Claremont park

The Revolution & Evolution of Claremont

THE

REVOLUTION & EVOLUTION

CLAREMONT

OF

BY

SIAN BURY

3

The Revolution & Evolution of Claremont

4

Previous page image (Fig 1): Claremont View of the Amphitheatre and Lake by unknown artist.

Source: Strong, 2000

The Revolution & Evolution of Claremont

Acknowledgements

Thanks to Keith Goodenough for sharing his enthusiasm and knowledge about the garden.

Fig 2. View of amphitheatre from west of lake. Source: author s own

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The Revolution & Evolution of Claremont

Contents

1

Introduction

9

2

Claremont in Context

12

3

The Design

16

4

SigniďŹ cance

30

5

Conclusion

34

References - Text

36

References - Images

37

Bibliography

38

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The Revolution & Evolution of Claremont

Fig 3. Design for Sir John Vanbrugh s garden at Chargate (later Claremont), by an unknown draughtsman, c1709-14. Source: Chessum, 2001

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The Revolution & Evolution of Claremont

1. Introduction Claremont is a remarkable historic ornamental English Landscape Garden near Esher, Surrey and is recognised as being one of the foremost gardens of the 18th century (National Trust, 2012). The garden first began to take shape around 1715 when Chargate (the original name for Claremont) was purchased by Sir John Vanbrugh (see fig 3). In 1726 the garden was described by Stephen Switzer, garden designer, (cited by the National Trust) as being the noblest of any site in Europe ((National Trust, 2012) (see fig 4 and map 9)). Its high status continued well into the 19th century. Sadly the 20th century saw Claremont fall into decline, though thankfully in 1949 it was rescued from dereliction by the National Trust and the local authority (see map 12 for Claremont s restoration by the National Trust). The National Trust currently acts as steward for Claremont.

Fig 4. The Amphitheatre and Round Bason at Claremont, view from the Portsmouth Road, by an unknown English artist and engraver, mid 1720s. Source: Chessum, 2001

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The Revolution & Evolution of Claremont

Fig 5. Survey plan of the garden at Claremont, Surrey, with views of the house and garden buildings, 1738, John Rocque. Source: Jackson-Stops, 1992

Claremont has involved some of the greatest names in garden design history and has witnessed the inuence of a number of landscape movements, in particular that of the English Landscape (Chessum, 2001). Claremont oered social status and prestige to those involved in the design (Richardson, 2005). We know that not everyone spoke favourably about Claremont and disparaging remarks were made by Horace Walpole (politician and correspondent) challenging the authenticity of the design. Walpole writes that William Kent was neither without assistance or faults and that his landscapes were seldom majestic (Hunt and Willis, 1975 p.315). What cannot be challenged is the remarkable history that this garden has experienced and the appeal it continues to have.

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The Revolution & Evolution of Claremont

Fig 6. The view from Bason Park across Kent s informal lake and the cascade at Claremont by William Kent, mid 1730s, pen and brown wash.

Source: Chessum, 2001

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The Revolution & Evolution of Claremont

2. Claremont in Context In 1709 Sir John Vanbrugh purchased Chargate Farm and woodland to transform into a small country retreat and garden (Chessum, 2001). Having a prestigious garden made a social statement and provided status. Two years later Vanbrugh sold the property to his friend and patron Thomas Pellam (later named Duke of Newcastle). It is probable that the social networks of these wealthy men could come in useful when acquiring land and property. Records show that Vanbrugh and Charles Bridgeman were given responsibility for some of the most dramatic changes that Claremont was to undergo (Batey and Lambert, 1990). For Bridgeman, this marked a new approach away from the influences of the French baroque and Italianate style (seen in fig 29), and instead towards a more informal approach. It was Vanbrugh who, in 1715, added the famous Belvedere Tower (illustrated in fig 7 and 27) that was to become a place to entertain the Whig members of the Kit-Cat Club, as well as the Duke of Newcastle s cronies (Richardson, 2005).

Fig 7. Belvedere Tower. Source: author s own

In 1734 William Kent was invited to make significant changes to Bridgeman s design for Claremont, extending the garden and adding more naturalistic features by transforming the round pond and adding an island with a pavilion. This has clearly continued to be central to the design as figures 8 and 9 show.

