The Bantry House Report
March 2015
Summary
This Report sets out the background
to Bantry House and its collection,
and suggests a number of avenues
whereby the house and its
wonderful collection can remain
one of the leading heritage and
cultural attractions of West Cork
and of Ireland.
2
This Report sets out a plan whereby a donor, a national cultural institution (Crawford
Art Gallery Cork) and a family work together, to ensure the survival of an important
historic house and its collection of paintings, sculpture, tapestries and decorative arts.
Owned by the Shelswell-White family, Bantry House, along with its gardens, is one
of the most important heritage attractions open to visitors in Ireland. However, its
collection is currently under imminent threat of being dispersed, in order to meet
bank debts.
Under Section 1003 of the Taxes Consolidation Act 1997, an individual or company
acquiring and donating the Bantry House collection to the Crawford Gallery can
avail of generous tax relief.
The individual or company would need to have a tax liability within the Republic of
Ireland, although donations from the United States can also avail of tax relief, under
Section 501c (3) of the Revenue code.
As a National Cultural Institution, the Crawford Art Gallery, a fine art museum in
Cork city, can acquire ownership of the collection, and then lend the works back to
Bantry House for display.
The collection would be part of the national collections in perpetuity. The loan would
be conditional on the house remaining open to visitors.
Such a public-private partnership, working to ensure the survival of a heritage collection
in its home setting, is innovative, but this proposal has met with the approval of all
stake-holders, including tourism agencies, local authorities, the Heritage Council,
the Council of National Cultural Institutions and central government.
To help save an important part of Ireland’s cultural heritage it is now up to the reader
of this Report to consider if they can they help directly, or recommend this plan to
an individual or company.
3
With a magnificant location on the shores of Bantry Bay, and ornamental gardens
that are internationally famous, Bantry House is one of the most important heritage
houses in Ireland.
Even at Chatsworth, with its far higher
visitor numbers, there has also been a need
to sell valuable works to remain viable. In the
late nineteenth century, Bantry House was
famed for its art collection, one that included
tapestries, paintings by Guardi, Snyders,
Ramsay and other major artists, sculptures by
John Hogan and others, furniture, stained glass
and decorative art objects.
Since 1946, the house and gardens have been
open to the public in the summer months,
during those seven decades Bantry House has
become a key part of West Cork’s cultural
tourism industry.
Remarkably, the house remains also a private
residence, being owned and managed by the
Shelswell-White family. House and gardens
were first opened to the public in 1946, around
the same time that Chatsworth in Derbyshire
became one of the first private country houses
in the UK to welcome visitors.
While the Guardi paintings have gone, sold in
the 1950’s, and while some of the tapestries and
paintings have also been sold, Bantry House
is remarkable in that much of the wonderful
collection amassed in Europe in the 1820’s
by the White family, still remains in situ two
centuries later.
Bantry and Chatsworth are similar in that
they have provided, for over half a century, a
significant heritage and tourism resource to
their local and wider communities, at little or
no expense to the taxpayer. However, while
Chatsworth, located within easy access of
several large cities, receives around two million
paying visitors each year, Bantry is more remote
from urban centres, and the 25,000 visitors
it receives each year is not a sufficiently high
number to offset the costs of running a large
heritage property.
However, the financial viability of Bantry House
remains a perennial challenge, and in October
2014, the Shelswell-White family announced,
with great regret, that the remainder of the
collection would have to be sold, to meet bank
debts.
In the event, the sale did not take place, but the
future of the collection remains very much in
jeopardy. This Report sets out the background
to the house and collection, and suggests a
number of avenues whereby Bantry House and
its wonderful collection can remain one of the
leading heritage and cultural attractions of West
Cork and of Ireland.
The financial viability of Bantry House over
the past half century has been dependent
upon the Shelswell-White family’s willingness
to open each year, notwithstanding that it has
never made any significant profit, and costs of
maintenance regularly exceed annual income.
Sadly, these running costs have had to be
offset by the occasional sale of works of art and
artefacts.
5
Bantry House – A Brief Background
House and was a modest squared structure.
Along with most of the land in the Bantry and
Beara area, Blackrock House had belonged to
the Earl of Anglesey, who had obtained the
land under the Act of Settlement. However, the
Whites did not take up residence of Blackrock
House for another thirty years, as it was under
lease to a Samuel Hutchinson.
The White Family
The White family first settled in Bantry towards
the end of the 17th century, when Captain
Richard White moved from Limerick to
Whiddy Island. During the 18th century the
family amassed a large fortune through various
interests, including a law practice and fisheries.
By the beginning of the 19th century the Whites
had become substantial landowners, owning
most of the land in Bantry, Glengarriff and the
Beara Penisula.
Simon White moved in to Blackrock House
in 1765, renaming it Seafield House. Simon’s
son Richard, who went on to become the 1st
Earl, enlarged the house. However, it was the
1st Earl’s eldest son, also named Richard, who
laid the plans during the 1830s-1840s for the
magnificent house and gardens which remain
still to this day.
For his role in deterring an invasion by the
French Armada in 1796, Richard White (17671851), great-grandson of Captain White, was
made Baron Bantry in 1797 and was elevated
to Viscount three years later. In 1816 he was
created 1st Earl of Bantry. The title of Earl
passed through the generations until the death
in 1891 of William White, the 4th Earl. As
William was childless, the estate, but not the
title, passed through his sister Elizabeth to her
son Edward Leigh, who in 1897 assumed the
additional name White.
During his extensive travels throughout
Europe he and his wife Mary were inspired by
the landscapes, architecture and furnishings
that they encountered. Richard made many
sketches which he later used as inspiration in
expanding and refurbishing Bantry House.
The present hall, with its black and white tiled
floor, was created by combining two rooms
with the staircase hall of the original house. The
Rose Drawing Room and Gobelins Room are
embellished with carved marble chimneypieces,
brought from the Continent.
In 1926 ownership of the estate passed from
Clodagh White to the future heir Egerton. From
the 1970s to the first decade of the twenty-first
century, the house and gardens were owned and
managed by Egerton and Brigitte ShelswellWhite. Today the Bantry House estate is
managed by Clodagh’s granddaughter Sophie
Shelswell-White, who became general manager
in 2010.
Not all of the old house was removed during
these renovations. The first flight of stairs and
library landing date from the early eighteenth
century, while the library itself, sixty feet in
length, with Corinthian columns, is nineteenth
century. In the entrance hall, a seventeenth
century Flemish overmantle, with elaborate
wood carving, was incorporated into the later
remodelling. A large nineteenth century iron
History of Bantry House
In 1739 the Whites decided to move from
Whiddy Island to the mainland and purchased
a property where Bantry House is now situated.
