View allAll Photos Tagged plasterwork
markings on hentley farm's cellar door walls from the time the pug stone house was used as a shearing shed.
Estuques e Gessos Decorativos . Estucadores . Restauro e Conservação de Estuques e Gessos Decorativos . Sancas de Gesso . Restauro de Tectos Antigos. Candeeiros de Gesso. Apliques de Gesso. Sancas de Luz Indirecta. Florões para tectos. Aros em Gesso
J and A G Johnston Ltd of Oakbank presented the hall committee with a half acre block of land suitable for a public hall. Six guarantors pledged the sum of £600 towards the hall cost. A Plowman, a mason, did the foundation work free of cost, while H Coppin gave the necessary stone from his paddock near Littlehampton. This was quarried and carted by voluntary labour.
Monday 27 January 1919 saw residents and many visitors assembling to witness the laying of the foundation stone. The name of the hall to be “Littlehampton Peace Memorial Institute”.
James Legg JP, of Blakiston laid the stone. The ceremony was followed by a long program of sports, stalls, luncheon and afternoon tea.
The dimensions of the new hall are length 55 feet, of which is to be allowed 15 feet for a stage; width 30 feet; height of walls 14 feet.
The Mount Barker Brass Band enlivened the proceedings during the afternoon with a liberal program of musical items, and the committee appreciate the valuable assistance of the bandsmen.
Saturday 29 August 1936 saw the laying of a Foundation stone of the additions to the Institute and a South Australia Centenary tablet at the front of the hall.
The Foundation tablet was laid by Mrs W Nitschke, of Littlehampton, who, with her family, has been a consistent supporter of the hall, and still takes an active interest in anything for the benefit of that institution.
The Centenary tablet was laid by Mr J A Coppin, one of the oldest residents of the town, living there for over 80 years. Mr. Coppin is one of the original trustees and guarantors of the hall, and he has always taken an interest in anything for the welfare of the town.
On 29 May 1954 hundreds gathered for the laying of the foundation stone of the War Memorial supper room and kitchen. The stone was laid by the Hon A G Cameron, MHR, in honour of those who served in World War Two.
Secretary of the appeal committee, Mr. M. J. O'Malley, briefly outlined the history of the appeal. He said that although the War Memorial supper room and kitchen was mooted in 1945 building restrictions had for a period of years prevented commencement of the project. Progress since work commenced has been good and the walls have been completed ready for roofing. Overall measurements of the two rooms when finished will be 60 feet long by 25 feet wide. Anticipated total cost is £2000.
"This stone was laid by Hon. A. G. Cameron, M.H.R. on Saturday, 29th May, 1954,
in honour of those who served in World War II."
Ref: Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 31-1-1919, 3-9-1936, 2-6-1954.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
Curious decorative plasterwork in what would would have been a bedroom. The fleur de lys motif is almost disturbingly fleshy.
Detail of the plaster cast of the Portico de la Gloria from the cathedral of Santiago de Compostela.
It is really hard to believe this is just a fragile plaster replica and not real stone - it looks so substantial.
Crammed full of Medieval and Tudor period buildings, one of historic Saffron Walden’s oldest buildings is the Old Sun Inn. Built in the 14th century, it is rumoured that Oliver Cromwell and General Fairfax stayed here when they passed through Saffron Walden during the Civil War in the reign of Charles I. Samual Peyps is also rumoured to have stayed here. The outside of the building features elaborate (pargetry) plasterwork of the legendary Tom Hickathrift and Wishbech Giant. The building is still in use today as an antique shop.
Taken with my Canon 450d.
Part of a plasterwork frieze (probably sixteenth or seventeenth-century) running all the way round the room, showing various hunting scenes in which almost every imaginable type of creature is about to meet a violent end.
Here, an ostrich hunt.
Seventeenth century decoratie plasterwork ceiling in one of the major rooms of Wroxton Abbey School, Oxfordshire.