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The Revolution & Evolution of Claremont

Fig 8. A view of Claremont, taken from the shore of the island, upwards towards the semicircle of trees on the side of the hill to the right of the amphitheatre c.1738, by William Kent. Source: Hunt, 1987

Kent was given the responsibility for planting groves of trees as well as laying out serpentine paths and adding yet more buildings (Batey and Lambert, 1990).

It was while working at Claremont that Kent was seen as a pioneer in creating English informal gardens as opposed to the Palladian style preferred by his patron, Lord Burlington (RIBA, 2011). Horace Walpole (whom Kent was related to through marriage) described Kent as having leapt the fence and saw that all nature was a garden (Batey and Lambert, 1990 p.116), illustrated by map 10.

Fig 9. View of amphitheatre from west of lake. Source: author s own 13

The Revolution & Evolution of Claremont

Though there were undertones of rivalry as Walpole later passed judgement on Kent, describing the work at Claremont as being good but then suggesting that the ideas were stolen and that he had a great many helpers.

Come 1768 Claremont was purchased by Lord Clive of India who called upon Lancelot Capability Brown to alter the garden further (see map 11). No expense appears to have been spared even diverting the Portsmouth road to improve the garden s privacy (Batey and Lambert, 1990).

Fig 10. View of lake and amphitheatre from Charlotte s Mausoleum.

Source: author s own

In 1816 Claremont was given to Prince Leopold and Princess Charlotte as a wedding gift (Cooper, 1975). In the short time before Charlotte died that same year they managed to make numerous changes including the removal of the then unfashionable bowling green (see ďŹ g 26). Sadly one of those changes included Leopold adding Charlotte s mausoleum (see ďŹ gs 10-12). We know that Claremont continued to be a special place for members of royal family and Queen Victoria referred to times spent at Claremont as being the happiest of my otherwise dull childhood (National Trust, 2012 p.21). Socially, Claremont is now accessible by anyone who wants to visit and is no longer a private garden, exclusively for the wealthy.

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The Revolution & Evolution of Claremont

Fig 11. Approach to Charlotte s Mausoleum. Source: author s own

Fig 12. Charlotte s Mausoleum. Source: author s own

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The Revolution & Evolution of Claremont

3. The Design Typology The overall character of Claremont is determined by the typical English landscape garden movement, though there are parts that have less authentic connections. Vistas and viewpoints were created to highlight the key features of the newly designed landscape, even offering views across to St Paul s Cathedral (Cooper, 1975). Trees were grouped in clusters to ornament these views. Initially a more formal, geometric layout was applied, inspired by the French baroque, though the garden has been recognised more greatly for its move towards a more natural style (Hunt, 1987).

Fig 13. A sketch by Kent for the garden. Source: Hussey, 1967

Claremont is a landscape that is designed to be enjoyed from within and became quite a social setting. The garden includes a number of follies and romantic style feature buildings, typical of the movement (Hunt, 1987). A bridge once spanned the lake to the island, adding yet another feature to the picturesque setting (Goodenough, 2012. Pers. Comm. Mr K Goodenough, National Trust Steward).

Boating, fishing and picnicking were just some activities that were enjoyed by the garden s users (Richardson, 2005) as can be seen in Kent s sketch (fig 13).

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The Revolution & Evolution of Claremont

Fig 14. Lake from north-east aspect. Source: author s own

Site Soon after the original 50 acre site was acquired by the Duke of Newcastle it was extended by a further 300 acres. By 1816 this was reduced to 200 acres.

Currently the land stewarded by the National Trust totals some 50 acres, bringing it back to where it started. The topography of Claremont estate is described as being laid out on gently sloping land (Parks and Gardens UK, 2012), being divided into a managed landscape garden and surrounding natural forest.

One of the main features of Claremont is the lake, and this is now reliably sourced by the river Mole, a tributary of the Thames (Brayley, 1844). The perimeter pathway in place today provides multiple viewpoints of this lake (see ďŹ g 14).