At that time the property was called Blackrock
6
During the Second World War (known as ‘The
Emergency’ in Ireland), the house and stables
were occupied by the Second Cyclist Squadron
of the Irish Army. During their occupancy of
the house the Squadron installed electricity.
and glass conservatory that stood outside the
library has been removed. From the library
today can be seen the ornamental parterres,
the fountain and the ‘Hundred Steps’, leading
to a terrace high above the house. In 1845
the dining room was more than doubled in
size, with Corinthian columns and elaborate
decorative sideboards added. In the newer
section of this room, a large chimneypiece
with castiron centrepiece made by the Bandon
Foundry, survives.
Bantry House Today
In 1946, Clodagh Shelswell-White, great
granddaughter of the 3rd Earl, and her husband
Geoffrey first opened Bantry House to the
public. Innitially numbers were somewhat
modest, with up to only a few hundred visitors
per year. This slowly gained momentum, mainly
through word of mouth, eventually raising
visitor numbers to a few thousand per year.
Flanking the house, two matching stableyards
with pediments and cupolas were built, along
with five gate lodges. Today only one gatelodge
survives.
Following Clodagh’s death in 1978, her only
son Egerton returned from the US to take over
the running of the estate. Along with his wife
Brigitte, he set about establishing Bantry House
as a real business venture. During the 1980s
the couple renovated both wings of the house,
converted the original kitchen into a tearoom
and opened part of the house as a boutique
hotel.
Key Moments in the History of the House
During the Great Famine, in contrast to many
landowning families, the Whites were noted
for their compassionate attitude toward the
troubles faced by their tenants and local people.
In a bid to create employment, for those unable
to pay rent or afford to feed their families, the
family initiated and funded several building
projects. The terraces to the south and north
side of the house, The Hundred Steps, and the
walls surrounding the estate are said to be
constructed as part of the family’s famine relief
effort.
Since 2009 Egerton and Brigitte’s daughter
Sophie Shelswell-White has been acting as
general manager of Bantry House. Though she
has kept the running of the estate much along
the same path as her parents, she has promoted
the house as a location for functions and events.
During the Irish Civil War the Cottage Hospital
in Bantry was destroyed by fire. Arethusa LeighWhite, by that time a widow, offered Bantry
House as a hospital to the nuns of the Convent
of Mercy. However, the use of the estate was
offered only on the condition that the injured
on both sides of the conflict should be cared for.
A chapel was sanctified in the library and the
nuns and their patients moved in for five years.
7
The Bantry House Collection
The collection at Bantry House, encompassing both fine art and decorative art, includes
tapestries, paintings, sculptures, prints, furniture and books. In addition there are
reliquaries, musical instruments and family memorabilia. Architectural fixtures such
as chimneypieces, chandeliers, floor tiling and carved architectural features are not
included in this section.
Among the works sold over the years have been several tapestries and paintings, most
famously eight large ceiling paintings by Francesco and Gian Antonio Guardi. From
the late 19th century a vast amount of the collection has been sold, including several
heirlooms, antiques and works of art of historic and cultural significance.
Maillard (Blind Man’s Bluff)—compositions
based on paintings by François Boucher. The
cartoon, or full-size design, for La Fontaine de
L’Amour is in the Musée Départemental de la
Tapisserie at Aubusson. A fourth narrow panel,
an ‘entre-fenêtre’, designed to be hung between
windows, is decorated with a foliate scrolling
border and basket of fruit. These Aubusson
Tapestries
The eighteenth-century French tapestries in the
Rose and Gobelins Drawing-Rooms are among
the greatest treasures in Bantry House. A set of
four Aubusson tapestries, designed by Léonard
Roby, depict charming ‘fêtes champêtres’ scenes
such as La Fontaine de L’Amour (The Fountain
of Love), La Bouscule (The Swing) and Le Collin
1
8
2
La Fontaine de L’Amour, cartoon by Léonard
Roby, Tapisserie de la Manufacture Royale
d’Aubusson, 18th century. [1]
3
Le Collin Maillard, Tapisserie de la Manufacture
Royale d’Aubusson, 18th century. [2]
La Bouscule, Tapisserie de la Manufacture
Royale d’Aubusson, 18th century. [3]
tapestries were said to have been made as a
wedding present to Marie-Antoinette from
King Louis XV, on her marriage to the Dauphin,
later King Louis XVI, and were displayed in the
Petite Trianon, in the grounds of the Palace of
Versailles. The set was purchased by Richard
White, 2nd Earl of Bantry, sometime between
1820-1840.
Displayed in the Gobelins Drawing Room
at Bantry House is The Bath of Cupid and
Psyche. Based on an original painting by Guilio
Romano, The Bath of Cupid and Psyche was
translated into a design by Antoine Coypel, and
was woven at the Gobelins workshop, c.1690.
9
4
5
The Gobelins tapestries at Bantry are said to
have been the property of Louis Philippe, Duc
d’Orleans, cousin of Louis XV and grandfather
of Louis Philippe of France, at whose sale in
1851 they were acquired. A related tapestry,
essentially a larger version of the same scene, is
in the Metropolitan Museum in New York.
6
Reliquaries
In the entrance hall stands a large Russian
reliquary, or portable cabinet shrine. Although
constructed in the early nineteenth century,
the shrine incorporates earlier works of art,
including icons from the seventeenth and
eighteenth centuries, jewellery and other
artefacts.
The Dining Room holds a Gobelins ‘entrefenêtre’ tapestry (Bacchus and Silenus), once
part of a set of eight, said to have been designed
to hang between windows in the Palace of
Versailles.
The shrine consists of a glass-fronted display
case, supported on an ornate rosewood base,
with hinged doors to protect the contents of
the case. The doors are embellished with icons
depicting Biblical scenes and saints, including
some based on classic Byzantine images, such as
the Virgin Hodigitria.
Decorative Panel (Entre-Fenêtre), Tapisserie de la
Manufacture Royale d’Aubusson, 18th century.
[4]
In the centre of the left hand door is a larger
panel depicting the Resurrection of Christ, or
Pascha, the most important feast day in the
calendar of the Russian Orthodox Church.
The smaller icons ranged around it show the
Twelve Great Feasts, also part of the Orthodox
calendar. The feasts include the Nativity,
The Bath of Cupid and Psyche, design attributed
to Antoine Coypel, Manufacture des Gobelins,
c.1690. [5]
Bacchus
and
Silenus
(Entre-Fenêtre),
th
Manufacture des Gobelins, 18 century. [6]
10
7
8
Baptism, Annunciation, Presentation
at the Temple, Entry into Jerusalem
and others. As there are sixteen images
around the central icon in the Bantry
shrine, rather than twelve, some depict
feast days, while others depict saints.
