Shaping Studio Spaces

Victorian Artists and their Home Studios

By Ashley Vernon

Cocooned in a leafy neighborhood in the west of London, the Leighton and Sambourne houses stand as testimonies of the two artists and their lives within the late Victorian period. Frederick Leighton (1830-1896) and Edward Linley Sambourne (1844 -1910) lived very different lives as artists, yet their legacies live on through museums dedicated to their homes. As intentionally designed combined living and studio spaces, these houses demonstrate not only the dedication both artists had for their work, but the key differences between the two men.  

Leighton House’s construction and design centered on the ideas of creativity and entertainment. After its initial construction in 1865, the home was extended four different times between 1869 and 1895. As president of the Royal Academy, Frederick Leighton entertained many guests through these years. This is reflected strongly in his studio’s design. The space boasts large north facing windows (optimal for artists as it allows for consistent diffused lighting), high ceilings, muted red walls, and picture slots for the transferring of larger works.¹ From photos we can tell that the space was never lacking in easels and canvases.² Even the smoggy and foggy London winters could not curtail Leighton’s creativity as, in 1889-90, he commissioned an extension with two glazed walls and a glass roof. This was referred to as the Winter Studio.  

Yet, the focal point of the space is a stage at the west end of the room. Not just an area for painting, this studio was also built for music. The design was ideal for acoustics and allowed for ample seating and performance space. Every spring Leighton took advantage of this by hosting a concert in the studio. Many of these evenings featured prominent international musicians, and even singing by Leighton himself.³ His love of music was well known, and the piano he kept on the stage served as a reminder of this.  

In direct contrast, Sambourne House is a home built around family and functionality. Edward Linley Sambourne (Linley) was a cartoonist for the satirical magazine Punch. He was given a full-time position at Punch in 1871, four years after his first published drawing for the publication in 1867.⁴ He went on to work with the magazine for forty-two years and produced around 3,000 cartoons.⁵ His status as a cartoonist placed him on the lower end of the artistic hierarchy, which made it difficult to build a custom home like Leighton. However, upon moving into their house in 1875, he and his wife were immediately dedicated to decorating it in the Aesthetic style, something Linley was particularly passionate about.⁶ 

As a cartoonist, Sambourne was under the stress of meeting weekly publishing deadlines. This stress led to a creative solution that makes his workspace truly special. After purchasing a camera in 1883, Sambourne began the process of employing friends and family members to pose for photographs, often in the backyard of his home. He then taught himself how to develop these images, creating a functional darkroom in his third-floor bathroom. The photographs he took were then used as references for his weekly cartoons, a creative process for which he became well known.  

Unlike Leighton, Sambourne’s creativity was not limited to one area of the home. He is credited with using many rooms of his house as studio spaces. Initially he used the morning room, then the drawing room, and finally he was able to convert the old nursery on the top floor into his official studio.⁷ He adapted these spaces to be ideal for drawing by adding larger windows or creating extensions for his easel — revealing that art can happen wherever a person desires to create it.⁸ As a visitor, artist, and student of material culture, this adaptation of space is inspiring. It reminds me that spaces are not stagnant but rather adjust to fit our daily needs and want for comfort. This revelation is applicable to both homes, as both artists built, renovated, and created spaces for their desired lives to take form. This passion for their spaces and the creativity hosted within them is evident to their visitors. 

1. Richard Yot, Light for Visual Artists: Understanding & Using Light in Art & Design (Laurence King Publishing, 2013), 41. ↩︎
2. “Frederic Leighton,” RBKC Museums, September 7, 2021. [Click the title to check out this website and the ones below!] ↩︎
3. “Leighton’s Love of Music,” RBKC Museums, August 26, 2022. ↩︎
4. “Linley Sambourne,” RBKC Museums, September 7, 2021. ↩︎
5. “Linley Sambourne.” ↩︎
6. “The Interiors of Sambourne House,” RBKC Museums, August 4, 2021. ↩︎
7. “The Interiors of Sambourne House.” ↩︎
8. “The Interiors of Sambourne House.” ↩︎