Normanby Hall 2026
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.
Theseus and Ariadne, attributed to Richard Westall, c1810.
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.
Charles Sheffield of Butterwick by A. Ramsey, 1741.
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.
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.
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.
Inkstand Produced 1902, inscribed c1919
This silver-plated inkstand is inscribed, ‘To Dr Greydon-Johnson from Lady Sheffield. In remembrance of Normanby Park Hospital Nov-1914 – Jan 1919’. Dr S.A.H. Greydon-Johnson of Scunthorpe was the Medical Officer at Normanby Park Auxiliary Hospital after Dr E.J. Tongue of Winterton, who left to join the Navy.
c1900-1940
Leather walking boots belonging to Lady Julia Sheffield.
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.
Fire Screen
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)
Grotesque dinner service
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).
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.
Matthew Pearson of Selby (1794-1870)
He was MP and Coroner of Selby. The portrait was painted by an unknown artist around 1830.
Grand pianoforte, 1839.
It was made by Erard in London and is original to the house.
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.
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.
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.
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
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.
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.
Lord Edmund Sheffield, 1st Earl of Mulgrave (1565 – 1646)
Painted in the manner of Robert Peake.
Wedding dress, c1841-1850
Portrait of Arthur Herbet, the Earl of Torrington
Portrait of a lady
Attributed to Theodore Russell (1614-1689).
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.
Italianate landscape, by Benjamin Barker of Bath (1776-1838)
Sandalwood dwarf linen presses, c1800-1830.
These were made by Gillows of Lancaster in the Chinoiserie style.
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.
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
Rev. Thomas Lodington D.D., c1700.
He was the Rector of Fleet near Holbeach.
Dutch Interior, attributed to Jane Steen, c1600-1699.
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.
Towel rail, 1906.
Sophia Charlotte, Lady Sheffield, by Sidney Wilson. After a portrait by Thomas Gainsborough.
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
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
7. Fan, c1928
Countess Winterton gave this ostrich feather fan in this box to Diana Sheffield (1907-1969) as a wedding present. Diana married the Hon. Robert Digby on 11 December 1928. The card reads, ‘With love and all good wishes from Eddie and Monica’, with ‘Countess Winterton’ crossed out.
City Street - Harold Astwood, 1978
This painting shows High Street East, Scunthorpe. Shops include K M Cross used car dealer, Lingards cycle shop and S & G furniture shop.
Harold Astwood’s Sketches
Harold Astwood (1907-1984) was a local and much-loved watercolour artist. There is an exhibition of his paintings in the first-floor gallery, with more information about Harold and his work. In the 1960s, Harold was a Foreman Painter for the Housing Department, and it was through occasional work at Scunthorpe Museum and Art Gallery – now North Lincolnshire Museum – that he got to know the museum staff. He also helped to establish the museum’s Art Group, who exhibited there once a year. Presumably through these introductions, he became familiar with the museum service’s costume collection. Between 1973 and 1975, Harold sketched various pieces of this costume. Some of these objects are on display here, alongside the sketches that Harold created. There is stunning detail in Harold’s work, and he brings many of the costume pieces further to life by portraying them being worn. However, it seems that sketching faces might have been Harold’s artistic weakness!
Waistcoat, c1790
Sketched by Harold Astwood in 1974.
Waistcoat, c1792-1794
Sketched by Harold Astwood in 1974.
Silk brocade dress, c1855
Sketched by Harold Astwood in 1973.
Silk dress with bustle, c1879
Sketched by Harold Astwood in 1973.
Waistcoat, c1790
Sketched by Harold Astwood in 1974.
Silk dressing gown, c1792
Sketched by Harold Astwood in 1975.
Waistcoat, c1790
Sketched by Harold Astwood in 1974.
Waistcoat, c1790
Sketched by Harold Astwood in 1974.
Silk and velvet dress, c1892-1897
Sketched by Harold Astwood in 1973.
Katherine Sheffield, Duchess of Buckingham and Normanby (1681–1743)
Lady Katherine Darnley was the illegitimate daughter of King James II and his mistress. Katherine suffered such cruelty from her first husband, James Annesley, 3rd Earl of Anglesey, that they were separated by Act of Parliament in 1701. In 1706 Katherine became the third wife of John Sheffield, 1st Duke of Buckingham and Normanby, and gained the title of Duchess. They feature in the portrait to your right with their second son, Robert, who died aged three or four. The posthumous portrait of their first son, John, is behind you. As well as a daughter who died at a young age, their third son Edmund, the 2nd Duke, died aged 19 in 1735. There was no other legitimate heir. Before his death in 1721, John Sheffield named his illegitimate son, Charles Herbert, as his heir. Katherine wanted to keep the estates for her own daughter from her previous marriage, and brought legal cases until her death in 1743. Despite this, she cared for the education of John’s two other illegitimate daughters. Katherine is described as “mad with pride”, determined to let people know she was of royal blood. Despite her fiery character, her husband adored her. John had a grand townhouse built for them both in London, called Buckingham House. In 1761 Charles Herbert sold it to the royal family, who extended and renamed it Buckingham Palace.