In the Dining-Room is a Christian
Orthodox reliquary, possibly Greek. It
represents a bearded man wearing a mitre,
probably St. Nicholas of Myra. Sculpted
in metal, gilded in brass and adorned with
coloured glass, this reliquary dates from
perhaps the seventeenth or eighteenth
century and may have been acquired in
Venice. The recessed section at the base
of the reliquary would originally have
held a relic of the saint, protected by
a small gold cover. Such relics, known
as phylacteries, were often preserved in
glass phials. The saint’s relic is no longer
in the Bantry reliquary. Celebration
of the saint’s feast day in May is still a
major festival in Bari, Southern Italy.
Russian Icon Shrine, ebony parcel-gilt
and rosewood cabinet, 19th century.
Contains 17th and 18th century icons.
[7]
Bust of St. Nicholas of Myra, metal and
gilded brass, c.1750. [8]
11
The Bantry House Collection
Paintings
Dining-Room
Above the chimneypiece is a large seventeethcentury painting, The Fruit Market. A work by
the Flemish painter Frans Snyders, the figures
are said to be by Rubens. This painting was a
gift from the Earl of Listowel to his daughter,
Margaret Hare, 1st Countess of Bantry. The
Earl of Listowel, who lived at Convamore near
Fermoy, was instrumental in founding the
Crawford Art Gallery collection in the early
nineteenth century.
The Fruit Market by Frans Synders oil on canvas
c. 1620 [9]
Portrait of King George III, studio of Allan
Ramsay, oil on canvas, c. 1762. [10]
Portrait of Queen Charlotte, studio of Allan
Ramsay, oil on canvas, c. 1762. [11]
9
10
11
12
The original portraits were executed in 1760
by Sir Allan Ramsay to celebrate the wedding
and coronation of King George III (17381820) and Princess Charlotte MecklenburgStrelitz (1744-1818). The queen would have
been seventeen years old when this portrait
was painted, the king twenty-three years of age.
The Bantry House full-length portraits of the
king and queen in their coronation robes are
among several copies of the original portraits.
However, all copies were executed by Ramsay
and his studio. The portraits were gifted to
Richard White upon his elevation to the
Peerage in 1816.
the original Mr. Thomas Hibbert is in a private
collection in the U.K. Nothing is known of
Flora Tipping’s training as an artist, although
she was clearly an accomplished copyist
Library Landing
Portrait of Member of Ryves Family in Powdered
Wig and Red Coat, Charles Jervas (1675-1739).
(attr.) oil on canvas.
Portrait of Member of Ryves Family in white and
blue satin dress, Charles Jervas (1675-1739).
(attr.) oil on canvas.
Portrait of Member of Ryves Family a brown coat,
white scarf and wig, Charles Jervas (1675-1739).
(attr.) oil on canvas.
Portrait of Mr. Thomas Hibbert (The Elder) by
Flora Tipping (after Gainsborough), oil on
canvas, 19th century. [12]
Portrait of Member of Ryves Family in white and
blue satin dress, Charles Jervas (1675-1739).
(attr.) oil on canvas.
Portrait of Mrs. Thomas Hibbert (Sophia Boldero)
by Flora Tipping (after Gainsborough), oil on
canvas, 19th century. [13]
Members of the Ryves family, attributed to
the portraitist Charles Jervas. The Ryves were
related to the White family through Arethusa
Leigh-White, a descendant of Arethusa Ryves
(b.1716) from Dorset, England.
Thomas Hibbert was the maternal granduncle of Flora Tipping’s husband, Lieutenant
Colonel Alfred Tipping, who was the maternal
grandfather of Arethusa Leigh-White.
The artist Flora Tipping (née Calvert, born
c.1842) painted these portraits after originals
by Thomas Gainsborough (1727-1788). The
original Gainsboroug Mrs. Thomas Hibbert is
now in the Neue Pinakothek Munich, while
Portrait of a man, possibly a member of the Ryves
family, in armour and wig, feigned oval, in the
style of Godfrey Kneller (1646-1723), oil on
canvas, c. 1700.
12
13
13
The Bantry House Collection
141516 1718
Hunters in boat by Moonlight, artist unknown,
oil on canvas, c. 1830. [16]
Portrait of a man, possibly a member of the Ryves
family, in wig and white scarf, feigned oval, in
the style of Godfrey Kneller (1646-1723), oil
on canvas, c.1700.
A keen sportsman and author of several books
on hunting, Colonel Peter Hawker (17861853) is one of the figures depicted in this
scene of a duck shoot at night. Son of Colonel
Peter Ryves Hawker and Mary Wilson Hawker,
he attended school at Eton and then entered
military service with the First Royal Dragoons,
seving with the Duke of Wellington in the
Penninsular War. In 1814 he published his
Advice to Young Sportsmen, while his diaries also
record his extensive sporting exploits. Hawker
also designed guns. Famous for his punt
gunning expeditions, the Gun Inn at Keyhaven
is said to have been named after him. Hawker
was the paternal great-grandfather of Arethusa
Leigh-White. In the entrance hall at Bantry
there is a portrait of his wife Julia and young
son, also named Peter.
In the hallway and main landings are displayed
a number of portraits and ‘illuminated
addresses’ or testimonials relating to the family.
The addresses are mainly by the Cork firm of
Gilbert & Co.
Library
Portrait of Henry A. Herbert (1813-1866) by Sir
Francis Grant (1803-1878), oil on canvas, c.
1840. [14]
Henry Arthur Herbert of Muckross House, Co.
Kerry, was the brother of Jane, 3rd Countess of
Bantry.
Portrait of Lady Eleanor Cunliffe by the Hon.
Henry Richard Graves (1818-1882), oil on
canvas. [15]
Portrait of a Young Woman seated, wearing a
brown dress, circle of William Wissing (16561687), oil on canvas, 17th century. [17]
Eleanor Cunliffe (née Leigh) was the sister
of Egerton Leigh of High Leigh, Cheshire,
England. Egerton married Elizabeth White
(1847-1880), daughter of the 3rd Earl of Bantry.
Upon the death of Lady Elizabeth’s brother
William, the 4th Earl, the Bantry House estate
passed to Egerton and Elizabeth’s son, Edward
Leigh-White (1876-1920).
Coastal Scene with fishermen pulling in nets,
attributed to Philip James de Loutherbourg
(1740-1812), oil on canvas, c. 1780.
A Cavalry Skirmish, circle of Jacques Courtois
(1621-c.1676), oil on canvas, 18th century.
Portrait of Mrs Flora Tipping by Henry Tanworth
Wells (1828-1903), oil on canvas. [18]
14
Gobelins Drawing-Room
Putti Playing, grisaille chalk, Italian, 18th
century.
Portrait of Mrs. Julia Hawker and her son Peter,
circle of Martin Archer Shee PRA (1769-1850).
[19]
Julia (née Barttelot) was the great-grandmother
of Arethusa Leigh-White (née Hawker).
Entrance Hallway
Portrait of 1st Earl of Bantry, Richard White,
wearing coronation robes, oil on canvas, c. 1817.
