Sudley House and Estate
Sudley House is a historic house built in 1824 and much modified in the 1880s.
Today it is a museum and art gallery which contains the collection of George Holt, a shipping-line owner and former resident, in its original setting. It includes work by Thomas Gainsborough, Joshua Reynolds, Edwin Landseer, John Everett Millais and J. M. W. Turner.
The house was bequeathed to the city of Liverpool by Holt's daughter, Emma Georgina Holt, in 1944 and is now managed by National Museums Liverpool.
Sudley, as it was originally known, was completed in 1824 as a two storey ashlar house for Nicholas Robinson, a corn merchant who was Lord Mayor of Liverpool in 1828–29.
Following the death of Robinson in 1854, the house passed to his two daughters.
The house and estate, comprising just under 30 acres (12 ha), was put up for sale in 1880. It became the home of shipping-line owner and merchant George Holt in 1884.
Pevsner says that the original design was probably by John Whiteside Casson and was modified by James Rhind when Holt purchased it. However, National Museums Liverpool say that the original architect is unknown, although there are features that suggest it may have been Thomas Harrison.
George Holt who died in 1896 was an art collector among his most significant purchases, which remain in the house today, were J. M. W. Turner's Rosenau, depicting Prince Albert's home in Germany, and Gainsborough’s Viscountess Folkestone. Also among the collection are paintings by Richard Parkes Bonington, Edwin Landseer, John Everett Millais, Joshua Reynolds, George Romney and the Pre-Raphaelites.
Sudley House and the art collection, which is described by ArtUK as being "the only British collection of its kind still in its original setting", were bequeathed to the city in 1944 by Emma Holt and is now managed by National Museums Liverpool.
In the early 21st Century Sudley House closed for two years for a £1 million refurbishment opening again on May 26th, 2007.
Unfortunately, the significant security required to protect the contents has the unfortunate effect detracting from the building’s appearance when viewed from the rear.
Read MoreToday it is a museum and art gallery which contains the collection of George Holt, a shipping-line owner and former resident, in its original setting. It includes work by Thomas Gainsborough, Joshua Reynolds, Edwin Landseer, John Everett Millais and J. M. W. Turner.
The house was bequeathed to the city of Liverpool by Holt's daughter, Emma Georgina Holt, in 1944 and is now managed by National Museums Liverpool.
Sudley, as it was originally known, was completed in 1824 as a two storey ashlar house for Nicholas Robinson, a corn merchant who was Lord Mayor of Liverpool in 1828–29.
Following the death of Robinson in 1854, the house passed to his two daughters.
The house and estate, comprising just under 30 acres (12 ha), was put up for sale in 1880. It became the home of shipping-line owner and merchant George Holt in 1884.
Pevsner says that the original design was probably by John Whiteside Casson and was modified by James Rhind when Holt purchased it. However, National Museums Liverpool say that the original architect is unknown, although there are features that suggest it may have been Thomas Harrison.
George Holt who died in 1896 was an art collector among his most significant purchases, which remain in the house today, were J. M. W. Turner's Rosenau, depicting Prince Albert's home in Germany, and Gainsborough’s Viscountess Folkestone. Also among the collection are paintings by Richard Parkes Bonington, Edwin Landseer, John Everett Millais, Joshua Reynolds, George Romney and the Pre-Raphaelites.
Sudley House and the art collection, which is described by ArtUK as being "the only British collection of its kind still in its original setting", were bequeathed to the city in 1944 by Emma Holt and is now managed by National Museums Liverpool.
In the early 21st Century Sudley House closed for two years for a £1 million refurbishment opening again on May 26th, 2007.
Unfortunately, the significant security required to protect the contents has the unfortunate effect detracting from the building’s appearance when viewed from the rear.
