In 1901, Merton Russell-Cotes bought for his wife Annie a marvelous house on a hillside, overlooking the sea, on the English coast. Today, maintaining its imaginative and futuristic character, that same house has become an atmospheric art gallery, enveloped in a magical and timeless atmosphere, entirely preserved for visitors.

Although the Victorian Age is an inescapable protagonist within the rooms, it is the eclecticism of the collections that dominates them. Bournemouth proves to be an ideal habitat for this mansion conceived as a museum when the owners were still alive; as the Russell-Cotes couple (Merton was from Wolverhampton and Annie from Glasgow) knew each other through their shared passion for artwork, having met through the literary and artistic circles frequented by their respective families.

The commission to build the mansion began in the late 19th century and combined different architectural styles: Renaissance, Italian, and Scottish Baronial, and it was decorated in Moorish, Japanese, and French styles to house a unique and multifaceted collection, perfectly preserved from their time spent travelling the world. The house was opened as an art museum upon Merton's death in 1921 and can be considered as the main attraction of the place.

Given these premises, it is easy to guess the wonder that awaits visitors. However, no picture or video can fully convey the superb games of light and shadow reflected by the works of art, the hidden corners full of infinite beauty, and the many small museums, especially that dedicated to the legendary Victorian actor Henry Irving. A place created immediately after his death, thanks to a collection purchased through Christie's and numerous donations.

Today, the original rooms are preceded by multimedia and refreshment areas that do not detract from its charm and, indeed, dialogue in their aim of being a bridge between past and present. The layout has a strong Pre-Raphaelite matrix, especially thanks to Venus Verticordia (1864–8) by Dante Gabriel Rossetti (1828–1882), which is striking for its location between one floor and the other. The two levels would take several hours to be discovered and analysed in full, but—perhaps—it is worth tackling them knowing as little as possible beforehand, as everything here is played on the surprise effect.

A concept that also accompanies the temporary exhibitions, as is the case with the prints dedicated to the depictions of Bournemouth, up to the splendid monographic display of the works of Albert de Belleroche, whom we could define as a ‘forgotten Impressionist’, not doing him full justice. In fact, the exhibition demonstrates a multifaceted spirit both in graphics and in the use of oils. Born in 1864 in Wales, Belleroche grew up in France, where he forged links with the artists of the time, the Impressionists and John Singer Sargent, in particular. His depiction of the Belle Époque is, in fact, singular; almost poised between impressionist lighting and Victorian chiaroscuro. Faces, bodies and objects are equally protagonists of his canvases, with an extremely personal nostalgic touch.

A trip to the south of England at this time also offers the possibility of following an imaginary Pre-Raphaelite itinerary, starting from the Russell-Cotes Galleries and going to The Arc in Winchester (45 minutes by car).

Until the end of the summer, the multi-purpose venue hosts a monographic exhibition dedicated to the artist Fred Appleyard (1874–1963). Born in Middlesbrough and grandson of the sculptor John W. Appleyard, he trained at the Scarborough School of Art and then entered the Royal Academy in London, where he exhibited several times. Present in various museums around the country, with this monographic exhibition, Winchester wants to trace his entire oeuvre through striking works and preparatory drawings, as well as delightful niches of memorabilia.

We would go so far as to call it the Pre-Raphaelite exhibition of the entire season because, while the dictates of the Academy are evident in Appleyard's brushstrokes, exquisite works such as The Four Seasons screen or Sping (commissioned by the Academy itself) suggest a well-spent debt with the Brotherhood.

The enchanting landscapes, languid figures, and still lives are the jewel in the crown of a comprehensive exhibition accompanied by an equally splendid catalogue, which is sold in a bookshop that shouldn’t be overlooked as it is well stocked with many art-themed volumes.