Normanby Hall 2025
1. Silver cruet set, c1831-1832. 2. Silver punch ladle with whalebone handle, 1745. 3. Pair of silver wine coolers, c1820. 4. Pair of silver Empire style candelabra, c1820.
Mrs Alice Wood of Liverpool by Sir Thomas Lawrence, 1829.
Morning dress, c1842-1846
Theseus and Ariadne, attributed to Richard Westall, c1810.
Lady Julia’s pink dress
The fashion plate dates to July 1841, with influences for this replica focusing on the walking dress on the right-hand side. Day dresses had higher necklines than evening dresses, and long sleeves. They were often finished with a lace collar or pelerine and closed with a silk bow. Image: Pink dress plate
Death mask of Napoleon Bonaparte, 1821.
Napoleon died on 5th May 1821 and the original death mask was created two days later. This cast was taken from that death mask.
Mahogany breakfront library bookcase, c1810. - This was made by Gillows of Lancaster.
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Charles Sheffield of Butterwick by A. Ramsey, 1741.
Dress, c1840
Three portraits, attributed to John Russell, c1785-1795.
They show Anne Chaplin, Mary Benton and Frances May Hannam (mother, daughter-in-law and granddaughter respectively) of Barton upon Humber.
Julia Sheffield
house guest’s printed dress
The fashion plates date to 1840. This replica day gown shows features such as the gathered bodice front, full skirt and lace at the neckline.
House of Fashion
This exhibition shows costume worn by some members of the Sheffield family in the 20th century. The information panels show the stories behind the costume, who wore them, and how they were acquired by North Lincolnshire Museums. Use the touchscreen or the printed guides in the gallery to view information about the objects on display.
Dumb waiter, c1750-1790.
The two lower trays turn and this allowed people to serve themselves tea or coffee. Using a dumb waiter meant that there were no servants in the room to overhear any secrets.
Jacket, c1915-1935
Shoes, c1930-1939
Tenant farmer
Laundry hampers, c1905-1940.
The servants would have collected Sir Berkeley and Lady Julia Sheffield's used clothing and transported it to the laundry in these wheeled hampers.
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Notebook c1840-1849
Between 1827 and 1856, Sir Robert Sheffield was Chairman of the Kirton Lindsey Quarter Sessions. These were sessions of a court held four times a year to hear criminal charges and appeals. Until 1848, when it was legal for certain criminal cases to be heard at home, this room may have served as a 'justice room' for these sessions.This book shows Sir Robert's notes from some of these criminal cases, plus the verdict. This page shows the case of Jobson Bingley, who was accused of stealing a bedstead and two chairs from James Noble. The written note in the bottom right-hand corner shows that he was found guilty.
Henry Holgate Healey, 1813.
He lived at Ashby Decoy Cottage. He is 29 years old in this painting. He is buried in his family vault at St Lawrence's Church in Frodingham, Scunthorpe.
Dress, c1918-1930
Ivy’s Collection
Ivy Richardson (1903-2001) worked for the Sheffield family for most of her life. When she died, this clothing was discovered in her house in Normanby village. They would have been unwanted pieces from the Sheffield family.
Fire Screen
House guest
Mahogany hunting table, c1790-1810.
The table is designed for men to warm their legs by the fire after hunting. The decanters sit on a coaster fitted to a track so that it can be moved from one end of the table to the other.
John Sheffield
3rd Earl of Mulgrave, 1st Marquess of Normanby and 1st Duke of Buckingham and Normanby (1647-1721) John Riley (1646-1691)
Boots, c1900-1940
Stockings, c1841
Grotesque dinner service
House guest
Using this fashion plate, Pauline Loven recreated the left-hand side boy's costume for this exhibition. The fashion plate dates to February 1841
Portrait of a Gentleman (Cleric), attributed to Edward Bower
Bifurcated staircase
The staircase is large for the size of this house. It is called a 'bifurcated' staircase, as it splits halfway up. Cast iron columns support the continuous mahogany rail. Cast iron was popular in the Regency period for use as a decorative material in houses.
Portrait of a gentleman, by Tilly Kettle (1734-1786).
