Tristram Hillier, R.A.

Laurence Olivier and Vivien Leigh acquired their ultimate home, Notley Abbey, in 1944. The house was a remnant of the once vast 12^th century abbey and originally the Medieval Abbot’s Lodge. It was to provide a respite from their busy lives and the ravages of war-torn London and became an intoxicating project: ‘It was absolutely enchanting, and it enchanted me. At Notley I had an affair with the past. For me it had mesmeric power; I could easily drown in its atmosphere. I could not leave it alone, I was a child lost in its history. Perhaps I loved it too much, if that is possible’ (Laurence Olivier, Confessions of an Actor, London 1982, p.115). In addition to its great age and romance, there was also a sense of theatre about Notley as Cecil Beaton noted in a letter to Greta Garbo: ‘the life they lead is most suitable for Shakespearean actors. The whole atmosphere of the place is suitable for performances of Twelfth Night, Midsummer Night’s Dream and Hamlet’ (quoted in Philip Ziegler, Olivier, London, 2013, p.175).

Olivier took charge of the grounds and gardens whilst Leigh collaborated with John Fowler, legendary founder of Colefax and Fowler, on the interior decoration and the walls were richly hung with her art collection. Whilst on tour around the world, Vivien famously brought her favourite pictures with her – visitors to her dressing room were as likely to experience a masterpiece by Degas or Renoir as they were the iconic actress herself. She became close friends with Sir Kenneth Clark who introduced her to many of his protégés such as John Piper who also painted Notley. He may well also have introduced her to Tristram Hillier who painted the present work in the mid 1950s.