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Haddon Hall

Haddon Hall is a medieval manor house and grade I listed building located in the Peak District of Derbyshire, England, near the village of Bakewell in the valley of the River Wye.^[1]^[2]^[3] Originating as a Norman fort in the early 12th century, it has remained largely unaltered since the 17th century, making it one of England's best-preserved examples of medieval domestic architecture.^[1]^[3] The estate's history traces back to at least 1086, when it was recorded in the Domesday Book as part of the Crown's holdings, before passing into private ownership.^[3] It was inhabited by the Vernon family from the late 12th century until 1567, when it transferred to the Manners family through the marriage of Dorothy Vernon to John Manners; the Manners, Dukes of Rutland, have owned it continuously since, currently under Lord and Lady Edward Manners.^[1]^[3] From the 18th century, the family favored their primary residence at Belvoir Castle in Leicestershire, leaving Haddon Hall unoccupied for nearly 200 years, which preserved its original features without later Georgian or Victorian modifications.^[1]^[2] Architecturally, Haddon Hall exemplifies a progression from Norman origins through medieval and Tudor developments, with key interiors including the Medieval Banqueting Hall featuring an original dais table and a tapestry depicting Henry VIII, the Tudor Parlour with its painted ceiling and heraldic paneling, and the 15th-century chapel adorned with frescoes.^[1]^[2] The highlight is the Elizabethan Long Gallery, a 110-foot (34-meter) room designed by architect Robert Smythson around 1570, considered one of the most beautiful surviving long galleries in England.^[1]^[2] Surrounding the house are Elizabethan walled gardens, recently redesigned by landscape architect Arne Maynard, which complement the estate's 900-year-old medieval parkland.^[1] Notable for its association with romantic folklore—particularly the 16th-century elopement of Dorothy Vernon, inspiring the Gilbert and Sullivan operetta Haddon Hall—the property has also served as a popular location for film and television productions, including Pride and Prejudice (2005) and The Other Boleyn Girl (2008).^[3] Today, Haddon Hall is open to the public as a historic house and gardens, managed as part of the broader Haddon Estate encompassing over 3,800 acres, though its uneven terrain limits full accessibility.^[2]^[3]

Location and Overview

Site and Setting

Haddon Hall is situated near the town of Bakewell in Derbyshire, England, within the Peak District National Park, perched on a limestone outcrop above the River Wye valley at coordinates 53.1939°N, 1.6498°W.^[4]^[5]^[6] The site occupies a bluff overlooking the River Wye, which flows through the surrounding valley from northwest to southeast, integrating the hall into the rugged limestone landscapes characteristic of the Peak District.^[7]^[8] This elevated position in the river valley underscores its historical role as a fortified manor house, providing strategic oversight of the terrain while blending with the natural contours of the area.^[4] Designated as a Grade I listed building since 1951, Haddon Hall benefits from the highest level of statutory protection for its architectural and historical significance.^[4] The associated estate and gardens, covering approximately 62 hectares on the north side of the A6 road, were separately listed at Grade I in 1984, recognizing their special historic interest within the parkland that spans both sides of the river valley.^[7] Privately owned by Lord and Lady Edward Manners, the property remains accessible to the public on a seasonal basis, typically from spring through autumn, with dedicated parking along the A6 between Bakewell and Rowsley.^[1]^[9]^[10]

