Chatsworth House from the gardens.

panoramic - Temple of Flora seen to the right of this view.

The Orangery Shop straight ahead.

In front of the shop is Piece d'Eau by Baltasar Lobo 1971.

Sculpture for Beyond Limits.

Exhibition runs from 8th September to 26th October 2014.

The house is Grade I listed.

Chatsworth House, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH PARK

SK 2570/2670

6/82

29.9.51 Chatsworth House

GV I

Country house. South wing 1687-9 by William Talman. East front

1689-91 by Talman, west front 1700-03, north front 1705-7 by

Thomas Archer. Alterations and additions 1756-60 by James

Paine, mostly replaced by alterations and additions including

the north wing 1820-42 by Jeffrey Wyatt, later Sir Jeffrey

Wyatville. Baroque and Neo-classical styles. For the First,

Fourth and Sixth Dukes of Devonshire. Sandstone ashlar (mostly

local) with other stones and marbles used for decoration. Roofs

hidden behind parapets. Basically preserving the plan of the

previous Elizabethan house, of four ranges around a courtyard,

and with a long north east wing with a return range to south and

wall enclosing a long entrance courtyard. Three floors, the

ground floor treated as a basement due to the fall of the land.

North wing of one storey over a basement. South front of twelve

bays, 3-6-3 with a rusticated basement and two upper floors of

equal height. Advanced end pavilions have giant fluted Ionic

pilasters. Full entablature with carving to the frieze of the

pavilions and bold inscription CAVENDO TUTUS across the centre.

Balustrade added in 1693 and urns in 1701. The basement has

segment headed glazing bar sashes and in the centre a double

return flight staircase, a replacement of 1837 by Wyatville.

The first and second floors have twelve glazing bar sashes in

moulded architraves with stepped keyblocks. East front of 1-8-1

bays, continues the rusticated basement, entablature, balustrade

and urns. Segment headed sashes to ground floor and glazing bar

sashes in keyed moulded architraves, to the two upper floors.

The end bays are set back and are flanked by paired giant

pilasters. The front was altered by Wyatville in 1823, who

removed a row of attic windows and refaced the whole front.

West front (originally the entrance front) of 3-3-3 bays. The

centre three advanced and pedimented, on four fluted Ionic

attached columns. The outer bays have giant fluted Ionic

pilasters. Rusticated basement with segment headed glazing bar

sashes and a central flat arched entrance with moulded

architrave. Two tiers of glazing bar sashes above, in moulded

architraves with stepped keyblocks, the centre and upper ones

decorated with relief carving. Complete entablature with carved

frieze, carving also in the pediment. Balustraded parapet with

urns. Garlands around the centre windows. Carving by Nadauld

and by Samuel Watson. North front of 3-5-3 bays, the centre

five forming a shallow curve, taller than the rest. Rusticated

basement, giant fluted Corinthian pilsters to the centre bow,

and glazing bar sashes in moulded architraves. The facade was

altered by Wyatville whose north wing abuts it. He altered the

fenestration of the centre part, removing attic windows and

making the pilasters fluted. The internal courtyard has

elevations of five and seven bays, mostly in their present form

as altered by Wyatville. Plain pilasters with carved trophies

by Watson. Top floor windows with alternately triangular and

segmental pedimented architraves. Wyatville replaced an open

colonnade on the south side. North wing has north elevation of

1-5-5-5-1 bays, followed by the orangery of 2-5-2 bays. Of the

first part the middle and end bays are divided by plain

pilasters and have solid parapets with urns rather than

balustraded parapets. Rusticated basement with segment headed

glazing bar sashes and glazing bar sashes in moulded architraves

above. The orangery has the five middle bays advanced and

divided by plain pilasters. Large casement windows.

Balustraded parapet, dated 1827. The wing is terminated by a

three by six bay pavilion and belvedere, rising to four storeys.

Entablatures between storeys, glazing bar sashes in moulded

architraves and the corner bays with plain pilasters. The

belvedere has open colonnades on all sides. Lower pavilion

beyond. Return range to west with gateways and entrance lodges.

Tripartite composition with three round-arched carriageways.

The centre flanked by paired Tuscan Doric columns, triglyph

frieze, entablature and parapet, partly balustraded. Flanked by

glazing bar sashes in moulded architraves and rusticated

advanced end bays. Partly balustraded parapet. The central

gates are re-set and are late C17 by Jean Tijou. Wall to south

enclosing entrance courtyard with statues on pedestals.

Interior: North entrance hall converted from a kitchen by James

Paine. Tuscan Doric columns with triglyphs. Wyatville replaced

the chimneypieces and widened the staircase. North corridor

enclosed and altered by Wyatville. The Painted Hall of two

storey height. Ceilings and walls painted by Laguerre, assisted

by Ricard, in 1694. Stone carvings by Samuel Watson. Staircase

1911-12 by W H Romaine-Walker. The south range commences with

private apartments, one room with an early C18 chimneypiece,

another with early C19 painted panels in the window reveals. The

Oak Room has panelling and twisted columns of c1700, brought

from Germany by the Sixth Duke. The chapel in the south west

corner is of two storeys, with an east gallery. Cedar panelling

with limewood carvings by Samuel Watson. Sumptuous Baroque

alabaster reredos designed by Cibber and carved by Watson.

