SEE ALSO :
Who's that lady? The extraordinary life of the Marchioness of Dufferin
It takes great reserves of chutzpah to live in a place like Clandeboye but Lady Dufferin is not lacking
Thu, Feb 2, 2017, 06:00
Fionola Meredith
Perched on a window-sill, her Hunter wellington boots elegantly propped on the back of a chair, Lady Dufferin is telling me all about her amazing yoghurt. Made from the milk of her beloved herd of pedigree Jersey and Holstein cows, Clandeboye Estate’s yoghurt is a tremendous success story. You seem to see it everywhere, these days: in supermarkets, garages, farmers’ markets and independent shops across Ireland and the UK, and it has won numerous awards. Clandeboye, in Co Down, is one of Ireland’s oldest and largest estates, and it’s entirely self-sufficient, free of trusts and foundations – which is why the yoghurt has proved to be such a God-send.
“The money it makes keeps the engine of the estate going from day to day,” says Lady Dufferin, otherwise known as Lindy Hamilton-Temple-Blackwood, the Marchioness of Dufferin and Ava. “We all work as a team, everyone has to be interchangeable, and we’re fantastically proud of our yoghurt, all of us.” She grins. “Though I have to say, I don’t think I could milk a cow.”
The 75-year-old Marchioness is deaf, though you’d never guess: she’s an expert lip-reader, and besides, her playfulness and vivacity – the sheer force of her personality – outweigh everything else.
There aren’t many people like Lady Dufferin around any more. She has had a long, extraordinary life, surrounded by the foremost artists of her time – David Hockney, Francis Bacon, Lucian Freud – many of whom came to Clandeboye for glorious bohemian parties, in the days when Dufferin and her late husband Sheridan were at the very centre of the London art scene. Sheridan, the fifth and final Marquess of Dufferin and Ava – he was named after his ancestor, the playwright Richard Brinsley Sheridan – was a committed patron of the arts, and co-founded the famous Kasmin Gallery in New Bond Street in 1963. He died in 1988, from an Aids-related illness, aged 49.
An artist herself – she paints as Lindy Guinness – Lady Dufferin continues to live at a pitch of intensity that few people achieve. But right now she wants to talk about one of her favourite subjects: those pedigree cows.
“I call them ‘the ladies’,” she says. “Countless champions, the best cows in Ireland.” Cared for by her loyal cow-man and herd manager Mark Logan, who has been at Clandeboye for decades – Dufferin affectionately refers to him as the herd’s “permanent hair-dresser” – they aren’t just the source of milk for the yoghurt, they’re also regular sitters for Dufferin’s art. Sheltering in her painting hut, out on the 2,000 acre estate, she spends hours studying their angular forms. A new series of her abstract cow paintings is currently on show in the Ava Gallery at Clandeboye. In a special publication to accompany one of her London exhibitions, Dufferin reflects on the fascination. “It is a journey I am on,” she writes. “I am searching for the essence, or platonic form of the cow-ishness of cows. They intrigue me . . . Essentially, I love to draw the cows as they are, in my mind, an integral part of Clandeboye – I can’t think of the land without the cows. They are interchangeable in my mind, with the trees, the clouds, the wind patterns – they all seem to echo the cows.”
Cows are far from her only subjects, however. On one occasion, she painted the Rev. Ian Paisley. “It’s in the Ulster Museum, I think, perhaps they are too nervous to show it,” says Dufferin wryly. It’s a characterful, energetic portrait, showing a robed Paisley wearing a florid tie with flags and the word “no” written on it. Dufferin was taught to paint by the great Austrian artist Oskar Kokoschka, and also by Duncan Grant, of the Bloomsbury group. She has described meeting Grant, when she was 17, as “one of those chance meetings that change the course of one’s life”. She travelled to France and Spain with him, and later he visited Clandeboye. “My whole development as a person and as an artist is entwined with Duncan.”
I’m not surprised to learn that it was Lady Dufferin herself who came up with the idea for making Clandeboye yoghurt: as well as her passion for art and aesthetics, she clearly has a strong entrepreneurial side. “Well, what happens is that I go and get frivolous ideas in London [she has a mansion in Holland Park] and read books and come up with wild ideas,” she says. “Some of them are shot down, but some of them win.”