Architectural Significance

Haddon Hall's architectural origins trace back to the 11th century with Norman foundations, evidenced by early structures such as portions of the west wall, chapel, and the lower parts of the south and east walls along with the Peverel Tower. The building underwent significant expansions from the 13th to 16th centuries, shifting from a fortified medieval manor to incorporate Tudor domestic elements, with the upper courtyard primarily dating to the second quarter of the 14th century and the lower courtyard mainly to the 15th century.^[4] Further refashionings occurred in the 16th and 17th centuries, including the addition of Elizabethan rooms and the 110-foot Long Gallery, designed by architect Robert Smythson around 1570.^[1] Stylistically, Haddon Hall represents a seamless evolution from defensive medieval architecture—characterized by thick limestone and gritstone walls, embattled parapets, towers like the four-storey north-west gatehouse, and small, secure windows—to the more refined Tudor aesthetic, featuring large mullioned and transomed windows, Perpendicular tracery, and ornate ashlar detailing.^[4] Its double-courtyard layout, adapted to the steeply sloping site above the River Wye, employs terraced levels and external staircases that reflect medieval planning principles, while later additions like the banqueting hall's high-pitched roof and the long gallery's paneled interior introduce comfortable, light-filled spaces suited to Renaissance ideals of hospitality and leisure.^[1] This mix of fortified robustness and domestic elegance is evident in features such as the 15th-century chapel's frescoes and the 17th-century classical plasterwork, creating a layered palimpsest of English architectural history.^[4] The hall's significance lies in its exceptional preservation as a rare survivor among pre-1700 English country houses, having stood largely untouched for nearly 200 years from the early 18th century onward due to a period of neglect that spared it from Georgian and Victorian alterations.^[1] Architectural historian J. Alfred Gotch described it as "the most complete and most interesting house of this period [the fourteenth century]," underscoring its retention of original medieval fabric amid later enhancements. Nikolaus Pevsner further praised it as "the English castle par excellence," noting its continuous evolution without the extensive modernizations seen in contemporary estates like Belvoir Castle, the remodeled principal seat of the Dukes of Rutland. Designated Grade I listed, Haddon Hall exemplifies the transition from fortress to family home, offering unparalleled insight into medieval and Tudor building practices.^[4]

History

Origins and Medieval Development

Haddon Hall's origins date to the late 11th century, when the manor of Haddon in Derbyshire was held by William Peverel, a Norman lord and favorite of William the Conqueror, as recorded in the Domesday Book of 1086. The estate encompassed significant lands suitable for agricultural and strategic purposes, reflecting the post-Conquest redistribution of property in England. The Peverel estates, including Haddon, were forfeited to the Crown in 1153 following accusations of treason against King Henry II; William Peverel the Younger died in 1155.^[11] The manor subsequently passed to tenants of the Peverels, notably the Avenell family. In 1170, Sir Richard de Vernon, a prominent knight, acquired Haddon through his marriage to Alice (or Avice) Avenell, the daughter and heiress of William Avenell II, thereby establishing the Vernon family's long association with the property.^[4] Under Vernon stewardship, Haddon transitioned from a simple manor to a fortified residence, leveraging its elevated position on a rocky spur overlooking the River Wye for natural defense.^[12] Early medieval development began with defensive enhancements; in 1194, Richard de Vernon received a royal licence from John, Count of Mortain (later King John), to enclose the manor with a 12-foot-high uncrenellated wall, providing protection without full crenellation.^[12] By the 13th century, the Vernons expanded the complex, constructing the Peverel Tower—a three-story structure named after the original holders—and initiating the chapel, which featured early lancet windows indicative of Gothic influences.^[13] These additions underscored the site's evolution into a functional fortified manor, balancing security with residential needs amid the turbulent feudal landscape.^[4] The 14th century marked a peak in construction under the Vernons, with the upper courtyard largely completed in the second quarter, incorporating the Peverel Tower and service ranges.^[12] The centerpiece was the Great Hall, built around 1370, which included a prominent minstrels' gallery for musical performances during feasts, along with high-quality timber roofing and large windows for illumination.^[14] This hall served as the social and administrative heart of the manor, exemplifying late medieval architectural sophistication while reinforcing Haddon's role as a key regional power base.^[4]

