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St Ernan’s House + Island Donegal

A Memory of A Memory

A shimmer of morning light rushes across the motionless water and in a flash illuminates the house in a golden glow. The dash and hue of nature dictate the hurried glory of sunrise. Is this Ireland’s most beautifully situated house? Where are the contenders? Little wonder it has sent countless photographers into ecstasy, numerous architectural historians into a frenzy, and even inspired a novel. County Donegal: that’s the location. Donegal Town: that’s the nearest cèilidh. St Ernan’s House on St Ernan’s Island: that’s the never forever home.

First the literary giants who paved the way. Mark Bence-Jones gives it his best shot in A Guide to Irish Country Houses, 1978, “A house on an island in the estuary of the River Eske, built early 19th century by John Hamilton of Brownhall; then passed by John Hamilton’s daughter Annabella, wife of A H Foster. Subsequently owned by Henry Stubbs, who largely rebuilt the house, so that it became late Victorian in character, with gables and ornate bargeboards; but with a pillared porch, which was probably a surviving early 19th century feature. In the present century, it was the seat of the Honourable Matthew Fitzmaurice-Deane-Morgan, afterwards 6th Lord Muskerry.”

And then there’s Professor Alistair Rowan who spoke so eloquently and movingly at the much loved Dorinda Lady Dunleath’s Memorial Service in 2022. He writes in his Guide to Northwest Ulster, 1971, “This was the island retreat of John Hamilton of Brown Hall (1800 to 1884), the author of Sixty Years Experience as an Irish Landlord. Mr Hamilton took a romantic fancy to the island, laid out a pretty garden on it, with a wall round the shore, and built a two storey Regency style cottage there between 1824 and 1826. It is five windows long with a continuous verandah running the length of its front across canted bays at either end. The setting is indeed glorious, but the romantic whim of a young and newly married proprietor proved inconvenient. For most of each day the island was cut off either by the tide or, worse, by impassable shallows of mud. The construction of a causeway, despaired of by professional engineers, was achieved by Hamilton with free labour from the surrounding country.”

The most complete history is The Story of St Ernan’s, an undated booklet compiled by George Seaver and based mainly on John Hamilton’s Memoirs as well as “memories of some old folk communicated verbally to the compiler”. It opens with references to the eponymous saint, an acolyte of the better known St Columbanus. In circa 640, St Columbanus was buried in a monastic settlement to the south of Donegal Town. Red Hugh O’Donnell would build a Franciscan Abbey in the same area in 1474. “It may well have been the Friars there who gave the name of St Ernan to the island,” George reckons.

He writes, “The house owes its existence to a moment of impulse on the part of a wealthy young landowner of ancient Scottish lineage named John Hamilton, proprietor of Brown Hall in the neighbouring parish of Ballintra.” John was born in Dublin in 1800 and orphaned age seven, he and his siblings were brought up by their grandmother Lady Longford of Pakenham Hall in County Westmeath (now known as Tullynally Castle) and their relatives in Dublin. He married Mary Rose of Dublin in 1823 and they took up residence at the family estate of Brown Hall before selling their share to John’s brother. Around that time, John took a novel approach to solving a local argument: “There was a dispute between two of his tenants who had grazing rights for sheep on St Ernan’s Island, and he rode over from Brown Hall to settle it. It was, he wrote, a beautiful day in September; the tide was in, the sun was shining, the view was delightful. ‘I settled the dispute by taking the island for myself.’” Two years later, the happy couple moved into a newly built cottage on the island.

There was a practical issue as Professor Alistair Rowan observed. Accessibility. At low tide one could wade across to the island; at high tide one could row; at half tide, neither. “A rapid current flowed through the channel from south to north,” George records. “John Hamilton resolved to block it up entirely and thus deflect the current from its course to form a new channel through a sandbank that lay between St Ernan’s and Rooney’s Island to the south of it. Employing up to 100 men at a time he started building a dam reinforced with large round stones across the channel from both ends at once.” Equal opportunities were at work although it would be even more surprising if indeed it was free labour as Alistair claims. “One morning, hardly had a strong party of Orangemen from a Yeomanry Corps arrived from a village six miles away, than another party of equal force who were Roman Catholic Ribbonmen appeared from a mountain property even farther distant in an opposite direction.” The combined workforce got to it and completed the causeway over six weeks during a hot and dry summer.

“The completion of the causeway enabled him to transform the house on the island from a cottage to a substantial mansion with stables and coach house, a barn and various sheds, which grew with the years,” George notes. “The immense quantity of stone for their construction came from the Drumkeelin quarries above Mountcharles. These abound in a hard durable sandstone of a tawny mottled blue, laid in horizontal strata of convenient thickness easily sawn into the required size and shape like slabs of cake.” The rubble used to mortar the freestone was a soft limestone found on the shore close to where the gatelodge was later built, mixed with sand and ox blood. Horse drawn carts of building materials trundled across the causeway as the beauty of the house took shape.

He continues, “It is certain that the back door, heavily buttressed and with an early 19th century fanlight above it was the original front door; and the present front door, with two flights of steps below it leading down to an open space for cars, was a much later addition. Indeed, the entire south front of the house including the morning room and large drawing room and bedrooms and attic above them are also comparatively modern. The ‘garden close’ of 1826 became in course of time a high walled space of flowers embowered with various trees and some rare shrubs (from Ardnamona), interwoven with a maze of wood walks which led to a large stone bench at the end of the Island. It is still there and still known as Abraham’s Seat (the Reverend Abraham Hamilton was once John’s guardian uncle) and it commands a view of one of the most significant seascapes in Ireland.”

John Hamilton became a Christian in 1827. “What was traditional religion now became personal, and to the end of his life a vivid and earnest faith showed itself by a self denial, a thoughtfulness for the good of others and a sense of justice, combined with a liberality of mind and a freedom of enquiry not easily confined within the then popular systems or religious beliefs. He was in fact ecumenically minded generations before the idea had occurred to churchmen, because the Christian faith was for him personal discipleship rather than a system of ecclesiastical or doctrinal shibboleths.” John launched a Sunday school and Bible class in a schoolhouse he built on the edge of his estate, attracting 1,200 attendees. John donated to both Church of Ireland and Catholic church building. “In 1829, the year of Catholic Emancipation, he was active in suppressing, more than once at personal risk, demonstrations of belligerent Orangemen.”