Lady Douglas Sheffield (c1542–1608)
Douglas Howard was the daughter of William, 1st Baron Howard of Effingham and his wife Margaret Gammage. She was probably named after her godmother Margaret Douglas, Countess of Lennox. By 1559, Douglas and her sister Mary were at Court as maids of honour to Elizabeth I. Douglas married John Sheffield, 2nd Baron Butterwick in 1560 and had two children. After John died in 1568, she returned to Court and began an affair with the queen’s favourite, Robert Dudley, 1st Earl of Leicester. People observed that both sisters were in love with him. He refused to marry Lady Douglas for fear of losing the queen’s favour. Their illegitimate son, Robert, was born in 1574. Robert cared for his son, bringing him up and seeing to his education. Robert ended the affair around 1578, to marry Lettice Devereux, Countess of Essex. In 1579, Lady Douglas married Sir Edward Stafford. When he served as English Ambassador to the French court, Lady Douglas accompanied him and became a prominent figure in society. Robert Dudley died in 1588. In 1603 their son, now Sir Robert and a famous cartographer, claimed that his parents had been secretly married. The case went to court, with Lady Douglas supporting the claim. As all ten witnesses were dead and Lady Douglas could not remember the name of the clergyman or the date of the wedding, the case was rejected.
Lady Priscilla Sheffield (1836–1900)
Born in Australia, Priscilla Isabel Laura Dumaresq was the daughter of Lt. Colonel Henry Dumaresq and Lady Elizabeth Sophia Butler-Danvers. In 1867 she married Sir Robert Sheffield, 5th Baronet, and they went on to have four children. Her sister, Harriet, married Rowland Winn, 1st Baron St Oswald. Rowland Winn discovered ironstone on his land near Scunthorpe, resulting in him leading the way in establishing Scunthorpe as central to national iron production. According to Sheffield family legend, Lady Priscilla once played a notable game of cards with Baron Ferdinand de Rothschild. He was a banker, art collector and politician. Lady Priscilla staked a portrait of Lady Sophia Charlotte Sheffield by Thomas Gainsborough. It was a significant family portrait, probably painted to celebrate Lady Sophia’s marriage. It had been shown to the public in Thomas Gainsborough's studio at Schomberg House, London, in 1786. She lost the game, and the painting is now part of the Rothschild Collection at Waddesdon Hall in Aylesbury.
Frances Fairfax (c1590-1615) and Mary Fairfax (c1591-1619)
Frances and Mary were two of the 15 children of Edmund Sheffield, 1st Earl of Mulgrave and his wife Ursula. In 1607, Frances married Sir Philip Fairfax of Steeton and Mary married Philip’s cousin Ferdinando, 2nd Baron Fairfax of Cameron. Ferdinando was the son of Thomas Fairfax. These marriages were an attempt to bring more stability to the relationship between Thomas and Philip, who was his nephew. Thomas and Philip had many disputes over land. Thomas felt that Philip was financially irresponsible in trusting his affairs to his manipulative servant. Frances and Mary’s father, Edmund Sheffield, attempted to guide his son-in-law away from his scheming ways. One dispute involved Philip trying to sell land that had belonged to Thomas’s ancestors. Hoping to heal the sour relationship, Edmund encouraged Thomas to buy back the land. Thomas did so, but subsequently Philip’s servant produced leases for that land, which Philip endorsed. Philip was just 27 when he died in 1613. His wife, Frances died two years later at a similar age. Mary was also a similar age when she died in 1619 whilst giving birth to her tenth child. Ferdinando remarried in 1646 and died two years later.
An Essay Concerning Human Understanding, volumes II and III John Locke
These books belonged to Sir Robert Sheffield, 4th Baronet (1786-1862). He has signed them with his name and the year 1805. John Locke (1632-1704) was an English philosopher, and this essay was influential in creating the foundations of modern philosophy. It was originally published in 1689 in four volumes. Amongst other themes, Locke explores the limits of the human mind for knowledge and understanding.