Original Style
Crow's Eye Productions created the films in the 'What the House Holds' exhibition, which is set in 1841. The costume in this gallery is an example of the type of original pieces Crow's Eye studies to create their accurate reproductions. On the touchscreen is a film showing how they used one of these pieces to create a ballgown for one of their 'Getting Dressed' series of films.
Douglas Howard (1542-1608)
The wife of John Sheffield 2nd Baron of Butterwick (1538-1568), Douglas Howard was probably named in honour of her godmother, Margaret Douglas.
Shoes, c1935-1955
Young Robert’s suit
The fashion plates show a variety of cuts of men's coats available in the 1840s. The influence of these is shown in the menswear of the films.
Matthew Pearson of Selby (1794-1870)
He was MP and Coroner of Selby. The portrait was painted by an unknown artist around 1830.
Lady Julia Sheffield
Grand pianoforte, 1839.
It was made by Erard in London and is original to the house.
Crow's Eye Productions created the films for the 'What the House Holds' exhibition on the ground floor. They are a two-person team: Pauline Loven creates the costumes and daughter Nicole Loven creates the films. They have a wide range of collaborators who make up the film crew on individual projects. As well as working with organisations to produce historic films, Crow's Eye has a 'Getting Dressed' series on their YouTube channel. Several of these films were shot at Normanby Hall Country Park, which are shown in this gallery.When creating the costumes, Pauline is as historically accurate as possible. One of the resources she uses is fashion plates. Fashion plates are illustrations that show high-end fashionable dress, appearing in the fashion magazines of the time. Some of the fashion plates that she used for research to create the 'What the House Holds' costumes are on display in this gallery. Next to each one is an image of the costume that was produced using design influences from that fashion plate.In September 2024, Crow's Eye took over the ground floor of Normanby Hall to shoot the films for 'What the House Holds'. Behind the scenes images are on the touchscreen in this gallery.
Objects 1 – 4 were discovered in Ivy Richardson's house when she died and were probably used at Normanby Hall. Ivy started out helping the Parlourmaid in 1918 and became a housemaid in 1919. In 1930 she became Head Housemaid.1. Food grater, c1918-1939.2. Candle holder, c1918-1939.3. Fire grate burnisher, c1918-1939.4. Cards of linen buttons, c1918-1939.5. Livery buttons, c1880-1904. These buttons were worn on staff uniforms and show a boar's head, symbol of the Sheffield family.6. Menu cards, c1920-1924. These menu cards were kept by Alice Locke, who was a kitchen maid at Normanby Hall. She wrote the menu in French and displayed it on the family's dining table each day.7. Photograph postcard, 1911. Alice Locke sent this postcard to her mother in Appleby. Alice was 19 years old and working as a scullery maid at Ingleby Manor in Middlesbrough. She writes, "What do you think to this happy looking lot. No doubt you will be able to recognise one face." Alice is pictured on the right.8. Letter, c1946 Letter on mourning paper to Alice from 'L. Sheffield', probably Lady Julia. She is inviting Alice and her daughter, Margaret, to see Mrs Sheffield in her court dress, saying that Mrs Sheffield would be delighted to see them. This probably refers to Anne, John Sheffield's first wife.9. Letter and envelope, 1936. Letter to Alice from John Sheffield. It reads, "Dear Alice, I cannot thank you enough for your lovely present which arrived this morning. It is quite perfect and Miss Anne and I will always have it on our tea table. I only wish I was being married at Normanby. Please remember me to Billy. A thousand thanks, yours ever, John." John was the youngest son of Sir Berkeley and Lady Julia, and Anne was his first wife.
French silks, c1840-1849.
These are pages from a book of sample fabrics.
Lady Julia’s blue dress
The fashion plate dates to February 1841, with this replica focusing on the right-hand side ball dress. It shows typical features of 1840s evening dress: the natural waistline dipping into a point at the front, the full skirt, back fastening bodice, and the low, off-the-shoulder neckline. The shot silk replica gown also has a falling lace collar and lace draping from the short, puffed sleeves. Image: Blue dress plate
Bell board, c1932-1963.
