The Wodehouse (formerly also Woodhouse) is a country house near Wombourne, Staffordshire, notable as the seat of the Georgian landscape designer and musicologist Sir Samuel Hellier and, a century later, Colonel Thomas Bradney Shaw-Hellier, director of the Royal Military School of Music. For almost 200 years the family owned the Hellier Stradivarius. It is claimed that the Wodehouse has not been sold for over 900 years,[1] though more than once the family has died out.
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The Wodehouse is situated on the Wom Brook, to the east of the village, and the estate has existed since medieval times. In the middle of the 18th century, the house was turned into a centre of culture. The 18 acres (73,000 m2) of grounds were laid out in fashionable style:
The Wodehouse [...] became in the later 18th century, an early Alton Towers, the resort both of ‘people of consequence’ and of ‘tag, rag and rabble’ for here, in 1763, Sir Samuel Hellier laid out a pleasure garden which, besides having all the usual decorative features of gardens of the time, temples, grottoes, a root house, a druid’s circle, also had a music room with working organ, a hermitage with life-sized model of a hermit and boards set up along the paths with appropriate verses to enlighten visitors. The whole garden was a clearly a caricature of the finest achievements in 18th-century gardening.[2]
Some of this, such as Handel's temple, was the first commission of James Gandon after leaving the studios of Sir William Chambers. A series of drawings of the garden feaures are all that survive.[3] The Shaw Helliers and some of their properties are mentioned in the 1820 Survey of Staffordshire, but, curiously, not the Wodehouse itself.[4] Samuel Lewis in the 1848 edition of A Topographical Dictionary of England describes the property as "a noble mansion in the Elizabethan style, situated in a beautiful vale".[5]
The house was restored by George Frederick Bodley, the Gothic revival architect, in the 1870s. A generation later, in the late 1890s, Charles Robert Ashbee, a leader in the English Arts and Crafts Movement, added many decorative external features.[6] At the turn of the 21st century, Michael Raven describes the Wodehouse as "unspoilt", with the house having "a certain serene and mysterious charm" and the property overall "the classic configuration of an early medieval settlement".[7]
At least two people associated with the Wodehouse have added to the musical life of the country.
The Wodehouse was acquired by Samuel Hellier by the 1720s. He was Oxford educated, and evidently, through his collections, open to new and foreign ideas. He was someone who first had a passion for eclectic knowledge and had already accumulated a substantial library and the core of an important collection of musical instruments. He died in 1751. His only son and heir of the same name was 14, and one of his more sympathetic guardians was Charles Lyttelton, Dean of Exeter, who encouraged the boy to study at Exeter College, Oxford.[8] As a young man, he wrote of his longing to marry, but never did so, blaming in part the tight financial leash his maternal grandmother, a dowager heiress, kept on him.[9] Despite these constraints, he managed to collect a musical treasure trove and redesign the Wodehouse's expansive gardens. He was High Sheriff of Staffordshire like his father before him , a position now largely ceremonial but then the principal law enforcement officer of the county, and was knighted in 1762. Sir Samuel Hellier was a "prominent figure at the Three Choirs Festival",[10] one of the world’s oldest classical choral music festivals.[11] In addition to the items for which he was famous, he collected beautiful or unusual objects: a gold cane-handle depicting the intertwining of the emblems of several local families was bequeathed to the Ashmolean Museum.[12]
Sir Samuel spent a great deal of money on collecting musical instruments and newly published works,[8] endowing both the church at Wombourne, with which the family had long been associated,[13] and St. John's, Wolverhampton, which opened in 1760.[14] His grandmother lived to be 99, and Sir Samuel survived not two years longer, dying in the autumn of 1784. He never married and left his property to his lifelong friend Thomas Shaw, minister at St John's Wolverhampton and perpetual curate of Claverley circa 1765–1810.[15] A condition of inheritance was that the recipient change his name to that of his benefactor, and in 1786 Reverend Shaw became Shaw-Hellier. He lived at the Wodehouse with his wife Mary, worked at St. John's Wolverhampton and at Tipton, and died in 1812.[9] His son James, manager of Netherton colliery, died in 1827;[9] he had also been known to steward the races at nearby Penn Common.[16]
For centuries the family was closely connected with the Church of England in general and the Wombourne parish church in particular, which holds several memorials to them.[17] Sir Samuel's correspondence with his parish organist regarding playing techniques has recently been redisovered, and is cited approvingly.[18] The family also had close ties with St. John's, Wolverhampton; in addition to Sir Samuel's endowment and his successor's work there, in 1820 a daughter of the house, Parthenia, married the minister.[19] Sons of the house went into the ministry, including several successive generations named Thomas.[20]