John continued to put his faith into practice at the most traumatic time in Ireland’s history. According to George, “His exertions for the welfare of his tenantry during the terrible years of the Potato Famine were such that not one became an inmate of the union workhouse or died of starvation, and the only death that occurred on his property was attributable to other causes. It must have been during these years that as a measure of finding employment he encircled the entire island with a ‘famine wall’ 10 foot high, and extended the same operation to the opposite shore.”

Father John Doherty was the Parish Priest of Donegal Town and, despite his general opposition to the landlord system, told the Derry Journal in October 1880, “In all Ireland there never was, nor is there, a more considerate and humane landlord than the good and kind hearted proprietor of St Ernan’s. I know the pulse of his tenants well, and I know of my own knowledge that they honour him, respect him, and love him for personal kindness and friendliness towards them, and for his sympathy in all their worldly fortunes and mishaps. They regard him more in the light of a friend and benefactor, like his Master ‘going and doing good’, than as a landlord.” John Hamilton would die four years later.

His daughter with her husband Arthur Hamilton Foster inherited St Ernan’s. The property was sold after Arabella’s death in 1905 to Henry Stubbs (suggesting the Victorianisation mentioned by Mark Bence-Jones would have more likely been carried out by the Fosters). It was next bought by the Muskerry family and passed to Alma Elimina Blanche West in 1954. George Seaver notes, “Having a home of her own in Wokingham and a sufficiency of worldly goods, she wanted neither to occupy nor lease it.” Instead, Alma donated St Ernan’s to the Representative Body of the Church of Ireland and until 1983 it was used as a retirement home for clergy families before becoming a hotel.

Gillian Berwick includes St Ernan’s in Splendid Food from Irish Country Houses, 1990, “St Ernan’s House (now Ernan Park) on the 8.5 acre St Ernan’s Island near Donegal Town is close to some of the most beautiful scenery in this scenic county. Its creator sited his house on the low point of the island to protect it from the wild Atlantic winter gales. He built protective walls so that he could cultivate trees, and laid out attractive walks around his little domain. The restored interior of this manor house is strikingly beautiful with antiquity, colour and pattern inspiringly blended. As befits such a house, service is personal and charming. The views along the Atlantic Coast are of miniature white farmhouses and tiny sheep dotting the distant hills like a stage setting. It is an image of Ireland that people dream about. The gracious dining room glows with warmth. The cuisine is well nigh perfect. To stay at Ernan Park is to live a little.”

Hotel recipes in Gillian’s book include Stuffed Aubergine, Baked John Dory with Fennel Sauce and Strawberry Cheesecake with Irish Whiskey. Sounds like the components of a great three course dinner! An accompanying sketch by the Dublin based late architect Jeremy Williams shows the interior of the bay window with its coffered semi dome. The guide states there were 11 bedrooms: bed and breakfast was priced from 28 to 39.50 Irish Punts. Five course dinner, 17.50 Punts. The proprietors were Brian and Carmel O’Dowd and the hotel was open from Easter to the end of October each year. The hotel closed in 2010 and the building and island returned to use as a private residence and demesne.

St Ernan’s Blues is the intriguingly named 2016 novel principally set on the island. It is part of a mystery series by Magherafelt County Derry born London based Paul Charles featuring Inspector Starrett. “A lone building on a small island off Ireland’s Donegal coast, St Ernan’s is politely known as a ‘retirement home’ for priests. The exiled residents are guilty of such serious offences as entrepreneurship, criticising the Church, or getting too friendly with the flock. But things take a turn when Father Matthew McKaye is found dead in the kitchen. Has one of these isolated outcasts committed murder?” Although never used to house errant priests, the clergy connection is historically accurate albeit relating to ‘the other sort’ to use a colloquialism.

“Situated right at the mouth of the River Eske in Donegal Bay, Donegal Town or Fort of the Foreigners, was the town that gave its name to the county,” explains Paul. He describes how tricky it is to find St Ernan’s Island despite its position close to the town, before eulogising on the local natural beauty. “The thing about autumnal mornings in Donegal is that the sun, as it lights up every corner of the rich tapestry of fields; hills; mountains; trees; rugged hedges; blue heavenly skies; faint white clouds and all creatures great and small, does tend to show off our Creator’s magic in all its spiritual glory.” And on wintry mornings as well.

An entry in Ireland’s Blue Book of Charming Country Houses and Restaurants, 1996, states: “Quietly situated on a wooded tidal island, connected to the mainland by a causeway, St Ernan’s offers the perfect respite from the hectic pace of everyday life. There is a unique warmth and sense of serenity at St Ernan’s. It recaptures the charm of the past – quietude in a relaxing friendly atmosphere. The house, built in 1826 by John Hamilton, a nephew of the Duke of Wellington, has 12 bedrooms, each with a private bath or shower, telephone and television. Most have stunning views of the sea and countryside. The dining room is one of country elegance where the cuisine is based on fresh local produce. From this perfectly situated house the countryside may be explored. There are several excellent golf courses nearby. Horse riding, fishing and bicycle hire are also available locally. St Ernan’s offers the perfect escape from the pressures of modern life to the finest traditions of Irish country house hospitality.” As well as recording an additional bedroom, the Blue Book includes increased rates. Bed and breakfast ranged from 55 to 52 Punts. Dinner was 26 Punts.

The house is as deep as it’s wide: the north, east and south fronts are arranged around a west facing courtyard. Until recently it was painted pink, except for the window surround quoins and verandah columns which were picked out in white. An early 20th century photograph shows the ground floor either painted a dark colour or unrendered. The current pale cream colour scheme works well, changing tone as often as the unpredictable Donegal weather. The two storey east front is the most visible elevation from the mainland. A full width slimly columned verandah stretches across the whole of the ground floor and beyond, terminating in angled walls providing further shelter. The three middle bays of both floors have typical Georgian sashes. The outer bays of the ground floor have three sided chamfered projections: the righthand one has typical Georgian sashes; the lefthand one has very narrow sashed openings. This narrowing is the only element of asymmetry on the otherwise perfectly balanced elevation. The outer bays of the first floor have paired sash windows divided by a mullion.