Portrait celebrates Richard White’s elevation to
the Peerage. [20]
Portrait of Viscount Maynard, attributed to
William Hoare of Bath (1707-1792), pastel,
18th century.
Viscount Maynard was the tutor to Richard
White, 1st Earl of Bantry.
19
20
Portrait of William White (1801-1884), 3rd
Earl, oval mount in gilded frame, oil on
canvas, c. 1860.
Portrait of Jane Herbert (1823-1898), 3rd
Countess of Bantry, oval mount in gilded frame,
oil on canvas.
A similar portrait hangs in Muckross House,
Killarney, Co. Kerry, the Countess’s family
home.
Portrait of Lady Ina Maud White (1852-1907),
oil on canvas, c. 1870.
The sister of William, 4th Earl of Bantry. Lady
Ina married the 10th Earl Ferrers.
Portrait Frances Jane Hedges Eyre (1748-1816),
oil on canvas, c. 1750.
Wife of Simon White and Mother of the 1st Earl
Portrait of Simon White wearing a blue coat, oil
on canvas, c. 1750.
Father of the 1st Earl.
Portrait of 1st Earl in Red Hunting Coat, standing
beside his hunter in a wooded landscape, c. 1830.
15
The Bantry House Collection
Prints
A set of twelve late seventeeth-century French silk cutwork mounted and hand-coloured prints, entitled
Gravures de Mode. Nine are by Antoine Trouvain (c.1652-1708), and three are by Claude Berey
(c.1660-1730). Included are Guillaume III. Roy d’Angleterre, d’Ecosse et d’Irlande and Monseigneur
le Duc de Berry. The set was probably acquired by the 2nd Earl during his travels in France. [21-25]
Views of Rome, seventeen engravings by Giovanni Battista Tiepolo (1696-1770) and Francesco Piranesi
(1758-1810) [son of Giovanni Battista Piranesi]
[21- 25]
16
student at the Cork School of Art in 1819,
and later while working with the architect and
builder Thomas Deane. Elected a member of
the Virtuosi dei Pantheon in Rome in 1837,
Hogan subsequently returned to Ireland, where
he created a number of important sculptures,
including the bronze monument in Limerick
city of Daniel O’Connell in 1856.
Sculptures
Richard, 2nd Earl of Bantry, marble bust by
John Hogan, 1843. [26]
The artist’s monogram is on the left shoulder.
Mary, Countess Berehaven, marble bust by John
Hogan, 1843. [27]
Colonel Henry Arthur Herbert of Muckross by
Lawrence MacDonald, white marble. [28]
When the 2nd Earl of Bantry and his wife Mary
visited Italy in 1843, they travelled to Naples,
where they sat for the Irish sculptor John
Hogan (1800-1858). Hogan produced two
matching busts, one of Richard, the other of
his wife Mary. Richard, short-haired and cleanshaven, with a youthful and alert expression, is
depicted wearing a classical toga. Mary, equally
bright-eyed and alert, is also depicted wearing
classical dress, with one shoulder exposed and
a chiton or slip just visible. Her hair is braided
in the fashion of the 1840’s. A daughter of
the second Marquis of Thomond, she was
one of the O’Brien family, of Dromoland
Castle in Co. Clare. Originally from Tallow
in Co. Waterford, Hogan was establishing
a reputation for himself as one of the most
brilliant Neo-Classical sculptors of his day. He
had trained as an artist in Cork, initially as a
26
Henry Herbert was the elder brother of the
3rd Countess of Bantry. It was done in Rome
in 1848, where the Scottish sculptor Lawrence
MacDonald was then working.
Colonel Peter Hawker (1785-1853), white
marble bust, c. 1840. [29]
Rose Drawing-Room
Hebe and Venus, alabaster figures, after Antonio
Canova, c.1820
Gobelins Drawing-Room
Cupid and Psyche, alabaster figures, after
Antonio Canova, c. 1820
27
2829
17
The Bantry House Collection
30
31
Throughout the House there is a small selection
of Minton Majolica earthenware pottery,
19th century. These include three jardiniers,
a renaissance revival ewer, an oval platter
decorated with water-lilies, and a pair of
planters.
Urns, Vases, Ceramics and Decorative Arts
Alabaster Urn, Italian, early 19th century.
th
Two matching Italian alabaster urns with snake
motif handles, early 19th century. [30]
Wainscotting panel made from Spanish
embossed and gilded leather. 17th century.
The Bantry collection includes many 18th and
19th century Japanese and Chinese ceramics.
32
18
33
Furniture
Boulle cabinet, Napolean III, mid 19th century,
French. [31]
Pair of Louis XVI style ebony and brass boulle
marquetry vitrine display tables, mid 19th
century, French.
Long case clock, John Ebsworth, c.1690.
George IV settee, 19th century, upholstered
in Gobelins 18th century tapestry, Tavern and
Hunting Scene, after painting by David Teniers
the Younger (1610-1690). [32]
Painted screen, Venetian, c. 1770. Gilded and
painted with an eclectic mixture of chinoiserie,
grotesqueries, birds, animals and decorative
framing.
Three 19th century French chairs, style of Louis
XV, upholstered in Gobelins 18th century
tapestry, Fables de la Fontaine. [33]
Historical Material
Card tables, a pair. Made by Moore of Dublin.
Octagonal ‘rent table’. Irish, 18th century.
Bantry Standard.
A flag made for the Bantry Cavalry, a militia
unit raised in 1796 by Richard White to defend
against a planned invasion by the French. As
a consequence of his leadership Richard was
awarded the title Baron Bantry, and later 1st
Earl of Bantry.
Piano ‘Broadwood’ late 19th century.
Piano, Boudoir Grand by Blüthner of Leipzig,
c. 1890. It is provided with an extra string in
the treble register for an improved tone (the
‘aliquot’). A birthday present for Edward LeighWhite, an accomplished pianist.
19
Bantry House:
Comparing old and new
A series of photographs taken in the late nineteenth century provide a visual
documentation of Bantry House and its collection. Recent photographs of the same
rooms reveal the extent to which the house has been gradually stripped of its treasures.
However, the present-day photographs are also reassuring in that they document many
art works that have survived, revealing how much of the collection has survived intact.
20
Entrance Hall
On the left of the old photograph is visible a
seventeenth-century long-case clock by John
Ebsworth, and on the far back left, an eighteenthcentury Friesian clock. Both clocks remain in
these locations today. The handpainted tiles
on the floor, from the Giustiniani workshop
in Naples, were purchased in 1843. Today they
survive, but are covered with protective mats,
bearing reproductions of the tile images.
portraits of the White family. On the left
wall, at the centre of the room, is a portrait of
Lady Olivia White, daughter of the 3rd Earl of
Bantry, while in the centre, to the back, is a
portrait of Richard White, 1st Earl of Bantry.