Fig 15. Drawing of a view from terrace at Claremont, with annotations for alterations, by Kent. Source: Hunt, 1987

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The Revolution & Evolution of Claremont

Aims Perhaps it was the Duke of Newcastle s aim for Claremont to be acknowledged as the best, to be admired and enjoyed (Chessum, 2001). However looking at it from the perspective of Claremont s designers maybe the aim was simply to improve on nature without appearing to falsify it (highlighted in map 15). Or in the words of the National Trust (2012) their aim was and is to save our nation s heritage and open spaces (see map 12).

Fig 16. Claremont. View of amphitheatre, Lake, and Island Temple. Engraving by Rocque and Benazech, 1754. Source: Willis, 1977

Philosophy It is the English landscape movement that allows us to examine what the philosophy of a garden such as Claremont may look like. The movement away from rigidity and formality removed the constraints of previous approaches and liberated the movement. The English landscape garden was associated from the start with the idea of Liberty (Hunt and Willis, 1975 p.33). This style presented a natural freedom of expression releasing creativity and bringing with it new energy and an excitement as to what was possible. Figure 16 by Rocque and Benazech manages to capture this essence.

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The Revolution & Evolution of Claremont

Structure Tim Richardson (2005 p.56) writes of Claremont s features stating that ...there is no speciďŹ c symbolic programme uniting the whole [...] the result of the garden s piecemeal development... . Numerous features from many designers have been incorporated into the plan of Claremont over time (see maps 9-12). Examples of mapping, sketches and paintings throughout the history of Claremont allows us to see this evidence and how the landscape gardens have evolved (Strong, 2000).

Pathways have continued to unite the whole, drawing together the amphitheatre, belvedere and lake (see ďŹ g 17). Map 13 highlights the routes that can be accessed today.

Fig 17. View of amphitheatre and lake from west of lake.

Source: author s own

Organisation As a landscape garden Claremont s organisation and planning has been managed by many. In particular the developments directed by the Duke of Newcastle shaped the character that we see today. Following the Duke s death, Lord Clive of India made his mark by introducing further dramatic changes, carried out by Capability Brown (Cooper, 1975). 1817 saw the Royal family create modest alterations and since then little has altered with the design (National Trust, 2012).

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The Revolution & Evolution of Claremont

Contrasting Claremont

Map 1.

1870

Claremont set in heavily

wooded area. Land around estate has been cleared. The Mount is visible. Belvedere Tower named Observatory. Lake and island dominant features. Formal avenue of trees suggests possible entrance/approach.

Map 3.

1940

Planting has developed and

matured. Claremont house now changes use and becomes a school. Serpentine paths are evident within the landscape. Building development has taken place near the perimeter of Cowpond Wood.

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Map 2.

1910

Design is becoming more

deďŹ ned and now includes mausoleum and boathouse. Suggestion of amphitheatre can be detected. Building development evident around boundary.

Map 4.

1960

SigniďŹ cant building

developments around perimeter of site, including a golf course. Considerable increase in number of plots marked out is evident.

Further tree planting continues to take place.

The Revolution & Evolution of Claremont

Map 5.

1980

Residential development now

Map 6.

encloses much of Claremont. Original features continue to be included.

i D

1990

Bridge now longer gives island

access. Restoration of garden has enabled much clearer legibility. No signiďŹ cant further development impinges on Claremont.

p a m i g

Map 7 + 8.

2013

Main features are now in place. Trees now in a formalised style compared to original

woodland. Claremont now stands as an example of a section of an estate, dedicated to the English Landscape Movement.

ight 2012. An Ordnance Survey/EDINA supplied service. FOR EDUCATIONAL USE ONLY.

Mar 08, 2013 21:53

Scale 1:5000

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100

150

200

250

300

350

400

450

500 m

Sian Bury Manchester Metropolitan University

Image source: Digimap. 2013 Google. 2013 21

The Revolution & Evolution of Claremont

The Evolving Landscape The Vanbrugh Landscape c.1725 •

Geometric paths laid

•

Bowling green grounds prepared

•

Garden buildings included

•

Belvedere built

•

Turf amphitheatre created

•

Round pond

•

Bridgeman s allée walk

•

Vistas provided

Map 9.

The Kent Landscape c.1750 •

Pavilion and other garden buildings included

•

Addition of island

•

Transformed Bridgeman s lake

•

Laid out serpentine paths

•

Bowling green temple designed

•

Re-contoured northern terrace

•

Map 10.