One of Dufferin’s initiatives is an un-staffed “honesty” shop within the grounds of Clandeboye, where customers can buy milk, yoghurt, eggs, honey and granola – the various products of the estate – and put the money they owe into a box. Just before Christmas, thieves broke into the box and took the cash, but Dufferin remains undeterred. “The point is that it’s been running for eight years now, and it balances out pretty fairly. It’s really good, it gives a nice, ungreedy atmosphere to the estate. I think the people who stole – perhaps they might just have been feeling a bit un-Christmassy?”
Mark Logan and Bryan Boggs, the yoghurt business manager, exchange smiles. “Lady Dufferin has the idea that she would like to open honesty shops all over the country,” says Boggs. “A famous American billionaire told me that I really ought to do it,” insists Dufferin. “He said it wouldn’t matter how many times we were broken into, the publicity [for the yoghurt sales] would be so huge.” Logan and Boggs look sceptical. “Well, these gentlemen will never let me get away with it. When they say no, that’s it.”
“Yes,” says Boggs. “It’s a sort of semi-democracy, but not totally.”
Lady Dufferin is particularly proud that the main supermarkets stock Clandeboye Estate yoghurt. “If you’re dealing with the big boys, Tesco and Aldi, normally it isn’t a sort of homegrown activity. What’s unique about this is that we have actually penetrated the big boys with our product and they are very, very pleased with it. And it hit just at the moment when they were feeling a bit conscious that they needed to support local people.” Eight years ago, Clandeboye started off by making 300 litres of yoghurt a week, and now they produce over 2,000 litres a day. The thick Greek-style yoghurt, which is hand-strained through cheese-cloths in the traditional way, is their most popular variety. Each pot carries a reproduction of one of Lady Dufferin’s paintings. Bryan Boggs thinks they have made in the region of five million reproductions of her paintings now. “That’s how I came to be the most famous disposable artist in the world,” she quips.
“There was a terrible moment when we first sent our yoghurt to Sainsbury’s,” says Dufferin. “I was hanging on the end of the telephone, waiting, waiting, waiting to hear, and everyone went along to look at the shelves and there was no Clandeboye yoghurt. And I got more and more sad, more and more depressed, and finally we found out that the packaging we sent it in wasn’t big enough for their machine, so it had gone round picking up everybody else’s yoghurt and missing ours. Terrible.”
“I’ve been here for 25 years,” says Mark Logan, “and the herd has changed a lot in that time. I turned up very enthusiastic about pedigree cattle and showing. Lady Dufferin was already interested, she saw my enthusiasm and was keen to support it. Lady Dufferin was having dinner with the Rothschilds and they were talking about having cows flown in from Canada, so she arrived back at Clandeboye and came to see me and said – ‘could that work?’ And I said ‘yes’. She said ‘would you like to do that?’. And I said ‘yes!’ Within a year, we brought one over. It wasn’t like ‘here’s a blank cheque, Mark, go and spend it’. But the herd developed from there.”
“Everything has dove-tailed,” says Lady Dufferin. “Because of the fact that Mark’s been hugely successful with championship cows and winning all sorts of prizes, suddenly what appeared to be a kind of hobby became fantastic publicity. What started out as pleasure, or an aspect of excellence, with no ulterior financial gain, suddenly it became this fantastic publicity stunt. So now we have these champion cows producing champion yoghurt on champion land. That’s what’s so wonderful.”
Now, with the recent purchase of a methane digester, which generates electricity from cow waste, Dufferin has high hopes of making Clandeboye completely energy self-sufficient: “the sun makes the grass grow, the cows eat the grass and they produce milk and then the dung, which goes into the digester and it creates electricity to run the factory and then on and on in this great cycle of energy.” For more than 30 years, the Northern Ireland branch of Conservation Volunteers, a cross-community environmental project, has also been based at Clandeboye,
Dufferin has a charming, child-like, entirely unaffected innocence in her manner which can get her into trouble at times. For instance, when she confessed to a reporter that she hadn’t a clue about supermarkets because she had never been inside one, the British press ridiculed her. But little fazes the Marchioness. She ended up having a hilarious conversation about it with her old friend David Hockney, who rang up after he saw her being mocked in the papers. She has previously described the artist as absolutely enchanting, entirely original in his approach: “he takes life by the short and curlies and gives it a shake.” Hockney even came on honeymoon with the Dufferins. She remembers Hockney with his “very round spectacles and very blond hair”, driving around America with them in an open-top Cadillac.