Hanging overhead, on the far left, in the old
photograph is an eighteenth-century chalk
drawing of Putti Playing. This now hangs in the
Gobelins Drawing-Room. In its place in the
Entrance Hall is the O’Brien family crest. Mary
O’Brien was the wife of Richard White, 2nd Earl
of Bantry.
No tapestries shown in the old photograph
remain in the hallway today, the recent
photograph shows the walls decorated with
21
Bantry House: Comparing old and new
The settee with a Tavern and Hunting Scene by
John Teniers The Younger, remains in position.
Above the doorway to the left, in the old
photograph is the seventeenth century painting
Still Life of Fruit Mandoline and Music Sheets,
circle of Evaristo Baschenis. This is now hanging
in the Dining-Room. Above the doorway in the
centre, in the old photograph, is an eighteenth
century painting, The Swan by Jean-Baptiste
Oudry. This is no longer at Bantry, and was sold
in the 1950’s. Along the wall are twelve handcoloured prints, Gravures de Mode, embellished
with silk cutwork, and depicting notable figures
of the late seventeenth century. Nine of the
Rose Drawing-Room
Included among the many tapestries in the
old photograph are three Aubussons. Above
the chimneypiece is The Fountain of Love; on
the right hand wall is Blind Man’s Buff and on
the far right The Swing is just about visible.
All these tapestries are still in Bantry House,
although Blind Man’s Buff and The Swing are
now displayed in the Gobelins Drawing-Room.
A fourth tapestry, ‘An Entre-fenêtre’ is now
displayed in an upstairs bedroom.
22
prints are by Antoine Trouvain (c.1652-1708)
and three are by Claude Berey (1660-1730).
The eighteenth century Savonnerie carpet also
remains today. The French chimneypiece is also
eighteenth century.
O’Brien, 2nd Countess of Bantry, sculpted by
John Hogan. Today this is in the Rose DrawingRoom alongside a bust of Richard White, 2nd
Earl of Bantry, also by Hogan. The Chandelier
in the old photograph is early eighteenth
century Irish, and is now found in the Rose
Drawing-Room.
Gobelins Drawing-Room
On the right of the chimneypiece, in the old
photograph, is the Gobelins tapestry The Bath
of Cupid and Psyche. It is still in the same room
today, hanging on the wall to the far left.
Today, above the chimneypiece is the Aubusson
tapestry Blind Man’s Buff. On the far left, in
the old photograph, is a marble bust of Mary
The eighteenth century Savonnerie carpet is
still in place. The chimneypiece is French, and
is also eighteenth century.
23
Bantry House: Comparing old and new
Dining-Room
On the right, in the old photograph, hangs a
Portrait of Queen Charlotte and on the left is
a Portrait of King George III. Both portraits
are from the studio of Allen Ramsey, c. 1762.
Between the two portraits is an eighteenthcentury Gobelins panel (entre-fenêtre)
depicting Bacchus and Silenus. Above the
chimneypiece is The Fruit Market by Frans
Snyders, a large early seventeenth century
painting. Today, these works are still in the
Dining-Room, however the tapestries which
once decorated the ceiling are no longer in
the collection. Along the sideboard, below the
portraits, is a collection of seventeenth-century
German brass dishes. They are still on display in
the Dining Room today, alongside a selection
24
of nineteenth-century Minton Majolica
earthenware pottery. The eighteenth-century
Baltic candelabra also remains in position. The
floor is no longer carpeted.
The wall on the right, from ground floor to
first floor, is now decorated with portraits. The
wall on the left, leading up to the second floor,
displays a collection of nineteenth-century
illuminated addresses, a number of which
congratulate Edward Leigh-White (nephew
of the 4th Earl) on his accession to the Bantry
House Estate.
First Floor Landing
The tapestries on the walls and ceilings of
the first floor landing, visible in the old
photographs, are no longer in the collection.
25
Bantry House: Comparing old and new
Library
The nineteenth-century Dutch chandelier,
decorated with Meissen china flowers, is still
in place. Most of the other furnishings, visible
in the old photograph, are no longer in Bantry
House, having either been sold or damaged
over the years. An important piece of furniture
that does remain in the collection is the early
nineteenth century octagonal Irish ‘Rent Table’.
The late nineteenth century overmantle mirror
is also still at Bantry. Instead of the tapestries
visible in the old photograph, the walls are now
decorated with paintings, including Portrait of
Mrs. Flora Tipping by Henry Tanworth Wells,
Portrait of Lady Eleanor Cunliffe by Hon. Henry
Richard Graves, and Portrait of Henry A. Herbert
by Sir Francis Grant.
26
Why the Bantry House Collection
Should Remain in Bantry
The house plays host to a range of events and
performances, most notably the ‘West Cork
Chamber Music Festival’, held every year since
the mid-1990s, the ‘Masters of Tradition’ music
festival, and the ‘West Cork Literary Festival’.
The Significance of the
Bantry House Collection
Bantry House is home to a remarkable
collection of artworks, decorative artefacts and
furnishings, not only from Ireland and England
but also from Continental Europe and further
afield.
Since 2008 the house has been staging outdoor
theatre performances which take place on
the front lawn of the grounds. Some of the
performances held to date have included: Pride
& Prejudice and Wuthering Heights.
During the course of the nineteenth century,
the house was enlarged several times to
accommodate the growing collection, and
so there is an intimacy between architecture,
furnishings and works of art that is rarely found
in heritage houses.
Reasons for Saving
the Bantry House Collection
While Bantry House is famed for its gardens,
as a heritage attraction it could not continue to
attract thousands of visitors each year without
its art and furniture collection.
While eclectic, there is an overall cohesiveness
to both collection and house that makes Bantry
unique in Ireland. In many cases works of art
have remained in their original settings within
the rooms of the house for almost two centuries.
Securing the collection in Bantry, also secures
the future of a vital part of Ireland’s heritage.
The loss of a major attraction such as the house
and gardens would have a serious impact on
tourism in West Cork.
The preservation of the collection in their
original setting creates an authentic environment
in which the past becomes tangible. The house
is greatly loved by visitors, who also appreciate
the considerable efforts made by the ShelswellWhite family to preserve its character and
collection, and who work hard to keep it open
to the public.
While visitors continue to come and enjoy the
house and gardens, they also contribute to the
local economy, to restaurants, shops, hotels and
other businesses. Besides being an attraction
in West Cork, the house is also a source of
employment within the community, and a
place for learning. The house has an internship
programme that extends across a wide range of
heritage, gardening and other tourism-related
activities.
Contribution of Bantry House
to Tourism in the South-West of Ireland
Visitors to Bantry House and Gardens are a
vital source of income. Every year the House
welcomes up to 25,000 visitors, mainly from
Europe and North America. In recent years it
has also become a popular venue for weddings
and other events.