Ownership Transitions and Key Events

The pivotal shift in Haddon Hall's ownership from the Vernon family to the Manners family began with the marriage of Dorothy Vernon to John Manners in 1563, a union shrouded in legend as an elopement despite her father Sir George Vernon's disapproval. Dorothy, one of Sir George's two co-heiresses, wed John, the younger son of Thomas Manners, 1st Earl of Rutland; the couple's first child was born that year, confirming the marriage's timing. Upon Sir George's death on 31 August 1565, Haddon Hall passed to Dorothy and John, marking the end of direct Vernon control and integrating the estate into the Manners lineage.^[15] Under the Manners, the family's status elevated significantly in the 17th century when Dorothy and John's grandson, another John Manners (1604–1679), inherited the Earldom of Rutland in 1641 following the death of his distant cousin, George Manners, 7th Earl of Rutland, whose estates were unencumbered by male heirs. This John, who resided primarily at Haddon Hall, became a prominent Royalist figure, serving in the Cavalier Parliament after the Restoration. His son, John Manners (1638–1711), succeeded as 9th Earl in 1679 and was elevated to 1st Duke of Rutland in 1703 by Queen Anne, consolidating the family's noble influence. However, this advancement prompted a relocation of the primary seat to the more modern Belvoir Castle in Leicestershire, initiating Haddon's gradual decline as a secondary property.^[16] Key events during this era included significant Tudor-era enhancements to the hall under early Manners stewardship, such as the addition of the Long Gallery around 1570, which reflected Elizabethan architectural tastes and served as a private promenade space. The English Civil War (1642–1651) saw the Manners family, including the 8th Earl, align firmly with the Royalist cause, yet Haddon Hall escaped major destruction—unlike Belvoir Castle, which was severely damaged—forcing temporary reliance on the Derbyshire estate. Post-war, with the family's focus shifting northward, the hall underwent partial abandonment after 1703, remaining largely unaltered and unoccupied for nearly two centuries, preserving its medieval and Tudor character intact.^[2]^[17]

Modern Restoration and Current Use

Following a period of neglect after the Manners family shifted their primary residence to Belvoir Castle in the early 18th century, Haddon Hall underwent significant revival in the early 20th century. The 9th Duke of Rutland, John Henry Montagu Manners, initiated restoration efforts in the 1920s, focusing on repairing roofs, repointing walls, and restoring interiors to make the hall habitable once more.^[18]^[6] These works, which began in earnest in 1926, included the installation of electricity, piped water, and bathrooms while preserving the medieval character, and uncovered historical features such as 15th-century chapel frescoes.^[6] By the mid-20th century, further enhancements continued under the family's oversight, including the addition of a modern kitchen in the 1950s on the Eagle Tower's first floor, equipped with period-appropriate fittings like an Aga stove.^[6] In the 21st century, conservation efforts have addressed structural vulnerabilities, particularly subsidence affecting the Long Gallery. Issues with the hall's foundations, threatening the 110-foot (33.5 m) Elizabethan gallery's stability, were identified in 2011, necessitating urgent intervention to underpin the bay area and protect historic plasterwork and glazing.^[19] In 2021, repairs secured £262,662 from the government's Culture Recovery Fund—administered through Historic England—along with £50,000 from the Historic Houses Foundation, contributing to the total £330,000 project cost and enabling stabilization works completed by 2022.^[19] These efforts, ongoing and largely funded by visitor income, also include recent masonry repairs to towers and chapel windows using traditional Derbyshire sandstone.^[20] Today, Haddon Hall serves as the private residence of Lord Edward Manners—brother of the 11th Duke of Rutland—and his family, who moved in during 2016, marking the first full-time occupancy in centuries.^[6]^[1] Owned by the Manners family, Dukes of Rutland, since 1567, it remains distinct from their principal seat at Belvoir Castle, which was separated from Haddon in the mid-20th century.^[6] The hall operates as a historic house attraction open to the public from spring through autumn, with principal rooms accessible and seasonal events such as Christmas artisan markets and Halloween festivities enhancing visitor engagement.^[1]^[6]