This bell board showed the servants when their assistance was required by a member of the Sheffield family.
Mary Magdalene receiving the wafer from the Angels,
Attributed to Francisco Trevisani, c1720.
Original Style
Crow's Eye Productions created the films in the 'What the House Holds' exhibition. To make such accurate costumes, Pauline Loven studies originals from costume collections such as those held by North Lincolnshire Museums. 'What the House Holds' is set in 1841. The costume in this case is from the 1840s, and includes a piece used by Crow's Eye to create films at Normanby Hall.After the large, puffed sleeves of ladies' dresses of the 1820s and 1830s, sleeves followed the more natural line of the arm in the 1840s. The waistline was lower and pointed, often with pleats on the bodice forming an inverted triangle, emphasizing the pointed waist. Skirts were bell-shaped, which was achieved by at least two petticoats. As the fashion moved towards even bigger skirts, women might wear up to seven petticoats! The waistline of men's fashions also lowered in the 1840s. Shoulders were full, with the line narrowing down to a pointed waist. Children's fashions generally followed those of adults, but with shorter skirts for girls and trousers, shirt and jacket for boys.
John Sheffield, 1st Duke of Buckingham and Normanby by Sir G
Sir Godfrey Kneller, c1700-1712.John Sheffield is the father of the baby in the posthumous portrait. This painting also shows his wife Catherine, Duchess of Buckingham and one of their children.
Mahogany longcase clock, c1800-1820.
Above the dial is a quintet in 18th century costume. This played a Mozart composition every third hour. This clock is original to the house.
Dress and feather boa, c1920-1929
This beaded evening dress and feather boa are said to have been given to Diana after a ball at Normanby Hall.
Feathers, c1936
These three feathers with trailing veil were worn by Frances Clarke (later Crosthwaite and then Sheffield) when she was presented at court, probably when she was 18.
Dress, bolero, belt and shoes, c1930-1939
The Hon. Mrs. Lambert, attributed to Mrs Anne Killegrew
Frances Lambert was the mistress of John Sheffield, 1st Duke of Buckingham. She was mother to Charles Sheffield. (1600-1685)
Kate Noakes - Artist in the Hall
Sir Robert Sheffield
Apron, c1918-1930.
This apron was probably worn by Ivy Richardson. Ivy worked at Normanby Hall, starting out helping the Parlourmaid in 1918 and becoming a housemaid in 1919. In 1930 she became Head Housemaid.
Mahogany writing slope, c1809-1815.
This belonged to Rev. Sir Robert Sheffield, 3rd Baronet, who held the title for just three weeks until he died in 1815. The title passed to his son, Sir Robert Sheffield, 4th Baronet, who was responsible for building this house.
John Sheffield, Duke of Buckingham and Normanby.
Parasols and umbrellas, c1900-1903
Dress and jacket, c1930-1940
Empire Falls by Timorous Beasties
For 'The International Country House' exhibition in 2020, design company Timorous Beasties produced new curtains to replace the old silk curtains in the Library. Years of wear and sunlight had heavily damaged the old curtains, leaving them brittle, faded and torn. Timorous Beasties created a brand new design, resurrecting this torn and frayed fabric as a decorative motif. Emerging from the exquisite hand-printed fabric are images of decorative motifs and objects found in Normanby Hall.
Sir Robert Sheffield
Lord Edmund Sheffield, 1st Earl of Mulgrave (1565 – 1646)
Painted in the manner of Robert Peake.
Dress, bolero and belt, c1955-1975
This evening outfit was worn by Frances.
Waistcoat, c1845
Wedding dress, c1841-1850
Young Julia’s mint dress
This replica is influenced by the top right image on the fashion plate. Replicated features include the off-the-shoulder neckline, the short, slightly puffed sleeves that are edged in lace, and the soft pastel green colour. The collar of the replica is made from folding and pleating lengths of the dress fabric, and lace.
Portrait of Arthur Herbet, the Earl of Torrington
Portrait of a lady
Attributed to Theodore Russell (1614-1689).