Completed in 1694. Walls and ceilings painted by Laguerre. On

the west side, the west stairs with iron balustrade of 1702 by

John Gardom, with wrought iron panels on the landings by Tijou.

Painted ceiling by James Thornhill. West entrance hall with

Grisaille painting. Leather Room and Lower Library redecorated

in 1839 by Crace. The ground floor of the north wing contains

service rooms. First floor has mostly private apartments,

taking in the upper half of the chapel and hall, except the

north wing. On the south side private dining and drawing rooms,

basically early C18 but redone in 1780s by John Carr. The

dining room was altered by Wyatville. In the west wing the

centre bedroom was originally a vestibule and has late C17

panelling. Other rooms with delicate late C18 plasterwork.

Duchess' dressing room ceiling by Joseph Palfreyman, 1775. The

Red Velvet Room has a chimneypiece by Kent. On the north side

the Library made in 1832 by Wyatville with woodwork and fittings

by Armstrong and Siddons. Late C17 ceiling with painting by

Verrio. The Ante-Library by Wyatville with ceiling painting by

Hayter. To the north the suite of rooms in Wyatville's north

wing. Dome Room, the Great Dining Room with segmental arched

coffered ceiling and chimneypiece by Westmacott the Younger and

Sievier. Sculpture Gallery lit by three lantern skylights. At

the north end ormolu capitals to the columns, by Delafontaine of

Paris. Bas reliefs by Thorwaldsen and collection of

neo-classical sculpture. Second floor contains the state rooms

along the south wing. Great Staircase designed by Talman

(1689-90). Ceiling by Verrio; statues and doorcases by Cibber,

balustrade by Tijou. The state Dining Room, Drawing Room, Music

Room and Bedroom fill the south side. They have painted

ceilings by Verrio, Laguerre and Ricardi and a profusion of wood

carving by the London carvers Lobb, Davis and Young, assisted by

Watson. The rooms were decorated in 1689-99, but only the

Dining Room survives in its original state. In the centre of

the west wing is the Sabine Bedroom, originally a lobby, with

uninterrupted illusionist painting over ceiling and walls by

Thornhill (1708). In the north wing are smaller family rooms

and in the east wing the Queen of Scots Rooms, a suite of rooms

redone by Wyatville c1830. The oak stairs between ground and

first floor are by Wyatville, 1823-4. At the end of Wyatville's

wing is the Theatre, designed in 1833 as a banqueting chamber.

The painted ceiling panels of c1700 by Cheron and Thornhill,

were originally in the Library. Sources: William, 6th Duke of

Devonshire Handbook of Chatsworth & Hardwick, London 1844.

J Lees-Milne and J Cornforth Chatsworth. Nine articles in

Country Life April-September 1968. Duchess of Devonshire

The House: A Portrait of Chatsworth MacMillan 1982.

Listing NGR: SK2602270104

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Source: English Heritage

Listed building text is © Crown Copyright. Reproduced under licence.

Three Piece Reclining Figure: Draped

Manipulation

The Private Garden in front of Chatsworth House.

The house is Grade I listed.

Chatsworth House, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH PARK

SK 2570/2670

6/82

29.9.51 Chatsworth House

GV I

Country house. South wing 1687-9 by William Talman. East front

1689-91 by Talman, west front 1700-03, north front 1705-7 by

Thomas Archer. Alterations and additions 1756-60 by James

Paine, mostly replaced by alterations and additions including

the north wing 1820-42 by Jeffrey Wyatt, later Sir Jeffrey

Wyatville. Baroque and Neo-classical styles. For the First,

Fourth and Sixth Dukes of Devonshire. Sandstone ashlar (mostly

local) with other stones and marbles used for decoration. Roofs

hidden behind parapets. Basically preserving the plan of the

previous Elizabethan house, of four ranges around a courtyard,

and with a long north east wing with a return range to south and

wall enclosing a long entrance courtyard. Three floors, the

ground floor treated as a basement due to the fall of the land.

North wing of one storey over a basement. South front of twelve

bays, 3-6-3 with a rusticated basement and two upper floors of

equal height. Advanced end pavilions have giant fluted Ionic

pilasters. Full entablature with carving to the frieze of the

pavilions and bold inscription CAVENDO TUTUS across the centre.

Balustrade added in 1693 and urns in 1701. The basement has

segment headed glazing bar sashes and in the centre a double

return flight staircase, a replacement of 1837 by Wyatville.

The first and second floors have twelve glazing bar sashes in

moulded architraves with stepped keyblocks. East front of 1-8-1

bays, continues the rusticated basement, entablature, balustrade

and urns. Segment headed sashes to ground floor and glazing bar

sashes in keyed moulded architraves, to the two upper floors.

The end bays are set back and are flanked by paired giant

pilasters. The front was altered by Wyatville in 1823, who

removed a row of attic windows and refaced the whole front.