Architecture and Layout

External Structure and Courtyards

Haddon Hall is constructed on a steep, sloping limestone ridge above the River Wye in Derbyshire, creating a terraced layout that integrates the building into the natural terrain. The site features a double courtyard plan, with the upper courtyard positioned to the northeast and the lower to the southwest, separated by the central Great Hall block. This arrangement reflects medieval construction practices, where the structure evolved incrementally from the 12th century onward, utilizing local gritstone and limestone rubble with ashlar dressings and leaded roofs to blend harmoniously with the rocky outcrop.^[4]^[21] The upper courtyard, developed primarily in the 14th century, encompasses the Peverel Tower—a three-storey structure that anchors the northeastern corner and provides access to the Long Gallery. In contrast, the lower courtyard, expanded in the 15th century, includes the Chapel of St. Nicholas along its southern edge and serves as the primary arrival space. Both courtyards are enclosed by thick walls that double as structural supports and ancillary spaces, such as stairwells, contributing to the hall's village-like silhouette of diverse forms and levels. The site underwent significant restoration between 1920 and 1930.^[4]^[22] Defensive elements underscore the hall's origins as a fortified manor, including the 12th-century Peverel Tower with its battlements and spiral staircase, designed for vigilance over the valley. In 1194, a royal license was granted to enclose the site with a wall, remnants of which survive in the embattled ashlar parapets and crenellated outlines that persist across the structure. These features, while robust, transition from overt fortification to more domestic manor aesthetics by the late medieval period, as noted in architectural assessments praising the hall as "the English castle par excellence."^[22]^[4]^[23] Visitors approach Haddon Hall primarily through the lower courtyard via the late 15th-century northwest gatehouse tower, a four-storey structure featuring a portcullis groove, arrow slits, and an external flight of steps leading to a moulded four-centred arched doorway with double studded oak doors. This hierarchical entrance emphasizes controlled access, originally accommodating horsemen and carriages, while an earlier 14th-century entry at the Peverel Tower linked to nearby roads like those to Rowsley and Bakewell. The overall external profile, with its corbelled chimney stacks and projecting towers, maintains a crenellated skyline that evokes medieval defensiveness without aggressive militarization.^[4]

Interior Spaces

The Great Hall complex at Haddon Hall forms the heart of its medieval domestic layout, serving as the primary space for communal feasting and social gatherings. Constructed around 1370, the banqueting hall features an elevated dais at one end, where the lord and high-ranking guests would dine, separated from the main body of the room by a wooden screen that concealed service passages to adjacent areas.^[25] The hall retains its original high-beamed ceiling, large open hearth for roasting, and a minstrels' gallery above the screen, added in the mid-15th century to accommodate musicians during banquets, evoking the lively atmosphere of medieval hospitality.^[26] Adjacent to the hall are the kitchens, among the oldest surviving in England and dating to the 14th century, equipped with massive fireplaces, baking ovens, and preparation areas that supported large-scale entertaining for the household and retainers.^[27] The parlour, also from circa 1370, provided a more intimate withdrawing space for the family, featuring 16th-century painted ceilings with Tudor roses and heraldic motifs from the Vernon family's alliances.^[27] The Long Gallery, a 16th-century Tudor addition completed around 1570, represents a shift toward more leisurely Renaissance pursuits within the hall's evolving interiors. Spanning 110 feet in length, this light-filled corridor was designed by architect Robert Smythson and paneled in oak with classical motifs, including pilasters and a frieze of floral and heraldic designs symbolizing the Vernon and Manners families.^[27] Its large glazed windows offer panoramic views of the surrounding Peak District, facilitating promenading, portrait display, and private conversations, functions typical of Elizabethan long galleries as extensions of domestic life.^[6] Accessed from the upper courtyard via a dedicated entrance, the gallery connects sequentially to other private chambers, such as the Great Chamber, enhancing its role in the house's upper-level circulation.^[27] Haddon Hall's interior access patterns reflect medieval architectural principles, where privacy was achieved through sequential room progressions and external entries rather than isolated corridors, a design that prioritized communal oversight while allowing graduated seclusion for elites. Visitors and inhabitants navigated via multiple staircases—over a dozen in total, including straight flights and winding ones—leading directly from courtyards to specific rooms, minimizing internal thoroughfares and underscoring pre-modern concepts of household hierarchy and controlled movement.^[6] This layout, evident in the progression from the public Great Hall through the parlour to upper private spaces like the Long Gallery, preserved the hall's function as a fortified yet functional medieval residence.^[25]