1. Notebook showing rabbits sold from the Normanby estate, 1839-c1850. These pages show the figures for July and August 1841. The total amount due to Sir Robert Sheffield is at the bottom of the left-hand page, and he has initialled it as 'settled'. The Rev. Charles Sheffield is noted on the right-hand page. He was Sir Robert's brother.2. Ledger showing Sir Robert's estate accounts, 1840-1845. These pages show Sir Robert's outgoings for September 1841.3. Notebook showing the arrangement of crops at Home Farm, 1841-1842. On the right-hand page, there are notes in Sir Robert's hand in the '1842' column.4. Notebook showing extra receipts for the Normanby estate, 1831-1862. These pages show some figures for 1841, particularly referencing rabbits and rents.5. Notebook showing the arrangement of tenant farmers' crops on Normanby estate, 1835-1854. These pages show cropping arrangements for 1835-1844, including in Normanby Park. Sarah Pulleine was a tenant farmer in Flixborough. You can find out more about her in the Rural Life Museum.6. Notebook showing the number of drain tiles distributed to tenants on the Normanby estate, 1833-1855. Drain tiles were laid to channel water away from a property. These pages show the figures for 1841, 1845 and 1846.
Robert Sheffield
Margaret Tudor, Queen of Scots,
Painted by an English School c1800.
Bracket clock in a mahogany case by James Tupman of London,
It has a repeater mechanism which chimes the last hour passed when pulled. c1800.
Stole, c1930-1940
Hidden Treasures
The Sheffield family still uses a part of Normanby Hall for residence. In 2022, the Estate Office contacted North Lincolnshire Museums to say that the family had found some objects in these rooms that might be of interest.
House guest’s red dress
The fashion plate dates to March 1841, with the right-hand side ball dress being the source of inspiration for this replica. Influence is drawn from the colour, the falling lace trim at the neckline, the low, pointed waistline, and the full skirt. Image: Red dress plate
Italianate landscape, by Benjamin Barker of Bath (1776-1838)
Case, c1900-1940
Sandalwood dwarf linen presses, c1800-1830.
These were made by Gillows of Lancaster in the Chinoiserie style.
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Emperor Otho by Peter Paul Rubens, c1620-1629.
Otho is one of a series that depicts the first twelve Roman Emperors. Otho assassinated the previous Emperor, and was only Emperor himself for 95 days. He wore a toupée and, to help stop the growth of his beard, he applied a poultice of moist bread at night. The series of twelve paintings became separated over time. Nine have been identified but three remain missing.
Fans, c1928
These ostrich feather fans were given in this box to Diana Sheffield from the Countess Winterton as a wedding present.
Shoe trees, c1900-1940
Robert Sheffield
Mrs Bennett
British School, c1830
John Sheffield, Marquis of Normanby, 1710.
This is a posthumous portrait, painted after the baby's death in 1710.
Domestic staff in the grounds of Normanby Hall, 1926.
Third from the left on the back row is Lizzie Aldridge, Charwoman and bread maker. Second from the left on the middle row is Miss Richardson, the sewing help.
Ancient Italy
School of Turner, c1825
Sash, c1920
What The House Holds
It is 1841 and you are cordially invited to Normanby Hall, where the Sheffield family is in residence.The touchscreens in the ground floor rooms each have a film showing how the room was used. The five films will take you through a day in the life of the family and show you how they lived, worked and socialised in Normanby Hall. Costumes from the films are displayed in each of the rooms.
Dress, c1948-1950
This heavy silk and velvet dress was worn by Frances when she visited America.
Lady Julia Sheffield
The Influences of Democracy on Liberty, Property, and the Happiness of Society, Considered. By An American, Formerly Member of congress 1835 This book belonged to Sir Robert Sheffield, 4th Baronet (1786-1862). He has signed it with his name and the year 1836. It was written by Fisher Ames (1758-1808), with an introduction by Henry Ewbank, Esq. Fisher Ames was Representative in the United States Congress and leader of the Federalist Party. He was recognised for being a skilled speaker, swaying votes in Massachusetts in favour of adopting the United States Constitution in 1789. Fisher Ames spoke out about his opposition to slavery, supporting the abolition in Massachusetts and advocating for other states to follow suit.
