The House
Colet House has the largest single studio in London, long enough to hold a cricket pitch, and two other substantial studios. In the 1930s Colet attracted emigrés from post-revolution Russia and the ballet teacher Nicolai Legat from St Petersburg established his renowned school here, attracting dancers from all over the world.
The story of Colet House
Construction began in 1885 on a then called Red Cow Lane, when Barons Court and surrounding neighbourhoods were attracting figures from the arts and literary circles.
Edward Burne-Jones (1833-1898) took the house when seeking studio space large enough to house his mammoth canvas “The Last Sleep of Arthur in Avalon”. Maud Beddington, painter of children and fairies, and friend of Burne-Jones took space between 1897 and 1938 and his son, Philip (1862-1926) was another a long term Colet House occupant.
They subsequently leased the house to the Post Office savings Bank and from 1920-24 it housed their records.
During the 1920s - mid 30s the surrounding neighbourhoods became a centre for East European émigré’s, and Baron’s Court was known as ‘Little Russia’. Nicolai Legat, (1869 – 1937), the only person ever to have held the three roles of Imperial Russian ballet master, acquired the lease to house his own Legat Dance Studio.
When he died in 1937, his widow, Nadine Nicolaeva, sold the Colet House lease to P.D. Ouspensky and his followers.
P.D. Ouspensky, philosopher, author and teacher of the Fourth Way stayed and lived here before and after World War II. Upon his death Ouspensky charged one of his closest pupils, Dr Francis Roles, founder of The Study Society, to continue the exploratory. Dr. Francis Roles registered The Study Society as a member based organisation in 1951.
The house was designed by Fairfax Blomfield Wade-Palmer to be two artists’ household.
Each to left and right of the shared main entrance, and each having a self-contained suite of studios and domestic accommodation. This symmetrical arrangement was maintained throughout three floors - with shared access to a top floor reception room opening on to the magnificent Top Studio - for many years the largest artist’s studio in London. There is still the outline of a trap door access for stone and sculptures to be hoisted in and out by lift. Around 1920s the front first floor balcony was encased with a glass conservatory.
The main central staircase we see today was added in Ouspensky’s time to give easier access for the crowds of 300 plus who would attend his lectures in the Top Studio.