Part of a plasterwork frieze (probably sixteenth or seventeenth-century) running all the way round the room, showing various hunting scenes in which almost every imaginable type of creature is about to meet a violent end.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
Huge cracks were appearing in our plasterwork even in the late 50s - possibly a consequence of a nearby stick of bombs almost twenty years earlier.
Proscenium above the former bimah. Among the last of the Sanctuary plasterwork to be removed.
Mamiya RZ67
Acros 100
Scanmate 5000
Virtually nothing of the house's interior survives in situ, apart from some fragments of plasterwork in imitation of rusticated stonework on the main stairs. The staircase itself apparently found a new home in a local inn after the dismantling of the house.
Casa del Gigante
architectural details at a 13th-14th century house-museum
Ronda, Spain
the house takes its name from a Phoenician / Punic statue of a supposed giant that's been here for many hundreds of years.
IMG_7786
Clare, Suffolk. Dated 1473, a pargetting tour de force.
Pargetting is the art of external decorated plasterwork and although it is not exclusive to Suffolk it was practised here with enthusiasm from the late-Tudor period right up until World War One. With the ‘wattle and daub’ method of construction (pargetting being suitable only for a lathed and timbered backing) the craft became an important and integral part of the building trade until bricks became more freely available. The pargetter would press the moulds of wet plaster (usually a mixture of slaked lime, sand, hair and the inevitable ‘secret ingredient’, known only to individual craftsmen) to the house exterior until it was fixed. Pargetting patterns came in a variety of forms including friezes (using ribbons of chevrons, scallops, fantails or dots), overall frames enclosing motifs, geometrical or floral designs, and coats of arms. The popularity for pargetting in Suffolk is often attributed to the plasterers who arrived here from the Low Countries and many of the parget themes are similar to those fashioned by Flemish craftsmen.
Lanhydrock is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons. Boasting the best in country-house design and planning, the kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant
Former Georgian House in Dublin (now a convent) with fine examples of decorative plasterwork and ornament
The Mexuar was a public reception hall for the Sultan built in the early 14th century by Isma’il. It has since undergone so many alterations and restorations that it is difficult to determine the original layout of the space. The coffered ceiling is from the Christian period. Attached to the Muxar is an oratory.
Kedleston Hall, Derbyshire
The Marble Hall
Entering the house through the great north portico on the piano nobile, one arrives at the marble hall designed to suggest the open courtyard or atrium of a Roman villa.
Twenty fluted alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. The alabaster was from a local quarry and the columns were not fluted until a decade after they were installed.
Niches in the walls contain classical statuary - plaster copies of statues of gods and heroes that Curzon acquired in 1757. Above the niches are grisaille panels. In front of the statues are a set of painted benches designed by Robert Adam and made by John Linnell, customised with the Curzon arms.
The floor is of inlaid Italian Carrera marble and Hopton Stone and was laid in 1763.
Matthew Paine's original designs for this room intended it to be lit by conventional windows at the northern end, but Robert Adam, warming to the Roman theme, lit the whole from the roof through innovative glass skylights.
The decoration of the Hall was not completed until 1776/7. A palette of soft pinks and greens was devised for the ceiling incorporating plasterwork by Joseph Rose containing panels of classical military trophies. Paintings on the wall show scenes from the Iliad and other classical sources.
The Musée Picasso is housed the Hôtel Salé, rue de Thorigny, in the Marais district of Paris, a beautiful 17th century building that was once home to Pierre Aubert. The architect was Jean Boullier from Bourges. The chandeliers are the work of Diego Giacometti
A detail of the staircase and plasterwork ceiling
Ceiling of the chapel at the east end of the north aisle at St Mary's church in Kersey.
Uploaded originally for the 'Guess Where UK?' Group.
Work carried out by CS Interiors www.cs-interiors.co.uk leading plaster mouldings supplier. Large Pineapple Cornice
Pargetting ( sculpted plasterwork) on the frontage of the Ancient House, Ipswich. A Grade 1 listed building, it dates back to the 15th century but the plasterwork was a later addition ( between 1670 and 1680) by owner, Robert Sparrowe. It was restored in the 1980s and refreshed in the past couple of years. This piece shows the popular medieval Christian symbol of the Pelican in her Piety, a bird thought to have fed her chicks with blood from her own breast and thus adopted as a symbol of the sacrifice of Christ.