In contrast to the late Georgian or Regency appearance of the east front, the two storey plus attic south front looks more Victorian. Gabled projections with frilly bargeboards stand tall on either side of an asymmetrical two bay setback. The lefthand projection has two paned sash windows; the righthand projection has quoined corners and Georgian sash windows to the first floor and attic above a large Doric pilastered and corniced bowed extension with five two paned windows. A conservatory projects from the central setback under two paired sash windows divided by mullions. The two storey six bay with attic and visible basement north front is plainer and looks the most Georgian due to a proliferation of multipaned sash windows, except for the two storey extension with its larger pane sash windows. It has just one gable to the left of the slate pitched roof. The west front comprises the courtyard with irregular gabled late 19th century extensions.

Rubblestone walls line the 190 metre long causeway linking the island to the small peninsula of Muckros. The 3.4 hectare roughly oval shaped island, now densely wooded, stretches to just over 300 metres at its widest point. At the far end of Muckros, close to the main road between Donegal and Ballyshannon, stands the gatelodge to St Ernan’s House. Kimmitt Dean (mostly) admires it in Gatelodges of Ulster, 1994, “Circa 1845. A pretty little lodge delightfully situated defending the entrance to a ‘furlong of causeway built by his grateful tenantry’ for John Hamilton, to save him from Atlantic tides on his approach to a retreat which he built in 1825. He had become disenchanted with Brown Hall which he had inherited on his father’s death in 1811 [which contradicts George Seaver’s account of John being orphaned age seven]. A one and a half two up two down Picturesque cottage with ornamental serrated bargeboard to gables. One elevation aligned obtusely with the entrance gates, a single storey canted bay window looks on. In uncoursed square masonry now painted over, a flat roofed rear return and entrance hall recently added are hardly compatible.” The gatelodge is closest in style to the south front of the big house. County Donegal: wild. Donegal Town: wild night out. St Ernan’s: wildness tamed.

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Richmond House Cappoquin Waterford + Lavender’s Blue

Fair Ground

Our first glimpse of Richmond House was from the hanging gardens of Cappoquin House. Just two of the many fine estates we are popping into along the Blackwater River Valley. When the owners die they must barely notice the difference to their surroundings, such is the paradisal allure of west County Waterford. It’s a late afternoon (or evening as southerners like to say) drive by shoot of this Georgian box standing a mere 480 metres from the west bank of the Blackwater River.

Richmond House earns a paragraph in A Guide to Irish Country Houses by Mark Bence-Jones, 1978, “A three storey late Georgian block, five bay front with Doric porch, three bay side. Eave roof on bracket cornice. In 1814, the residence of Michael Keane; in 1914, of Gerald Villiers-Stuart. Now a guesthouse.” Small world – smaller in this valley – the Keanes still live at Cappoquin House and the Villiers-Stuarts at Dromana House.

All is serene, all is calm, except for the roar of engine and screech of brakes. We’ve an hour to cross county lines for dinner in New Ross. Not so easy comes, easy goes today. Long a restaurant with guest rooms, Richmond House is thankfully free of superfluous signage. The simplicity of the green lawn and pale skin coloured architecture speak for themselves. Doric, that most grounded of the classical orders, is used for the tetrastyle portico, the central portion now glazed to form a porch. And we’re off.

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Killeavy Castle Hotel + St Luke’s Church Meigh Armagh

A Major Retrospective

Mark Bence-Jones’ tome A Guide to Irish Country Houses, 1978, unusually misses out Killeavy Castle. Its architect George Papworth (1781 to 1855) moved from London to work in Dublin. There’s an entry for another of his works, Middleton Park in Mullingar, County Westmeath: “A mansion of circa 1850 in the late Georgian style by George Papworth, built for George Augustus Boyd. Two storey six bay centre block with single storey one bay wings; entrance front with two bay central breakfront and single storey Ionic portico. Parapeted roof with modillion cornice; dies on parapets of wings. At one side of the front is a long low service range with an archway and a pedimented clocktower. Impressive stone staircase with elaborate cast iron balustrade of intertwined foliage. Sold circa 1958.”

Middleton Park is very well restored as a hotel; another of the architect’s houses is not. Kenure Park in Rush, County Dublin, is included in The Knight of Glin, David Griffin and Nicholas Robinson’s 1988 publication Vanishing Country Houses of Ireland, “A large early to mid 18th century house altered circa 1770 when the two large drawing rooms were created. These rooms had magnificent rococo ceilings and carved doorcases, that on the ground floor having a superb Doric chimneypiece. The house was altered and enlarged again in 1842 for Sir Roger Palmer Baronet, to the design of George Papworth. Papworth refaced the house and added the granite Corinthian portico. He also created the entrance hall, the library and the central top lit staircase hall. The house was sold in 1964 and became derelict before its demolition in 1978. Samples of the rococo ceiling were saved by the Office of Public Works. Only the portico remains.”

Nick Sheaff, the first Executive Director of the Irish Architectural Archive, recalls a visit to Kenure Park: “My first impression was of a mansion conceived on ducal scale in Greco Roman style. In reality it was a stucco refacing of a mid-18th-century three-storey house, skilfully realised by George Papworth in 1842 and fronted by his great Corinthian porte cochère of limestone. It had stylistic echoes of Nash’s work at Rockingham, County Roscommon, and the Morrisons’ work at Baronscourt, County Tyrone. Kenure had a remarkable interior, with two magnificent rococo ceilings of circa 1765 in the style of Robert West. The majestic top lit stairhall by George Papworth had a double-return staircase with a decorative cast-iron balustrade painted to resemble bronze, and walls marbled to suggest Sienna marble blocking as at Benjamin Dean Wyatt’s York House, St James’s in London (now Lancaster House), completed in 1840. When I visited Kenure in 1977 with Rory O’Donnell the house was derelict, open to the elements and to vandalism. It was demolished in 1978 with only the great porte cochère left standing. Kenure had contained some exceptional English furniture of the mid-18th-century, including pieces attributed to Thomas Chippendale, Pierre Langlois, and William and Richard Gomm.” A Chippendale cabinet, commissioned by Sir Roger Palmer for Castle Lackan in County Mayo, and formerly at Kenure Park, was sold at Christie’s in 2008 for £2,729,250.

