Restoring park would realise Josephine Bowes' museum vision

In The Bowes Museum’s 125th anniversary year, Barnard Castle resident John Watson takes a look at the crucial role of founder Josephine Bowes, and controversially asks whether some of her wishes are not being given enough consideration

THE Bowes Museum represents the fruits of an exceptional visionary and benevolent project, conceived by Josephine Bowes, supported by her husband John and with the Barnard Castle community at its heart.

Designed to house John and Josephine Bowes’ collection of art treasures, the object of the project was to introduce ordinary folk to the world of art and provide a green park for the town’s residents.

All stages of this project have long been fully documented and firmly embedded in Barnard Castle’s heritage. In honour of this magnificent benefaction, portraits of Josephine and John were, for many years, prominently displayed in the entrance hall of the museum. It was customary for volunteer guides to commence their tours from this point, presenting the originating benefactors’ story.

Regrettably, the portraits have been moved to a less prominent site. Last month’s exhibition, Josephine Bowes – A Woman of Taste and Influence, in association with the 125th anniversary, was highly commendable.

However, honouring our benefactors by returning the portraits to their rightful prominence would be welcomed.

Their work included the purchase of the iconic Silver Swan. However, there was much more to Josephine’s contribution to The Bowes Museum project.

Using part of the proceeds of the sale of the chateau Dubarry at Louveciennes, given to Josephine as a wedding present by John, 20 acres of land was purchased in Josephine’s name for her project. Five separate land owners were involved, inclusive of an exchange transaction with the ancient charity of St John the Evangelist’s Hospital, and taking over two and a half years to complete. From the outset, Josephine’s intention was for a “people’s museum” to be set in a landscaped “people’s park”. Start of work was delayed because Josephine was not happy about the initial design of the pavilions on the roof. Being 14 years younger than her husband, she expected to survive him.

Her plan was to occupy this accommodation in eventual widowhood, superintending the arrangement of her collection. She consequently directed her conceptual architect, Jules Pellechet, to alter the design to achieve the result we see today.

An article published in an architects’ professional journal in January 1871 presented details of Josephine’s project. It contained a full page engraving from the architect’s drawing of the building and a plan of the ground floor. The terrace, bounded by a stone balustrade with steps down to the flower garden was depicted together with a description of the layout of the rooms and galleries.

Josephine was an admirer of England and a lover of forests, fields, gardens, birds and animals. Her intentions for the people’s green park, influenced by her love of the countryside, were incorporated in the article.

The grounds, with a walled surround, were to be laid out with walks, terraces, lakes, trees, gardens and an orangery. An ornamental entrance gateway and lodges were to be placed on the main road leading to Greta Bridge. She was determined to bequeath the museum, its contents and park for public benefit. Sir William Hurt was enlisted to introduce a bill into Parliament amending the prevailing Mortmain Act. His Public Parks, Schools and Museums Bill sought to enable any person to bequeath by will, land not exceeding 20 acres for a public park, two acres for a public museum.

On July 12, 1871, Josephine Bowes, Countess of Montalbo, signed her will, appointing her trustees and bequeathing to them the park and museum for the benefit of the public.

One week later she signed a lengthy and detailed Codicil. This document specified her intentions regarding the museum and its management, together with directions for the conduct of museum business by the committee, the enlargement of the collection, the appointment of staff, cleaning of pictures, lighting and heating and opening hours. Significantly the Codicil ends as follows: “And I request and adjure the inhabitants of Barnard Castle with common accord to aid the committee as far as possible in guarding their museum, the contents of which it has taken so much of my time and trouble to collect and bring together and their park.

“And I request my trustees and the committee in the management and execution of their office to follow thoroughly what they may consider would have been my wishes.”

The Bowes park quickly became a regular focus for Barnard Castle residents out for a walk. They were also keenly interested in Josephine Bowes. During the two years spent in England from August 1869, she became very well known and liked in Barnard Castle. Regular information about her appeared in the Teesdale Mercury. John Bowes’ agent, R J Dent, submitted the following bulletin to the editor in February 1873.

“We regret very much to learn that the heath of Mrs Bowes of Streatlam Castle is not in such a satisfactory state as could be desired. The anxiety she experienced during the siege of Paris (Franco Prussian War) was but too well founded, for the building in which the most valuable pictures, destined for her museum at Barnard Castle, were placed, escaped by miracle from German shells. The house belonging to her and Mr Bowes in Paris was, as has since been ascertained, marked by the communists to be burned down. The loss by death during that period and subsequently of relatives and many attached friends and dependents, has seriously affected her naturally nervous and highly sensitive temperament, and her bodily health has been much debilitated.”

The impact of these strains and stresses together with her long running struggle with bronchitis and asthma resulted in her untimely death on February 9, 1874.

In honour of the 125th anniversary of the legacy of a truly remarkable lady it is essential that the following matters are acted upon as soon as possible.

Josephine Bowes Codicil specifically requested and directed that a constructive working relationship be upheld between The Bowes Museum trustees and Barnard Castle residents.

Many remain who experienced the splendour of the entire park, achieved by the former team of gardeners.

Such people also recall, with pleasure, the former community focal point and enjoyment envisaged by Josephine. Urgent action is necessary to rebuild this relationship. Respect for the Bowes Museum park’s green and listed status is of major importance and mandatory in the restoration and its management.

Implementation of Arabella Lennox-Boyd’s landscape design to restore the park in accordance with its status is vital. She is on record, interviewed by the Teesdale Mercury in 2014, as highlighting the adverse and degrading impact of motor traffic

The trustees’ parks and gardens sub committee, is reportedly directing her to retain and hide the rear car park in conflict with its green status and Josephine Bowes’ expressed intentions. Such intrusion is not permitted in notable parks and gardens around the country.