Normanby Hall 2024

The Cottage by John Constable, 1810.

Mr G. F. Brunyee of Eastoft, 1860s.

Normanby at War

Between 1914 and 1919, Normanby Hall was turned into an Auxiliary Hospital, caring for convalescing soldiers during the First World War. Normanby Park Auxiliary Hospital cared for 1,248 patients. During the Second World War, Normanby Hall was used as a base for several army units, including the Water Assault Wing, who were secretly testing amphibious tanks on the River Trent at Burton upon Stather.

Hospital beds used at Normanby Park Auxiliary Hospital.

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.

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.

Lord Edmund Sheffield, 1st Earl of Mulgrave (1565 – 1646), painted in the manner of Robert Peake.

Mahogany breakfront library bookcase, c1810. - This was made by Gillows of Lancaster.

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.

Portrait of a lady, attributed to Theodore Russell (1614-1689).

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.

Queen Adelaide (1792-1849). - Engraved by S W Reynolds in 1832, after a painting by A Horton.

Charles Sheffield of Butterwick by A. Ramsey, 1741.

Henry Holgate Healey, 1813.

Rev. Thomas Lodington D.D., c1700.

John Sheffield, Earl of Mulgrave, 1688.

John Sheffield, Duke of Buckingham and Normanby.

Empire Falls by Timorous Beasties

Rosewood games tables, c1810.

Mahogany writing slope, c1809-1815.

King William IV (1765-1837).

John Sheffield, Marquis of Normanby, 1710.

Bell board, c1932-1963.

This bell board showed the servants when their assistance was required by a member of the Sheffield family.

Entrance Hall

The Process and Practice of Stubbs: A Horse Themed Lino Print - Elizabeth Garner.

Regency Dining Room

Sandalwood dwarf linen presses, c1800-1830.

These were made by Gillows of Lancaster in the Chinoiserie style.

Three portraits, attributed to John Russell, c1785-1795.

1. Regimental cap badges 2. Gordon Highlanders uniform

The Tailor by Alexander Austen (1859-1924).

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.

The First Earl of Londesborough by Herman G. Herkommer, 1900.

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.

Mary Magdalene receiving the wafer from the Angels, attributed to Francisco Trevisani, c1720.

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.

Small Costume Gallery

Suited to Sidesaddle Discover a brief history of the sidesaddle through women’s costume.  

Bath, 1906.

The bath is so big that there was a set of wooden steps to assist the bather in and out.

Domestic staff at Normanby Hall, c1936-1938

Towel rail, 1906.

1. Hospital Blues 2. Sir Berkeley Sheffield's kit bag

Reading chair, c1840.

This chair was reputedly made for Sir Robert Sheffield, 4th Baronet. It has an adjustable book rest and candle holder. On 29 September 1838, Sir Robert was out shooting with a friend in Flixborough. He thought he had fired both barrels of his gun, but one of them hung fire. When he put his ramrod in the barrel, the contents exploded and 'blew off' the fingers of his right hand. He was brought back to Normanby Hall, where his hand was amputated at the wrist. The adjustable nature of the book rest and candle holder would have assisted Sir Robert after his life-changing injury.

Mahogany fire screen with silk panels, c1810-1820.

Domestic staff in the grounds of Normanby Hall, 1926.

Arthur Herbert, the Earl of Torrington by John Baptist Closterman, c1700.

Italianate landscape, by Benjamin Barker of Bath (1776-1838)

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.

The Cobbler by Alex Austen (1859-1924).

Sheffield Bar

Welcome to Normanby Hall

The Normanby estate has belonged to the Sheffield family since 1589. This house was built between 1825 and 1830, in the Regency period. Click on the circles on the floor to move around the ground and first floors. Hover over the hotspots to discover more about the rooms and the objects.

‘A Short History of Spain’ Volume I and II, Lady Maria Callcott, 1828

Dutch Interior, attributed to Jane Steen, c1600-1699.

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.

Bust of Dionysis, the Greek god of wine.

Table for an Unknown Embroiderer by Kate Noakes

Bifurcated staircase

Portrait of a Gentleman (Cleric), attributed to Edward Bower, 1681.

Apron and cap, c1918-1939.

Ivy Richardson wore these when she worked at Normanby Hall. She started out helping the Parlourmaid in 1918 and became a housemaid in 1919. In 1930 she became Head Housemaid. You can find out more about Ivy on the touchscreen in this gallery.The apron is heavily starched and was probably used for general cleaning tasks around the Hall. Inside the cap, Ivy’s initials ‘I R’ are stitched in white thread. l.

Mrs Alice Wood of Liverpool by Sir Thomas Lawrence, 1829.

John Sheffield, 1st Duke of Buckingham and Normanby by 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.

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.

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 Honourable Mrs Beresford, by Sidney Wilson, 1911. After

Sophia Charlotte, Lady Sheffield, by Sidney Wilson. After a portrait by Thomas Gainsborough.

Life Below Stairs gallery

Calm at Scarborough by Henry Moore, 1870

Bathroom

Before the extensions to the Hall, which took place between 1905 and 1907, this room was Sir Sheffield's dressing room, and the room next door was his bedroom. This 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.

Grand pianoforte, 1839.

It was made by Erard in London and is original to the house.

Portrait of a gentleman, by Tilly Kettle (1734-1786).

Apron and cap, c1918-1939.

All the costume in these cases was discovered in Ivy Richardson’s house when she died. Ivy worked at Normanby Hall, starting out helping the Parlourmaid in 1918 and becoming a housemaid in 1919. In 1930 she became Head Housemaid. You can find out more about Ivy on the touchscreen in this gallery.Due to its style, the apron may have belonged to a cook at the Hall. The fine cotton muslin cap has Ivy’s initials ‘I R’ stitched in white thread inside. It was probably a ‘best’ or ‘afternoon’ cap.