George Papworth, typical of his era, was able to fluently design in a multiplicity of styles, from the neoclassicism of Middleton Park and Kenure Park to the Tudor Gothic medieval castellated Killeavy Castle. The latter’s setting is majestic, backing into the hillside of the Slieve Gullion and commanding a panorama across the green basin floor. The castle is now a wedding venue and forms the star in a galaxy of 140 hectares of forest, farm and formal gardens. It stands in isolated splendour rising over its battlemented apron of a terrace like a fairytale in granite. In line with best conservation practice, the ‘enabling development’ contemporary hotel and spa accommodation is kept away from the main house. No sprawling 20th century type extensions here. The Listed coach house and mill house were restored and five less important farm buildings demolished and replaced with newbuild around a courtyard roughly filling the original footprint. The mill fountain and pond form eyecatchers framed by the large single pane windows of the hotel. Owner Mick Boyle, locally born then raised in Australia, returned to his homeland and together with his wife Robin and four children took on the immense task of restoring and rejuvenating the castle and demesne. He explains,

 

“The environment around us inspires all that we do at Killeavy Castle Estate. Everything has a purpose. We put much thought into what we grow, buy, use and reuse. We’re restocking our woodland with native oak to restore habitat diversity. And creating forest trails to bring you closer to nature. We farm sustainably too. Traditional local breeds of Longhorn cattle and Cheviot sheep graze in our pastures. Whenever possible we use fresh ingredients foraged, grown or raised right here, in our fields, forests and extensive walled and estate gardens. We make our own jams, preserves and dried foods. We smoke, age and cure our own meat so that bounty can be savoured year round in our restaurants and farmshop. We support our community by sourcing 90 percent of what we serve and sell from within a 32 kilometre radius. Even the seaweed adorning Carlingford oysters ends up fertilising our strawberry plants. And slates have a second life as plates. We’re always finding inventive ways to meet our sustainable target goal of being carbon neutral by 2027.”

The Boyles’ architect was Patrick O’Hagan of Newry. In the planning application of 2014 (which would be approved a year later by Newry and Mourne District Council) he explained, “The Grade A castle will be repaired and fully restored adapting current conservation techniques and standards. Interventions to the Listed Building will be minimal. The works to the Listed Building will be under the direction of Chris McCollum Building Conservation Surveyor, working in conjunction with Patrick O’Hagan and Associates Architects, and other design team members. A 250 person detached marquee will be sensitively positioned to the rear of the castle, excavated into the hillside and suitably landscaped to ensure it does not detract from the setting of the Listed Building or the critical views from the Ballintemple Road.” A discreet wheelchair ramp to the entrance door is just about the only element Powell Foxall wouldn’t recognise. The entrance hall leads through to two formal reception rooms with further informal reception rooms now filling the basement. The first floor has a self contained apartment including a sitting room, dining kitchen and three bedroom suites.

Patrick O’Hagan continued, “The hotel will have its main entrance located in the Listed coach house and will be restored under the direction of the conservation surveyor working closely with the architect. The lean-to Listed structures and the old mill building will be restored and form part of the hotel accommodation. The design carefully maximises the benefits of the steeply sloping site, sloping to the east, which ensures that the new three story hotel building’s roof level is some six metres below the floor level of the castle. The flat roofs of the hotel will be appropriately landscaped to present a natural ‘forest floor’ when viewed from the castle and terrace above.”

And concluded, “The layout of the hotel provides important views to the castle, the restored walled garden and distant views of the surrounding demesne and beyond making travel in and around the hotel an experience in itself. The restaurant, lounge and kitchen areas are vertically stacked on the northern elevation but the public areas also address the internal courtyard providing a southerly aspect and natural solar gain. Views up to the castle from the restaurant and lounge areas are a critical element of the design and will ensure a unique ambience. The courtyard level bedrooms are externally accessed directly from the landscaped courtyard and internally via passenger lifts. The remaining bedrooms are designed with both courtyard and east elevation views.”

Sustainability was a theme of the construction as well as the ongoing running of the hotel. “A limited palette of materials is proposed in the new building work. The use of granite cladding and larch boarding reflects materials naturally occurring on the site. The larch boarding will be painted with a water based wood stain to emulate the great boughs of the adjacent ancient beech, lime and sycamore. The organic masonry water based paint colours will be selected to tone with the woodland setting. All construction materials will be 100 percent recyclable.” Sustainable operational features for the 45 bedroom hotel include a woodchip boiler harvesting waste timber from the demesne and collecting and reusing rainwater.

Kimmitt Dean records in The Gate Lodges of Ulster Gazetteer, 1994, “South Lodge circa 1837 architect probably George Papworth; demolished. A painting in the Armagh Museum indicates what was a contemporary and unassuming gatelodge at the end of a straight avenue on an axis with the front door of the ‘castle’.” Not content with simply restoring the castle, the Boyles commissioned Templepatrick based architects Warwick Stewart to dream up a suitably romantic replacement gatelodge. The result is a convincing neo Victorian country house in miniature faced in stone, dressed with cut granite, and dressed up with bargeboards. The gatelodge provides self contained guest accommodation of two bedrooms over a sitting room and dining kitchen.

Kevin Mulligan provides a detailed account of the castle in The Buildings of Ireland: South Ulster, 2013. Highlights include: “A delightful toy castle rising above a castellated terrace… remodelled in 1836 … In both architecture and picturesque effect the design recalls Charles Augustus Busby’s dramatic Gwrych Castle near Abergele in Wales … a lot has been achieved in a small compass: by the addition of an entrance tower, corner turrets, stringcourses, battlements, attenuated slits, flat label mouldings and mullioned windows, what was effectively a decent farmhouse has been impressively transformed … The tall narrow doorway is flanked by stepped buttresses, the door an ornate Gothic design bristling with studs and set under a Tudor arch and a machiolated bay window with three round lancets. The Foxall arms are displayed in Roman cement on the upper stage.” George Papworth’s client was Powell Foxall even though the Newry bank his family co founded, Moore McCann and Foxall, had folded two decades earlier.

