and civil servants for houses close to their places of work. Sir Robert’s grandson, also Edward (II), quickly reordered the London estate when he inherited in 1730. He set out a formal new street of smart terraced town houses preluded with a new chapel for its residents. He also allowed the gradual encroachment of buildings on the family’s home.  

The back of the house is seen on the right in 1884, Over the garden wall, the additional storey and polygonal bay can be seen. The National Gallery can be seen across Trafalgar Square in the background. 

Spring Gardens house remained the family’s primary London residence, the family alternating between here and Kings Weston seasonally, or when business or society dictated. Significant sums were invested on extensive renovations in the early 1750s. It’s not clear who the architect of these works would have been, but both the interior and exterior were modernised in fashionable taste; hipped roofs were done away with or hidden behind Palladian parapets; an additional storey was added to the garden front; a new polygonal bay in the same elevation became its focal point, its crown ornamented with a stone balustrade.

Another view of the garden front of Spring Gardens when the stone balustrade still topped the bay window. c.1880s.

Eventually, the street frontage of the house was bookended by more Georgian town houses, the only indication of its higher status being its set-back from the street. A rather unsightly high wall created some privacy from the pavement, whilst a long single-storey passage and pedimented entrance brought the front door directly to the street.  

The northern, street frontage, of the house in 1886. The historic volume of the 1674 house is dwarfed by later Georgian development. 
A late-19th Century photograph recording the house before demolition. The front door was extended to the street from the original building line

With Edward Southwell III’s elevation to the House of Lords as Baron de Clifford in 1776, the house now lacked the social status appropriate to his station, but on his untimely death the year later he left it to his wife Sophia; she appears to have been the last of the family to live there. Their son, Edward, 21st Baron de Clifford, the last of the Southwell’s of Kings Weston, built himself a new London residence in Carlton House Terrace in 1827.

The old house survived, converted to offices for the Admiralty, but was finally erased in favour of new purpose-built Admiralty offices. Today, the site lies beneath the northern wing of Admiralty Arch spanning The Mall connecting Buckingham Palace with Trafalgar Square.  

The rough location of Spring Gardens house on the modern layout of central London. 

Working Party update: Back into the woods for cherry laurel clearance 

In July this year, we made a start on clearing laurel from an area at the foot of the steps down through Penpole Wood, close to the Point. This location is at the far eastern end of the Eighteenth Century pleasure walks through the woods, an important route long-neglected. Last month we returned to continue efforts to stem the tide of this invasive species.

a wide panorama looking up the slope from the Middle Path, before and after volunteer work.  

We were a little depleted in numbers in October, but set ourselves clear targets of two areas either side of the path. The steep slope here proved challenging and sapped energy in requiring a steady footing and the transport of the cut material towards waste piles.

Cherry laurel is pushed back from assailing a beech tree along the Middle Path.  

With just seven volunteers, we managed to achieve most of the task at hand. Unfortunately, by the time everyone’s energy had lapsed, we were left with a mess. Having managed at least to clear the path, it was down to the efforts of one of our volunteers to tidy everything into piles over the following weeks; a huge effort that we’re enormously grateful for.

Perched on the slope and looking westwards, with the Middle Path leading into the distance. 

“Old Frank” up for auction 

An old master oil painting, once the collections of the Southwell family of Kings Weston house, has recently been advertised for auction. We note, with disappointment, that it has recently been released from the large collection of historic Kings Weston paintings held in trust by the descendants of the Southwell’s, later Barons de Clifford.

Christ in the House of Simon the Pharisee, one of the Old Master paintings once given pride of place in Lady de Clifford’s private chambers. 
Formerly Lady de Clifford’s Dressing Room, this “long and lofty” space once had “no equal in the Kingdom” and was hung with paintings “the subjects in general are small, but they are of the first excellence”  . Seen during work in 2014.

The painting, Christ in the House of Simon the Pharisee, is first recorded hanging in Lady de Clifford’s dressing room decorated in blue silk damask. This room is now the first floor room with the bay window overlooking the Severn. Here it accompanied some of the best of the family’s collection of paintings, the most intimate, and intended only for view by them or their most special guests. On the surrounding walls were works by Claude Lorrain, Nicolas Poussin, Annibale Carracci, Pietro da Cortona, and four paintings by Canaletto.
 
An inventory of the contents of the house in 1777 describes the painting as “The washing of our saviour’s feet” and the artist as “Old Frank”. This attribution has now been revised and is now considered to be by his son,  Frans Francken the younger (1581-1642). The 18th-century attribution to Francken the Elder likely stems from the signature “D.o. ffranck,” where “D.o.” stands for the Flemish de oude, meaning “the Elder.” However, this signature was actually used by Frans Francken the Younger from the late 1620s. Prior to the death of his father in 1616, he had signed his works as “the young Frans Francken.”

Engraving of the artist Frans Francken the Younger ( 1581-1642) by Van Dyke. 

Whilst the auctioneer suggests that it come to Kings Weston courtesy of the second Edward Southwell (1705-1755), it’s more likely to have been during one of Sir Robert Southwell’s journeys across the Low Countries that it was purchased or perhaps his son, Edward’s travels in 1697; it’s not included in an inventory of pictures at Kings Weston from 1695, so perhaps the latter is more probable.

The framed painting shortly to be sold

The painting remained at Kings Weston until the last of the direct line of the Southwell Family, The 21st Baron de Clifford, died in 1832. With no direct heir, he willed that the contents of the house be sold in its entirety. The painting, by this time described as Mary Magdalen washing the feet of Christ and attributed to Old Franks, sold for £10 10 shillings, as much as a painting by the more famous Poussin. As was common, it’s likely that a family member bought back a number of paintings, perhaps one of the nieces who were the ultimate beneficiaries of the sale.
 