The painted Mudejar coffered ceiling gives this room its name. Part of the Comares Palace, it was built by Mohammed V. It is on the north side of the Patio of the Gilded Room opposite of the Facade of the Comares (Fachada de Comares).
Kibby was born at Winlaton, County Durham, England. In early 1914, the family emigrated to Adelaide, where Bill attended Mitcham Public School. After leaving school he was employed at a plasterworks in Edwardstown, where he designed and fixed plaster decorations. In 1926, he married Mabel Sarah Bidmead Morgan; they lived at Helmsdale and had two daughters.
Although he was diminutive (168 cm (5 ft 6 in)), Kibby was a strong man and loved outdoor activities. In 1936, he joined the Militia, and was assigned to the 48 Field Battery, Royal Australian Artillery.
Second World War
Kibby joined the Australian Imperial Force during Second World War. In 1942, he was a Sergeant in the 2/48th Infantry Battalion (South Australia), during the North African campaign.
At the Battle of El Alamein, during the period of 23–31 October 1942, Kibby distinguished himself through his skill in leading a platoon, after his commander had been killed, during the initial attack at Miteiriya Ridge. On 23 October, he charged a machine gun position, firing at it with his Thompson submachinegun; Kibby killed three enemy soldiers, captured 12 others and took the position. His company commander intended to recommend him for the Distinguished Conduct Medal after this action, but was killed. During the following days, Kibby moved among his men directing fire and cheering them on. He mended his platoon's telephone line several times under intense fire. On 30–31 October, the platoon came under intense machine gun and mortar fire. Most of them were killed or wounded. In order to achieve his company's objective, Kibby moved forward alone, to within a few metres of the enemy, throwing grenades to destroy them. Just as his success in this endeavour appeared certain, he was killed.
His Victoria Cross was awarded posthumously and is displayed at the Australian War Memorial. He is buried at the Commonwealth War Grave at El Alamein.
Kedleston Hall, Derbyshire
The Marble Hall
Entering the house through the great north portico on the piano nobile, one arrives at the marble hall designed to suggest the open courtyard or atrium of a Roman villa.
Twenty fluted alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. The alabaster was from a local quarry and the columns were not fluted until a decade after they were installed.
Niches in the walls contain classical statuary - plaster copies of statues of gods and heroes that Curzon acquired in 1757. Above the niches are grisaille panels. In front of the statues are a set of painted benches designed by Robert Adam and made by John Linnell, customised with the Curzon arms.
The floor is of inlaid Italian Carrera marble and Hopton Stone and was laid in 1763.
Matthew Paine's original designs for this room intended it to be lit by conventional windows at the northern end, but Robert Adam, warming to the Roman theme, lit the whole from the roof through innovative glass skylights.
The decoration of the Hall was not completed until 1776/7. A palette of soft pinks and greens was devised for the ceiling incorporating plasterwork by Joseph Rose containing panels of classical military trophies.
Wall Painting:
Aurora riding her Chariot (from the Arch of Constantine)
The plaster barrel vaulted ceiling in the Long Gallery was completed just before the outbreak of the Civil War in 1642, probably
by a Devonshire family of plasterers, the Abbots of Frithelstock near Bideford.
It has 24 panels showing scenes from the Old Testament separated by a pattern of smaller panels showing birds, beasts and heraldic symbols.
Jacob with Leah and Rachel and Jacob putting his children and wives on camels
Lanhydrock
National Trust
near Bodmin, Cornwall
Abingdon Guildhall is a collection of buildings originally associated with the town's abbey (which was suppressed and demolished at the Reformation) but much rebuilt and adapted since then. The Roysse Room began as the hall of the Hospital of St John, which looked after the sick and other visitors to the abbey. In the 1560s it was taken over by John Roysse's grammar school, eventually being bought by the town in the 1870s. The ceiling plasterwork in seventeenth-century style apparently dates from a restoration of 1911.