Chapel, Gardens, and Grounds

The Chapel of St Nicholas at Haddon Hall dates to the 14th and 15th centuries, with construction completed in 1427 during the reign of King Henry VI.^[28] Situated in the southwest corner of the lower courtyard, it served as the private chapel for the estate's residents and remains the parish church for the nearby village of Nether Haddon.^[29] The interior features rare pre-Reformation frescoes, executed as secco paintings in the early 15th century, depicting biblical scenes such as the martyrdom of Saint Edmund and floral motifs; these were rediscovered in the 20th century after being concealed under layers of whitewash applied during the Reformation.^[1]^[30] Haddon Hall's gardens, primarily Elizabethan in origin, were extensively redesigned in the 20th century and more recently by landscape architect Arne Maynard, who drew inspiration from the hall's historic tapestries to incorporate wildflower meadows and structured planting.^[31] A notable feature is the walled topiary garden adjacent to the stable block, established in the early 20th century, where yew bushes are meticulously clipped into the shapes of a boar's head—representing the Vernon family crest—and a peacock, emblematic of the Manners family.^[32] These terraced lawns and yew hedges descend in formal cascades toward the River Wye, offering panoramic views of the valley below while blending manicured formality with the natural contours of the Derbyshire landscape.^[31] The estate grounds encompass approximately 187 hectares (462 acres) of parkland, registered as Grade I on the Historic England Register of Historic Parks and Gardens of Special Historic Interest, recognizing its exceptional preservation as a medieval designed landscape.^[33] Enclosing ancient woodland, water meadows, and wetlands along a significant stretch of the River Wye, the grounds provide accessible woodland walks and riverfront paths that highlight diverse habitats, including open pasture grazed by native breeds.^[33] Unlike many contemporary estates, the parkland underwent minimal landscaping alterations in the 18th century, allowing its 14th-century deer park character to endure largely intact and supporting ongoing organic restoration efforts to regenerate its historic biodiversity.^[33]

Cultural Impact

Representations in Literature

Haddon Hall has been a recurring setting in 19th- and early 20th-century literature, often romanticized as a medieval backdrop for tales of forbidden love and elopement centered on the legendary figure of Dorothy Vernon.^[34] One of the earliest literary works to incorporate this tradition is the 1823 novel The King of the Peak: A Romance by William Bennett (under the pseudonym Lee Gibbons), which weaves the elopement legend into a broader narrative of feudal intrigue and adventure set in the Peak District, using Haddon Hall as a key location. This three-volume romance establishes the hall's evocative atmosphere, portraying it as a site of secrecy and passion that influenced subsequent depictions.^[34] In 1892, Arthur Sullivan composed the light opera Haddon Hall with libretto by Sydney Grundy, premiered at the Savoy Theatre, which dramatizes a 16th-century romance at the hall involving themes of loyalty, disguise, and elopement inspired by the Vernon-Manners legend.^[35] The opera portrays Haddon Hall as a grand, historic manor where social tensions and romantic escapades unfold, contributing to its literary legacy as a symbol of chivalric romance.^[36] Grundy's libretto emphasizes the hall's architectural splendor and isolation, reinforcing its role as an ideal setting for historical fantasy.^[37] The most influential portrayal came in Charles Major's 1902 historical novel Dorothy Vernon of Haddon Hall, which fictionalizes Dorothy Vernon's life and her 1563 elopement with John Manners, presenting the hall as a vivid Elizabethan-era stronghold filled with courtly drama, family rivalries, and star-crossed love.^[38] Major's work, a bestseller that builds directly on the elopement tradition, romanticizes Haddon Hall's interiors and grounds as spaces of clandestine meetings and dramatic escapes, shaping its image in popular historical fiction.^[34] This novel solidified the hall's literary archetype as a timeless venue for tales of youthful defiance against patriarchal authority.^[39] Major's novel inspired several theatrical adaptations, extending its reach in dramatic literature. In 1903, Paul Kester's play Dorothy Vernon of Haddon Hall premiered on Broadway at the New York Theatre, faithfully dramatizing the elopement story with a focus on emotional intensity and period authenticity.^[40] The production ran for a limited engagement but highlighted the hall's narrative potential for stage romance.^[41] In 1906, Fred Terry and Julia Neilson adapted Kester's version for London as Dorothy o' the Hall at the New Theatre, where it enjoyed 97 performances and further popularized the Vernon legend through its emphasis on scenic recreations of Haddon Hall's chambers and gardens.^[42] These plays underscore Haddon Hall's enduring appeal in 19th- and 20th-century literature as a catalyst for romantic historical narratives.^[34]