27
Though each organisation operates
differently, they all recognise the need
to preserve Ireland’s arts and heritage.
However, in most cases, whether it is a
state body or an independent charity,
with acquisition comes responsibility
for conservation.
For Bantry House, privately owned,
and run, by the Shelswell-White
family, the challenge of conservation
and preservation can be met with
assistance from state organisations,
such as the Crawford Art Gallery.
28
Heritage Funding Bodies in Ireland:
Who can help?
There are several organisations and agencies in Ireland dedicated to preserving heritage
properties and collections. Some, such as the Office of Public Works, are wholly
governmental, while others, such as the Irish Georgian Society and An Taisce were set
up as membership organisations in the latter half of the twentieth century, to support
and intervene in saving both public and private heritage buildings, gardens and
collections. Fund-raising has been an important part of the Irish Georgian Society’s
success over the years. Local authorities play an increasing role in the preservation of
heritage, as well as local development agencies.
Museum of Ireland and the Crawford Art
Gallery. It also funds state organisations such as
the Arts Council of Ireland, Culture Ireland and
the Heritage Council. The Department does
not normally provide funding directly towards
the running of private heritage properties.
Government Agencies
The Office of Public Works
The OPW is a state agency responsible for the
management, maintenance and conservation
of the State’s property portfolio, consisting of
almost eight hundred heritage sites around
the country, including national monuments,
historic parks, gardens and historic buildings.
These heritage sites are open to the public, and
attract millions of visitors each year. Buildings
and sites under the care of the OPW include
Dublin Castle, the Casino at Marino, St.
Stephen’s Green, Newgrange and Garnish
Island. However, as Bantry House is privatelyowned, the OPW is not currently in a position
to provide financial assistance.
The Heritage Council
The Heritage Council is funded by the
Department of Arts and develope and manages
heritage projects around Ireland. Until 2013
eighty per cent of the Council’s annual budget
was allocated to heritage grants. For example,
between 2002 and 2007, the Heritage Council
provided €2 million in grants, to Russborough
House, Co. Wicklow, to aid in the estate’s
conservation, while between 1999 and 2012
the Council provided Bantry House with just
under €200,000 in grants under the Council’s
“Buildings at Risk” Programme. These grants
were used for the structural conservation of the
stables and gatelodge of Bantry House. At this
time the Council does not provide financial
assistance to the management of privately-run
properties.
Department of Arts, Heritage and
The Gaeltacht
The Department works to preserve Ireland’s
culture and heritage, through providing support
for national cultural institutions, organisations
and assets of cultural and heritage value. The
Department is directly responsible for the
funding of the National Gallery, the National
29
Heritage Funding Bodies in Ireland: Who can help?
The Society has a branch in the US, known as
the Irish Georgian Society Inc., and in the UK,
the Irish Georgian Trust.
The IGS was founded in 1958 by Desmond
Guinness and since then has played a major role
in the conservation of many historic buildings,
as well as raising awareness of the significance
of these buildings. Historic properties that have
been restored or conserved by the IGS include
Castletown House, Riverstown House and
Doneraile Court.
Several of the great houses of Ireland acquired
and restored by the Irish Georgian Society have
subsequently been transferred to the ownership
and management of the Office of Public Works.
These include Castletown House and Doneraile
Court.
The National Lottery Beneficiary Fund
The Beneficiary Fund was set up as a scheme to
assist with important causes in the areas of sport
and recreation, health and welfare, national
heritage and the arts, the Irish language and
the natural environment. Funds raised by
the National Lottery are transferred to the
Department of Finance and are used to partfinance expenditure by various Government
Departments on projects within these
categories. Beneficiary Funding for heritage
causes is distributed through the Heritage
Council.
The Heritage Fund
The Heritage Fund was set up in 2001 with
the aim of providing financial aid to National
Cultural Institutions in acquiring significant
heritage objects. From the periods between 2001
and 2005 the Fund was given €12 million in
grants by the Oireachtas. Since 2005 the Fund
no longer receives Oireachtas grants. Payments
out of the Fund are for heritage objects with a
minimum market value of €300,000. Purchases
from the Fund are recommended by the Council
of National Cultural Institutions which are then
approved by the Minister for Arts, Heritage and
the Gaeltacht with the consent of the Minister
for Finance. To date, acquisitions made by the
Heritage Fund have included The Joyce Papers,
presented to the National Library of Ireland,
and The Stanley Collection, presented to The
National Museum of Ireland.
Friends of the National Collections of Ireland
The FNCI is a charity founded in Dublin in
1924 and is funded through membership and
donations. The function of the charity is to
acquire, by purchase, donation and bequest,
works of art which are then donated to various
galleries in Ireland. By securing works of art
and items of historic importance, the FNCI has
made a vital contribution to arts and heritage
in Ireland. To date, up to 46 venues around the
country display works of arts donated by the
FNCI. Among the original FNCI members
were George Bernard Shaw and W.B. Yeats.
An Taisce: The National Trust for Ireland
Founded in 1948, An Taisce is a membership
charity which focuses on Ireland’s environment
and heritage issues. Included among the areas
of their work is a focus on heritage property
which operates under the organisation’s
Trusteeship Unit. Through this division the
charity own a range of heritage properties
and historic buildings, including Kanturk
Castle and Howth Old Courthouse. An Taisce
function in a similar way to the IGS, by means
of conservation through acquistion and do not
offer funding to privately own properties.
Membership Groups
The Irish Georgian Society
The Irish Georgian Society is a nongovernmental conservation group whose aim is
to conserve buildings of significant architectural
importance in Ireland. The group raises
income through membership, fundraising and
donations, with a large portion of donations
being received from sources outside of Ireland.
30
destination by restoring a number of significant
Irish gardens which serve as an important
insight into Irish heritage and history.
Independent Charities
The Irish Heritage Trust
Set up in 2006, the Irish Heritage Trust is an
independent charity which focuses on the
conservation of Ireland’s endangered historic
houses and estates. The Trust is funded by
admission charges to the properties, as well as
donations from individuals, organisations, and
the State. Its aims are to acquire and manage
properties, in much the same way as the
National Trust operates in the UK. Fota House,
Co. Cork, was acquired and restored by the
Trust in 2007.
Conclusion
Though each organisation operates differently,
they all recognise the need to preserve Ireland’s
arts and heritage. However, in most cases,
whether it is a state body or an independent
charity, with acquisition comes responsibility
for conservation. For Bantry House, privately
owned, and run, by the Shelswell-White family,
the challenge of conservation and preservation
can only be met with assistance from the state,
heritage agencies, and the local authority.
The Ireland Funds
Founded in 1976, The Ireland Funds is a
fundraising organisation with headquarters
in twelve countries around the world. The
organisation mainly consists of individuals
with Irish ancestry, and friends of Ireland.