We last saw the painting just outside Taunton where the family trust stored much of the collection of paintings. The circumstances and reason for it leaving such an important private collection are unknown, but we’ll endeavour to find out. If anyone were interested in returning it to Kings Weston, it will be sold via Dreweatts auction house on November 4th and the current estimate is £20-30,000! 

Junior School nostalgia  

It was rewarding to meet so many old students at the Kings Weston open day. Some remember their time at junior school between 1949 and 1959, or the following decade when it performed duties as part of Bristol College of Science and Technology (later Bath University). We’re grateful for Robert Spereall for remembering his promise at last year’s Heritage Open Day and returning with copies of a couple of old school photos. Even better, he’s been able to identify almost all of his classmates in them!

Left to right:
Top Row:
David Chappel; Philip Knight; Graham Cook; June James; unknown; Diane Meacker; John Curtis; Roger Ford; Ivor Lewis; Mr Mead (Headmaster)

Middle Row:
Richard Corner; Edwin Smith; Robert Spereall; Ronnie Wewall; Stephen Bolton; Keith Goddard; Malcolm Campbell; David Greening; unknown; Jeff Turkington; Richard Dewfall.

Bottom:
Diane Maycock; unknown; Rosemary Haynes; Linda Mcullan; Glenis Millwall; unknown; Leslie Pugh; Rosemary Williams; Sandra Matthews; Sheila Lovall
 

Left to right:
Top Row:
 Mr Brain; Philip Knight; David Chappel; Robert Spereall; Edwin Smith; John Curtis; Roger Ford; Mr Mead (Headmaster)

Middle Row:
Ronnie Wewall; Malcolm Campbell; Ruth Smith; Pat Haynes; Suasan Bristow; Rosemary Haynes; David Greening; Roger Silcox.

Bottom:
Sheila Lovaall; unknown; ? Wade; unknown; unknown; Sandra Matthews; Christine Guy; Pat Coombes.

Can you help with another photo of a class at Kings Weston? This one has been in our collection for some time, but we don’t know the names. If you can help, or fill in some of the gaps in the photos above, drop us an email at kwactiongroup@gmail.com .



Lily pond resurgent 

Starting recovery, 12th September

About a week after volunteer work at the lily pond in August, the heavens opened for days on end and helpfully began to complement our work on restoration. By the start of this month, the pond has really begun to recover some of its water, despite the reeds already having begun a resurgence. There was never an expectation, or immediate desire, to see the reeds eradicated, but they were in need of better management to help protect the pond. This and the removal of many of the trees has put the brakes on the speed of decline for a little while longer.

Fuller still, the level of the water on 4th October.


A record Kings Weston Heritage Open Day! 

Firstly, thank you to everyone who helped make Heritage Open Day happen this year, our volunteers, Kings Weston house, and all the visitors who turned out to make it such a success. This year was a record-breaker, with over 860 visitors through the door on the day, and the most donations we’ve ever taken towards KWAG’s work. It was so popular that people were already queuing outside before doors opened at 10am.

John Barbey captivates an audience in the former parlour. (Courtesy of Bob Pitchford) 

Remarkable was the size of the groups attending the tours hosted by KWAG around the ground floor rooms. There were five held throughout the day, all of which, predictably overran; this is an inevitable consequence of shepherding such larger groups from room to room. We had some heart-warming feedback on these and the day as a whole. 

One of the guided tours sets off from the Saloon.  (Courtesy of Bob Pitchford) 

The weather on the day was horrible, with torrential rain coming across during the afternoon that would have discouraged even the most intrepid from heading up to The Echo and exploring the wider estate. We’re not sure if the weather counted in our favour or against it, but it would have been difficult to manage many more visitors on the day.
 
We hope everyone who came enjoyed the event. If you did, we are still taking donations via our paypal link.

The stair hall gets explained during one of KWAG’s tours. (Courtesy of Bob Pitchford) 

The lily pond in past times 

Following our focus on the Lily Pond, we were delighted to have some terrific photographs of it in happier times shared with us. Ken Osborne kindly directed us to these photos in his collection that show the pond in the 1950s.

In one, children take advantage of the open access at the west end to go pond dipping under the care of a couple of adults resting on the parapet wall; it certainly seems to have been a popular activity for a sunny afternoon. A notice attached to the lodge warns “action will be taken against any person found fishing or throwing litter in the pond”. We imagine the children will have got permission for their little ‘fishing’ even

A panorama of photos stitched together to show the lilypond in the 1950s. 
One of the surviving fruit trees, still with it’s fan-shaped branches, but now less formally trained. 

We’ve managed to splice a few of these into a long panorama showing the view from Napier Miles Road, and the fruit trees still trained across the back walls in glorious fan patterns. Some of these trees still grow today, a delicious couple of pear trees have become unruly, but still fruit in abundance.

The gardens around the pond were noted for the abundance of their crop, and the excellent conditions they offered for even delicate fruit. An article in The Garden magazine in July 1900 remarks on the hardiness of fig trees here. Again, some of these survive in the grounds, and were noted then for “individual fruits attaining to a very large size and ripening perfectly”. The author writes that “there are few gardens in which figs thrive and continue productive over so many years” and that they were “enviable to visitors whose ambition in fig culture cannot be satisfied to anything like the extent which obtain here under the most simple rules of culture”.

A couple of young ladies pause on the parapet wall of the pond for a chat, some time in the 1950s.