Use in Film and Television

Haddon Hall has served as a prominent filming location for numerous period dramas and historical productions, valued for its well-preserved medieval and Tudor features that provide an authentic backdrop without extensive set modifications. Since the 1980s, the estate has hosted over 20 major film and television projects, leveraging its Great Hall, Long Gallery, and exterior courtyards to depict grand historical settings.^[43]^[44] Key films include The Princess Bride (1987), where its castle-like exteriors stood in for medieval European landscapes; Pride & Prejudice (2005), utilizing the interiors for Regency-era elegance; The Other Boleyn Girl (2008), capturing Tudor opulence in the Great Hall; Mary Queen of Scots (2018), for Scottish royal scenes; and The King (2019), portraying early 15th-century English nobility. Television adaptations have also featured prominently, such as multiple versions of Jane Eyre (2006 and 2011 BBC miniseries, plus the 2010 film), where the hall represented the brooding Thornfield Hall; Gunpowder (2017 BBC series), depicting 17th-century intrigue in its stone-walled spaces; and Wolf Hall: The Mirror and the Light (2024 BBC series), using the Long Gallery and gardens for Tudor court scenes.^[45]^[44]^[46] In recent years, Haddon Hall's appeal has continued unabated, with Firebrand (2023) filming entirely on-site to evoke the claustrophobic Tudor court during Katherine Parr's tenure, contributing an estimated £3 million to the local economy.^[47]^[48] This production, along with the 2024 Wolf Hall series, highlights the hall's versatility for intimate, character-driven historical narratives. Its architectural integrity ensures sustained demand for authentic period filming.

Depictions in Visual Arts and Music

Haddon Hall has been a subject of artistic interest in visual representations that capture its medieval architecture and romantic aura, particularly through 19th- and early 20th-century works.^[49] A notable depiction is the 1838 watercolor Twelfth Night Revels in the Great Hall, Haddon Hall, Derbyshire by Joseph Nash, which illustrates festive medieval revelry within the hall's grand interior as part of his series The Mansions of England in the Olden Time; this work was lithographed for wider dissemination in architectural publications.^[49] This image later influenced modern culture, serving as the basis for the front cover art of Jethro Tull's 1975 album Minstrel in the Gallery, where it evoked the band's folk-rock themes of historical and pastoral nostalgia.^[50] In the early 20th century, British artist Frederick William Booty created several watercolors of Haddon Hall and its gardens, emphasizing the site's picturesque terraces and peacocks; examples include On the Terrace, Haddon Hall, Derbyshire (1911), which highlights the stone steps and surrounding landscape in detailed bodycolor.^[51] The hall's illustrative legacy began earlier with 19th-century engravings in periodicals that promoted romanticized views of its history, such as those accompanying Allan Cunningham's 1822 short story "The King of the Peak" in The London Magazine, which popularized the legend of Dorothy Vernon's elopement and framed Haddon as a site of chivalric romance.^[34] In music, Haddon Hall is most prominently featured in Arthur Sullivan's 1892 light opera Haddon Hall, with libretto by Sydney Grundy, which dramatizes the Vernon-Manners elopement legend in a score blending romantic and comic elements; the opera premiered at the Savoy Theatre to 204 performances.^[52] This work draws briefly from the same literary folklore as earlier narratives of the hall's history.^[52] While no major standalone musical compositions are dedicated solely to the hall, it appears in incidental uses within period-inspired works that evoke Tudor and medieval English settings.^[52]

