As a recommended wedding photographer at Hengrave Hall, I have the pleasure of photographing more than 25 weddings per year at this magical wedding venue, therefore I have got to know the venue inside out and have developed a great working relationship with the staff at Hengrave and the Milsom catering team over the years. I aim to make each Hengrave wedding unique by encouraging individual ideas and working with couples to tailor a photography style that they prefer.
Hengrave Hall is a little piece of heaven quietly nestled in the Suffolk countryside near Bury St Edmunds, where it has sat undisturbed for the past 500 years. The house, gardens and church have been lovingly restored with meticulous attention to detail to create a haven where, for a moment, time stands still. Set within 350 acres of tranquil parkland and with sweeping lawns and meadows, a majestic lake, and its own idyllic chapel its grace and historical charm offers the perfect ambience for wedding photography.
Hengrave Hall is a Tudor manor house near Bury St. Edmunds in Suffolk, England and was the seat of the Kitson and Gage families 1525-1887. Both families were Roman Catholic recusants.
Work on the house was begun in 1525 by Thomas Kitson, a London merchant and member of the Mercers Company, who completed it in 1538. The house is one of the last examples of a house built around an enclosed courtyard with a great hall. It is constructed from stone taken from Ixworth Priory (dissolved in 1536) and white bricks baked at Woolpit. The house is notable for an ornate oriel window incorporating the royal arms of Henry VIII, the Kitson arms and the arms of the wife and daughters of Sir Thomas Kitson the Younger (Kitson quartered with Paget; Kitson quartered with Cornwallis; Kitson quartered with Darcy; Kitson quartered with Cavendish). The house is embattled, and in the great hall, there is an oriel window with fan vaulting by John Wastell, the architect of the chapels at Eton College and King’s College, Cambridge. The chapel contains 21 lights of Flemish glass commissioned by Kitson and installed in 1538, depicting salvation history from the creation of the world to the Last Judgement. This is the only collection of pre-reformation glass that has remained in situ in a domestic chapel anywhere in England. In the dining room is a Jacobean symbolic painting over the fireplace that defies interpretation, bearing the legend ‘obsta principles, post fumum flamma’ (‘Stand against the basic tenets, behind the smoke is a flame’). Also in the Banquet Hall of the house is a window with the coat of arms of George Washington, quartered with that of Lawrence. One of Sir Thomas Kitson’s daughters married into the Washington family.
The house was altered by the Gage family in 1775. The outer court and the east wing were demolished and the moat was filled in. Alterations on the front of the house were begun but never completed, and Sir John Wood attempted to restore the interior of the house to its original Tudor appearance in 1899. He rebuilt the east wing and re-panelled most of the house in oak. One room, the Oriel Chamber, retains its original seventeenth-century panelling, in which is embedded a portrait of James II painted by William Wissing in 1675. It is thought that some of the original panelling found its way to the Gage’s townhouse in Bury St. Edmunds, now the Farmers’ Club in Northgate Street. The ornate windows and mouldings at the front of the building featured on the cover piece on the Suffolk edition of Pevsner’s Buildings of England.
Some have speculated that Mary I stopped briefly at Hengrave Hall on her way to Framlingham Castle in 1553, but there is no evidence for this other than that John Bourchier, Earl of Bath, who had married Sir Thomas Kitson’s widow Margaret, was a loyal supporter of the Queen. (However the Queen’s father Henry VIII was godfather to Margaret’s son Henry Long from her 2nd marriage, so it is not entirely improbable). Elizabeth, I stayed at Hengrave Hall from 27–30 August 1578 and a chamber is named in her honour. The madrigalist John Wilbye was employed by the Kitsons at Hengrave and in London, as was the composer Edward Johnson.