Rev. Thomas Lodington D.D., c1700.
He was the Rector of Fleet near Holbeach.
Coat, c1920-1935
Apron, cap and oversleeves, c1900-1950.
These were worn by maids at Normanby Hall. The apron has the initials 'A. D.' embroidered in red thread. The cap has a printed label stitched on the brim that reads 'G. V. Clarke'. The sleeves would have been worn over the maid's uniform to protect it when doing jobs such as cleaning the fireplaces
Dutch Interior, attributed to Jane Steen, c1600-1699.
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House guest
Diana and Frances
Diana Sheffield (1907-1969) was the daughter of Sir Berkeley and Lady Julia Sheffield. Frances Sheffield (1918-2005) was Diana's sister-in-law. She was the second wife of Diana's brother, John Sheffield. The costume in this case belonged to these women.
Governess
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Sir Robert Sheffield of Butterwicke (1485-1531)
After Hans Holbein
Hospital beds used at Normanby Park Auxiliary Hospital.
The Cobbler by Alex Austen (1859-1924).
Mrs Charles Young by Sir John Watson-Gordon, c1830-1835.
The Honourable Mrs Beresford, by Sidney Wilson, 1911
Warnham Lake, Sussex - Alfred East, c1890
On the Brittany Coast - Attributed to Richard Parkes Bonington, 1825
Chandelier
The crystal chandelier at the top of the stairs is unusual as it includes blue Bristol glass. The 'Prince of Wales' feathers at the top of the chandelier sit above a crystal pineapple. The pineapple was a symbol of hospitality and extravagance as it was so difficult to grow.
1. Medical books, c1914-1918 2. Hospital book, 1914-1919 3. Louisa Denton's napkin ring, c1882 4. Clara Spilman's autograph book, c1916-1918 5. Photographs, c1914-1919 6. Military badges, c1916-1917 7. Charles Harrison's rail pass, 1917 8. Charles Harrison's passport, 1917 9. Identification plate (replica) 10. Part of waterproof torch, c1944 11. Tea ration, c1944 12. Air column base, c1944 13. Lower section of driver's periscope, c1944 14. Edwin Luther's belt, c1939 15. Kenneth Sills' dress medals, c1945
The First Earl of Londesborough by Herman G. Herkommer, 1900.
1. Hospital Blues 2. Sir Berkeley Sheffield's kit bag
Coastal scene - Philip Hutchins Rogers, c1830
Roles and Duties
The Housekeeper was the highest-ranking female servant, running the household. The Butler was the highest-ranking male servant, in charge of the male servants.
1. Regimental cap badges 2. Gordon Highlanders uniform
Bedroom
Before the extensions to the Hall, which took place between 1905 and 1907, Lady Sheffield's bedroom and dressing room were where the costume galleries are now. This room was Sir Sheffield's bedroom and the room next door was his dressing room. That dressing room was converted into a bathroom in 1906. Sir Berkeley and Lady Julia moved into the brand-new east wing, with bigger rooms and their own bathroom.
Storm at Whitby by Henry Moore, 1870
The Tailor by Alexander Austen (1859-1924).
Calm at Scarborough by Henry Moore, 1870
Mr G. F. Brunyee of Eastoft, 1860s.
Bust of Dionysis, the Greek god of wine.
Modernisation
The end of the 19th and beginning of the 20th century was a period of great change in domestic technology. The wealthy owners of country houses were able to afford the latest technology. This technology included lifts, indoor plumbing, improved heating systems and electricity. Normanby Hall underwent major renovations between 1905 and 1907. Sir Berkeley Sheffield added an east wing containing a ballroom and bedrooms and a large domestic service wing and courtyard. The new servants' wing was built with plumbed in bathrooms and heating. The older part of the house, where the family lived, was updated to match.
Towel rail, 1906.
Sophia Charlotte, Lady Sheffield, by Sidney Wilson. After a portrait by Thomas Gainsborough.
Domestic staff at Normanby Hall, c1936-1938
L-R: Bob Atkinson, the Odd-Man; Joan Keable (née Coles), a Housemaid; and Leonard Newell, the First Footman.