West front (originally the entrance front) of 3-3-3 bays. The

centre three advanced and pedimented, on four fluted Ionic

attached columns. The outer bays have giant fluted Ionic

pilasters. Rusticated basement with segment headed glazing bar

sashes and a central flat arched entrance with moulded

architrave. Two tiers of glazing bar sashes above, in moulded

architraves with stepped keyblocks, the centre and upper ones

decorated with relief carving. Complete entablature with carved

frieze, carving also in the pediment. Balustraded parapet with

urns. Garlands around the centre windows. Carving by Nadauld

and by Samuel Watson. North front of 3-5-3 bays, the centre

five forming a shallow curve, taller than the rest. Rusticated

basement, giant fluted Corinthian pilsters to the centre bow,

and glazing bar sashes in moulded architraves. The facade was

altered by Wyatville whose north wing abuts it. He altered the

fenestration of the centre part, removing attic windows and

making the pilasters fluted. The internal courtyard has

elevations of five and seven bays, mostly in their present form

as altered by Wyatville. Plain pilasters with carved trophies

by Watson. Top floor windows with alternately triangular and

segmental pedimented architraves. Wyatville replaced an open

colonnade on the south side. North wing has north elevation of

1-5-5-5-1 bays, followed by the orangery of 2-5-2 bays. Of the

first part the middle and end bays are divided by plain

pilasters and have solid parapets with urns rather than

balustraded parapets. Rusticated basement with segment headed

glazing bar sashes and glazing bar sashes in moulded architraves

above. The orangery has the five middle bays advanced and

divided by plain pilasters. Large casement windows.

Balustraded parapet, dated 1827. The wing is terminated by a

three by six bay pavilion and belvedere, rising to four storeys.

Entablatures between storeys, glazing bar sashes in moulded

architraves and the corner bays with plain pilasters. The

belvedere has open colonnades on all sides. Lower pavilion

beyond. Return range to west with gateways and entrance lodges.

Tripartite composition with three round-arched carriageways.

The centre flanked by paired Tuscan Doric columns, triglyph

frieze, entablature and parapet, partly balustraded. Flanked by

glazing bar sashes in moulded architraves and rusticated

advanced end bays. Partly balustraded parapet. The central

gates are re-set and are late C17 by Jean Tijou. Wall to south

enclosing entrance courtyard with statues on pedestals.

Interior: North entrance hall converted from a kitchen by James

Paine. Tuscan Doric columns with triglyphs. Wyatville replaced

the chimneypieces and widened the staircase. North corridor

enclosed and altered by Wyatville. The Painted Hall of two

storey height. Ceilings and walls painted by Laguerre, assisted

by Ricard, in 1694. Stone carvings by Samuel Watson. Staircase

1911-12 by W H Romaine-Walker. The south range commences with

private apartments, one room with an early C18 chimneypiece,

another with early C19 painted panels in the window reveals. The

Oak Room has panelling and twisted columns of c1700, brought

from Germany by the Sixth Duke. The chapel in the south west

corner is of two storeys, with an east gallery. Cedar panelling

with limewood carvings by Samuel Watson. Sumptuous Baroque

alabaster reredos designed by Cibber and carved by Watson.

Completed in 1694. Walls and ceilings painted by Laguerre. On

the west side, the west stairs with iron balustrade of 1702 by

John Gardom, with wrought iron panels on the landings by Tijou.

Painted ceiling by James Thornhill. West entrance hall with

Grisaille painting. Leather Room and Lower Library redecorated

in 1839 by Crace. The ground floor of the north wing contains

service rooms. First floor has mostly private apartments,

taking in the upper half of the chapel and hall, except the

north wing. On the south side private dining and drawing rooms,

basically early C18 but redone in 1780s by John Carr. The

dining room was altered by Wyatville. In the west wing the

centre bedroom was originally a vestibule and has late C17

panelling. Other rooms with delicate late C18 plasterwork.

Duchess' dressing room ceiling by Joseph Palfreyman, 1775. The

Red Velvet Room has a chimneypiece by Kent. On the north side

the Library made in 1832 by Wyatville with woodwork and fittings

by Armstrong and Siddons. Late C17 ceiling with painting by

Verrio. The Ante-Library by Wyatville with ceiling painting by

Hayter. To the north the suite of rooms in Wyatville's north

wing. Dome Room, the Great Dining Room with segmental arched

coffered ceiling and chimneypiece by Westmacott the Younger and

Sievier. Sculpture Gallery lit by three lantern skylights. At

the north end ormolu capitals to the columns, by Delafontaine of

Paris. Bas reliefs by Thorwaldsen and collection of

neo-classical sculpture. Second floor contains the state rooms

along the south wing. Great Staircase designed by Talman

(1689-90). Ceiling by Verrio; statues and doorcases by Cibber,

balustrade by Tijou. The state Dining Room, Drawing Room, Music

Room and Bedroom fill the south side. They have painted

ceilings by Verrio, Laguerre and Ricardi and a profusion of wood

carving by the London carvers Lobb, Davis and Young, assisted by

Watson. The rooms were decorated in 1689-99, but only the

Dining Room survives in its original state. In the centre of

the west wing is the Sabine Bedroom, originally a lobby, with

uninterrupted illusionist painting over ceiling and walls by

Thornhill (1708). In the north wing are smaller family rooms

and in the east wing the Queen of Scots Rooms, a suite of rooms

redone by Wyatville c1830. The oak stairs between ground and

first floor are by Wyatville, 1823-4. At the end of Wyatville's

wing is the Theatre, designed in 1833 as a banqueting chamber.