And adds, “There is little dressed stonework in the design, and Papworth’s additions are distinguished from the rubble of the 18th century work by rough ashlar blocks – of limestone rather than the local granite – with wide uneven joints. On the side elevations, presumably as an economy, he concealed the old wall by replicating the newer pattern in stucco, using a composition render, as he had done at Headford (County Galway) in 1829.” Really it’s an attractive 1830s pre Gothic Revival version of Gothic.

Sir Charles Brett devotes four pages of Buildings of County Armagh, 1999, to Killeavy Castle. He’s clearly an admirer, “An exceedingly fine, deceptively modest, pre Victorian castle … a sort of scaled down version of Gosford Castle … The crenellations are marvellously convincing, as are the splendid mock medieval studded front door (painted green) and the astonishingly tall and narrow slit windows … George Papworth was the younger brother, and pupil, of the better known English architect John Buonarotti Papworth, son of a notable stuccodore. He established a successful practice in Ireland, and designed Sir Patrick Dun’s Hospital in Ireland, and the King’s Bridge over the Liffey, in Dublin. His drawings for Killeavy were exhibited in the Royal Hibernian Academy in 1836, with the comment ‘now erecting’.”

The castle started life as an 18th century two storey over basement villa of the rectory size, with a three bay entrance front and a bow window in the centre of the rear elevation. George Papworth mostly retained the symmetry and plan, adding a square tower to each corner except for a circular tower to the rear northwest corner which rises an extra storey. A bathroom now occupies the top floor of the tallest tower. Charmingly, the Gothic carapace cracks on the rear elevation to reveal glimpses of the earlier house. Less charmingly, well for the Foxalls anyway, this was probably down to that age old issue of running low on funds. Earlier sash windows still light the bowed projection.

It’s hard to imagine the perilous state of Killeavy Castle until the Boyles came to its rescue. Imagination turns to reality in a lobby of the hotel: a gallery of photographs shows the ruins. St Luke’s Church of Ireland in the local village, Meigh, hasn’t been so lucky. At first glance it could be mistaken for another George Papworth commission, an offshoot of the castle. But Kevin Mulligan confirms that it is an 1831 design by the prolific Dublin based architect William Farrell. “A variation of the design for the churches of Clontribret and Munterconnaught. A small three bay hall with Farrell’s familiar pinaccled belfry and deep battlemented porch. The walls are roughcast with dressings of Mourne granite, nicely displayed in the solid pinnacle topped buttresses framing the entrance gable and porch. The windows are plain lancets with hoodmoulds, made impossibly slender on either side of the porch. Inside, the roof is supported on exposed cast iron trusses.”

Those trusses now compete for space with trees growing up the aisle. “The roof of the Protestant church in Meigh was only removed 15 years ago,” says Derek Johnston, landlord of Johnny Murphy’s pub and restaurant in the village. A trefoil arched plaque set in a high pedimented gravestone reads: “In loving memory of William Bell who died on 10 March 1896 aged 75 years. Margaret Bell wife of above who died 2 November 2016. Dr Margaret Boyd who died 21 August 1906. Joseph Priestly Bell who died 24 August 2013. John Alexander Bell who died 15 November 1928. Elizabeth Anne Bell who died 27 May 1951. John Alexander Bell who died 1 July 1957. George Reginald Bell who died 16 July 1957. George Reginald Bell who died 16 July 1972. Henry Wheelan Bell who died 30 October 1973. Phyllis Maureen Bell died 7 July 2000.” Their ancestor, Joseph Bell, had bought Killeavy Castle in 1881. Phyllis Maureen Bell was the last of the line to own the castle.

Charlie Brett had big concerns yet high hopes for Killeavy Castle, “It is now, alas, empty, and in poor order, the victim both of vandalism and of burglary, though many interior features appear to survive – including even some of the original wallpaper … It richly deserves its classification as one of only a handful of buildings in Category A in the county … Dare one hope that happier days may come, and that this delightful building might, in some shape, become a showpiece of the Ring of Gullion?” Happier days are here, and this delightful building has, now in shipshape, become a showpiece of the Ring of Gullion.

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Montalto House + Estate Ballynahinch Down

A Dawning of Clarity Upon Complexity

Montalto Estate Ballynahinch Map © Lavender's Blue Stuart Blakley

Braving Storm Ciara, on a blustery photogenic winter’s day, architect John O’Connell and his client Managing Director David Wilson lead a two-to-two private tour of Montalto Estate: The Big House; The Carriage Rooms; and the most recent addition, The Courtyard. It’s an extraordinary tale of the meeting of minds, the combining of talents, a quest for the best and the gradual unveiling and implementation of an ambitious informed vision that has transformed one of the great estates of Ulster into an enlightening major attraction celebrating old and new architecture, art and landscape, history and modernity. And the serving of rather good scones in the café.

Montalto Estate Ballynahinch Lake © Lavender's Blue Stuart Blakley

Philip Smith has just completed the latest book in the architectural series of the counties of Ulster started by the late Sir Charles Brett. Buildings of South County Down includes Montalto House: “Adding a storey to a house by raising the roof is a relatively common occurrence that can be found on dwellings of all sizes throughout the county and beyond. But the reverse, the creation of an additional floor by lowering the ground level, is a much rarer phenomenon. This, however, is what happened at Montalto, the original mid 18th century mansion assuming its present three storey appearance in 1837, when then owner David Stewart Ker ‘caused to be excavated round the foundation and under the house, thus forming an under-storey which is supported by numerous arches and pillars’. Ker did a quite successful job, and although the relative lack of front ground floor fenestration and a plinth appears somewhat unusual, it is not jarring, and without knowledge of the building’s history one would be hard pressed to discern the subterranean origin of this part of the house.”