Study
Unlike the library, which was a family room, the study was the room belonging solely to the master of the house. In a document from 1832 it is described as 'Sir Robert's room'. This was the room where he carried out his personal business, especially relating to being the landlord of extensive property.Between 1817 and 1818, Sir Robert was High Sheriff of Lincolnshire. There has been a High Sheriff in each county for over 1000 years, even today. The role originally focused on tax collection and law and order, but by Sir Robert's appointment it was mostly a ceremonial role. Sir Robert would have used this space to prepare for the duties he was expected to undertake.Between 1827 and 1856, Sir Robert was Chairman of the Kirton Lindsey Quarter Sessions. These were sessions of a court held four times a year to hear criminal charges and appeals. Until 1848, when it was legal for certain criminal cases to be heard at home, this room may have served as a 'justice room' for these sessions.
Mrs Batty Tootal, 1827
John Hunter
Library
The family used the library to house their collection of books, as well as using the space for letter writing and playing card games. It functioned as an informal living room, where men and women could sit at ease with each other. The library was also a place where artworks and antiquities could be displayed, discussed and admired.The door at the back left of the room covers bookshelves. In the Regency era this would have been an open bookcase, with the door being a later addition.The family used the information in the books to discuss different subjects during social gatherings. Women could talk about subjects such as history, geography and general literature. Men talked about more controversial subjects, such as politics.
Dining Room
When the family was entertaining, guests gathered in the drawing room before evening dinner. In the country dinner was usually served at 6pm, in contrast to a later dinner of 8pm if the family were in London. Dinner was a grand occasion and the women would start to get dressed for it by about 4pm.Dinner was served 'à la française', in the French style, in most grand houses. Dinner consisted of at least fifteen dishes, and most of these were arranged in the centre of the table. Guests helped themselves to the nearest dish then offered it to their neighbours. Guests were seated according to their status and the best dishes were situated nearest the most important guests.The dining room was the male domain. After dinner, the female guests retired to the drawing room whilst the men remained in the dining room.The ceiling in this room is original and matches the frieze on the outside of the Hall.
Entrance Hall
When Normanby Hall was first built between 1825 and 1830, this large space was divided in two by a curtain wall. The section towards the front door was described as the vestibule, and the section towards the fireplace was the entrance hall.The purpose of the entrance hall was to welcome and impress guests. Loueden's Encyclopedia of the 1830s specified that the entrance hall must be large and handsome.Sir Berkeley Sheffield decided to remove the curtain wall in 1906 as part of improvements to the house. It was replaced with these hollow classical columns, creating one large entrance hall. This change made the entrance hall brighter and more welcoming to guests.
Batty Tootal, Esq., 1827
John Hunter
Drawing Room
The family used the drawing room to receive visitors during the day. The lady of the house could also use it to entertain the female guests whilst the men were out hunting. The women occupied their time with reading, sewing, embroidery, music and art as well as writing letters.Guests gathered in the drawing room before dinner in the evening. After dinner, the men stayed in the dining room to continue drinking and talking. Women withdrew to the drawing room, where a hot water urn and tea service was brought in. The dining room was the male domain and the drawing room the female domain. If they were not too drunk, the men joined the women in the drawing room later for hot drinks. As the female domain, the lady of the house held control of proceedings in the drawing room.The doors between the rooms allowed for the choice of creating one larger room. When not entertaining guests the family kept the doors between the rooms closed.
The Cottage, 1810
Attributed to John Constable (1776-1837)
Bathroom
This bedroom and bathroom were likely reserved for visitors. At the time, very few houses had a bathroom. The new servants' wing and east wing boasted features such as bathrooms, electric lighting and modern plumbing. These were also introduced into the existing Hall. Behind the door of this bathroom, there is a heated towel rail, which was very modern for the period.The bathroom has the original panelled bath and wash basin with original fittings. Normanby Estate staff made the panelling. The bath is so big that there originally was a set of wooden steps to assist the bather in and out.
Pastoral scene, 17th century
Van Bergen