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.

Storm at Whitby by Henry Moore, 1870

Sheffield Lounge

Margaret Tudor, Queen of Scots, painted by an English School c1800.

The Hon. Mrs. Lambert, attributed to Mrs Anne Killegrew (1600-1685)

Frances Lambert was the mistress of John Sheffield, 1st Duke of Buckingham. She was mother to Charles Sheffield.

Mrs Charles Young by Sir John Watson-Gordon, c1830-1835.

Theseus and Ariadne, attributed to Richard Westall, c1810.

Chandelier

Bracket clock in a mahogany case by James Tupman of London, c1800. I

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.

Oak architect’s table, c1816.

A label written in an old style states, "This table belonged to The Princess Charlotte of Wales and was bought at the sale at Marlborough House 1834".

Emperor Otho by Peter Paul Rubens, c1620-1629.

Inspired by Stubbs

I Hate Horses - Robin Stones

What Holds a Horse - Natalie Brooks

Stubbs Engravings

The Farmer’s Wife and the Raven - George Stubbs, 1783

Fight, Flight, Spook – Charlotte Ward

“He can ’otch an he can trot, an’ he can carry a butter-pot” - Ros and Peter Lorimer

Dissecting the History of Stubbs - Emma Taylor

Duke - Jennifer Bell

Rock Crystal Skull - Jennifer Bell

Lissyegan Rory - Millie Claxton Keys

Sharke - Attributed to George Townley Stubbs (1756-1815), after an original by George Stubbs.

Bay Horse in a Landscape ‘The Wigan Horse’ - Attributed to George Stubbs, 1740

Private collection  

Sketchbooks - Alison Wilson

The Paddock, Easingwold - Alison Wilson

1. Food grater, c1918-1939.2. Candle holder, c1918-1939.3.  Fire grate burnisher, c1918-1939.4. Cards of linen buttons, c1918-1939.5.  Menu cards, c1930-1939. 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.6. Livery buttons, c1880-1904. These buttons were worn on staff uniforms and show a boar’s head, symbol of the Sheffield family.7. Chatelaine, 20th century. A chatelaine was usually carried by the housekeeper. It had chains on which to attach the important keys of the house, as well as handy items such as needles, thread and scissors. 

Artist in The Hall

In 2019 North Lincolnshire Museums was given the opportunity to commission contemporary artists and designers, to create artworks and objects responding to the house and interior. This exhibition tells the story of the first four years of the artists exhibiting at Normanby Hall. It includes some of the artworks produced, alongside some of the items that inspired them. Also on display are short films of the artists and designers talking about the process of creating objects and artworks for Normanby Hall. ‘Artists in the Hall’ is funded by Arts Council England through the Humber Museums Partnership.  

Timorous Beasties

Lindsey Mendick

Warnham Lake, Sussex - Alfred East, c1890

Ian Kirkpatrick

Barbara Melling

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.  

Coastal scene - Philip Hutchins Rogers, c1830

On the Brittany Coast - Attributed to Richard Parkes Bonington, 1825

Large Costume Gallery

Design in Detail Michelle Barker, of costume company ‘HandBound Costumes’, has been researching the evolution of the frock coat. She has been studying coats from the 1790s in museum collections. Michelle has been looking in detail at North Lincolnshire Museums’ collection of coats belonging to one man, the Reverend John Parkinson. This exhibition shows Michelle’s findings, and the importance of costume collections for research.  

Suited to Sidesaddle

‘Sidesaddle’ is the method of riding a horse with both feet on one side, and the type of saddle that allows the rider to do this. Women rode astride until the 14th century, when they were pressured to ride sidesaddle to maintain their modesty. ‘Modesty’ refers to dress, with women having their skirts and legs on one side of the horse. ‘Modesty’ also refers to the increased chance of a woman keeping her hymen intact by riding sidesaddle, and therefore her perceived ‘virginity’. Those who rode astride a horse were seen as vulgar and uncouth. Women wore a specific riding habit, which followed the fashion of the time.  

Reverend John Parkinson

These coats are all from the wardrobe of Reverend John Parkinson (1754-1840) of Ravendale Hall, East Ravendale. He was an educated and relatively wealthy young man. From his letters and diaries, we know that he frequently accompanied parties of undergraduates on tours of Europe. This explains the fashionable suits in his wardrobe. In the early summer of 1792, he embarked on his Northern Tour. He was joined by his friend Edward Wilbraham-Bootle. Parkinson wore these coats on this tour.  

HandBound Costumes

Using what she has learned from the Reverend’s coat collection, Michelle Barker has sampled the same pattern cutting shapes and recreated a suit collection using the original sewing methods. The Reverend stands packing his trunk, dressed all in black from his clerical duties. This coat is based on ‘number 5’ in the opposite case. The breeches and waistcoat are based on originals in the collection. To the left of the Reverend, his manservant helps him pack the trunk, getting him ready for his travels. He is handing the Reverend a pile of shirts, a necessary element to 18th century man’s dress and fashion.  

Looking in Detail

Michelle Barker, of the company ‘HandBound Costumes’, studied the coats in these two opposite cases, to aid her research in the development of the frock coat. They are laid out in what Michelle believes to be their chronological order. Although the obvious fashion details like the cuff and collar size do not appear to change much, hidden within the pattern cutting are the details that tell a different story. The manufacture date for the two black coats falls directly in the gap when the Reverend Parkinson was not travelling. The more colourful ones seem to align with when he was away for one of his tours.  

Design in Detail