
/ About
Sambourne House was the family home of Edward Linley Sambourne (1844-1910), chief cartoonist of Punch, and it survives very much as the family left it. The terrace was built in 1868 by the builder Joseph Gordon Davis on the Phillimore Estate; Linley and Marion Sambourne bought the lease in 1875 and redecorated the house in the aesthetic style as soon as they moved in, hanging Morris & Co. papers, setting stained glass into the windows and painting stylised flowers onto the doors. Over the next thirty-five years he kept adding to it. An inventory taken in 1877, after only two years in the house, already counted over fifty vases, seventy chairs and around seven hundred framed pictures. Three generations of the family then left the rooms alone, and it was here, in February 1958, that the Victorian Society was founded. The house is listed Grade II* and reopened to the public on 15 October 2022 after a long restoration.
The plan is a Victorian townhouse plan, and the museum shows it whole. The dining room sits at the front of the raised ground floor and the morning room behind it, extended outwards by about three feet in 1875 and given a larger window so Sambourne could work there. The entire first floor is one front-to-back drawing room, papered to the ceiling and hung with pictures frame to frame, where he later moved his easel. Above are the two main bedrooms, and in the attic the studio he made out of the old nursery once his daughter married, with the maid's bedroom beside it. Between them runs the hall and staircase, encaustic-tiled and lit by stained glass.
Royal Borough of Kensington and Chelsea Museums runs the house together with Leighton House, eight minutes' walk away, through one events team. What the museum publishes for Sambourne House is location hire: the hall, dining room, morning room, drawing room, both bedrooms, the studio and the maid's bedroom are offered for filming and photography, and A Room With a View, Arthur & George and Life in Squares were all shot here. The two houses are described together as venues for entertaining, but every itemised dinner, reception and concert the museums publish is at Leighton House, where the terms state that dancing and amplified music are not permitted. Nothing equivalent is published for Sambourne House, and no capacity for it appears anywhere, so numbers and what the rooms will carry are a conversation with the events manager. Roy's room has been closed to visitors for restoration works since October 2024.
/ Rooms Available
Roy's Room
PrivateThe second bedroom on that floor, kept as Roy Sambourne had it: dark floral paper, an oval mirror, and prints and photographs covering every wall. It is closed to visitors for restoration and maintenance works, and has been since October 2024.
The Dining Room
PrivateAt the front of the raised ground floor, opening straight off the hall. Morris & Co. 'Fruit' paper, a convex mirror set in a wall of framed photographs, and the family's Imari service laid on the table. An atmospheric sound installation now plays in the room.
The Drawing Room
PrivateThe whole of the first floor, opened up into a single front-to-back room before the Sambournes arrived. Papered to the ceiling under a gilded plaster rose, with pictures hung frame to frame and blue-and-white plates ranged above them. Sambourne moved his easel up here from the morning room and worked in the middle of the family's life rather than apart from it.
The Hall and Staircase
PrivateThe arrival: an encaustic-tiled floor, a patterned stair runner, antlers and mirrors along the wall, and stained glass on the half-landing. The dining room opens directly off it.
The Maid's Bedroom
PrivateThe second of the two attic rooms, next door to the studio. The Sambournes kept four live-in servants at a time, and this is the room the museum shows for that side of the household.
The Main Bedroom
PrivateOn the second floor, with a brass bedstead, a white chimneypiece lined in blue-and-white tiles and a Morris & Co. paper reintroduced by Anne, Countess of Rosse, who also painted the ceiling and laid the carpet after she inherited the house in 1960.
The Morning Room
PrivateBehind the dining room, extended outwards by about three feet in 1875 and given a larger window for Sambourne to work at. Heraldic stained glass fills the top lights; Marion Sambourne received callers and ran the household here, and chose most of what stands in it.
The Studio
PrivateIn the attic, converted from the old nursery once Maud Sambourne married and left home, and the only room in the house he had entirely to himself. Bookshelves run above a red-brick chimneypiece, with his drawing stand and camera equipment still in place.
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Venue Specs
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