Hockney remains a dear presence in Dufferin’s world, and although they don’t see each other quite so often these days, she recently lent a number of her personal collection of Hockney paintings for the extensive new retrospective of his work at Tate Britain, in London, opening on February 9th.
When Miss Belinda Guinness – as she was then – married her cousin, Sheridan Hamilton-Temple-Blackwood, in October 1964 in Westminster Abbey, it was a spectacular affair. The New York Times described the 22-year-old bride’s dress in detail: “it had a bodice molded to a slightly raised waistline, a narrow roll collar and a princess line skirt flowing to a 15-foot court train held at the shoulders with small tailored bows. The bride’s veil of tulle was attached to the Dufferin and Ava shamrock tiara.” Afterwards, a reception for 1,800 guests was held across three floors of the Café Royal, with a fleet of buses used to transport guests from the Abbey. As a wedding gift, Lindy’s father, the financier Loel Guinness, gave her a wardrobe of 20 dresses by the Parisian designer Antonio Castillo.
“He saw a photograph of me,” says Dufferin, remembering her husband. “He cut out the photograph and he stuck it on his shaving mirror, and he said ‘I’m going to marry that woman’.”
Dufferin had an odd, disconnected and sometimes turbulent upbringing, mostly cared for by nannies. She was born on March 25th, 1941, at a Scottish airport, of all places: her father was group captain of a squadron stationed at Prestwick, and he declared that his heavily pregnant wife, then aged only 18, should have her child there. “He said the birth should take place at the airport to cheer everyone up,” says Dufferin. “New life in the middle of the war, you know.” Later, he taught his little daughter to fly a helicopter, perched on his knee.
In 1951, Loel Guinness divorced Lindy’s mother, Lady Isabel Manners, and married the Mexican-born socialite Gloria Rubio. “She was a complex figure, very beautiful, and famous in the fashion world,” recalls Dufferin. After her father took her out of school at the age of 14, Dufferin spent time with her new stepmother in Palm Beach, where Truman Capote was also a house-guest. “Oh, he was a famous court jester, he had a brilliant mind. He had a slanting approach to life.”
Dufferin also remembers meeting the French undersea explorer Jacques Cousteau: “I would have been about seven years old, and I was sitting on a yacht with my father in the south of France, it was the port in Antibes. I heard an odd, gurgling sound in the water, and out came a man with a helmet on his head. My father pulled him on to the boat and they started chatting. I had little baby aqua-lungs and later I went down with Cousteau.”
The Marchioness throws out these vignettes and anecdotes about the people of her life quite casually. Lucian Freud, who was briefly married to Sheridan’s sister, Caroline Blackwood, in the 1950s, is summed up as “very tricky, brilliantly clever”. But you get the impression that she has no desire to dwell on lost friends or years gone by. There’s too much going on in here and now for her to linger, as many older people do, in half-forgotten memories.
For a woman so determinedly rooted in the present, Lady Dufferin lives in a house that is a fantastic, melancholy shrine to the past. And yet she is clearly devoted to it, and takes her responsibilities as custodian very seriously. She has always felt comfortable here, even during the Troubles. “Many of my English friends were deeply concerned about my security but understood I had total confidence about being both a Guinness and a Dufferin and [was] proud of both these cross-Border Irish connections,” she said in an earlier interview.
Clandeboye is a late Georgian country house, dating back to 1801, which was transformed by the first Marquess of Dufferin and Ava, Frederick Hamilton-Temple-Blackwood, Sheridan’s great-grandfather. Frederick was close friends with Queen Victoria, and a renowned diplomat who became Governor-General of Canada and Viceroy of India. Above all, he was an avid collector, and Clandeboye holds many of his strange treasures: stuffed baby bears, Indian cut-throat weapons, ornate Burmese day-beds, an Egyptian altar-piece, a tiger-skin rug. At either side of the grand staircase stands a pair of narwhal tusks, glimmering eerily in the semi-darkness.
Yet to Dufferin, Clandeboye is simply home. She kicks off her shoes and dumps her handbag unceremoniously at the bottom of the stairs, under the narwhal tusks. In the dining room, surrounded by portraits of Blackwood ancestors, a single place is set for dinner. It strikes you that it would take great reserves of personal chutzpah to live in a place like Clandeboye. But Lady Dufferin is not lacking in this respect.
She is receiving a cochlear implant soon, which will help her hearing. “Yes, I’m going to be a cyborg,” she says, clearly relishing the novel prospect of being part-human, part-machine. For the irrepressible Marchioness of Dufferin and Ava, it’s always about what comes next.