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Designed cascade

The Revolution & Evolution of Claremont

The Capability Brown Landscape c.1780 •

Ha-ha

•

Planted groves of cedars in amphitheatre

•

Replaced Kent s cascade with naturalistic grotto

•

Created natural vistas

Map 11.

The National Trust Landscape c.1955 •

Restoration programme in operation

•

Clearance of overgrown, invasive planting

•

Restoration research continues

Map 12.

Image source: Cooper. 1975 23

The Revolution & Evolution of Claremont

Claremont as we see it today

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Map 13.

Circulation Routes

Map 14.

Gateways N.B. Access at Belvedere Tower restricted

The Revolution & Evolution of Claremont

Vegetation Tree Planting Grassed Areas

Map 15.

Belvedere Tower

Bowling Green

Nine Pin Alley

Bear

Thatched Cottage

Peacock

Mausoleum

Ha-Ha Boar

Amphitheatre

Island Pavilion Grotto

Map 16.

The Mound

Features Image source: Author s own 25

The Revolution & Evolution of Claremont

Materials There is little formality in the way materials are used, perhaps with the exception of the Camellia terrace s black cast iron railings that bear Prince Leopold s monogram. As the garden is from the English Landscape movement, there is a focus on soft landscaping, predominantly grassed areas (see map 15), including the unique turfed amphitheatre. Good use is made of local materials including int aggregate for the pathways. Quarried stone and brick has been incorporated into the design and used for construction of the ha-ha (ďŹ gure 18 shows the ha-ha without the original brick wall), mausoleum, camellia terrace and other elements of the garden. Cooper (1975) has recorded that bricks originally made on the estate were later recycled following the demolition of Newcastle s house.

Fig 18. Ha-ha. Source: author s own

Innovations Claremont s greatest innovation could be seen as the realisation of Bridgeman and Kent s design ideas and the start of a new garden movement. Horace Walpole is noted for identifying the movement towards a new style of gardening when he observed of Bridgeman that he had many detached thoughts, that strongly indicate the dawn of modern taste (Batey and Lambert, 1990 p.116).

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The Revolution & Evolution of Claremont

The grandeur of the amphitheatre has given Claremont a unique sense of place, although ironically Capability Brown planted over the feature in an attempt to enhance the naturalistic qualities of the site.

The Principles of Horace Walpole Walpole s enthusiasm in attempting to record details of English gardens marked a signiďŹ cant change of approach from the poetic compositions and paintings that had previously been relied on (Hunt and Willis, 1975). Walpole was clearly well travelled and although not qualiďŹ ed as a designer he would no doubt have gained insight and knowledge when he visited Italy while on the Grand Tour (Merriman, 2006). He published 600 copies of his Anecdotes of Paintings which recorded his observations. Around the same period he produced a volume entitled The Villa of Mr Horace Walpole at Strawberry Hill, where surprisingly he gives scant reference to the ornamentation of the garden (Walpole, 1964).

Fig 19. A view of the island and pavilion at Claremont, c.1742-5.

Painted by the Master of the Tumbled Chairs.

Source: Batey and Lambert, 1990

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The Revolution & Evolution of Claremont

Walpole was also a proliďŹ c writer. In an extract from The History of Modern Taste in Gardening he comments on William Kent s work in a somewhat contradictory manner, commending Kent for the use of trees for breaking too uniform or too extensive a lawn , only to then to criticise by referring to them as too small and puny, aimed at immediate eect (Walpole, 1964. p.46). Walpole is notably critical of Kent s paintings of Claremont and states that the lie of the land more than aided the painter s genius (Walpole, 1964).

On one occasion when Walpole visited Claremont he wrote in an almost poetic tone we walked to the Belvedere on the summit of the hill [...] from thence we passed into the wood [...] on the descent were [...] servants and neighbours wandering below [...] in short it was Parnassus as Watteau would have painted it (Walpole, 1964. p.47). This scene suggests that the garden encouraged participation and invited exploration as one area drifts into another. Today a walk in Claremont would show us views such as those in ďŹ gures 20, 21, 22.

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The Revolution & Evolution of Claremont

Fig 20. Approach to the mound.

Source: author s own

Fig 21. View of amphitheatre from the mound.

