Artists’ residences in London – the most extravagant homes in art history

For me, former artists’ homes are among the most interesting museums and places of interest, as they combine history and privacy, interior design and art – often with a touch of eccentricity. That’s why, on many of my trips to different countries, I visit artists’ homes, often even when I don’t know the artists at all. What better way to get to know a creative person than by visiting their home? As well as the historic interiors, you discover very special places away from the tourist crowds. Sometimes you can even feel the inspiration that these special places exude. In this article, I’ll take you to London to show you some of the special artists’ homes in this unique city. These homes are definitely worth a visit.

Leighton House – The Extravagance of a Travelling Collector

Frederic Leighton’s house is undoubtedly the most unconventional I have visited in London. The Arabian Hall is so unusual for a private residence that I was amazed and couldn’t get enough of it. How can an Englishman have such a whimsical, oriental hall in an ordinary private residence? In fact, Leighton’s entire house is a unique museum brimming with incredible beauty.

Who was the painter Frederic Leighton?

Leighton (1830–1896) was a painter, sculptor and illustrator. Like so many 19th-century artists, he studied and lived in Italy. There, he was most influenced by Renaissance art and the German artists’ group known as the Nazarenes. The Nazarene Movement was a German-speaking artists’ association that drew inspiration from the Christian art of the late Middle Ages and the Renaissance. Upon his return to England, Leighton was strongly influenced by the Pre-Raphaelites; he was close friends with their members. However, he never officially joined the Pre-Raphaelites. The Pre-Raphaelites are actually among my favourite artists, because, much like the Nazarenes, they drew inspiration from the works and themes of the Middle Ages. Their artworks, however, often lacked a Christian context and were instead influenced by literature, myths, legends or their travels.

Although Frederic Leighton was never officially a member of the Pre-Raphaelite Brotherhood, his works can be readily associated with that movement at first glance. His monumental portraits of women, which often exude a touch of the exotic and the mystical, are strongly reminiscent of the works of Rossetti or Burne-Jones. He was one of the most highly regarded artists of his time and became very wealthy. He travelled extensively and drew great inspiration from foreign lands. On 24 January 1896, Queen Victoria conferred upon him the title of Baron. Sadly, he died of a heart attack just one day later.

The House of Frederic Leighton

Frederic Leighton’s home was already a museum during his lifetime. There, Leighton exhibited not only his own works, but also those of his friends, often the Pre-Raphaelites. And, of course, visitors could also admire the souvenirs he had brought back from his travels. These included Renaissance artworks, such as a monumental painting from Tintoretto’s workshop, as well as arts and crafts from far away lands. Even the entrance hall and the staircase are unique and breathtaking. The entrance area was designed by one of Leighton’s artist friends: William de Morgan. The interior is more reminiscent of a monumental castle than a London townhouse. Frederic Leighton built his house primarily for guests and events; everything was designed for representational purposes. Accordingly, he frequently invited friends and guests and hosted a wide variety of cultural events on his premises. Among his guests was, for example, Clara Schumann, who gave several concerts at his home.

The Arabian Room at Leighton House

Leighton travelled extensively, not only throughout Europe but also through Islamic countries. During these journeys, he purchased a large number of works of art and crafts. He owned a vast collection of Turkish, Syrian and Iranian tiles. These were antique tiles dating from the 16th and 17th centuries. Leighton often travelled with his artist friend, the architect George Aitchison, who later produced the designs for the Arabian Hall. The fusion of Islamic influences with the Arts and Crafts movement is incredibly well executed here. After his return from the Orient, Leighton continued to purchase Oriental tiles. One of his most important suppliers was the diplomat Richard F’rancis Burton.

The Arab Hall also regularly hosts exhibitions of works by contemporary artists. These are often artists of Arab heritage, whose works fit in very well with the hall’s theme. When I was there, an installation by Soraya Syed entitled ‘From Water, Ever Living Thing’ was on display. In this work, water is used as a mirror in which the delicate Arabic calligraphy on the tiles is reflected.

Sambourne House – a total work of art in terms of aesthetic style

Just a ten-minute walk from Leighton House lies Sambourne House, the former home of the illustrator Edward Linley Sambourne (1844–1910). Although both artists lived at the same time, the houses could not be more different. This is a family home, whereas Leighton was an extravagant bachelor. Nevertheless, the interior here is so fascinating that I would have loved to move in straight away.

Who was the artist Edward Linley Sambourne?

Edward Linley Sambourne was a book and newspaper illustrator, photographer and cartoonist. He became famous for his drawings in the satirical magazine *Punch*, which was the most influential English satirical magazine of the Victorian era. He detested his actual profession as an engineer, but found his true calling in drawing, and what began as a hobby became a profitable source of income.

The Sambourne family home

Edward Sambourne lived in this house with his wife Herapaht and their two children. Today, the house is chiefly renowned as a total work of art representing the Aesthetic Movement. This 19th-century English cultural movement was characterised by opulence, beauty and craftsmanship. The Aesthetic Movement was a counter-movement to the functionality and soulless mass production of the Industrial Revolution. The house is full of sumptuous and stylish objects. It is a delight to stroll through the rooms. On the walls, you can admire numerous sketches and paintings, as well as antique mirrors, delicate leaded-glass windows and handcrafted furniture. I particularly liked the wallpapers and carpets featuring designs by William Morris. Some of the wallpapers are 19th-century originals, whilst others have been replaced. Even the staircase carpet is very old; it was purchased by Sambourne’s granddaughter. The design is by Henry Dearle, a pupil of Morris’.

Artists’ residences are a journey into fantastical worlds

I am fascinated by artists’ homes because their inhabitants are often not only artists but also passionate collectors. The artists’ homes featured today are museums, as they showcase not only the artists’ own works but also their collections. Creative people do not merely collect and display the works of friends; they buy and collect whatever inspires them. The artists’ homes are therefore works of art in their own right.

Frederic Leighton’s house is unique. There is no comparable masterpiece in London, or indeed in the whole of England. In the Arabian Hall, visitors stand in awe, taking photographs, as one does not expect to find such oriental splendour in London. Edward Sambourne’s house, on the other hand, is a tastefully furnished British home containing an incredible number of interesting objects. I simply couldn’t get enough of it.

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