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Nymans had been through two transformations; from the outset Ludwig and Annie Messel in 1890 purchased an
early Victorian house along with 600 acres of woodland and farmland. The messel’s set about making alterations
and additions to their country home.
It was through Ludwig’s passion for collecting art and antiques, and developed friendships with leading artists and
musicians that lead to the marriage of Maud to Ludwig’s son Leonard.

Maud was the daughter of Edward Linley Sambourne then cartoonist for the Punch magazine. When Ludwig died in
1915, Leonard inherited Nymans. Leonard persuaded Maud to move into Nymans from their nearby property of
Balcombe House, on the proviso that he would make radical changes.
The house as seen today is the remnants of their home. For Maud, coming from an artistic family and social circles
in London; she felt a home should be full of charm and romance.
The radical change came in the form of a completely new house styled as a late Medieval Manor.
After first engaging the distinguished architect Norman Evill, to create a romantic idealised country house, Leonard
and Maud then commissioned the renowned church architect Sir Walter Tapper. Maud had researched the style she
wanted from existing properties for inspiration including Great Chalfield Manor in Wiltshire and Brede Place in
Sussex. It took five years to realise its completion.

The Garden Hall was in fact the entrance hall prior to the fire at Nymans on 19 February1947. The house was to a
considerable degree made a ruin the west range of the house that remained was reorganised and restored by Michael
Tapper, son of Sir Walter Tapper who had previously worked on the house.
And furnished with what had been saved. The Garden room was where the family used this space for reading,
playing music and where Maud Messel wrote her letters at the desk.
The painting conveys the light and ambience possibly reminiscent of those times.

The piano draws the eye into the centre of the composition, where a woman is seen in a reflective mood either
reading or writing. Music sheets are left on the piano stool and piano, having been played or yet intended to be
played. A creative space to dwell in summing up the past period of social position. At the time that Anne Messel
then Countess of Rosse wrote to the National Trust ‘I want the garden Hall preserved as it is with its tapestries and
all so that the public can see what at least one of the rooms at Nymans has always been like’.