Source: author s own

Fig 22. Cleared section beside lake, looking across to amphitheatre. Source: author s own

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The Revolution & Evolution of Claremont

4. Significance Claremont s significance has been remarkable. From its early conception it could be seen as a pioneering design, moving away from the formal influence of Europe and towards a more natural composition. Claremont could be seen as a fashion leader as soon after others started to follow in the English landscape footsteps, which according to Chessum (2001) was initiated by Vanbrugh. The beginning of this landscape movement was also a time of political change marked by the influence of the Whig party. So it was that Claremont appeared to represent a welcome change and a loosening of the tight controls of the past.

Fig 23. Claremont view towards the Belvedere with Kent s pavilion right, c. 1733-4. Jacques Rigaud. Source: Strong, 2000

Equally for the owner it represented wealth and status based on the following of new trends and fashions, and social circles frequented (evident in fig 23). It was a place for entertainment on an extravagant scale. The champagne festival held at the amphitheatre allowed visitors to indulge in escapism prompted by the elysium scenes and hermitages or follies where picnics and tea parties were held (Chessum, 2001). It is by no means a surprise to note that when money was less available the garden suffered.

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The Revolution & Evolution of Claremont

By the beginning of the 20th century Claremont was a far cry from its early days.

Thankfully, despite financially challenging times it continues to be recognised as a valuable contribution to our heritage and one that is worth preserving for future generations to enjoy (National Trust, 2012).

There is no doubt that original designers sketches and artworks have contributed to Claremont surviving in its authentic form. It is significant too that the artwork has been protected and so it is today that we are still able to witness the visions of those forward thinking designers.

Fig 24. Belvedere Tower. Source: author s own

Claremont has continued to attract attention from its early days and when J C Louden visited in the early 19th century he was inspired to write a long article on Claremont for the Gardener s Magazine (Batey and Lambert, 1990). In its turn the magazine would be able to offer inspiration for those likeminded people involved in garden design. The famous whig Kit-Cat club (who met at the Belvedere Tower seen in fig 24) was a veritable hotbed of 18th century garden ideas. (Batey and Lambert, 1990 p.116). Not only politics was plotted but also parks and gardens were discussed, and even visits arranged to compare notes and view each others progress (Batey and Lambert, 1990).

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The Revolution & Evolution of Claremont

In its formative days Claremont had the great advantage of being nurtured by a wealthy man, namely the Duke of Newcastle, who was described by the National Trust (2012. p.5) as being mad for gardening . Were it not for his passion and vision Claremont may never have taken shape.

The garden has continued to inspire in many ways, for example Bridgeman s amphitheatre may have inuenced the fashion for turf sculpting in the late 18th and 19th centuries. The tradition has since reemerged with art deco in the 1930s and more recently with Charles Jenck s Garden of Cosmic Speculation (ďŹ g 25) as well as Kim Wilkie s turf and earth works.

Fig 25. Charles Jencks Garden of Cosmic Speculation.

Source: author s own

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The Revolution & Evolution of Claremont

Fig 26. Attributed to George Lambert, the bowling green at Claremont.

Source: Hunt, 1987

Fig 27. Design by William Kent for the planting around the Temple at Claremont with the Belvedere beyond, late 1730s. Source: Strong, 2000

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The Revolution & Evolution of Claremont

5. Conclusion Claremont is remarkable considering it is some 300 years old and has suffered neglect more recently. A restoration programme is currently transforming it into its former glory. The garden stands as a tribute to those designers involved in the shaping of it, in particular Charles Bridgeman, William Kent and Lancelot Capability Brown. Brown s influence can be seen in fig 28. Claremont has been subject to the influence of wealthy and powerful men, as was the way at that period in history.

Fig 28. Claremont, Surrey: The House and Park, both by Capability Brown, 1842 engraving.

Source: Clark, 1980

The garden is defined by representing the English landscape movement and its corresponding features such as the serpentine paths, ha-ha and grouping of trees. It is especially notable for Bridgeman s amphitheatre and Belvedere tower, creating panoramic views across the landscape. Although the early style of the garden buildings is authentic, some of them have fallen into disrepair and have needed replacing more recently including the Thatched Cottage.

