In the late 19th century, and following the flotation of their brewing business on the London Stock Exchange, the Guinness family became enormously wealthy, allowing them to build, or enlarge, private residences for themselves around the outskirts of Dublin. One of these was Farmleigh, acquired by Edward Guinness (later first Earl of Iveagh) which incorporates an earlier building but was given much of its present appearance in the early 1880s by the ubiquitous James Franklin Fuller (although the ballroom and conservatory were both added later and designed by other architects). Farmleigh very much reflects the neo-Georgian luxe taste of the period and contrasts sharply with another house formerly owned by the family, Glenmaroon. This was bought at the start of the last century by one of Lord Iveagh’s sons, Ernest Guinness, who, although there was already a large building on the site, effectively doubled this in size by commissioning another, the two linked by a bridge across the public road that divided them. Glenmaroon, very much in the Home Counties arts and crafts manner (supposedly to please Ernest Guinness’s English-born wife), contrasts strikingly with the former parental home not far away and reflects changes in decorative taste between one generation and the next.
I shall be discussing both of these properties, and several others, in an online talk given for the Royal Oak Foundation next Tuesday, November 9th. Entitled A Stylish Brew: Great Irish Houses of the Guinness Family, more information about this event can be found at Fall 2021 Online Lectures & Tours – Great Irish Houses of the Guinness Family – The Royal Oak Foundation (royal-oak.org)
A portrait of Oonagh Guinness commissioned in 1931 from the fashionable artist Philip de László by the sitter’s then-husband Philip Kindersley, who paid £1,575 for the work. Much admired, the picture was exhibited in Paris the following year in a retrospective of de László’s career. Thereafter it hung in the drawing room at Luggala, County Wicklow until Oonagh Guinness’ death in August 1995 when bequeathed to Gay Kindersley, the son of her first marriage: he sold the picture and its whereabouts ever since remain a mystery. On Saturday afternoon (June 16th) at Farmleigh, Dublin I shall be speaking about Oonagh and her son, the recently deceased Garech Browne, and how they made Luggala a magnet for artists. This is part of a series of events to coincide with an exhibition of Irish portraits by Garech’s close friend Anthony Palliser currently being held in the same venue.
For more information on this talk and others in the same series, please see: http://farmleigh.ie/calendar-of-events