The painted ceiling panels of c1700 by Cheron and Thornhill,

were originally in the Library. Sources: William, 6th Duke of

Devonshire Handbook of Chatsworth & Hardwick, London 1844.

J Lees-Milne and J Cornforth Chatsworth. Nine articles in

Country Life April-September 1968. Duchess of Devonshire

The House: A Portrait of Chatsworth MacMillan 1982.

Listing NGR: SK2602270104

The Seahorse Fountain (Grade II listed)

The Seahorse Fountain, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH GARDENS

SK 2669

6/59

The Seahorse Fountain

GV II

Fountain. c1690 by Cibber. Stone. Set in the middle of a

circular pond. A central sculpture surrounded by five jets of

water, within a square with sculptures of four seahorses at the

corners. The Gardens and Park are included on the Gardens

Register at Grade I.

Listing NGR: SK2602069968

Around the Seahorse Fountain is Tao hua Yuan: A Lost Village Utopia by Xu Bing.

Part of Beyond Limits.

Exhibition runs from 8th September to 26th October 2014.

Man lift seen in front of the house. Workmen were probably painting the window frames a golden colour!

The Private Garden in front of Chatsworth House.

The house is Grade I listed.

Chatsworth House, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH PARK

SK 2570/2670

6/82

29.9.51 Chatsworth House

GV I

Country house. South wing 1687-9 by William Talman. East front

1689-91 by Talman, west front 1700-03, north front 1705-7 by

Thomas Archer. Alterations and additions 1756-60 by James

Paine, mostly replaced by alterations and additions including

the north wing 1820-42 by Jeffrey Wyatt, later Sir Jeffrey

Wyatville. Baroque and Neo-classical styles. For the First,

Fourth and Sixth Dukes of Devonshire. Sandstone ashlar (mostly

local) with other stones and marbles used for decoration. Roofs

hidden behind parapets. Basically preserving the plan of the

previous Elizabethan house, of four ranges around a courtyard,

and with a long north east wing with a return range to south and

wall enclosing a long entrance courtyard. Three floors, the

ground floor treated as a basement due to the fall of the land.

North wing of one storey over a basement. South front of twelve

bays, 3-6-3 with a rusticated basement and two upper floors of

equal height. Advanced end pavilions have giant fluted Ionic

pilasters. Full entablature with carving to the frieze of the

pavilions and bold inscription CAVENDO TUTUS across the centre.

Balustrade added in 1693 and urns in 1701. The basement has

segment headed glazing bar sashes and in the centre a double

return flight staircase, a replacement of 1837 by Wyatville.

The first and second floors have twelve glazing bar sashes in

moulded architraves with stepped keyblocks. East front of 1-8-1

bays, continues the rusticated basement, entablature, balustrade

and urns. Segment headed sashes to ground floor and glazing bar

sashes in keyed moulded architraves, to the two upper floors.

The end bays are set back and are flanked by paired giant

pilasters. The front was altered by Wyatville in 1823, who

removed a row of attic windows and refaced the whole front.

West front (originally the entrance front) of 3-3-3 bays. The

centre three advanced and pedimented, on four fluted Ionic

attached columns. The outer bays have giant fluted Ionic

pilasters. Rusticated basement with segment headed glazing bar

sashes and a central flat arched entrance with moulded

architrave. Two tiers of glazing bar sashes above, in moulded

architraves with stepped keyblocks, the centre and upper ones

decorated with relief carving. Complete entablature with carved

frieze, carving also in the pediment. Balustraded parapet with

urns. Garlands around the centre windows. Carving by Nadauld

and by Samuel Watson. North front of 3-5-3 bays, the centre

five forming a shallow curve, taller than the rest. Rusticated

basement, giant fluted Corinthian pilsters to the centre bow,

and glazing bar sashes in moulded architraves. The facade was

altered by Wyatville whose north wing abuts it. He altered the

fenestration of the centre part, removing attic windows and

making the pilasters fluted. The internal courtyard has

elevations of five and seven bays, mostly in their present form

as altered by Wyatville. Plain pilasters with carved trophies

by Watson. Top floor windows with alternately triangular and

segmental pedimented architraves. Wyatville replaced an open

colonnade on the south side. North wing has north elevation of

1-5-5-5-1 bays, followed by the orangery of 2-5-2 bays. Of the

first part the middle and end bays are divided by plain

pilasters and have solid parapets with urns rather than

balustraded parapets. Rusticated basement with segment headed

glazing bar sashes and glazing bar sashes in moulded architraves

above. The orangery has the five middle bays advanced and

divided by plain pilasters. Large casement windows.

