Page 36 - VE Magazine - Issue 42

RUSSELL-COTES MUSEUM
and carpet on the grand staircase lead to the upper balcony. On the way, you will pass a beautifully preserved argus pheasant which is just the beginning of Annie’s fascination with natural history, fossils, shells and specimens. In an alcove on the staircase is a stunning alabaster sculpture called ‘The Bathers’ by Orazio Andreoni. This momentarily reminds you that you are at a seaside location in Brit- ain but don’t worry, you will soon slip back again into thinking you’re in a French or Ital- ian villa of aristocratic lovers in the 1880s. Ceilings are painted throughout and the wall coverings, stencils and decoration is exquis- ite with not a square inch left untouched.
WORLD CLASS PIECES
There are four galleries located on the ground floor, which boast some world class pieces and show the diverse tastes of the couple, as well as a blossoming collection of a museum that went on to acquire works in their tradition. Stand out pieces that form part of the permanent collection include the pre-Raphaelite masterpiece ‘Venus Verti- cordia’ (1864-1868) by Rossetti, ‘Midsummer’ (1884) by Albert Joseph Moore and a later purchase, ‘Spray’ (1940) by Harold William- son. Portraits and huge landscapes dominate the galleries which luckily, also contain soft chairs and couches so you can sit and take in all the beauty.
Up on the first floor and you are spoilt for choice for which room to take in first. It is laid out in such a way that you linger for longer than if you were in a large gallery space as the detail is so lavish and has been so well
preserved. Even the toilets have been left ‘as is’ and you spend far more time in there than is usual, admiring the decor!
Like the artworks contained within, the building itself is a mixture of architectural styles and Merton must have been a very difficult client for architect Fogerty who did his best to understand his demands and com- bine his varied tastes. Throughout the halls and rooms you can see influences of Scottish Baronial, Italian Renaissance, French Cha- teau as well as Japanese and Moorish styles. He even acquired some fire-damaged doors from a Florentine Palazzo midway through
the project, which meant changing the design of the Drawing Room to accommodate them. Merton wanted glamour and drama and his love of the theatre is also evident throughout the house.
The conservatory, which was added in 1899, affords stunning views of Poole Bay from Purbeck to the Needles off the Isle of Wight and would have been the perfect rest- ing spot with Lloyd Loom chairs and giant rubber plants. Annie and Merton used this space to tend to their cuttings and the bright red glass tiles infused with gold that line the semi-circular surround at the top are as vi- brant today as the day they were laid.
Russell-Cotes is run by a dedicated army of staff and knowledgeable volunteers and guides and includes a café and shop – you can even get married there! It really has it all; stunning views and location, beautiful architecture set in sumptuous gardens and an art collection to rival the London institu- tions. As well as the miles of golden sands, this is without doubt the best reason to visit Bournemouth.
Note: If you visit between 2nd November 2018 and 2nd June 2019, you’ll also be able to see iconic photographs of China by John Thomson (1868-1872) reproduced on a large, sometimes life-size scale accompan- ied by objects collected by Merton and Annie Russell-Cotes on their visit to China only a decade later, in an exhibition entitled ‘China: Through the lens of John Thomson’.ve www.russellcotes.com www.markcarnaby.com
36 / October-November 2018 / ve
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