Lady Dufferin on extraordinary life mixing with rich and famous
Ahead of next month’s Aspects Festival, Lady Dufferin tells Linda Stewart of her gilded life mixing with famous faces such as Princess Margaret, Jacques Cousteau and Truman Capote, and why she regards her Clandeboye estate outside Bangor as a rich resource for the arts in Northern Ireland
August 25 2018 08:38 AM
Heads down, brains plugged into our mobile phones and thumbs tapping away as we drift far from the here and now - technology is no friend to the creative spirit. Lady Dufferin is passionate about nurturing the creative side of our nature - and is worried about where technology is leading us.
"It's very, very dangerous what is happening," she says.
But the Marchioness of Ava and Dufferin is by no means immune to the seductive lure of the smartphone. The lively noblewoman admits she is a recent convert to the delights of Instagram, where she shows off her art.
Lady Dufferin draws on the beauties of her beloved Clandeboye Estate, outside Bangor, as inspiration for her art, painting or sketching for two or three hours every day from a wheeled hut which is towed into position by a tractor.
"I adore Instagram. Two days ago I did a little sketch on the spot and put it on to Instagram - and out pop 164 people saying they like it," she says.
"Before, it would have had to just go in a cupboard and no one would ever have seen it again, or it would have been thrown away."
Lady Dufferin will bring together her twin passions - art and nature - with the Clandeboye Reading Party on September 1 and 2 as part of the inspirational Aspects Festival in North Down and a joint initiative between Trinity College Dublin, Queen's University Belfast and Clandeboye Estate.
The weekend event will feature talks from Clandeboye poet-in-residence Sean Borodale and Sir Bob Salisbury, who developed one of Ireland's most significant wildlife gardens.
Meanwhile, Lady Dufferin will launch the reading party herself with a talk reflecting on how the landscape of Clandeboye Estate has influenced her as a painter. Although deaf, she is an excellent lip reader and avid communicator.
The Reading Party initiative was cooked up a couple of years ago by Lady Dufferin and Northern Ireland-born historian Professor Jane Ohlmeyer, who founded the Trinity Long Room Hub.
"When I got to meet her, she had became fascinated with the idea of trying to keep the North and the South very much open as a concept - that it's incredibly important to keep the two sides open, especially now with Brexit coming and all the other problems," explains Lady Dufferin.
"She was passionate about this and I was equally passionate and helped her. The first thing we set up was this link between Trinity College Dublin and Queen's University Belfast, and we ran a conference here where we had students and professors from the two universities."
Then Lady Dufferin mooted the idea of linking up with the Aspects Festival in Bangor.
"We gingerly rang up (Ards and North Down Council arts officer Patricia Hamilton), who was absolutely thrilled by the idea and welcomed us open-armed and that was how we linked up," she says.
"So Jane and Patricia together work out what they're trying to do and the idea is to bring Clandeboye and all our facilities to help in the same way, so that we can all be in the same family."
Lady Dufferin insists she's not a public figure, but her story is more than a little celebrity-studded.
She was born Serena Belinda Rosemary Guinness (or Lindy), the daughter of financier Loel Guinness and his second wife, Lady Isabel, at a Scottish airport.
Her father was group captain of a squadron stationed at Prestwick, and is said to have declared that his heavily pregnant wife should have her child there.
"He said the birth should take place at the airport to cheer everyone up. New life in the middle of the war, you know," Lady Dufferin is quoted as saying.
She grew up in Belvoir Castle, the seat of the Dukes of Rutland, but when she was nine her parents divorced and both remarried. She would later winter with her father and stepmother in Palm Beach, where Truman Capote was also a house guest: "Oh, he was a famous court jester - he had a brilliant mind, a slanting approach to life."
As a girl she was a protégée of Bloomsbury artist Duncan Grant and went on to study painting under Oscar Kokoschka.
In 1964, she married her fourth cousin Sheridan, Marquess of Dufferin and Ava, at Westminster Abbey in a ceremony attended by Princess Margaret. A fellow art enthusiast, Sheridan opened a gallery in London, showing Anthony Caro and David Hockney, whom Lady Dufferin has described as "absolutely enchanting".
When she launched her famous Clandeboye Estate yoghurt, which features her painting of her cows on the packaging, she was ridiculed by the press after confessing she had never been inside a supermarket, but Hockney was quick to ring up after reading the story.