Balustraded parapet, dated 1827. The wing is terminated by a

three by six bay pavilion and belvedere, rising to four storeys.

Entablatures between storeys, glazing bar sashes in moulded

architraves and the corner bays with plain pilasters. The

belvedere has open colonnades on all sides. Lower pavilion

beyond. Return range to west with gateways and entrance lodges.

Tripartite composition with three round-arched carriageways.

The centre flanked by paired Tuscan Doric columns, triglyph

frieze, entablature and parapet, partly balustraded. Flanked by

glazing bar sashes in moulded architraves and rusticated

advanced end bays. Partly balustraded parapet. The central

gates are re-set and are late C17 by Jean Tijou. Wall to south

enclosing entrance courtyard with statues on pedestals.

Interior: North entrance hall converted from a kitchen by James

Paine. Tuscan Doric columns with triglyphs. Wyatville replaced

the chimneypieces and widened the staircase. North corridor

enclosed and altered by Wyatville. The Painted Hall of two

storey height. Ceilings and walls painted by Laguerre, assisted

by Ricard, in 1694. Stone carvings by Samuel Watson. Staircase

1911-12 by W H Romaine-Walker. The south range commences with

private apartments, one room with an early C18 chimneypiece,

another with early C19 painted panels in the window reveals. The

Oak Room has panelling and twisted columns of c1700, brought

from Germany by the Sixth Duke. The chapel in the south west

corner is of two storeys, with an east gallery. Cedar panelling

with limewood carvings by Samuel Watson. Sumptuous Baroque

alabaster reredos designed by Cibber and carved by Watson.

Completed in 1694. Walls and ceilings painted by Laguerre. On

the west side, the west stairs with iron balustrade of 1702 by

John Gardom, with wrought iron panels on the landings by Tijou.

Painted ceiling by James Thornhill. West entrance hall with

Grisaille painting. Leather Room and Lower Library redecorated

in 1839 by Crace. The ground floor of the north wing contains

service rooms. First floor has mostly private apartments,

taking in the upper half of the chapel and hall, except the

north wing. On the south side private dining and drawing rooms,

basically early C18 but redone in 1780s by John Carr. The

dining room was altered by Wyatville. In the west wing the

centre bedroom was originally a vestibule and has late C17

panelling. Other rooms with delicate late C18 plasterwork.

Duchess' dressing room ceiling by Joseph Palfreyman, 1775. The

Red Velvet Room has a chimneypiece by Kent. On the north side

the Library made in 1832 by Wyatville with woodwork and fittings

by Armstrong and Siddons. Late C17 ceiling with painting by

Verrio. The Ante-Library by Wyatville with ceiling painting by

Hayter. To the north the suite of rooms in Wyatville's north

wing. Dome Room, the Great Dining Room with segmental arched

coffered ceiling and chimneypiece by Westmacott the Younger and

Sievier. Sculpture Gallery lit by three lantern skylights. At

the north end ormolu capitals to the columns, by Delafontaine of

Paris. Bas reliefs by Thorwaldsen and collection of

neo-classical sculpture. Second floor contains the state rooms

along the south wing. Great Staircase designed by Talman

(1689-90). Ceiling by Verrio; statues and doorcases by Cibber,

balustrade by Tijou. The state Dining Room, Drawing Room, Music

Room and Bedroom fill the south side. They have painted

ceilings by Verrio, Laguerre and Ricardi and a profusion of wood

carving by the London carvers Lobb, Davis and Young, assisted by

Watson. The rooms were decorated in 1689-99, but only the

Dining Room survives in its original state. In the centre of

the west wing is the Sabine Bedroom, originally a lobby, with

uninterrupted illusionist painting over ceiling and walls by

Thornhill (1708). In the north wing are smaller family rooms

and in the east wing the Queen of Scots Rooms, a suite of rooms

redone by Wyatville c1830. The oak stairs between ground and

first floor are by Wyatville, 1823-4. At the end of Wyatville's

wing is the Theatre, designed in 1833 as a banqueting chamber.

The painted ceiling panels of c1700 by Cheron and Thornhill,

were originally in the Library. Sources: William, 6th Duke of

Devonshire Handbook of Chatsworth & Hardwick, London 1844.

J Lees-Milne and J Cornforth Chatsworth. Nine articles in

Country Life April-September 1968. Duchess of Devonshire

The House: A Portrait of Chatsworth MacMillan 1982.

Listing NGR: SK2602270104

The Seahorse Fountain (Grade II listed)

The Seahorse Fountain, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH GARDENS

SK 2669

6/59

The Seahorse Fountain

GV II

Fountain. c1690 by Cibber. Stone. Set in the middle of a

circular pond. A central sculpture surrounded by five jets of

water, within a square with sculptures of four seahorses at the

corners. The Gardens and Park are included on the Gardens

Register at Grade I.

Listing NGR: SK2602069968

Around the Seahorse Fountain is Tao hua Yuan: A Lost Village Utopia by Xu Bing.

Part of Beyond Limits.

Exhibition runs from 8th September to 26th October 2014.