Through fundraising and grant giving, the
Ireland Funds provide much-needed support
for worthy causes. Among the areas of focus
of the Ireland Funds is the promotion of Irish
culture and heritage. Here, the aim is to ensure
the protection of Irish heritage sites, art forms,
artefacts, and resources. To date, The Ireland
Funds has raised up to $480 million for Irish
causes and organisations.
In order to ensure the survival of the Bantry
House archive, consisting of estate papers and
documents, the family has donated it in recent
years to the University College Cork archives.
In order to ensure the future survival of the
Bantry House collection of paintings, sculpture,
tapestries and decorative art this report proposes
a new model of public-private partnership with
ownership of the collection being transferred to
the State but with the collection remaining on
view at Bantry House.
The purpose of this report is to highlight a
way in which this can be achieved through a
private individual or company purchasing the
collection, donating it to the Crawford Art
Gallery and availing of a tax write-off under
Section 1003 of the Finance Act.
Funding Already Received
From 1999 to 2012 Bantry House has received
just under €200,000 in conservation grants
from the Heritage Council under the Buildings
at Risk Project.
Such a donation would be permanent and
would see the collection becoming part of
Ireland’s national heritage collections in
perpetuity.
In 1998 the gardens underwent major
restoration as a result of the Great Gardens
of Ireland Restoration Programme. This
programme was run under the Operational
Programme for Tourism 1994-99 which was
funded by the European Union. The aim of
the scheme was to market Ireland as a garden
31
Heritage Houses Open to the Public
Local authorities play a key role in the ownership
and management of historic properties and
houses. There are also organisations such as the
Irish Georgian Society, the Irish Heritage Trust
and An Taisce.
Heritage houses open to the public in Ireland
range from small cottages with historic
associations, such as the Patrick Pearse cottage
in Co. Galway, to the Edwardian splendour of
Farmleigh House in Dublin’s Phoenix Park.
However, the majority of historic buildings
open to the public are castle and towerhouses.
Examples of historic country houses open to the
public, under different management structures
include
Fota House, in Co. Cork (Irish Heritage Trust)
Kilruddery House in Co. Wicklow
(privately-owned)
Castletown House in Co. Kildare (OPW)
Muckross House in Co. Kerry (OPW)
Newbridge House in Co. Dublin
(local authority)
Westport House in Co. Mayo
(privately owned and managed)
Several privately-owned castles such as Blarney
Castle are open to the public, while Bunratty
Castle is owned and managed by a semi-state
organisation Shannon Development.
The historic properties opened under OPW
auspices can be broadly divided into castles
and towerhouses, such as Barryscourt Castle,
military sites such as Charles Fort, gardens such
as Doneraile, and religious buildings such as
Gallarus Oratory and Skellig Michael.
Comparisons with the UK Heritage Lottery Fund
In the UK, National Lottery money is given
out by 12 independent organisations, each with
specialist knowledge of their sectors, to fund
various projects. Alhough each organisation
is independent of Government interference,
they must follow set guidelines when deciding
which applications will be successful for
funding. The Heritage Lottery Fund is one of
these twelve organisations. It uses money from
the National Lottery to support a wide range
of projects involving the local, regional and
national heritage of the UK, mainly through
grant giving.
The National Trust
The National Trust is a non-government
registered charity, established in 1895. The aim
of the charity is to preserve places of historic
significance and scenic beauty. It receives its
funding through donations, membership and
revenue from the Trust’s commercial businesses.
There are currently over 3.7 million members
and 61,000 volunteers, making it the largest
UK membership organisation, and one of the
country’s largest in terms of income and assets.
To date, there are up to 350 historic houses,
gardens, and ancient monuments under the
charity’s protection, which attract over 17
million paying visitors each year.
32
The Art Fund
The Art Fund is an independent charity whose
aim is to acquire artworks for the UK. It is
funded through membership subscriptions and
donations. Since its establishment in the early
20th century it has assisted in the acquisition
of over 800,000 works of art, which have
then been donated to various galleries and
establishments throughout the UK. Galleries
such as the National Gallery and the Tate, along
with the British Museum, each have artworks
donated by the Art Fund on display.
Case Study 1:
The Wedgwood Collection
In order to raise the necessary funds, which
came to £15.75 million, The Art Fund joined
forces with the Heritage Lottery Fund and a
small number of private trusts and foundations,
raising £13 million for the cause. On September
1st the campaign launched a public appeal in a
bid to raise the remaining funds, with a closing
date of November 30th. However, within only
a few weeks the appeal reached its target, two
months ahead of its closing date.
After the original Wedgwood ceramics company
went bankrupt in 2009, it was decided that
the company’s collection of historic ceramics
would have to be sold, in order to help pay off
the company’s debts. This decision was met
with disappointment within the UK’s art and
heritage communities, as the collection was
regarded as a vital archive of industrial and art
historical significance.
The Director of the Wedgwood Museum, Gaye
Blake-Roberts noted: “The uniqueness of this
collection can’t be replicated anywhere in the
world, and to break that collection up breaks up
the social history, the history of manufacturing,
and more importantly, the history of the
importance of Wedgwood, which after all is a
household name worldwide.”
Rather than allocating the sole responsibility of
saving the collection to just one organisation,
different arts and heritage groups worked
together to overcome the dilemma at hand.
The groups recognised the importance of such
a collection and, without hesitation, banded
together to secure its future in Britian. There are
very obvious similarities between the decision
of the Wedgwood Manufacturers to sell their
historical collection and the predicament of the
Shelswell-White family. A similar outcome for
the Bantry House collection is by no means
inconceivable.
As a result, an appeal was launched in an
attempt to keep the collection in Britian. The
Art Fund took on the responsibility of raising
the funds needed to acquire the collection with
the intention of then gifting it to the V&A,
who in turn would then lend the collection
back to the Wedgwood Museum, thus securing
its future in Britian.
33
Case Study 2:
The Cooper Penrose Collection
In 1948 the last owner, James Penrose, sold up
and moved to Derbyshire. Over the next fifty
years, the artworks, books and furniture from
Woodhill were preserved in a house near Derby.
In 2008, the Penrose collection was acquired
from the Penrose family by John and Helena
Mooney and donated to the Crawford Art
Gallery, under Section 1003.
A wealthy merchant, Cooper Penrose (17361815) lived on the outskirts of Cork city, in
a large house called Woodhill. Having first
come to Ireland from Yorkshire around 1660,
over the years the Penrose family prospered,
setting up glass-making factories in both Cork
and Waterford, where skilled craftsmen made
cut-glass decanters, chandeliers and drinking
glasses.
Now installed in two elegant rooms in the
Crawford’s 1724 wing, the paintings, furniture,
ceramics, books and other items from Woodhill
give an insight into the social and cultural life of
eighteenth-century Cork. The proposed route
for preserving the Bantry House collection
is the same as that employed for the Penrose
collection, with the exception that the art and
artefacts from Bantry House would remain
within their original setting.
