Maud Russell was a force of nature at Mottisfont, turning it from a lovely but unassuming abbey into the social and artistic nerve centre of the 1930s. With her sharp taste and a knack for befriending the talented and slightly eccentric, she brought in artists, writers, and dreamers—transforming Mottisfont into a place where the boundary between work and whimsy seemed to blur. Among her regular guests was Rex Whistler, that wonderfully theatrical painter who seemed to revel in the chance to add his own layer of magic to the place. His mural in the drawing room is a marvel: romantic, whimsical and all Whistler. It’s as though he painted it with a wink, crafting landscapes that seem real until you catch a playful detail—a nod to Maud’s sense of humour, no doubt.

Whistler wasn’t the only one who found himself enchanted by Maud and her vision for Mottisfont. She invited in Boris Anrep and other contemporary artists, filling the house with modern pieces that clashed (in the best possible way) with its ancient bones. Even when troops camped out here during the war, Mottisfont kept its strange, alluring spirit intact, thanks to Maud’s dedication to making it more than just a country house. Today, stepping inside feels a bit like meeting her ghost: the art on the walls, Whistler’s mischief in the corners—it all feels like Maud is still there, quietly reminding you that this isn’t just a historic estate; it’s her own enduring bit of theatre.