Man lift seen in front of the house. Workmen were probably painting the window frames a golden colour!

Sculptures by Anya Gallaccio and Barbara Hepworth, Beyond Limits 2015 at Chatsworth.

Beyond Limits Chatsworth House

© 2017 Tony Worrall

The Private Garden in front of Chatsworth House.

The house is Grade I listed.

Chatsworth House, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH PARK

SK 2570/2670

6/82

29.9.51 Chatsworth House

GV I

Country house. South wing 1687-9 by William Talman. East front

1689-91 by Talman, west front 1700-03, north front 1705-7 by

Thomas Archer. Alterations and additions 1756-60 by James

Paine, mostly replaced by alterations and additions including

the north wing 1820-42 by Jeffrey Wyatt, later Sir Jeffrey

Wyatville. Baroque and Neo-classical styles. For the First,

Fourth and Sixth Dukes of Devonshire. Sandstone ashlar (mostly

local) with other stones and marbles used for decoration. Roofs

hidden behind parapets. Basically preserving the plan of the

previous Elizabethan house, of four ranges around a courtyard,

and with a long north east wing with a return range to south and

wall enclosing a long entrance courtyard. Three floors, the

ground floor treated as a basement due to the fall of the land.

North wing of one storey over a basement. South front of twelve

bays, 3-6-3 with a rusticated basement and two upper floors of

equal height. Advanced end pavilions have giant fluted Ionic

pilasters. Full entablature with carving to the frieze of the

pavilions and bold inscription CAVENDO TUTUS across the centre.

Balustrade added in 1693 and urns in 1701. The basement has

segment headed glazing bar sashes and in the centre a double

return flight staircase, a replacement of 1837 by Wyatville.

The first and second floors have twelve glazing bar sashes in

moulded architraves with stepped keyblocks. East front of 1-8-1

bays, continues the rusticated basement, entablature, balustrade

and urns. Segment headed sashes to ground floor and glazing bar

sashes in keyed moulded architraves, to the two upper floors.

The end bays are set back and are flanked by paired giant

pilasters. The front was altered by Wyatville in 1823, who

removed a row of attic windows and refaced the whole front.

West front (originally the entrance front) of 3-3-3 bays. The

centre three advanced and pedimented, on four fluted Ionic

attached columns. The outer bays have giant fluted Ionic

pilasters. Rusticated basement with segment headed glazing bar

sashes and a central flat arched entrance with moulded

architrave. Two tiers of glazing bar sashes above, in moulded

architraves with stepped keyblocks, the centre and upper ones

decorated with relief carving. Complete entablature with carved

frieze, carving also in the pediment. Balustraded parapet with

urns. Garlands around the centre windows. Carving by Nadauld

and by Samuel Watson. North front of 3-5-3 bays, the centre

five forming a shallow curve, taller than the rest. Rusticated

basement, giant fluted Corinthian pilsters to the centre bow,

and glazing bar sashes in moulded architraves. The facade was

altered by Wyatville whose north wing abuts it. He altered the

fenestration of the centre part, removing attic windows and

making the pilasters fluted. The internal courtyard has

elevations of five and seven bays, mostly in their present form

as altered by Wyatville. Plain pilasters with carved trophies

by Watson. Top floor windows with alternately triangular and

segmental pedimented architraves. Wyatville replaced an open

colonnade on the south side. North wing has north elevation of

1-5-5-5-1 bays, followed by the orangery of 2-5-2 bays. Of the

first part the middle and end bays are divided by plain

pilasters and have solid parapets with urns rather than

balustraded parapets. Rusticated basement with segment headed

glazing bar sashes and glazing bar sashes in moulded architraves

above. The orangery has the five middle bays advanced and

divided by plain pilasters. Large casement windows.

Balustraded parapet, dated 1827. The wing is terminated by a

three by six bay pavilion and belvedere, rising to four storeys.

Entablatures between storeys, glazing bar sashes in moulded

architraves and the corner bays with plain pilasters. The

belvedere has open colonnades on all sides. Lower pavilion

beyond. Return range to west with gateways and entrance lodges.

Tripartite composition with three round-arched carriageways.

The centre flanked by paired Tuscan Doric columns, triglyph

frieze, entablature and parapet, partly balustraded. Flanked by

glazing bar sashes in moulded architraves and rusticated

advanced end bays. Partly balustraded parapet. The central

gates are re-set and are late C17 by Jean Tijou. Wall to south

enclosing entrance courtyard with statues on pedestals.

Interior: North entrance hall converted from a kitchen by James

Paine. Tuscan Doric columns with triglyphs. Wyatville replaced

the chimneypieces and widened the staircase. North corridor

enclosed and altered by Wyatville. The Painted Hall of two

storey height. Ceilings and walls painted by Laguerre, assisted

by Ricard, in 1694. Stone carvings by Samuel Watson. Staircase

1911-12 by W H Romaine-Walker. The south range commences with

private apartments, one room with an early C18 chimneypiece,

another with early C19 painted panels in the window reveals. The

Oak Room has panelling and twisted columns of c1700, brought

from Germany by the Sixth Duke. The chapel in the south west

corner is of two storeys, with an east gallery. Cedar panelling

with limewood carvings by Samuel Watson. Sumptuous Baroque

alabaster reredos designed by Cibber and carved by Watson.