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The Revolution & Evolution of Claremont

Fig 29. Claremont: View of one of the topiary allĂŠes, c.1750 (artist unknown). Source: Strong,

Rather than being based on a master plan, Claremont is the result of a series of design developments changing according to the owners wishes (and wealth), the designers skills and vision and the changing fashion. Walpole should be given credit for leading us with historical accounts of the landscape movement. He was a great writer and a man with a passion for design and gardens. Clearly Walpole had respect for Claremont, in particular William Kent who he described as being the father of modern gardening (Cooper, 1975 p.10). It was Kent who prepared the way for the English landscape movement and encouraged imitating natures broad sweeping landscapes, and what better place to see this than at Claremont.

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The Revolution & Evolution of Claremont

References - Text Batey, M. and Lambert, D. (1990) The English Garden Tour - A view into the past.

London: John Murray (Publishers) Ltd. Brayley, E. W. (1844) A Topographical History of Surrey. [On-line]. Google Books.

Available from: http://books.google.co.uk/books/about/ A_topographical_history_of_Surrey.html?id=7yxNAAAAMAAJ [Accessed 25 November 2012].

Chessum, S. (2001) Claremont revisited - Uncovering the Duke of Newcastle s garden Apollo, Vol. 153, pp. 23-29.

Cooper, P. M. (1975) The Story of Claremont. London: West Brothers Ltd. Hunt, J. D. (1987) William Kent Landscape garden designer. London: A. Zwemmer Ltd. Hunt, J. D. and Willis, P. (1975) The Genius of the Place - The English Landscape Garden 1620-1820. London: Elek Books Ltd. Merriman, C. D. (2006) Horace Walpole. The Literature Network. [Online]. Available from: http://www.online-literature.com/horace-walpole/ [Accessed 31 January 2013] National Trust. 2012. A Souvenir Guide Claremont Landscape Garden Surrey. Swindon: National Trust Parks and Gardens UK. (2012) Claremont, Esher, England [On-line]. Available from: http://www.parksandgardens.org/places-and-people/site/827?preview=1 [Accessed 07 February 2013].

RIBA. (2011) Lord Burlington [On-line]. RIBA. Available from: http:// www.architecture.com/LibraryDrawingsAndPhotographs/Palladio/PalladianBritain/ Architects/LordBurlington.aspx [Accessed 13 January 2013].

Richardson, T. (2005) The Kit-Cat at Claremont Country Life, Vol. 199, no. 46, pp.

56-59.

Strong, R. (2000). The Artist & The Garden. London: Yale University Press.

Walpole, H. (1964) A description of the villa of Mr. Horace Walpole: youngest son of Sir Robert Walpole, Earl of Orford, at Strawberry-Hill near Twickenham, Middlesex.

London: The Gregg Press Ltd.

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References - Images Ancient Roam. 2013. Claremont Park. EDINA Digimap [Online]. Available through: Manchester Metropolitan University Library [Acccessed 29 January 2013].

Artist Unknown. c.1709-14. Design for Sir John Vanbrugh s garden at Chargate (later Claremont) [Pen and wash] Oxford: Bodleian Library Artist Unknown. c.1720. The Amphitheatre and Round Bason at Claremont, view from the Portsmouth Road [Hand coloured engraving] London: National Trust Picture Library Artist Unknown. c.1750. Claremont: View of one of the topiary allĂŠes. London: Yale University Press.

Artist Unknown. c.1750. Claremont View of the Amphitheatre and Lake [Image]. London: Yale University Press Artist Unknown. 1842. Claremont, Surrey: The House and Park, both by Capability Brown [Engraving]. Gloucester: Alan Sutton Publishing Ltd. Benazech, P. P., Rocque, J. 1754. Claremont. View of amphitheatre, Lake, and Island Temple. [Engraving]. London: A. Zwemmer Ltd. Cooper, P. M. 1975. The Capability Brown Landscape. London: West Brothers Ltd. Cooper, P. M. 1975. The Kent Landscape. London: West Brothers Ltd. Cooper, P. M. 1975. The National Trust Landscape. London: West Brothers Ltd. Cooper, P. M. 1975. The Vanbrugh Landscape. London: West Brothers Ltd. Google Earth. 2013. Claremont Park [Online]. Available through: https:// maps.google.co.uk/ [Accessed 29 January 2013].

