One Hour at Leighton House

TRAVEL GUIDE | CABANA TRAVEL | CABANA MAGAZINE

In this series, we travel the world's great museums – large and small – through the eyes and minds of Cabana Curators, asking one question: if you had only an hour to spare, what would you see? This week, Daniel Robbins, senior curator at London treasure trove, Leighton House, talks Cabana through four of the museum's most notable objects.

INTERVIEW BY EMMA BECQUE | CABANA TRAVEL |  11 SEPTEMBER 2024

Opulence and intimacy: London's Leighton House @  Miguel Flores-Vianna.

Leighton House, an extraordinary house museum in London's Kensington, holds the life’s work and legacy of Victorian artist and collector, Frederic Leighton (1830-1896). Over 25 years, the space - an exquisite blend of opulence and intimacy - has been restored under the watchful eye of Daniel Robbins, Senior Curator for the Royal Borough of Kensington and Chelsea. He approaches the house as both curator and custodian; its history has been pieced together after decades of dispersal and loss.

Over the years, he has led a quiet revolution at Leighton House. The 2008 refurbishment was pivotal, restoring the house to its former splendor and breathing new life into its narrative by commissioning contemporary works that echo Leighton’s artistic ambitions. Yet, the true heart of Robbins’ work lies in his detective-like pursuit of the house’s lost treasures. Piece by piece, painting by painting, the original collection has been slowly reacquired, returning them to the very spots where Leighton once placed them with such careful intent.

He shares four of his favorite objects, explaining in his own words why each is so special, and what it reveals about both its collector and maker. 

Lawrence Alma-Tadema, 'In My Studio', 1893 © RBKC / Jaron James.

In My Studio (1893), Lawrence Alma-Tadema

“One of the most captivating pieces is In My Studio (1893) by Dutch artist Lawrence Alma-Tadema, a close friend of Frederic Leighton. This recent acquisition is not just another painting; it carries a rich narrative intertwined with the lives of these two illustrious artists. Initially, this piece was a personal gift from Alma-Tadema, offered in exchange for Leighton's The Bath of Psyche. Like so much of the house’s original contents, In My Studio was once sold but was later rediscovered in the Getty Collection, a find that has allowed it to return to its rightful place.”

Alma-Tadema was known for his vivid depictions of ancient antiquity, particularly Rome. His works have shaped much of the modern visual conception of Ancient Rome, so much so that modern-day director Ridley Scott famously referenced them to create the sets for the film Gladiator (2000).

“Yet, what is most intriguing about this piece is the contrast between the exotic scenes it portrays and the reality of its creation. Despite depicting a grand interior, the painting was crafted in Alma-Tadema's London flat. His home, inspired by Roman interiors, was a marvel in its own right, with walls lined in marble, much like the scene he depicted in In My Studio,” Robbins explains.

Today, In My Studio hangs in the Silk Room, exactly where it would have been displayed in Leighton's time, a fitting homage to the relationship between these two artists and the shared history of their works.

Cast of Narcissus, Leighton House © RBKC / Dirk Lindner.

Narcissus (1877-1881)

Downstairs, in the middle of the Narcissus Hall, lies a piece that captures myth and mastery— Narcissus. “This sculpture is a rare treasure, one of the last renowned pieces extracted from the ancient ruins of Pompeii. Over time, large casts were created from the remnants, and one of these unique casts found its way into Frederic Leighton's collection. In Greek mythology, Narcissus is a figure of both allure and tragedy. He was so enamored with his own reflection in a pool of water that he became spellbound, unable to tear himself away, ultimately leading to his lonely demise.”

“Leighton’s placement of Narcissus in his home is a masterstroke of curatorial vision. The statue stands at the heart of the Narcissus Hall, a space meticulously designed to enhance the myth it embodies. Surrounding the sculpture, deep blue tiles echo the color of water, while a mirrored ceiling and a gently trickling pool beyond further the illusion of a reflective surface. The effect is nothing short of magical. With his unparalleled ability to weave art and decoration into a cohesive narrative, Leighton created a room and a story.”

“What makes this piece so captivating isn’t merely the sculpture itself, but the deliberate environment crafted around it. Leighton’s genius was recognizing how the setting could amplify the artwork's meaning. This concept of merging interior design with art to create something profoundly meaningful is what draws me to this piece.”

Oneness at Leighton House © RBKC / Dirk Linder.

Oneness, (2020)

When Leighton House reopened in October 2022, revealing a spiral staircase within a drum. This architectural addition called for a focal artwork that would resonate with the space, notably the grand Arab Hall. “In keeping with the house’s legacy of collaboration between artists and architects, we felt commissioning a contemporary commission was the perfect choice,” notes Robbins.

“After reviewing proposals from ten artists, Leighton House selected Shahrzad Ghaffari's striking mural, Oneness. Standing 11m tall, this artwork draws inspiration from Rumi’s poem "Who am I?" and explores identity, urging viewers to look beyond nationality or religion and embrace our shared humanity. The mural, with its abstract form and double helix motif, symbolizes the unity conveyed in Rumi's poetry and the connection between the historical and contemporary elements within the house.”

“Oneness encapsulates the spirit of Leighton House—a place where tradition and modernity meet, where everyone is welcome, and where art bridges the past with the future. The piece is more than just a mural; it is a vision for what the museum aspires to be, inspiring visitors to find connections within its walls.”

Frederic Leighton, Ruined Mosque, near Damascus, 1873, Leighton House ©RBKC.

Ruined Mosque, near Damascus, 1873, also known as Sketch with Donkey.

“Frederic Leighton, known for his grand, large-scale paintings showcased at the Royal Academy, had another side that is less celebrated. Among the roughly 200 miniature landscapes he created, one stands out: A Street in Damascus, also called Sketch with Donkey, Egypt (1873). These works were never intended for public exhibition or sale, offering a glimpse into a more personal aspect of Leighton’s artistry.”

“This particular painting was initially thought to depict a street in Damascus, but it was later revealed to portray a nearby area. The scene is strikingly ordinary—a simple street, a donkey, and a ruined tomb building—yet it captures something profound. Unlike his more famous works, which are often grand and elaborate, this sketch reflects Leighton’s enjoyment of the challenge of rendering the everyday. The donkey, now believed to have been Leighton’s mode of transport, adds a personal connection to the scene.”

“In these small, unassuming landscapes, Leighton’s personality subtly emerges. Known to be a private individual, these sketches offer a rare glimpse into his quieter moments, where the artist not only documents his travels but also reveling in the simplicity of light, color, and the ordinary world around him.”