There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
There seems to be a phenomenon of homes-turned-museums popping up in the city of Cambridge. These are places where people lived – people who may have collected art, turned their home into an artwork in itself or otherwise left their mark on the space – that were subsequently opened to the public.
Reflecting the interests and lifestyles of their founders, each one of these cultural spaces is wonderful in its own unique way. But as we’ll come to find, one of the major challenges their custodians face is staying true to the founder’s original intentions whilst also staying relevant in a contemporary context. So as we go through them, we’ll observe what’s unique about each one and how they meet the needs and wants of contemporary audiences.
As an artist, curator and collector myself, I find these places absolutely enchanting. Plus, who doesn't love sneaking around someone's house to check out all the rooms behind closed doors? So please follow me as I guide you through these treasures.
The most famous of the lot, Kettle's Yard, was founded by Jim Ede (a former curator at the Tate), who lived there from 1957 until 1973 with his wife Helen. The house is made up of a row of small cottages made into one, now complemented by a modern extension, and it’s full of characterful nooks and vast open spaces in succession. Whilst the building itself is a marvel, it also houses Jim Ede's collection of carefully-picked pebbles, paintings, prints and sculptures (by Henri Gaudier-Brzeska, Ben Nicholson, Henry Moore, Barbara Hepworth and Constantin Brancusi to name just a few), amongst beautifully-arranged furnishings.
Ede would welcome students from Cambridge University into his home daily to share the joys of his collection, as well as a pot of tea and some biscuits. The collection may be museum-standard, but there are no labels on the walls. The artworks live amongst utilitarian objects of everyday living, and visitors can sit in every chair in the house, creating an inviting and comfortable atmosphere throughout.
The epitome of artful living, the house at Kettle’s Yard is and always will be a must-see. As was intended by its founder, most items remain in the same place they were when Jim and Helen left (unless they’re on loan). This could risk causing a feeling of inertia, a certain dustiness, but somehow this house is so harmonious that it’s completely timeless. Additionally, another extension was built recently to house a contemporary art gallery, which displays world-class temporary exhibitions, so there’s always a reason to come back for more.
David Parr was a painter-decorator who worked for the Cambridge-based decorating firm F. R. Leach and Sons. The firm, in turn, worked with renowned architects, artists, and craftsmen of the day, including William Morris, to design the decorations for colleges and churches in Cambridge.
The genius of David Parr House lies in the fact that Parr brought his painting skills back home with him in the evenings and embellished his own house over the course of a lifetime. So, whilst this house may look like a generic Victorian two-up-two-down on the outside, it is a spectacular feast of Arts & Crafts artistry and craftsmanship on the inside. A real hidden gem.
(It also happens to have a very similar layout to the home of The Keate Family Arts Trust, which is up next on our list, so it's fun comparing and contrasting the two.)
This is a working-class home that was made exceptional through the sheer skill and determination of its owner. Following David Parr’s death in 1927, the house on Gwydir Street was passed on to his granddaughter Elsie Palmer, who lived there for another 85 years. Consequently, the ornate walls, floors and ceilings are peppered with mid-century objects as Elsie left her trace in the home too. And thanks to the preservation efforts of local volunteers in recent years, this gem is now open to the public for house visits and guided tours. Additionally, a creative programme of workshops, talks and site-responsive artworks runs alongside the main space, with each intervention enlivening the space again and again.
A word of caution with this one: as a trustee, an exhibiting artist and now a member of the exhibitions team at the Keate Family Arts Trust, I am quite involved with it and possibly a little biased. You’ve been warned.
The Keate Family Arts Trust is based in the former home of David Keate, an architect who lived and worked in Cambridge, collected artworks from the local area and beyond, and created many original pieces made from hogweed. In the late 80s, he turned his home and collection into a Trust, shortly before his untimely death in 1990. The Trust, now run by Keate’s family, is dedicated to the preservation and display of a collection of mid- to late-twentieth-century prints, ceramics, textiles, Private Press books, the hogweeds and some contemporary works.
In 2018, after lying somewhat dormant for many years, there was a renewed effort from Aggie Forster, Chair of the Trust, to revive it. In 2024, she launched an ongoing exhibition series where artist-curators exhibit artworks from The Keate Family Arts Trust’s collection alongside their work, each one bringing their unique perspective to the collection. In May this year, I had the privilege of taking part in this program myself in an exhibition entitled ‘Collecting Connections’, where I showed the still life paintings I recently made in response to the collection, hung amongst the objects themselves in a sort of treasure hunt.
The Trust is housed in a very conventional Victorian house on Trafalgar Road, so one can easily imagine living in such a place. And somewhat uniquely, this still is actually a living, breathing space; there’s a guardian who lives there. This contributes to creating a warm, convivial atmosphere that visitors can feel, and they are welcome to stick around for a while and share a cup of tea whilst enjoying the collection when it’s open to the public. For me, this is one of the most charming aspects of the Trust. Additionally, each visitor brings their own experience to the table when they visit, thus shining a light on different aspects of Keate’s character, his practice and his collection every time and participating in building the bigger picture.
Another phenomenon which seems to be popping up all over the country is open studios, concentrated in defined local areas, where artists open their homes and studios to the public. These aren’t museums as such, but these programmes allow people to turn their homes into public-facing spaces for a few days a year, curating the space accordingly, and giving visitors the opportunity to buy artwork directly from the maker and support their practice. There’s something very endearing about this as you get to experience the whole as a gesamtkunstwerk, or total artwork, where the character and tastes of each artist start to seep into everything.
Cambridge Open Studios started in 1974, so the local community is well-acquainted with it, and a supportive network of participating artists and collectors has grown from it. Cultural institutions around the city also participate, so Kettle’s Yard, David Parr House, and The Keate Family Arts Trust are all taking part this year. It takes place during weekends in July.
I’m always drawn to the humility one finds in these home museums. Unlike the grand manor houses of the National Trust, there’s something of the everyman here. In fact, I challenge you not to want to go straight home and to start hanging artworks and re-arranging the décor for yourself after you visit these brilliant places, no matter who you are or what your budget is! I believe there’s also a candid determination paired with a strong degree of curiosity, openness, and generosity required to kick-start and run operations like these, and that’s palpable as soon as you step through the front door.
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