Completed in 1694. Walls and ceilings painted by Laguerre. On

the west side, the west stairs with iron balustrade of 1702 by

John Gardom, with wrought iron panels on the landings by Tijou.

Painted ceiling by James Thornhill. West entrance hall with

Grisaille painting. Leather Room and Lower Library redecorated

in 1839 by Crace. The ground floor of the north wing contains

service rooms. First floor has mostly private apartments,

taking in the upper half of the chapel and hall, except the

north wing. On the south side private dining and drawing rooms,

basically early C18 but redone in 1780s by John Carr. The

dining room was altered by Wyatville. In the west wing the

centre bedroom was originally a vestibule and has late C17

panelling. Other rooms with delicate late C18 plasterwork.

Duchess' dressing room ceiling by Joseph Palfreyman, 1775. The

Red Velvet Room has a chimneypiece by Kent. On the north side

the Library made in 1832 by Wyatville with woodwork and fittings

by Armstrong and Siddons. Late C17 ceiling with painting by

Verrio. The Ante-Library by Wyatville with ceiling painting by

Hayter. To the north the suite of rooms in Wyatville's north

wing. Dome Room, the Great Dining Room with segmental arched

coffered ceiling and chimneypiece by Westmacott the Younger and

Sievier. Sculpture Gallery lit by three lantern skylights. At

the north end ormolu capitals to the columns, by Delafontaine of

Paris. Bas reliefs by Thorwaldsen and collection of

neo-classical sculpture. Second floor contains the state rooms

along the south wing. Great Staircase designed by Talman

(1689-90). Ceiling by Verrio; statues and doorcases by Cibber,

balustrade by Tijou. The state Dining Room, Drawing Room, Music

Room and Bedroom fill the south side. They have painted

ceilings by Verrio, Laguerre and Ricardi and a profusion of wood

carving by the London carvers Lobb, Davis and Young, assisted by

Watson. The rooms were decorated in 1689-99, but only the

Dining Room survives in its original state. In the centre of

the west wing is the Sabine Bedroom, originally a lobby, with

uninterrupted illusionist painting over ceiling and walls by

Thornhill (1708). In the north wing are smaller family rooms

and in the east wing the Queen of Scots Rooms, a suite of rooms

redone by Wyatville c1830. The oak stairs between ground and

first floor are by Wyatville, 1823-4. At the end of Wyatville's

wing is the Theatre, designed in 1833 as a banqueting chamber.

The painted ceiling panels of c1700 by Cheron and Thornhill,

were originally in the Library. Sources: William, 6th Duke of

Devonshire Handbook of Chatsworth & Hardwick, London 1844.

J Lees-Milne and J Cornforth Chatsworth. Nine articles in

Country Life April-September 1968. Duchess of Devonshire

The House: A Portrait of Chatsworth MacMillan 1982.

Listing NGR: SK2602270104

The Seahorse Fountain (Grade II listed)

The Seahorse Fountain, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH GARDENS

SK 2669

6/59

The Seahorse Fountain

GV II

Fountain. c1690 by Cibber. Stone. Set in the middle of a

circular pond. A central sculpture surrounded by five jets of

water, within a square with sculptures of four seahorses at the

corners. The Gardens and Park are included on the Gardens

Register at Grade I.

Listing NGR: SK2602069968

Around the Seahorse Fountain is Tao hua Yuan: A Lost Village Utopia by Xu Bing.

Part of Beyond Limits.

Exhibition runs from 8th September to 26th October 2014.

Man lift seen in front of the house. Workmen were probably painting the window frames a golden colour!

Planet by Marc Quinn - Sculpture at Chatsworth

A preview of an exhibit at Sotherby's Beyond Limits show, 16 September - 30 October 2011. Chatsworth House.

The artist is Yong Ho Ji

FERNANDO BOTERO,

DONNA SDRAIATA

Beyond Limits Chatsworth 2016

© 2016 Tony Worrall

sotheby's chatsworth beyond limits

© 2016 Tony Worrall

Photo by Deidre Davidson

Creativity Takes Courage: Art In The Classroom | Julie Tamashiro | TEDxRedondoBeach

Bruce Munro. Beyond Limits, Chatsworth House Gardens, Bakewell, Derbyshire, UK.

By Xu Bing Tao Hua Yuan

Sotheby's Beyond Limits at Chatsworth House

beyondlimits.sothebys.com/sculpture.html?num=12&play=1

© 2014 Tony Worrall

Photo by Deidre Davidson

Leadership, Innovation and the "Impossible" House | Robert Fortunato | TEDxRedondoBeach

'Beyond Limits' , Sothebys annual exhibition at Chatsworth House and Gardens, this one in 2010 .

for details of the sculpture please go to ZadokBenDavid.com and search 'Leftover'

A composite image made up from two photos taken from the same spot, each using a different film camera. The individual photos have been collaged in photoshop.