Kent, W. Year unknown. A sketch by Kent for the garden. London: Country Life Ltd Kent, W. Year unknown. Drawing of a view from terrace at Claremont, with annotations for alterations. London: A. Zwemmer Ltd Kent, W. c.1730. Design for the planting around the Temple at Claremont with the Belvedere beyond. London: Yale University Press.

Kent, W. c.1730. The view from Bason Park across Kent s informal lake and the cascade at Claremont [Pen and brown wash]. London: Minet Library.

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The Revolution & Evolution of Claremont

Kent, W. c.1738. A view of Claremont, taken from the shore of the island, upwards towards the semicircle of trees on the side of the hill to the right of the amphitheatre [Pen and ink and brown wash over pencil] London: A. Zwemmer Ltd Lambert, G. Year unknown. The bowling green at Claremont [Drawing]. London: A. Zwemmer Ltd. Master of the Tumbled Chairs. c.1742-5. A view of the island and pavilion at Claremont [Painting]. London: John Murray (Publishers) Ltd. Rigaud, J. c.1733-4. Claremont view towards the Belvedere with Kent s pavilion right.

London: Yale University Press.

Rocque, J. 1738. Survey plan of the garden at Claremont, Surrey, with views of the house and garden buildings [Engraving]. Surrey: The Governors of Claremont Fan Court School

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Bibliography Batey, M. and Lambert, D. (1990) The English Garden Tour - A view into the past.

London: John Murray (Publishers) Ltd. Brayley, E. W. (1844) A Topographical History of Surrey. [On-line]. Google Books.

Available from: http://books.google.co.uk/books/about/ A_topographical_history_of_Surrey.html?id=7yxNAAAAMAAJ [Accessed 25 November 2012].

Chessum, S. (2001) Claremont revisited - Uncovering the Duke of Newcastle s garden Apollo, Vol. 153, pp. 23-29.

Clark, H. F. (1980) The English Landscape Garden. Gloucester: Alan Sutton Publishing Ltd. Cooper, P. M. (1975) The Story of Claremont. London: West Brothers Ltd. Dutton, R. (1937) The English Garden. B T Batsford.

Hunt, J. D. (1987) William Kent Landscape garden designer. London: A. Zwemmer Ltd. Hunt, J. D. and Willis, P. (1975) The Genius of the Place - The English Landscape Garden 1620-1820. London: Elek Books Ltd. Hussey, C. (1967) English Gardens and Landscapes 1700-1750. London: Country Life Limited.

Jackson-Stops, G. (1992) An English Arkadia 1600-1990. London: National Trust Enterprises Ltd. McCarthy, M. (2012) Walpole: (2) Horace Walpole. Oxford Art Online. [Online] [Accessed on 7 October 2012] http://www.oxfordartonline.com:80/subscriber/article/grove/art/T090555pg2 Merriman, C. D. (2006) Horace Walpole. The Literature Network. [Online]. Available from: http://www.online-literature.com/horace-walpole/ [Accessed 31 January 2013] National Trust. 2012. A Souvenir Guide Claremont Landscape Garden Surrey. Swindon: National Trust Parks and Gardens UK. (2012) Claremont, Esher, England [On-line]. Available from: http://www.parksandgardens.org/places-and-people/site/827?preview=1 [Accessed 07 February 2013].

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RIBA. (2011) Lord Burlington [On-line]. RIBA. Available from: http:// www.architecture.com/LibraryDrawingsAndPhotographs/Palladio/PalladianBritain/ Architects/LordBurlington.aspx [Accessed 13 January 2013].

Richardson, T. (2005) The Kit-Cat at Claremont Country Life, Vol. 199, no. 46, pp.

56-59.

Strong, R. (2000). The Artist & The Garden. London: Yale University Press.

Walpole, H. (1964) A description of the villa of Mr. Horace Walpole: youngest son of Sir Robert Walpole, Earl of Orford, at Strawberry-Hill near Twickenham, Middlesex.

London: The Gregg Press Ltd. Willis, P. (1977) Charles Bridgeman and the English Landscape Garden. London: A. Zwemmer Ltd.

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