The family also imported timber and was
involved in property development in both
cities.
Cooper
Penrose
commissioned
Abraham Hargrave to design a large new house
overlooking the River Lee, just west of Tivoli.
The main house, Neo-Classical in style, was
begun around 1775 and completed five years
later. By the late eighteenth century, Woodhill
was one of the finest houses in Ireland, with a
magnificent art collection, including works by
James Barry, Nathaniel Grogan and Angelica
Kaufmann.
The Cooper Penrose Collection
34
The proposed solution for Bantry House is
for its collection to be acquired by a donor,
an individual or a company, and then
donated to the Crawford Art Gallery.
The Donor can then avail of tax relief
under Section 1003 of the Finance Act.
The Crawford Art Gallery would then lend
the collection back to Bantry House on a
long-term loan agreement, subject to the
house remaining open to the public.
The outcome would be very similar to that
of the Wedgwood Collection in Britain.
This would ensure the collection remains
in Ireland and would help secure the future
of Bantry House as an important cultural
tourism attraction.
35
Options for Bantry House Collection
Tax Relief for Heritage Donations
Under Section 1003 of the Taxes Consolidation
Act, 1997, tax relief is available in respect of the
donation of important national heritage items
to the Irish national collections. The current
relief consists of a tax credit equal to 80% of
the value of the heritage item(s) donated.
Cooper Penrose Collection
The Penrose family were a wealthy business
family, with an impressive art collection, based
in Cork during the 18th and 19th centuries. By
the 20th century the descendants of the family
had relocated to England and a large portion of
the original collection had been sold. However,
what did remain of the collection was of social
and cultural significance to the history of Cork
city. When the collection came up for sale in
2008 it was purchased by John and Helena
Mooney and donated to the Crawford Art
Gallery as part of the Tax Consolidation Act.
The collection, which consists of paintings,
furniture and ceramics, is displayed in its own
showroom, the Penrose Rooms, in the Crawford
Gallery.
For the purpose of the relief, heritage items
means any kind of cultural item falling into the
catergory of:
• Any archaeological item, archive, book,
estate record, manuscript and painting.
• Any collection of cultural items.
• Any collection of same in their setting which are considered appropriate for donation to the national collections.
The national collections are the approved
bodies under the legislation. They include the
National Gallery of Ireland, the Irish Museum
of Modern Art and The Crawford Art Gallery.
Conclusion
The proposed solution for Bantry House is
for its collection to be acquired by a donor,
an individual or a company, and then donated
to the Crawford Art Gallery. The Donor can
then avail of tax relief under Section 1003 of
the Finance Act. The Crawford Art Gallery
would then lend the collection back to Bantry
House on a long-term loan agreement, subject
to the house remaining open to the public. The
outcome would be very similar to that of the
Wedgwood Collection in Britain.
The Joyce Papers
In 2001 funds from the Heritage Fund were
used as part payment for a collection of Joyce
papers, which were then donated to the National
Library. The collection was valued at £8 million
and was acquired in phases over a period of three
years, from 2002 to 2004. The Heritage Fund
combined its own resources with funds from a
private donor, which were acquired by means of
the Tax Consolidation Act, 1997.
This would ensure the collection remains
in Ireland and would help secure the future
of Bantry House as an important cultural
tourism attraction. The Shelswell-White
family would in turn be able to focus on the
running of the house and gardens, without the
financial burden of maintaining a collection of
this scale.
The use of resources from the Heritage Fund
was recommended by the Council of National
Cultural Institutions, which was then consented
to by the Minister for Finance and the Minister
for Arts, Heritage, and The Gaeltacht. Due to the
high cost, approval was granted in this case on the
condition that the collection was to be purchased
on a phased basis over a number of years.
36
What the experts have to say
Raghnall ó Floinn,
Director of the National Museum of Ireland,
writing to Kevin Lonergan, principle officer
of cultural institutions, Department of Arts,
Heritage and the Gaeltacht:
“..the proposed sale and the removal of the works
from their original setting would represent an
immeasurable loss to and diminution of the
heritage of Ireland.”
“In the overwhelming majority of cases the
contents of these great Irish houses have been
broken up and sold, ending up scattered
throughout the world in museums, galleries and
in private hands...Once sold, such collections
can never be replaced. Successive owners of
the house have been forced to sell parts of the
contents of the house piecemeal.”
“There is an opportunity here for the State to
intervene to save the contents of the house
for the nation and for the enjoyment of Irish
and foreign visitors alike. This could be done
through the State acquiring them through an
injection of funds into the Heritage Fund and
coming to some arrangement with the owners
of the house regarding their curation, display
and public access. It might also be possible
to secure other elements of the collection
through the provisions of Section 1003 of the
taxes Consolidation Act 1997 and again make
arrangements with the owners of the house and
an approved body under the Act such as the
Crawford Art Gallery regarding their future.”
“Bantry House is a major tourist asset in the
south west of Ireland but action by the State
to secure its future and that of its contents
should be undertaken for the public good.
Such an action by the State to protect our much
diminished cultural heritage contributes to the
national sense of health and wellbeing; it is the
right thing to do.”
37
What the experts have to say
Ian Lumley,
Built Environment and Heritage Officer,
An Taisce:
“The threat to Bantry now requires
imagination, initiative and ingenuity. It
offers an opportunity for the State, Cultural
Institutions, Local Authority and voluntary
organisations to work together to find a
resolution in the public interest which would
ensure the maintenance of the unique ensemble
of house gardens and historic contents at
Bantry for future generations.”
“The benefit is that cultural legacies are thereby
maintained in public ownership in perpetuity
in the appropriate historic setting or location.”
“The initiative for this needs to be led by the
Department of Arts Heritage and Gaeltacht .
It is matter which requires urgent and sensitive
negotiation, and the identification of funding
sources by the State, Cork County Council
and potential private donors availing of tax
relief which to secure the purchase of the
Bantry historic contents for the nation.”
38
For further information
Contact
Peter Murray
Crawford Art Gallery
Emmet Place
Cork
Ireland
[email protected]
+353 (0)21 490 7855
Acknowledgements
Thanks to
The Council of National Cultural Institutions
and The Department of Arts, Heritage and the
Gaeltacht.
Report compiled by
Roisin Mulcahy and Peter Murray
Photography by Dara McGrath
Design by Stuart Coughlan at edit+
Printed in Cork by City Print Limited.
39
40
“Bantry House is a major tourist asset in the south
west of Ireland but action by the State to secure its
future and that of its contents should be undertaken
for the public good. Such an action by the State
to protect our much diminished cultural heritage
contributes to the national sense of health and
wellbeing; it is the right thing to do.”
Raghnall ó Floinn,
Director of the National Museum of Ireland