Upton House: Redefining the Art Gallery in a Country Home

c. National Trust

Raphael Roy Taylor

Nestled in the Warwickshire countryside, Upton House stands as a testament to a unique vision: an art gallery essentially superimposed onto the fabric of a country house. With one of the UK’s most significant art collections, Upton is a true hidden gem that visitors have the chance to engage with away from the crowds that characterise many of our national public galleries. I had the opportunity to speak to Upton’s Property Curator, Michelle Leake, about Upton’s fascinating history.

The transformation of Upton into the remarkable space it is today began in 1927, when Walter Samuel, the 2nd Viscount Bearsted, and chair of trustees of the National Gallery, acquired the property. While the house's central core dates to 1695, Samuel embarked on an extensive renovation in the 1920s and ‘30s, reshaping 70% of its interiors. Some of these changes include the transformation of the old squash court into a beautiful, top-lit Picture Gallery, displaying his iconic collection of medieval and Renaissance art.

Lord Bearsted’s approach to collecting was notably different to the norm for collectors at the time. He wasn't merely amassing a collection of "big names" or buying in bulk; instead, he carefully selected each picture to his own taste. His keen eye led him to acquire works by artists not widely popular at the time, such as Saenredam’s remarkable depiction of a Utrecht cathedral, with almost ghostly figures likely removed by Saenredam himself.

c. National Trust

Such a dedication to "art for art's sake" allowed him to curate a diverse collection that truly feels like a "mini National Gallery," spanning from medieval art to masterpieces by El Greco, Canaletto, Goya, and a significant early landscape painting by Patinir. Upton also houses fascinating fragments, such as a panel from a Carlo Crivelli predella, whose central panel resides in the National Gallery, and another from a diptych, with its other half in the Metropolitan Museum in New York. Lord Bearsted even bought Peter Bruegel the Elder's "The Dormition of the Virgin" when the National Gallery declined, placing it on long-term loan there for a period before it returned to Upton. His philosophy was clear: his collection was not just for himself, but for the world.

The Picture Gallery

The Picture Gallery, and indeed most of Upton’s spaces, feature a single hang at eye level with neutral decorative schemes, deliberately designed to allow visitors an intimate and focused experience with each artwork, in stark contrast to the overwhelming "salon style" often found in traditional country homes.

Recently, Upton House gained national attention through its feature in the BBC's "Hidden Treasures of the National Trust" documentary series. A central focus was the extensive two-and-a-half-year conservation of Tintoretto's "The Wise and Foolish Virgins". This restoration revealed an incredible vibrancy in a dark, opaque and relatively unloved work. Furthermore, collaboration with Rotterdam’s Museum Boijmans Van Beuningen revealed that the Trust’s painting originally featured two central scrolls, present in the Van Beuningen’s painting, that was likely removed later. The decision to house the painting within its own set of “in focus” displays featuring X-rays and detailed explanations of the curatorial decisions involved in the restoration, as well as the upcoming talk at Upton by Leake on the conservation process, on the 24th of October 2025.

Despite its nationally important collection, Upton has historically grappled with its "hidden gem" status, compounded by location and public transport challenges. A prevailing misconception was James Lees-Milne's (one of the key Trust figures of the time) 1940s assertion that Upton was "for the specialist only”. However, there is a dedicated effort underway to redefine this perception. Upton is actively working to dismantle the "snobbery around arts", reframing itself as an "art gallery in a country house for everyone on their terms".

Looking ahead, there are lots of opportunities to expand Upton’s reach and recognition. Unlike so many institutions, entry to Upton is free with a National Art Pass (only £10 for students). It’s only a short half-hour drive from Stratford-upon-Avon, Leamington and Warwick, and has a half-hour bus service to Banbury. Another barrier to greater visitor numbers is its unusual restriction on dogs within the property. Removing these restrictions would allow a far greater number of people who typically enjoy Upton to come- I even remember coming with my family and dog on the eve of arriving at university, to be told that even the grounds permitted assistance dogs only.

Upton House features one of the UK’s most significant art collections, all set in the relaxed and laid-back atmosphere of a country house, free from the chaos and crowds that define the capital’s major galleries. Its lack of any kind of recognition equivalent to them is a real shame, but before that changes, take the opportunity to really engage with art in the tranquil environment of Upton- it’s a real privilege.