Montalto Estate Ballynahinch © Lavender's Blue Stuart Blakley

The author continues, “Based on the internal detailing, Brett has suggested that William Vitruvius Morrison may have had a hand in the scheme, but evidence recently uncovered by Kevin Mulligan indicates the house remodelling was at least in part the work of Newtownards builder architect Charles Campbell, whose son Charles in September 1849 ‘came by his death in consequence of a fall which he received from a scaffold whilst pinning a wall at Montalto House.’”

Montalto Estate Ballynahinch Garden © Lavender's Blue Stuart Blakley

Rewind a few decades and Mark Bence-Jones’ threshold work A Guide to Irish Country Houses describes Montalto House as follows, “A large and dignified three storey house of late Georgian aspect; which, in fact was built mid 18th century as a two storey house by Sir John Rawdon, 1st Earl of Moira; who probably brought the stuccodore who was working for him at Moira House in Dublin to execute the ceiling here; for the ceiling which survives in the room known as the Lady’s Sitting Room is pre 1765 and of the very highest quality, closely resembling the work of Robert West; with birds, grapes, roses and arabesques in high relief. There is also a triple niche of plasterwork at one end of the room; though the central relief of a fox riding in a curricle drawn by a cock is much less sophisticated that the rest of the plasterwork and was probably done by a local man.”

Montalto House Ballynahinch Garden © Lavender's Blue Stuart Blakley

Some more: “In the 1837 ground floor there is an imposing entrance hall, with eight paired Doric columns, flanked by a library and a dining room. A double staircase leads up to the piano nobile, where there is a long gallery running the full width of the house, which may have been the original entrance hall. Also on the piano nobile is the sitting room with the splendid 18th century plasterwork. Montalto was bought circa 1910 by the 5th Earl of Clanwilliam, whose bride refused to live at Gill Hall, the family seat a few miles to the west, because of the ghosts there. In 1952, the ballroom and a service wing at the back were demolished.”

Montalto House Ballynahinch © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Facade © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Old Photograph © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Porch © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Bay Window © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Entrance Hall © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Dining Room © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Mirror © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch © Curtain Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Chinese Room © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Niche © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Plasterwork © Lavender's Blue Stuart Blakley

Montalto House Ballynahinch Ceiling © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Conservatory © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Gable © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Bar © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Brickwork © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Windows © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Artwork © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Interior © Lavender's Blue Stuart Blakley

The Carriage Rooms Montalto Estate Ballynahinch Chairs © Lavender's Blue Stuart Blakley

Books aside, back on the tour, David Wilson considers, “You need to stay on top of your game in business. Montalto House was our family home – we still live on the estate. It’s personal. You have to maintain the vision all the time.” John O’Connell explains, “The baseless Doric columns of the entrance hall draw the exterior in – they are also an external feature of the porch. The order is derived from the Temple of Neptune at Paestum. Due to the ground floor originally being a basement it is very subservient to the grandeur upstairs. There are a lot of structural arches supporting ceilings.” A watercolour of the Temple of Neptune over the entrance hall fireplace emphasises the archaeological connection.

The Stables Montalto Estate Ballynahinch © Lavender's Blue Stuart Blakley

Upstairs, John’s in mid flow: “And now we enter a corridor of great grace and elegance.” The walls are lined, like all the internal spaces, with fine art, much of it Irish. David points to a Victorian photograph of the house: “It used to be three times as large as it is now!” The house is still pretty large by most people’s standards. Three enigmatic ladies in ankle length dresses guard the entrance door in the photograph. Upstairs, in the Lady’s Sitting Room which is brightly lit by the canted bay window over the porch, David relates, “the plasterwork reflects the original owners’ great interest in flora and fauna”. John highlights “the simple beauty of curtains and walls being the same colour”. Montalto House can be let as a whole for weddings and parties.

The Courtyard Montalto Estate Ballynahinch Pergola © Lavender's Blue Stuart Blakley

Onward and sideward – it’s a leisurely walk, at least when a storm isn’t brewing – to The Carriage Rooms. While John has restored Montalto House, finessing its architecture and interiors, The Carriage Rooms is an entirely new building attached to a converted and restored former mill. “In the 1830s the Ker family made a huge agricultural investment in Montalto,” states David. “They had the insight to turn it into a productive estate. The Kers built the mill and stables and powered water to create the lake.” White painted rendered walls distinguish John’s building from the rough stone older block. The Carriage Rooms are tucked in a fold in the landscape and are reached by a completely new avenue lined with plantation trees.

The Courtyard Montalto House Ballynahinch © Lavender's Blue Stuart Blakley

“I didn’t want to prettify this former industrial building,” records John. “It needed a certain robustness. The doors and windows have Crittall metal frames. Timbers frames would not be forceful enough. The stone cast staircase is a great achievement in engineering terms – and architectural terms too! The new upper floor balcony design was inspired by the architecture of the Naples School of Art. Horseshoe shaped insets soften the otherwise simple balustrade.” In contrast the orangery attached to the rear of The Carriage Rooms is a sophisticated symmetrical affair. “It’s where two worlds meet. This gives great validity to the composition,” John observes. Much of the furniture is bespoke: architect Anna Borodyn from John’s office designed a leaf patterned mobile copper bar. A formal garden lies beyond glazed double doors. The Carriage Rooms can be let as a whole for parties and weddings.

The Courtyard Montalto Estate Ballynahinch Garden © Lavender's Blue Stuart Blakley

Justifiably lower key is the design of The Courtyard, a clachan like cluster of single and double storey buildings containing a café, shop and estate offices. It’s next to the 19th century stable yard. John’s practice partner Colin McCabe was the mastermind behind The Courtyard. Unpainted roughcast walls, casement rather than sash windows, polished concrete floors and most of all large glazed panels framed by functioning sliding shutters lend the complex an altogether different character to The Big House or even The Carriage Rooms. The Courtyard harks back to the Kers’ working estate era. “We wanted to create a sense of place using a magical simple vocabulary,” confirms John, “and not some bogus facsimile”. A catslide roof provides shelter for a barbeque. An unpretentious pergola extends the skeleton of the built form into the garden.

