CONTEXT 188 : JUNE 2026 33 INFRASTRUCTURE Heathcote, Ilkley, West Yorkshire, 1906–08. Lutyens’s first full-blown essay in his ‘High Game’ of classical design with mannerist inspiration shining through (Photo: Tim Skelton) At Little Thakeham, Storrington, West Sussex, 1902, Lutyens mixed vernacular and classical tenets to create a home enriched with his wit and surprises. (Photo: John Trotter) are glad to assist, for example, with clarifying the nature, date or patronage of any Lutyens contribution, in verifying (or refuting) suggestions of his design input. As Lutyens’s work continues to inspire, it can be hoped that something of his ethos, his green and sustainable designs, and his use of local craftsmanship and materials, are informing planning’s new design codes. Sir Edward Maufe’s inspiration for The Barn, Laleham (1909) was unashamedly a clone of Lutyens’s Homewood, Knebworth (1901), this architect not hiding his admiration for his precursor’s work. Other examples are more subtle, commendably in the spirit of Lutyens but not quite so direct in their translation. Attributions are aplenty and can be controversial. Estate agents and sellers are familiar with the desirability of owning a property designed by Lutyens, and the inspectors and the trust are familiar with the occasional optimistic suggestion that the house being marketed is ‘Lutyens-inspired’ or ‘in the style of Lutyens’. At times this is stretching the imagination. More concerning are the attributions to Lutyens nominally as the architect when this is not the case. The trust and the listing teams work carefully in such instances to unravel the truth. One instance of this, a determined declaration of Lutyens’s authorship for Ivy Rock,Tidenham, Chepstow, led to heated correspondence as the trust requested the misattribution be corrected in the sales particulars. Ivy Rock was in fact by Norman Evill (1904), a former assistant of Lutyens, not by the great man himself. We are keen to receive enquiries about his involvement. Most years a new piece of work by Lutyens comes to light. The trust, with our sibling society across the Atlantic, is developing an online Catalogue of Sir Edwin’s Works for launch later this year. While still a work in progress, this will help both the public and trust members to be informed of the verified extent of his incomparable oeuvre. Research continues, and we welcome new information and analysis enthusiastically. We are currently, for example, striving to understand better Lutyens’s ‘contribution versus his inspiration’ in terms of the work of his architect son Robert Lutyens (1901–72) in the 1920s and 30s, and in Robert’s partnership with Harold Greenwood. The distinction may be subtle, but when considering if designations for such as the Dukes Cottages, Pottergate, Alnwick, should continue to be credited to Sir Edwin or was in fact solely by Lutyens THE LISTING PROCESS IN ENGLAND
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