Lady Julia Sheffield (1883–1952)
Baroness Julie Marie de Tuyll van Serooskerken was born in The Netherlands to Baron Reginald de Tuyll van Serooskerken and his wife, Countess Anna Mathilda van Limburg Stirum. In 1904 she married Sir Berkeley Sheffield, 6th Baronet, and was known as Lady Julia Sheffield. They went on to have five children. Sir Berkeley and Lady Julia are both remembered for their kindness, and people enjoyed working for them. When Normanby Hall became an auxiliary hospital during the First World War, Lady Julia became Commandant. She was also President of the Normanby Park Sailors’ and Soldiers’ Fund, Lady Superintendent of the YMCA Canteens and President of the Lincolnshire branch of Queen Mary’s Needlework Guild. She played an active role in all these organisations, “inspiring enthusiasm” with her “unceasing efforts”. Lady Julia was awarded three war service bars and mentioned twice in despatches. She was made an Officer of the Most Excellent Order of the British Empire and a Lady of Grace of the Most Venerable Order of the Hospital of Saint John of Jerusalem.
Coachman’s uniform, c1800-1825
A coachman for the Sheffield family at Normanby Hall wore this uniform and gaiters. The thick wool coat would have helped to protect him from cold, wet weather.
Breeches, c1948
These breeches were owned by Joe ‘Joey’ Bolderson. Joe started work on Normanby estate in the 1920s as a bricklayer’s labourer. During the Second World War, Joe became a ‘Jack of all trades’. He worked in the woods keeping the rides open for shooting, doing the hedging and stone walling. He also did chimney sweeping, gardening and tree planting on the estate. Joe was a stretcher bearer for the Home Guard during the Second World War. During this time, the Sheffield family moved into Normanby village so that various troops could use the Hall as a base. Joe slept in the Hall whilst it was empty for about a month before the first troop moved in. His wife and daughter sometimes went with him so he wouldn’t be lonely.
Introduction
Harold Astwood was born in Sheffield in 1907. He moved to Scunthorpe in the 1930s, where he had various labouring jobs before becoming a painter and decorator. Harold was talented in art at school and won competitions for his work. He used to draw and colour maps for his teacher to use in geography lessons, and the headmaster suggested he go to art school. This wasn’t affordable for Harold and his family, so he continued to develop his talent himself. In the 1940s, Harold helped to found the Scunthorpe Art Group. From the 1960s he went out with friends all over the county and beyond at weekends, usually sketching in situ and finishing the painting at home. Also at this time, he was working as a Foreman Painter for the Housing Association. It was through this role that he got to know the staff at Scunthorpe Museum and Art Gallery – now North Lincolnshire Museum – and went on to volunteer there. The curators recognised his talent, exhibiting many of Harold’s works. In 1967, two of his paintings were accepted for the International Amateur Arts Exhibition in London. Harold was a modest, gentle, kind and patient man, describing himself as almost shy. His watercolours were a huge enjoyment and inspiration for local people at the time, and he is fondly remembered today.
1. The Old Watermill, Yaddlethorpe, 1967 2. Cave Entrance, Winnats Pass, Derbyshire, 1967 3. Hackthorn, 1970 4. Winter at Wildsworth, 1971 5. Kexby Mill, 1972 6. North Kelsey, 1973 7. “Backs” at Kirton Lindsey, 1974 8. Cornfield, West Butterwick, 1974 9. Humber Bridge Construction, 1975 10. Fishing Boat, Barton-on-Humber, 1976 11. Trees at Blyborough, 1976 12. Nettleton Top, 1976 13. Thames Barges off Gravesend, 1976 14. East End, Scunthorpe, 1976 15. Barton-on-Humber, 1976 16. Scotton, 1977 17. Scunthorpe Library, 1977 18. Rain over the Wolds, Caistor, 1977 19. Roxby Church, 1977 20. Golf course, 1978 21. Civic Centre, 1978 22. Surf and Rocks, 1978 23. Spirited Sailed Barges in the Medway, 1979 24. Lysaght’s Steelworks, 1979
1. Northorpe, Lincolnshire, November 1978 2. Scawby Park, 1969 3. Study of a Beech Tree, Scawby Park, spring 1970 4. West Door, St Mary’s, Stow-in-Lindsey, 1978 5. Life drawings, 1940s
Sketches and tools
6. Harold created hundreds of sketches. He turned selected ones into paintings in the studio of the spare room of 13 Collinson Avenue in Scunthorpe. His sketches can be viewed on the touchscreen. All the tools in this case belonged to Harold.