The Courtyard Montalto Estate Ballynahinch Cafe © Lavender's Blue Stuart Blakley

“We have over 10,000 visitors a month and employ 80 people,” beams David. The 160 hectares of gardens and woodlands have entered their prime. A new timber temple – a John O’Connell creation of course – overlooks the lake. Contemporary neoclassicism is alive and very well. The Beautiful. The Sublime. The Picturesque. As redefined for the 21st century. Montalto Estate hits the high note for cultural tourism in Ireland, even mid storm.

Montalto Estate Ballynahinch Cafe © Lavender's Blue Stuart Blakley

Categories
Architects Architecture Country Houses Hotels Luxury

Mount Falcon Sligo + Phantom the Falcon

The First September

The architect James Franklin Fuller sounds like he’d have been good craic at a dinner party. When not bashing out High Victorian melodramatic novels, bragging of his descent from Charlemagne or boasting of his wife’s connections to Napoleon, he was busy embellishing Ireland with a string of rather fetching future tourist attractions. Ashford Castle, Farmleigh, Kylemore Abbey and Park Hotel Kenmare are probably the best known ones.

He also worked on two country houses in the west of Ireland: the design of Mount Falcon and the redesign of Annaghmore. Quite the eclectic, Mr F ensured they’re not wildly similar. The former is asymmetrical and vaguely castellated. The latter is symmetrical and strongly neoclassical. They both have plate glass sash windows and grey stone walls. Fast forward a generation or two: Mount Falcon has had an extension added; Annaghmore, a wing demolished.

Mount Falcon is freeform baronial, an Irish take on a Scottish tradition. All 32 of the bedrooms are available to paying guests (Mount Falcon is now a hotel). Mark Bence-Jones in A Guide to Irish Country Houses calls Annaghmore “late Georgian”.  Esteemed architectural historian Dr Roderick O’Donnell retorts, “It’s lazy to just call Annaghmore ‘late Georgian’. It’s not. The remodelled front elevation is Victorian Greek Revival – the Greek order used is a giveaway.” The house was once joyously named Nymphsfield. Only one of the many bedrooms is available to paying guests (Annaghmore is still a private house).

“A few months after opening my offices I discarded the regulation copying-press and the regulation letter-book,” James Franklin Fuller confessed in his autobiography. “The ‘correct’ thing to do with letters received, was to preserve, docket and to pigeon-hole them… whereas nine out of 10 of them went into my wastepaper basket immediately after receipt . . . I kept no ledgers or books of any sort: I could not see the least necessity for them.” Clearly, admin was beneath him. It’s a wonder that any buildings can be attributed to him, never mind such a variety.

Mount Falcon retains its original internal fittings: cornicing, fireplaces, panelling and even servants’ bells. There are spacious reception rooms but it’s more fun to eat in the intimacy of the square tower: table for two only. Mount Falcon has, aptly, a resident falcon. Phantom is sitting balanced on the back of a chair in the dining room. “Falcons follow a matriarchal pecking order,” explains her falconer. “They respond more respectfully to female humans than males.”

Females play defining roles in the history of Mount Falcon. The house was commissioned by Ultred Knox in honour of his wife Nina Knox-Gore of nearby Belleek Manor. It was completed in 1876. Major and Constance Aldridge bought the estate in 1932 and opened the house as a hunting lodge. Connie was one of the founders of the Blue Book, Ireland’s leading guide to hotels of distinction. In 2002, Mount Falcon was taken over by the current owners, who include the local Maloney family.

Categories
Architects Architecture Country Houses

Buncrana Castle Inishowen Donegal + Sir John Vaughan

Notes on a House 

It is one of the most romantically situated country houses in Ireland, picturesquely positioned on a peninsula off a peninsula. Buncrana Castle is perched on the edge of its namesake town, looking serenely across Lough Swilly towards the Atlantic Ocean. The serenity of its setting is matched by the serenity of its architecture. “Indeed this is a building of note,” remarks heritage architect John O’Connell. He in turn refers to the words of the late Dr Maurice Craig, who writes about Buncrana Castle in Classic Irish Houses of the Middle Size, 1976. John drew many of the floorplans illustrating this seminal book.

Dr Craig describes an architectural characteristic that the house shares with a few others, “The type of small cubical wing, usually lower than the house, which stands advanced from the main block at each end, and overlaps it by the thickness of one wall which is common to both house and wing, has a long history. It resembles the musical device in which the last note of one phase is the first note of the next. In plan, if not in silhouette, it appears as early as Jigginstown (1637), and by the time of Waringstown, County Down, it is fully established. Buncrana, County Donegal, though sharply contrasted in other ways, is an example from the very early 18th century.” He captions a closeup photograph of its façade: “Doorcase with a tablet commemorating the landing of Wolfe Tone at Lough Swilly in 1798.”

Three years earlier, Hugh Dixon’s An Introduction to Ulster Architecture was published: “By contrast with Waringstown House or Berwick Hall, Buncrana Castle, built by Sir John Vaughan between 1716 and 1718, is a competent and assured piece of architectural design; it may indeed be found rather dull because of this. Each window balances another. Each has its own area of wall to occupy, neither too large nor too small. The introduction of a half-basement raises both the height and the importance of the ground floor. The front door is approached by a gentle flight of narrowing steps, and decorated with a moulded frame topped by a curving open pediment. The three central bays are given a discreet prominence by being advanced slightly from the main block, and the monotony of the blank side walls of the wings is relieved by arched niches.”

Mark Bence-Jones summarises ownership history in his 1988 revised tome A Guide to Irish Country Houses, “A very distinguished early 18th century house, built circa 1716 by George Vaughan, close to the shore of Lough Swilly. Two storeys over basement; seven bay centre block with two storey one bay overlapping wings. Doorway with scroll pediment. Panelled interior. Axial approach by a six arched bridge over the river, near which stands an old towerhouse of the O’Dohertys, Lords of Inishowen; and through a curving forecourt. Originally the house was surrounded by elaborate gardens and terraces. By circa 1840, Buncrana belonged to a Mrs Todd; it later became the seat of Alexander Airth Richardson, son of Jonathan Richardson, MP, of Lambeg, and his wife Margaret Airth. It is now falling into decay.”