References

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https://www.gsarchive.net/trutt/Libretti/HaddonHallLibretto.pdf
[38]
The Project Gutenberg eBook of Dorothy Vernon of Haddon Hall, by ...
Dorothy Vernon of. Haddon Hall. BY. CHARLES MAJOR. AUTHOR OF WHEN KNIGHTHOOD WAS IN FLOWER, YOLANDA, ETC. ILLUSTRATED WITH SCENES FROM THE PHOTOPLAY GROSSET ...
[39]
Dorothy Vernon of Haddon Hall – Broadway Play – Original | IBDB
Dorothy Vernon of Haddon Hall (Original, Play, Melodrama, Broadway) opened in New York City Dec 14, 1903 and played through Jan 1904.
[40]
BERTHA GALLARD AS DOROTHY VERNON; Paul Kester's Able ...
Miss Bertha Galland opened last night at the New York Theatre in the title rôle of Paul Kester's dramatization of "Dorothy Vernon of Haddon Hall," and was ...
[41]
Dorothy O' the Hall by Paul Kester
Terry and Neilson renamed the play Dorothy O' the Hall and it opened in London in 1906, where it ran for 97 performances. Messrs. Major and Kester took many ...
[42]
Film & TV - Haddon Hall
For decades, film-makers have been using Haddon Hall as a location for their cinematic productions – from historical documentaries to blockbuster period dramas ...
[43]
[PDF] Films and Television Programmes Featuring Haddon Hall 1
For the BBC - House of Cards, Travels with Pevsner with Joan Bakewell, Interceptor, Top Gear, The Holiday Programme, Flog It, The Antiques Road Trip, Bargain ...
[44]
https://www.haddonhall.co.uk/wp-content/uploads/2019/10/fimsathaddon.pdf
[45]
Firebrand filmed entirely at Haddon Hall in Derbyshire
May 31, 2023 · Filming of Jude Law movie Firebrand entirely at Haddon Hall is estimated to have pumped £3million into Peak District economy.
[46]
Filming of Jude Law movie Firebrand entirely at Haddon Hall is ...
Filming of Jude Law movie Firebrand entirely at Haddon Hall is estimated to have pumped £3million into Peak District economy. By Gay Bolton.
[47]
https://productionguild.com/news-new-releases/news/film-shot-in-derbyshire/
[48]
ART ON YOUR SLEEVE #3 – JETHRO TULL | - Vinyl Connection
Sep 4, 2015 · An occasional series featuring LPs boasting 'fine art' on their covers, with commentary on the music and something about the art.Missing: MU | Show results with:MU
[49]
Frederick William Booty (British, 1840-1924) On the terrace, Haddon ...
Out of stockNov 18, 2010 · On the terrace, Haddon Hall, Derbyshire, signed and dated 'F. W. Booty/1911' lower right, watercolour and bodycolour,
[50]
Haddon Hall - Home Page - The Gilbert and Sullivan Archive
Sep 1, 2018 · Featuring all of the word and music of this opera. Follow along with the words on a web page while listening to the music, follow the lyrics on ...