I visited the Guildhall as part of the Heritage Open Days 2010.
Detail of the magnificent plasterwork ceiling
Originally posted for GuessWhereUK
guessed by david99b
Country house, now derelict. Owned by the National Trust and managed by English Heritage. Early C16 and 1587-90. Coursed rubble sandstone and ashlar. Roofless. Remains of coped gables and parapets. Four and five storeys over a basement storey. Chamfered plinth. Irregular plan and elevations. South elevation of ten bays. The two bays on the left project and have a plain parapet. A single and a 3-light mullioned window to the basement; two cross windows above and above again, and two 3-light windows above again with three transoms. Taller parapetted bay to the right has above the basement five 3-light windows with one and two transoms. Two irregular gabled bays set back to the right have cross windows and 3-light windows with transoms. The second gable has an external stack. To the right is a projecting parapetted and gabled bay with cross windows and 3-light mullioned and transomed windows. Segmental relieving arches. Projecting range to the right has two square bays with the remains of 3-light windows with transoms, the top storey with three transoms. The north elevation is in its east parts completely ruinous. Four bays virtually intact to the right, with a gable and a parapet. The basement floor has two and 3-light mullioned windows, the two floors above have cross windows, and the top floor has 3-light windows with two and three transoms. Chamfered coped walls enclose a rectangular area to the north, and at the north east corner is a two storey lodge; rendered, with quoins and a balustraded parapet. Three-light mullioned and transomed windows to the ground floor and similar three and five-light windows above. The plan of the Old Hall is significant in its revolutionary placing of the hall across the house, at a right angle to the facade. The house had two full scale great chambers and there are substantial remains of decorative plasterwork by Abraham Smith... EH Listing
Listed Grade 1 "TQ 2981 SE CITY OF WESTMINSTER GREEK STREET, W1 58/23 No. 1 (House of St. 24.2.58 Barnabas) - I Corner terrace house with Soho Square. c.1744-46 by Joseph Pearce, the interior fitted out with very fine plasterwork etc. for Richard Beckford, brother of the Alderman in 1754. Stock brick, slate roof. Plain rather old fashioned elevations in keeping with Soho Square. 3 storeys, basement and dormered mansard. 5 windows wide and 4 window return to Soho Square. Entrance in 2nd bay from right has stone architrave with consoles carrying cornice. Recessed glazing bar sashes in stucco reveals under flat gauged arches, blind in chimney breast bay and to left on 2nd floor to Greek Street. Brick plat bands and sill bands, the 1st floor sill band of stone, brick parapet with coping. Wrought iron urn finialed area railings and stone obelisks flanking the steps to doorway. The interior finished in carved wood and moulded plaster is one of the best surviving examples in London of mid C18 Rococo decoration with pedimented ornamental chimneypieces, carved pedimented doorcases, stone staircase with wrought iron openwork balusters and plasterwork panels to 1st floor level of compartment, etc. ceilings, cornices etc. A chapel was added in the former stable yard and to Manette Street for the House of Charity by Joseph Clarke in 1862, stone built in a bold c.1300 Burges related style of Gothic, 2 bays with an east apse and pairs of apsed chapels off each side of the lofty narrow nave; marble facings and mosaic work; large rose window in west wall. Survey of London; Vol. XXXIII. Listing NGR: TQ2976481213" Historic England
"No. 1 Greek Street is the House of St Barnabas, built in 1746. It became the offices of the Westminster Commissioner for Works for Sewers in 1811. This is where Chief Engineer Sir Joseph Bazalgette started to work on the construction of the London sewerage system. By 1862 the house had been taken over by The House of Charity, which was established in 1846 to provide temporary accommodation for homeless people. Charles Dickens used the house and gardens as a model for the London lodgings of Dr Manette and Lucy in A Tale of Two Cities." wikipedia