In 2002, Howley Harrington Architects won an RIAI award for the repair of Buncrana Castle’s complex roof. The practice’s scholarship was praised by the Institute. Over to James Howley, “The castle has been described by several historians as having been built in 1718, probably because of the date stone that survives above the entrance door. During our survey we discovered that the building was much older, probably dating from the early 17th century, with a significant programme of alteration and extension in 1718. The triple stack roof from 1718 is not only one of the oldest surviving roofs in the country, but many of its large section timber members were reused floor beams, complete with joist sockets, salvaged from an earlier house. Quite remarkably the original roof covering, consisting of pegged stone slates, was intact, though in a very poor state of repair. The stone slates were quarried locally and the individual slates were graded from eaves to ridge, and in addition to the pegs were bedded in lime and sand. Another remarkable feature of this roof is that apart from the stone capped front ridge, all other ridges to the main roof and flankers were made of lime and sand. Although this roof had been leaking for over 40 years, during which time inappropriate and ineffective cement and bitumen repairs had been carried out, it had survived for an astonishing 280 years.”

The architect continues, “It became immediately apparent that the roof structure was of great cultural significance and had to be retained and repaired, and that the very beautiful grey-green stone slates should be salvaged and reused at least on the principal east facing roof and flankers. A programme of extensive repair and replacement was carried out to the roof structure, where approximately 10 percent of the rafters and 70 percent of the main structural members including purlins ridge and valley beams were saved. The rainwater disposal system was replaced in cast iron and many new sliding sash widows were installed. The building, described as ‘derelict’ in the 1970s and 80s, is now dry, and ventilated, its future secured. The varied colours and textures of the stone faced roofs are extremely beautiful and the only example of stone slate roofing we know of on a major building in Ireland.”

A flick through the entries in A Guide to Irish Country Houses shows two more examples of houses with the “small cubical wing” identified by Dr Maurice Craig. Castle Cor, County Cork, and Cahir-Guillamore, County Limerick, both have single bay projecting attachments. Like Buncrana Castle, or at least like its rebuilding as so recently identified by James Howley, these two houses are early 18th century. But Buncrana Castle, in style and location, really is unique. Dr Craig clearly enjoyed musical metaphors and to borrow his tone, the building’s designer realised to fruition that harmony is the result of good counterpoint.

Categories
Architects Country Houses Hotels

The Titanic + Enniskeen House Hotel Newcastle Down

Pink Panter

Enniskeen House Hotel 1991 © Lavender's Blue Stuart Blakley

Halfway up the forested Shimna Valley, close to the Tollymore estate which is forever haunted by the wandering Blue Lady, and just beyond the seaside resort of Newcastle is Northern Ireland’s most charming hotel. Discreet yet assured. Spa-free. Anti-ostentatious. Bling where art thou? Hotels should be about three things: food, place and people. Easy. Not golf courses. Enniskeen House Hotel scores top marks in all classes. It knows its French fried onions. It’s perfect for admiring the great outdoors from the great indoors. And the staff are a delight.

Enniskeen Hotel Newcastle Entrance Front © Lavender's Blue Stuart Blakley

  • 1895 three storey house is built in typical very late Victorian style with a proliferation of randomly placed gables, dormers, bays and a turret. More of the turret later. Might be by William Batt who designed the mildly Romanesque Ballynafeigh Orange Hall and the roughly Italianate Clifton Street Orange Hall and the loosely eclectic Monaghan Orange Hall and the vaguely gothic Portaferry Orange Hall. Client is Virginia born Robert Wallace Murray, tobacco and rope magnate.
  • 1899 architectural practice Hobart Heron is founded.
  • 1905 Murray’s Erinmore tobacco politically-not-so-correct slogan is launched, ‘Don’t stop smoking because tax on tobacco has increased. It is your duty to the State to keep on smoking.’
  • 1911 Titanic sets sail with officers puffing on Murray’s Erinmore tobacco and guests eating off Liddell linen tablecloths.
  • 1913 Mr Liddell buys Enniskeen House.
  • 1930 Colonel Panter becomes owner, breathing new life into the interior. Hobart Heron reconfigures the main hall and adds panelling to the reception rooms.
  • 1940 Lindsay family take up residence but after three years widowed Mrs L moves out to a bungalow nearby.
  • 1958 Esme Porter purchases the down-at-heel house and gets busy sensitively converting it to a 12 bedroom hotel.
  • 1961 Colonel’s daughter Eveleigh Finola Margaret Panter marries Major William Stephen Brownlow.
  • 1966 Enniskeen House Hotel is now fully established and ready for the next half century of hospitality.
  • 1974 modern but sympathetic single storey porch and bathroom wing is added to the entrance front. Traces of tracery lend a suitably vague gothic air to the doorway and windows. The building is now an intriguing blend of 1890s, 1930s and 1970s styles. Welcome to informal retro.
  • 1978 A Guide to Irish Country Houses by Mark Bence-Jones is published but no mention of the elusive Enniskeen.
  • 1983 Esme’s son Ian Porter takes over the running of the hotel and the gardens of dewy multicoloured perfumed rhododendrons falling down to the Shimna River are restored.
  • 1994 Kimmitt Dean gives Enniskeen a mention in his publication on gatelodges, ‘To a faintly Scots Baronial roughcast pile, a contrasting Picturesque | Neoclassical stuccoed gatelodge.’
  • 2016 Hobart Heron continues to thrive as an architectural practice in Belfast.
  • 2016 Lavender’s Blue come to stay in the octagonal turret room, admiring the view through 12 panes of original liquidy glass, and have a rollicking good time.

Enniskeen Hotel Newcastle Porch © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Side © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Turret Bedroom © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Garden Front © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Landing © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Erinmore Tobacco © Lavender's Blue Stuart Blakley

Shimna Valley © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle View © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Lawn © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Garden © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle River Trail © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Flowers © Lavender's Blue Stuart Blakley

Enniskeen Hotel Newcastle Sunset © Lavender's Blue Stuart Blakley