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© Dr Marcus Sleightholm

IoE Number: 422867
Location: HAREWOOD HOUSE,
  HAREWOOD, LEEDS, WEST YORKSHIRE
Photographer: Dr Marcus Sleightholm
Date Photographed: 30 June 2001
Date listed: 30 March 1960
Date of last amendment: 30 March 1960
Grade I

The Images of England website consists of images of listed buildings based on the statutory list as it was in 2001 and does not incorporate subsequent amendments to the list. For the statutory list and information on the current listed status of individual buildings please go to The National Heritage List for England.

HAREWOODHAREWOOD PARKSE3144 LS1714/72Harewood House

HAREWOOD HAREWOOD PARK SE3144 LS17 14/72 Harewood House 30.3.60 GV I Country house. Exterior: 1759-71 the central part of the house by John Carr, the 2 lateral extensions and wings by Robert Adam (Swarbrick, p194); interior: 1765-77 by Robert Adam for Edwin Lascelles, 1st Lord of Harewood; altered and heightened 1843 by Sir Charles Barry for the 3rd Earl of Harewood in an Anglo- Italian syle; interior modernised and some alteration c 1930 on a scheme by Sir Herbert Baker executed by Brierley and Rutherford (York) for the 6th Earl of Harewood. Locally-quarried millstone grit dressed ashlar, Westmorland green- slate roof. Single-storey links to 3-storey pavilions and 2-storey centre range, basement and cellars. North entrance front: 17-bay symmetrical facade, ABCBA. Rusticated basement. Ashlar plinth, sill band. A: angle pavilions by Adam with large Venetian windows carried through 2 storeys set in semi-circular-arched recesses; heavily bracketed former eaves cornice; 3rd floor addition c 1843 has paired sash windows in square surrounds;balustraded parapet, 4 finial-like chimneys to each outer faces, lateral stack to inner returns. B: single-storey 3-bay links to main house have sash windows with balustrades below sill, architraves, and added c 1843 triangular pediments on consoles; moulded eaves cornice with original balustraded parapet. C: 9-bay facade;giant Corinthian hexastyle applied order supports 5-bay pediment the tympanum richly-carved; flanking 2 bays articulated by giant Corinthian pilasters; ground-floor windows under pediment have segmental pediments,those to outer 2 bays have triangular pediments; 1st-floor windows square with architraves; entablature, bracketed eaves cornice; balustraded pediment c 1843 topped by large lantern finials; hipped roof with 2 stacks to front and rear pitches and 2 large ashlar lateral stacks to each return. South garden front: 15-bay symmetrical facade much remodelled c 1843.Basement has 6 square flat-arched windows to either side of projecting double-flight stair with 3 windows to front projection articulated by projecting piers in front of which stand statues on plinths; stair has baulstraded parapet to raised landing to centre 3 bays which have doorway and flanking windows with segmental pediments; bays 5, 6, 10 and 11 have triangular pediments with square window above, all by Carr, with giant Corinthian pilasters with entasis set between c 1843 replacing Carr's 3-bay detached giant portico; entablature; balustraded parapet c 1843 with finials. 3-bay links have semi-circular-arched windows with impost band articulated by Ionic pilasters supporting triangular pediments to outer windows; balustraded parapet c 1843. Pavilions have coupled Corinthian pilasters flanking Venetian windows as south front with balustraded balcony added c 1843; 2 3rd-floor windows flanked by carved consoles; cornice and parapet carved with blind ovals; 4 chimney finials. Left-hand return of East wing:5 bays with projecting balustraded balcony to central bay; windows with architraves and cornices, square windows above to 1st and 2nd floors. Right-hand return of West wing:5 bays with balustraded terrace over projecting basement; central Venetial window flanked by windows with architraves and cornices, 1st floor blind; frieze below cornice has 5 small windows; 2nd floor has square window to each floor. Set within the angle of wings and links to main house is 3 x 2 bay rectangular inner court with sash windows and all downspouts and drain-pipes, the brackets cast with heraldic crests. Interior: Carr's Palladian plan was altered and modified by Robert Adam with a semicircular court which was abandoned in 1762. Adam decorated the house in a Neo-classical manner. The Entrance Hall is in form the least altered of Carr's designs and has giant Roman Doric demi-columns, painted wood to look like prophyry; opposite the entrance is deeply-recessed archway flanked by niches; stucco panels by Collins and medallions by Rose, one with flag inscribed 1767 the date of completion. Opening out to west the Great Staircase: stone double-flight canti- levered from the ½-landings has delicate iron balustrade by Maurice Tobin incorporating a honey-suckle design, carved ramped mahogany handrail (Adam's drawing c 1769), top-lit by oval glazed dome. Adam employed specialist artists and craftsmen amongst them the plasteres Dodgson, Rothwell, William Collins and in particular Joseph Rose and his assistant Richard Mott who did the state rooms; John Devall, master mason to George III,who did many of the marbel chimney pieces the finest perhaps that in the Music room; the mural decorators Antonio Zucci, Angelica Kauffmann, Giovanni Borganis and Biagio Rebecca; Thomas Chippendale the cabinet maker for frames for mirrors and paintings as well as suites of furniture to Adam's and his own design. Together they created rooms of high quality decoration. Particularly fine are, the Old Library: a well-proportioned room with Corinthian pilasters flanking arched recesses filled with bookcases and a superb fireplace. Prince Royal's Sitting Room: orginally the state bedroom with Ionic columns distyle in antis flanking bed recess now reduced and filled with fine Chippendale mirror. Spanish Library: has fine ceiling. The Rose Drawing Room and the Music Room have fine ceilings complemented by Adam's original carpets echoing the ceiling design. The climax of the house is the Long Gallery: which fills the west angle pavilion: lit by Venetian windows on 3 sides,consoles replacing the internal pilasters c 1843 when the original central fireplace by Nollekens was moved to the dining room and replaced by 2 C19 marble ones. Set between windows large mirrors with ovals above painted by Kauffmann and carved wooden window valances to resemble blue taffeta by Chippendale. Superb ceiling with alternating ovals and octagons has border with 18 paintings by Rebecca. Barry's most successful alteration is to the Saloon which he made into the main Library filling Adam's apsidal recesses with mahogany bookcases; fine chimney- pieces by Van Gelder with pedimented overmantels holding circular medalions by Collins;superb coved ceiling. Less successful alteration by Barry is the Dining Room: Adam's original room and ceiling were destroyed and replaced by an unimagin- itive pedestrian design with a coved ceiling incorporating the monogram "H.H." decorated by John Wagget. Barry also installed new kitchens and domestic offices in the basement. In the 1930's Sir Herbert Baker created a charming pastiche of the Adam syle in the Princess Royale's Dressing Room with plaster decoration by Sir Charles Wheeler. For a fuller account of the rooms see Earl of Harewood, Guide Book 3rd edition (revised 1985). Also 3 articles in Country Life, Oct 5th, 1901; July 4th, 1914; Feb 25th 1922. Authoritively discussed in M. Mauchline, Harewood House (1974). De Linstrum, West Yorkshire Architects and Architecture, (1978) pp 32-3, 73-4, 78-80. N. Pevsner, Yorkshire West Riding (1974) pp 245-246. J. Swarbrick, Robert Adam and his Brothers (1915) pp 193-210.

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