In this case the cameras were: Kodak Brownie No.2, Lomography LC-W (with redscale film) and Pentax Espio 160 (cross-processed).

Fernando Botero. Beyond Limits. Chatsworth House Gardens, Bakewell, Derbyshire, UK.

Beyond Limits, American Sculpture, Chatsworth

Sol Lewitt. Chatsworth House Gardens, Bakewell, Derbyshire, UK.

Beyond Limits, American Sculpture, Chatsworth

Cornwall Slate Line

By Richard Long

Painted stainless steel. Beyond Limits: The Landscape of British Sculpture 1950-2015 - Chatsworth House

© 2015 Tony Worrall

An alt.colour version of an earlier post.

'Wingblade' by Eilis O'Connell.

'Beyond Limits 2014', Chatsworth, Derbyshire, UK.

My Chatsworth album.

Emily Young. Beyond Limits Chatsworth House Gardens, Bakewell, Derbyshire, UK.

Beyond Limits, American Sculpture, Chatsworth

Chatsworth House

Chatsworth is home to the 12th Duke and Duchess of Devonshire, and has been passed down through 16 generations of the Cavendish family.

Sotheby's Beyond Limits Sculpture Exhibition in The Garden

One of the leading events in the artistic calendar.

1) Red Mountain Head

by Emily Young

en.wikipedia.org/wiki/Emily_Young

www.sothebys.com/en/auctions/2016/beyond-limits-l16010.html

www.chatsworth.org/whats-on/events/beyond-limits-sculptur...

www.chatsworth.org

en.wikipedia.org/wiki/Chatsworth_House

Taken with a Kodak No.2 Brownie camera in week 250 of my 52 film cameras in 52 weeks project:

52cameras.blogspot.com/

www.flickr.com/photos/tony_kemplen/collections/72157623113584240

The No.2 Brownie was introduced in 1903, and continued in production until 1931, the design evolved over the years, though it remained recognisably the same camera. This particular iteration was made between 1920 and 1924, making this camera at least 90 years old.

Rollei RPX 400 B&W film, developed in Ilfosol 3.

by Fernando Botero

Giorgio de Chirico. Beyond Limits, Chatsworth House Gardens, Bakewell, Derbyshire, UK.

My favourite piece of the exhibition. The Lion is constructed from rubber car tyres. The way it has been put together gives it real movement. I really would have preferred a better sky to shot this one against.

© 2017 Tony Worrall

The Cascade close up at the gardens at Chatsworth.

Kids were playing all over it, although it was never designed for that! Hope they didn't slip!

The Cascade and its Temple were the crowning point of the 1st Duke of Devonshire's garden. Took two attempts, and 17 years to complete, four years after his death. May have been inspired by Louis XIV's French palace at Marly. Thomas Archer one of the Duke's architects designed the temple.

Grade I listed

Conduit House Cascade and Adjoining Statues, Chatsworth

PARISH OF CHATSWORTH CHATSWORTH GARDENS

SK 2670

6/72

Conduit House, Cascade

12.7.67 and adjoining Statues

GV I

Conduit house, cascade with bridge and adjoining statues. c1696

by Grillet, rebuilt c1702 and partly reconstructed c1833 by

Paxton & Holmes including the insertion of a tunnel to conceal

the fuel route to the proposed Great Conservatory. Conduit

House 1702-3 by Thomas Archer. Statues added in early C19.

Coursed squared sandstone and ashlar. The cascade runs in a

straight line, descending in 22 shallow steps. The foot of the

cascade is flanked by six statues of Carrara marble on sandstone

pedestal bases, made in Italy for the Sixth Duke of Devonshire.

Half way up the cascade crosses a tunnel by Paxton & Holmes.

This has plain round-arched entrances below and parapet walls

divided by pilasters into seven bays. Oval pond at the top with

mermaids and lions heads spouting water. Flanked by two further

statues on circular pedestals. The Conduit House is of

sandstone ashlar with frostwork rustication. West elevation

forms a tripartite composition with the walls coming forward in

a curve. The centre has an open round-arch with keystone and

moulded imposts, flanked by paired banded pilasters with two

twisting dolphins. Moulded cornice with a curved projection

over the keystone. To either side are blind round-arched

recesses with rounded corbelled projections. Banded end piers

with scallop shells in the entablature. Parapet surmounted by

statutory. Stepped lead dome, over which water flows,

surmounted by a tall circular domed lantern. The side

elevations have semi-circular flights of steps up to flat arched

doorways with moulded architraves. Circular domed interior has

moulded cornice and round-arched niches, alternately flat backed

and half-domed with shell hoods. Moulded brackets on the piers

and swags between. The sculpture was carved by Nadauld and

Watson. The Gardens and Park are included on the Gardens

Register at Grade I.

Listing NGR: SK2630470050

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Source: English Heritage

Listed building text is © Crown Copyright. Reproduced under licence.

Sculpture for Beyond Limits.

Exhibition runs from 8th September to 26th October 2014.

La Riviere by Aristide Maillol 1938 - 40