Final sketchbook
Harold was sketching right up to the year he died. The previous page is dated March 1984. This is the last sketch in the book. Harold died in October 1984.
Miniature sketchbook
8. This contains drawings from the 1930s, when Harold would go out with the Cycling Club. He drew caricatures of two other members of the club in this book. These can be viewed on the touchscreen, along with the other drawings from the book. Harold met his wife, Marjorie, through the Cycling Club and they married in 1939.
Family photograph
9. Harold with the painting ‘Barton-on-Humber’ from 1976.
Grimsby Docks, 1978
Wildflowers, 1978
Harold painted a frieze for a nature exhibition at Scunthorpe Museum in the 1970s. His daughter, Pamela, liked it so much that she asked him to paint some wildflowers for her. Pamela chose the wildflowers and Harold painted a series, one of which is shown here.
Behind Every Great Man is a Woman
This exhibition highlights six women whose stories have been overshadowed by those of the Sheffield men. Use the touchscreens in the rooms on the ground floor to discover stories of marriage to save a family, gambling, war service and more. This information is also available in the printed guides. There are two further temporary exhibitions to explore on the first floor. ‘Harold Astwood’s Watercolours’ is a display of beautiful paintings from the 1960s and 1970s, mostly showing local landmarks. In the costume galleries, ‘Harold Astwood’s Sketches’ highlights Harold’s interest in the costume collection. The exhibition shows his sketches alongside the original pieces that he studied.
1. Music book, 19th century
Personally bound copy of 'Methode Complete et Progressive De Piano Dediee aux Professeurs Henri Bertini Jeune' (Complete and Progressive Piano Method Dedicated to Teachers, Henri Bertini Jeune). It is signed ‘Lady Sheffield’, but it is not known exactly which one.
2. Prayer and hymn book, 1888
‘Common Prayer’ and ‘Hymns’ books bound together. This was a gift to Dorothy Sheffield (1878-1950) from her mother, Lady Priscilla (1836-1900), when Dorothy was 10 years old.
Floodwater, South Ferriby Harold Astwood, 1979
Harold particularly liked painting trees with bare branches.
3. Normanby Park Show trophy, 1899
This was presented by Helen Sheffield (1872-1950), sister of Sir Berkeley. The Normanby Show was a yearly event, held in the grounds of Normanby Hall between 1884 and 1914. You can find out more about this in the Rural Life Museum.
4. Political pamphlet, 1910
Pamphlet for one of Sir Berkeley’s two campaigns to sit as Member of Parliament for Brigg and Scunthorpe. Sir Berkeley served two terms: 1907 to 1910 and 1922 to 1929. This pamphlet shows Sir Berkeley with Lady Julia and their eldest three children on the front steps of Normanby Hall.
5. Carte de visite, c1868-1878
This photograph likely shows Lady Priscilla Sheffield with one of her newborn children. It was taken by James Walsham Hall of Winterton. He was active between about 1856 and 1896 and was one of the area’s earliest professional photographers.
6. Newspaper cutting, 1952
This obituary for Lady Julia Sheffield (1883-1952) was written by Edith Spilman Dudley. Edith was the wife of Harold Dudley, one of the first curators of Scunthorpe Museum. She was also a notable local poet. Her sister was Clara Spilman, who was a VAD nurse during the First World War when Normanby Hall was an auxiliary hospital. Lady Julia was Commandant of the hospital.
8. Walking boots, c1900-1940
These boots belonged to Lady Julia Sheffield.
9. Engraving, 19th century
This engraving shows a section of a portrait of Lady Sophia Charlotte Sheffield (1767-1835) by Thomas Gainsborough. Lady Priscilla Sheffield allegedly lost the original portrait in a game of cards.
Sphinx Sofa Ian Kirkpatrick, 2019
Ian Kirkpatrick is a Canadian-born artist, currently living in London. His bright and colourful sculptures, murals and prints are informed by his background as a commercial packaging designer. He is also interested in the rich imagery of ancient cultures and mythological creatures old and new. Ian’s sculpture is both a sculptural object and a functional piece of furniture, which he invites visitors to sit on. For ‘The International Country House’ exhibition in 2020, Ian was asked to highlight the diverse amount of imagery and symbolism that can be found decorating objects in Normanby Hall. Ian shows this using custom-designed embroidered patches, which cover the elaborate surface of the sphinx.
The Humber at Barton Harold Astwood, 1975
The construction of the Humber Bridge is shown here, which was to open in 1981.
Normanby Hall | International Country House | Ian Kirkpatrick
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.