He's reported to have commented: "I don't believe I have ever laughed so much in my life."
Lady Dufferin tells me of a childhood encounter with underwater pioneer Jacques Cousteau when she was visiting Antibes in France with her father.
"My father was very interested in boats and technical things. So we were in the harbour and suddenly there was a sort of gurgle and an enormous man appeared, covered in weird-looking equipment. He was covered in this suit and he had pipes sticking out everywhere," she says.
"Anyhow, my father, being fascinated by gadgets, sort of heaved this man out and this absolutely charming young man was inside the suit and they got talking. He was this very early diver and in those days nobody had ever heard of him - he was called Jacques Cousteau.
"It was just after the war and my father befriended him and financed him and got the sister ship to the one he had.
"The one I was brought up on was called Calisto, and the one he got for Cousteau was called Calypso.
"I used to have to go down in little tiny aqualungs - I got let down on a rope - so my early life was underwater.
"About 10 years later my father was in his office in Paris and then Cousteau, who was really becoming jolly famous, just walked in and put five tins on my desk and said 'Loel, those are yours - I have no idea whether they're going to become a success or not, but they're yours.'
"And it was The Silent World, which became a great film all over the world."
Notoriously private, Lady Dufferin is reluctant to dig through the past. Asked where she grew up, she says "Many, many places - I'm very internationally brought up", adding: "Well, I'm not going to paddle into that world - I think better not. I mean, it gets too long."
When she first came to Clandeboye as a young bride of 21, she describes her reaction to the first sight of the 2,000-acre estate as "sheer shock".
"But I'd been brought up in a lot of wonderful houses, so it wasn't so surprising. It was like a castle. It was pre-Troubles, remember. It was so long ago," she says.
"It was just after the war. It was a very different world, you know, in the late '50s. People were getting over the problems of the last war and we were almost starting our Troubles here. It was very gloomy, you know, in Northern Ireland.
"I used to come here a lot, but I was also in London - it was about half and half. I was too young to be too worried about the Troubles, I think."
A late Georgian country house, Clandeboye dates back to 1801, and was transformed by the first Marquess of Dufferin and Ava, Frederick Hamilton-Temple-Blackwood, Sheridan's great-grandfather.
A friend of Queen Victoria and a renowned diplomat who became Governor-General of Canada and Viceroy of India, Frederick was an avid collector, and many of his treasures are still there, including stuffed baby bears, Indian cut-throat weapons, ornate Burmese day-beds, an Egyptian altar-piece, a tiger-skin rug and a pair of narwhal tusks.
When her beloved husband, Sheridan, died in 1988, he bequeathed the estate to her.
The couple had no children, and since then she has worked tirelessly to manage the estate so that the community can benefit from the resource on its doorstep, whether through open days, charitable support or hosting events like the Camerata Festival, which showcases young musicians.
A keen conservationist, ever since the 1980s she has been supporting the Conservation Volunteers (now TCV), inviting the cross-community environmental group to open its first Northern Ireland branch on the estate.
Over the years TCV has grown 18 million trees in Clandeboye's walled garden and planted them far and wide across Northern Ireland.
Lady Dufferin also champions the forest schools concept, a way of using nature to deliver the schools curriculum.
Northern Ireland Forest Schools Association is setting up the region's first Forest School Academy at Clandeboye Estate, hosting a working Forest School after-school club, all very much in line with the Reading Party theme of 'Learning Without Walls' next weekend.
"The whole idea is to try and get actual teachers to become enthusiastic about letting nature be the teacher with them being the guide," Lady Dufferin says.
"If you take a poem by Seamus Heaney which is on the curriculum, you will always find situations to do with the earth, to do with emotions, to do with the wind, to do with history.
"All that is actually in the environment - it isn't in a classroom.
"So to think that your child can go out and learn about Seamus Heaney's poems actually by smelling the earth or digging something or picking up a potato, think what that will mean to a child when they go back to write their essay. If you've actually held a potato or dug a potato up, you've got something to write about.
"If you're nine years old and you've never done anything like that and you're reading a Seamus Heaney poem, you'd have to be a genius to imagine what it's like to dig up a potato.
"I think you could do it for every single subject. For instance, if you're studying conversion of energy, what better way than to go up to the cow shed and learn all about how we make all our electricity?
"I think it's terribly important that we all realise that we're very much of the animal world. We must never forget it. We're not robots - we're human beings, animals, and we're part of nature.
