Art at The Red House

‘Masked Figure Venetian Carnival’ – Robert Colquhoun (1914-1962). 1950, oil.

To be an art collector is a privilege and, of course, in the past it has mostly been royalty, the aristocracy and the Church who have commissioned as well as collected art. That is why I think it is fascinating to see personal collections of people from more recent times who come from different environments other than the usual suspects so as to speak.

Art at home in The Red House. ‘Portrait of Britten’ – Henry Lamb (1883-1960) 1945 oil on canvas, and also tucked behind the curtain ‘Canal Scene: Venice’ – Vanessa Bell (1879-1961) oil on canvas. Photograph from 2019 visit.

I think the art collected by Benjamin Britten and his partner, Peter Pears, is interesting as it contains commissioned portraits of both men as you would expect, with one a world renowned composer and the other a famous tenor, but it also includes a broader and more diverse range of pictures and sculptures. Their whole collection numbers around 1,200 works with many on display at The Red House within the domestic setting of their home.

‘Double Concerto’ – Maxwell Ashby Armfield (1881-1972). 1969, tempera on canvas.

Although the collection is not all about them specifically or their work, it nevertheless gives an insight into their interests and their daily lives. We are left with a glimpse of them as we see their chosen art ornamenting the rooms where they dined, read, relaxed and entertained. As with any large collection not all the work is on display at any one time, but nevertheless the rooms reflect more than a hint of the essence of the Britten-Pears home.

Drawing Room of the Red House from 2012.

Hanging on the walls of The Red House there are works featuring their friends such as colleague and close friend Imogen Holst. (She is, in fact now buried behind the two graves of Britten and Pears in the churchyard of St Peter and St Paul, Aldeburgh.)

Portrait of Imogen Holst. ‘Memory of Terrington St George’ – Edward Seago (1910-1974), 1962, oil

Also, there are works reflecting their personal taste, with apparently Peter Pears’ preference for strongly coloured 20th-century work.

‘Green Rose’ – Philip Sutton RA (b. 1928 – 92 years old). 1955, oil.
‘Clymping Beach’ – John Piper (1903-1992). 1953 (The lined, green upholstery fabric of the sofa complements the dark, striking lines of the painting.)

However, apparently Britten’s taste was more restrained and, there are many drawings and sketches amongst the collection.

Of course, and not in the least surprising as with many art lovers, there are works featuring Venice.

‘Interior St Mark’s, Venice’ – John Piper. 1973 (Hanging opposite the stairs which I am afraid you can see reflecting off the glass somewhat spoiling the ‘dancing light’ effect of the painting. A better photo of this evocative work can be see HERE at ArtUK.)
Pictures on the stair walls depicting more of Venice including a painting of the Santa Maria della Salute and also within the collection (but I seemed to have missed photographing it) was another painting of the Salute by Walter Sickert (1860-1942) oil on canvas.

Finally, if one is lucky enough to have the means, you can collect pictures by artists from the canon and the Britten-Pears collection has works by William Blake, Walter Sickert, David Hockney and, of course, being men of Suffolk, a painting by John Constable.

‘Portrait of second son Charles Goulding’ – John Constable (1776-1837) c.1835-36, oil on board.

Author: agnesashe

Artisan, blogger and passionate East Anglian working from home.

12 thoughts on “Art at The Red House”

  1. Absolutely fascinating, Britten has always been one of my favourite composers and in 1970 in the Auckland Town Hall from a seat in the front row I was privileged to hear them give a recital which I shall never forget. We leapt up and led the standing ovation which followed the concert.

    1. How lucky you were to hear and see him perform in real life. I envy you. As a child I once saw him driving through the Suffolk countryside near Snape, but my parent’s didn’t attend the Aldeburgh festivals as usually too avant-garde for them. Naturally, ‘Sea Interludes’ is in my top 10 all-time favourites, a complete musical summation of the Suffolk coast.

    1. Yes. I think what people chose to hang on their walls is always interesting even for more ordinary folk. There’s usually some interesting tale or two associated with their treasured art.

    1. Yes, I think that is what I came away with as many of the rooms are pretty much in the condition in which they were lived in. Although, I think they exchange/circulate some of the paintings. Visiting certainly feels more like a walking into a comfortable home rather than a stately mansion fixed in aspic or a museum.

  2. Certainly an eclectic collection of art, furniture and furnishings. I love how in the top photo the corner lampshade is tipped lopsided to cast the light upwards to the paintings. I wonder how they deal with fading of the artworks, as they are everywhere, and surely some must be vulnerable to the sunlight? My bright painting of a Miao woman being escorted to her wedding has faded drastically. Sadly.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: