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E-book Global Goods and the Country House : Comparative perspectives, 1650-1800
When Sir Rowland Winn, fifth baronet, inherited Nostell Priory in Yorkshire in 1765, he promptly sacked James Paine, the architect employed by his father, and brought in Robert Adam to create fashionable neoclassical interiors. The rooms were filled with Chippendale furniture; paintings by the renowned Italian artist, Antonio Zucchi, adorned the walls; and busts of classical philosophers and poets topped the shelves in the library. Sir Rowland’s wife, Sabine, busied herself corresponding with London mercers, looking to circumvent prohibitions and acquire French fashion items.1 Nostell was thus suffused with British and European goods and influences – the epitome of an English country house. Yet Chippendale’s furniture was made from mahogany, imported from the Caribbean; he supplied imported Chinese wallpaper for at least three rooms on the principal floor, and made matching green and gold chinoiserie furniture. Sabine, meanwhile, acquired exotic silks and chintzes. Fast forward to 2018 and the National Trust was engaged in a new interpretation that attempted to balance these two sides of Nostell’s history. The visitor entered through an exhibition which examined the craftsmanship of Chippendale’s furniture making (marking 300 years since his birth), then moved through rooms exploring his relationship with Sir Rowland and animating one of the Chinese wallpapers that he supplied. They were then confronted with text and video that highlighted the slavery and exploitation surrounding the harvesting of the Caribbean mahogany which surrounded them in the house. The visitor journey went from celebrating to unsettling.
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