The History of Harewood House
Harewood House is a country house situated in Harewood, West Yorkshire, England. The structure was built between 1759 and 1771 for Edwin Lascelles, 1st Baron Harewood. His wealth was derived from West Indian plantations and his status as a slave owner. This history remains an integral part of the estate's foundation. The house is a Grade I listed building.
The estate serves as the family seat of the Lascelles family. It has remained the home of the Lascelles family through the generations. The lineage has maintained a continuous presence on the grounds, spanning from the eighteenth century to the present day. The house remains a private residence while also functioning as a site for public engagement with its collections.
Architecture and Grand Design
The structure is a fine example of Palladian architecture, shaped by the hands of architects John Carr and Robert Adam. The design reflects a deliberate sense of proportion and order. Inside, the rooms are defined by Robert Adam plasterwork and ornate ceilings. Grand staircases provide a sense of scale and movement through the house.
The surrounding 1,000 acre estate was designed by Lancelot ‘Capability’ Brown. This landscape provides a natural frame for the house, extending the reach of the architecture into the West Yorkshire countryside. The relationship between the built environment and the managed grounds creates a cohesive sense of space.
The British Portraiture Collection
The collection contains over 300 portraits that trace the lineage and social fabric of the estate. These works provide a quiet presence within the house, documenting the individuals who shaped its history. Among the most significant are family portraits by Sir Joshua Reynolds, whose brushwork defines much of the character of the rooms. The presence of Thomas Gainsborough and Sir Alfred Munnings further anchors the collection in the tradition of British portraiture, offering a continuity of style and subject across different eras.
Specific likenesses offer a direct connection to the Lascelles family and their associates. One may encounter the portrait of Edwin Lascelles (1712 – 1795), the man responsible for the house's construction. Other figures emerge from the canvas, such as Henry Lascelles, 2nd Earl of Harewood, depicted within the surrounding landscape, and Louisa, 3rd Countess of Harewood. These portraits do more than record features; they hold the space they inhabit.
The collection also preserves the likenesses of those closely tied to the family through marriage or social standing. This includes the portrait of Mrs Hale, who was the sister-in-law of the 1st Earl of Harewood. Each face serves as a specific point of contact with the past, existing as a physical record of identity and status.
- Portrait of Mrs Hale
- Portrait of Louisa, 3rd Countess of Harewood
- Portrait of Henry Lascelles, 2nd Earl of Harewood
- Portrait of Edwin Lascelles (1712 – 1795)
Italian Old Masters and Art
The collection at Harewood House includes one of the most significant groupings of Italian Renaissance paintings in Britain. These works possess a quiet authority, offering a direct encounter with the traditions of the Old Masters. Among the European masters present are Titian and El Greco, whose presence anchors the historical depth of the house. The selection of Italian works provides a profound dialogue between the domestic setting and the grander movements of European art history.
The house also holds significant British landscape works, including early pieces by JMW Turner. Commissioned by Lascelles to depict the newly built house and its surrounding gardens, these paintings capture the estate in its formative years. This historical continuity is balanced by more modern additions, such as a giant Epstein sculpture of Adam located in the entrance hall. The presence of works by photographer Roger Fenton and various contemporary art and design pieces ensures that the collection remains in constant conversation with the present.
- Portrait of a Venetian Lady, about 1656 - David Teniers the Younger
- Saint John the Baptist, about 1656 - David Teniers the Younger
- Portrait of a Man of the Soranzo Family in Senator's Robe, 1567 - Paolo Veronese
- Charlotte Stuart, Viscountess Canning, 1849 - Franz Xaver Winterhalter
- Saint Jerome in the desert, about 1500 - Giovanni Battista Cima Da Conegliano
Furniture and Decorative Arts
The interiors reflect the precision of Georgian design, where form and function meet in the arrangement of fine objects. The house holds one of the largest collections of Thomas Chippendale furniture anywhere in the world. These pieces possess a physical weight and presence that define the character of the rooms. To stand before them is to observe the specific geometry and craftsmanship of the eighteenth century.
Beyond the woodwork, the collection includes an impressive array of ceramics. These objects, alongside the furniture, contribute to the layered atmosphere of the house. The presence of such significant works allows for a direct encounter with the material history of the period.
- Portrait of a Venetian Lady, 1656 - David Teniers the Younger
- Saint John the Baptist, 1656 - David Teniers the Younger
- Portrait of a Man of the Soranzo Family in Senator's Robe, 1567 - Paolo Veronese
- Charlotte Stuart, Viscountess Canning, 1849 - Franz Xaver Winterhalter
- Saint Jerome in the desert, 1500 - Giovanni Battista Cima Da Conegliano
The Himalayan Garden and Grounds
The landscape at Harewood spans 1,000 acres, a vast expanse of West Yorkshire countryside that provides a quiet setting for the house. Within this territory, the Himalayan Garden offers a specific, concentrated study of botanical life. It contains many rare and unusual plants that thrive in the curated environment. Blue Poppies, Cobra Lilies, Primulas and Orchids find a home here, creating a distinct atmosphere away from the formal lawns.
A Buddhist monument, a beautiful stupa, is situated among the plantings. This structure provides a focal point within the garden's arrangement. The presence of such a monument lends a sense of stillness to the surrounding greenery. The garden remains a place of tranquility, where the specific requirements of these exotic species dictate the character of the landscape.