For a period in the middle of the century Thomas Shaw-Hellier, the grandson and direct heir of the Reverend Thomas Shaw rented out the property. Being a keen huntsman he preferred the country seats of Packwood House and latterly Rodbaston Hall. In his absence, Philip Stanhope, 1st Baron Weardale, the Liberal politician, pacifist, and philanthropist, and his wife Alexandra Tolstoy apparently lived for a time in the Wodehouse. Stanhope was elected to Parliament in 1886, sitting first for nearby Wednesbury. One of their houseguests at the Wodehouse was William Ewart Gladstone.[21]
The second historically significant musical person from the Wodehouse is Colonel Thomas Bradney Shaw-Hellier (1836–1910). He made a career in military music, spending several years as commandant of the Royal Military School of Music at Kneller Hall, where a prize for composition—a gold-mounted baton—was named in his honour.[22] He was responsible for the Musical Division of the Royal Military Exhibition at Chelsea in 1890. Over the five-month exhibition, he brought 74 military bands from all over the country to perform by the River Thames. A large collection of musical instruments, particularly wind instruments was displayed, and a catalogue was issued the following year under his direction.[23] He was also a liveryman of the Worshipful Company of Musicians, donating a banner and co-organising the tercentenary celebrations at the beginning of the 20th century.[24] His military career saw him rise to command the 4th Royal Irish Dragoon Guards.[25][26] He was a gentleman farmer, described as a leading breeder of Jersey cattle.[27] Like his predecessor, he supported the established church, in his case commemorating the quincentenary of Winchester College by endowing the Cathedral with altar and fittings.[28]
In the words of one local historian who has documented the gentry families of the area, "The whole inter-marrying and single child families came to a sterile conclusion in 1898 when Thomas Bradney Shaw-Hellier married Harriet Bradney Marsh Evans."[29] They were distant cousins and she was almost 50 years old: they had no children. He moved to Taormina, Sicily, where he commissioned Ashbee to build the Villa San Giorgio,[30] and died there in 1910. The Wodehouse passed to his nephew Evelyn Simpson, who changed his name to Shaw-Hellier; his ancestors had owned a brewery in Baldock since the 1770s. On his death in 1922, the estate passed to his daughter Evelyn Mary Penelope Shaw-Hellier, his son having been killed in World War I.[31][32] The two surviving Shaw-Hellier sisters lived in the house, maintaining their connections with the church and village (e.g. donating a substantial sum of money towards the building of a second church)[13] and were described as "delightfully Edwardian [with] a taste for fast motoring".[33] The last of the pair died in 1980, and the Wodehouse—still without being sold—passed to distant relatives, the Phillips, who live there privately, occasionally opening the house and grounds to the public.[34] The Wodehouse still holds a significant collection of 18th century drinking glasses, as well as portraits and porcelain.[35]
The musical collection is most closely associated with Sir Samuel Hellier, but the most valuable item within it preceded him, and those who came after him maintained or added to the printed works and instruments. The Hellier Stradivarius of circa 1679 is a violin made by Antonio Stradivari of Cremona, Italy. Cozio, an instrument authentication business, states that it was in the possession of Sir Edward Hellier in 1734,[36] so it is possible that the Englishman bought it directly from the elderly luthier himself, perhaps during a grand tour. It was kept by the family for almost two hundred years. In 1880, it was sold by Colonel Shaw-Hellier, but he repurchased it ten years later. Upon his death in 1910, it passed out of the family.
The Galpin Society rediscovered the treasure trove in a room in the stableblock in the 1960s. A researcher who did some of the cataloguing the following decade states that it was rare to find a collection in which both instruments and books survive,[33] but the collection was split up soon afterwards. The instruments went to the Edinburgh University Collection of Historic Musical Instruments.[37] A single one that was chosen or commissioned by Sir Samuel Hellier—in this case a trumpet—has been described in half a dozen journals and catalogues.[38] The other half of the collection, the written works, went to the music library of the Barber Institute of Fine Arts at the University of Birmingham, where its 860 items were fully documented by Ian Ledsham in 1999.[39] This includes rare copies of musical works, such as the Ten Voluntaries by John Bennett. In addition, and still at the Wodehouse, is a series of 165 letters Sir Samuel wrote to his estate manager, specifying how instruments were to be played and stored, a boon for the music historian.[8]
Non-musical gifts were made to museums as well. For example, a model of a 64-gun ship with rigging, made in the late 18th century, was donated to the Pitt Rivers Museum in the late 19th.[40]