"I'm simply saying I have the most wonderful place - can we not find wonderful ways that children can enjoy it with their teachers?"
Lady Dufferin has always been fascinated by painting, but she took it up more seriously in later life, exhibiting locally and in London. While her favourite subjects are nature and her cows, she once painted the Rev Ian Paisley, pictured robed and wearing a bright tie with flags and the word 'No' written on it. The painting is thought to be in the ownership of the Ulster Museum.
"All of us find ways to find some kind of order in life - whether it's gardening or reading. It might be doing up your house beautifully, or bringing your children up, or cooking... some people play music, other people paint," she says.
"My talk (at the reading party) is sort of Lindy Guinness talking to Lady Dufferin. It's this idea that we all have two sides to our nature and one side is very creative and the other side has to be very practical. And we all have private lives, you know, everyone in this room has private aspirations and dreams and worries. Then you have a front persona that we all see and we sort of hint at what the other is, but you don't really know what people are thinking.
"I'm really fascinated in this idea that when you grow up it's terribly important to keep the creative angle of one's life open in some way. It's so easy to shut it down.
"I think the problem of technology is that it's removing the creative area where people chat and sit and do nothing and look at each other and fiddle about in the garden together and just be creative together.
"And it's going because everyone sits and watches these things (gesturing to her phone). It's very, very dangerous what's happening.
"You've got to get people back to being part of nature, and painting is my way of satisfying that creative aspect of my nature.
"Because I enjoy it so much, it comes out in my ordinary life and it means that I can do more and be more loving to somebody. While if I'm just being loving to that person I'll expect them to love me back in no time and there'll be terrible confusion and it could be very unhappy - while you can let out all your emotion through painting or writing or music and it can percolate into the other side of you so that you become a more balanced human being. How about that?"
Lady Dufferin thinks of Clandeboye and the Holywood Hills as the left and right lung in a human.
"So we're the two lungs for Belfast, Newtownards, Bangor, Holywood - we're sort of breathing here in the middle," she says.
"Absolutely everyone is trying to get me to open it up and put in roads and parks and public spaces, but I think you mustn't do that. When you come here, it's very precious -it's a wonderful event and you are aware how lucky you are.
"You mustn't make it so that anyone can do it with buses and people on walkie talkies shooting in every direction - and then you're just back to being Lady Dufferin all the time and then you've forgotten your Lindy Guinness and you don't play anymore and you become sadder and sadder and sadder, and then you're at the mercy of these horrible things (smartphones) and then you go down into a sort of IT grave."
I ask if she ever feels she's wasting her time trying to get people to reconnect with nature.
"No, absolutely not. It would be a waste of time to think of it as a waste of time actually," she says.
"You have absolutely no idea how you are helping people really.
"All you can do is offer the possibility - and this is what is so remarkable about Aspects and what they do in Bangor. They're offering children, old people, young people, women, happy people, sad people, every kind of human being, the possibility of them enjoying the arts.
"And you don't know how it's going to help. You have some housewife who's never thought of it before and goes to a creative event and suddenly it's done it.
"I don't think you can measure the value of it - all you can do is keep offering and keep a place that is magic. That's what I love about Clandeboye - it's a very magical place.
"The reason it's wonderful is that there are no signs. Animals are allowed to live here. It's not a park - its a sanctuary for animals and mystery and magic."
Lady Dufferin thinks about the future of Clandeboye every day.
"We all do, So we're hoping to make it into a wonderful Dufferin Foundation, a place of educational excellence. It is to do with being creative - without something like nature around us you can't be creative. You need this matrix to create things," she explains.
And part of that ethos, she adds, is in tribute to her late husband, who was passionately about the environment.
"He loved the woods - he was a terrific person for the woods. And he loved the whole ethos of Clandeboye very much. I'm doing all this in his memory."
Month-long celebration of all facets of literature
Aspects Festival, Northern Ireland's longest running literature festival, returns to Bangor next month.
Running from September 1 to 30, it celebrates writing, from poetry to prose, theatre to crime, journalism to wellbeing, and drama to the visual arts.
The programme commences on Saturday, September1 at Clandeboye Estate when Lady Dufferin will give a talk reflecting on the environment and how the landscape of the estate has influenced her as a painter. The talk will begin a weekend of events led by the Clandeboye Reading Party featuring special guest, Sir Bob Salisbury, focusing on topics around biodiversity and the environment.
