View allAll Photos Tagged plasterwork
September 2015.
Various visits to properties on London Open House weekend.
The House of St Barnabas is a Grade One listed Georgian building with one of the finest Rococo plasterwork interiors in London. Soho Square was developed in 1679, but the house was substantially rebuilt in 1746. The rococo decorative scheme dates from 1754.
It currently operates as a private members club that generates revenue for its charitable projects.
The house is currently being monitored by Crossrail for subsidence and cracks as the tunnelling is taking place nearby.
The small cupola atop the dome over the nave of the church, all rebuilt following the serious damage caused by fire in 1988.
One of the City of London's best hidden churches, one could walk past St Mary at Hill and not know it was even there, its east wall faces the street but the lack of an east window makes its status less obvious, and one has to go through a gate further up to get any sense of the building from what little churchyard it has. The battlemented brick west tower can be glimpsed from here too over the rooftops, but needs to be seen from an alleyway to the west (not accessible from here).
St Mary at Hill has long been celebrated as one of the best surviving churches rebuilt by Christopher Wren after the Great Fire of 1666. The exterior isn't very distinguished (what one can even see of it!), but the interior with its central crossing dome is far more remarkable and a beautiful piece of design. What made it even more precious was that unlike so many of Wren's other churches this one survived without a significant Victorian makeover or severe damage during the Blitz, thus it retained its original furnishings and atmosphere practically intact.
Alas fate has been less kind since, with the church suffering a serious fire in the roof in 1988 which destroyed the dome and brought down most of the higher parts of the ceiling. The debris fell onto the important furnishings below and caused much damage, but the furnishings were not destroyed and quite repairable. By 1991 the roof and the dome were beautifully rebuilt exactly as they were and the church was structurally in sound order again. The organ and gallery at the west end were also restored and remain as Wren would have known them. The box-pews however were entirely removed along with the handsome pulpit and worst of all the richly carved reredos which was such a focal point of the interior, all being consigned to storage with no indication they will return. These items are important survivors and without them the church has the forlorn feel of an empty shell. I hope it is simply a case of awaiting funds to restore each item before they can be returned, but after 30 years it's not looking like anything will change soon. At least if the reredos and pulpit could be restored that would bring some life back to the interior, where the present drapery over the altar wall looks uncomfortably temporary, but it seems the present custodians are not keen on going back to a more cluttered interior again.
It was good to see this church nonetheless as I'd never managed to get inside before now. It is a beautiful space even in its empty state, even though one cannot help but dwell on what it would have been like when furnished. The central space under the dome is especially impressive. The font happily remains in the south-east corner and there are several monuments lining the walls here and in the porch. The organ and gallery are most impressive and have some beautiful carved details, including a fine royal arms on the south side. gain it makes you miss the rest of the furnishings here all the more.
St Mary at Hill is often open during the week, though I can't be any more precise with timing as I've had instances where I'd found it locked previously. It is still worth seeing even in its semi-denuded form as the internal space is lovely.
en.wikipedia.org/wiki/St_Mary-at-Hill
Uploaded originally for the 'Guess Where UK?' Group.
Plasterwork Royal Arms of Charles ll on the north nave wall, framed by Corinthian columns are by John Abbot of Culleigh and dated 1677 flic.kr/p/2qW7QXX
- Church of St. Mary & St. Gregory, Frithelstock Devon
seearoundbritain.com/venues/st-mary-and-st-gregory-church...
Detail of the painted plasterwork over the fireplace in the hall built by Robert Wynn in 1580. Note the construction of the fireplace lintel itself. This is made up of several pieces held in place by an ingenius design called a joggled joint. This allows a large space to be spanned where one length of stone is not available, or desirable. Such techniques are seen throughout this period and earlier. The great man himself, Lutyens (and others) went on to incorporate this feature in many of his houses in the early 20th century, highlighting it with the use of different coloured stone. The real glory of this fireplace, however, is the naive sculpted plaster painted overmantel. Compare to that in Buckland Abbey, Devon, the former home of Sir, Francis Drake. See my picture in that album.
This house, known as Cordwainers, dates from circa 15th century and is located in the High Street. It is a timber frame and plastered building with grade II listed protection. In the past it was the One Bell Inn but is now a private house. Note the different shapes and sizes of the timber beams, the colour of the plasterwork and the blocked up doorway on the right. A magnificent property!
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CORDWINDERS, 89, HIGH STREET, LAVENHAM
Heritage Category: Listed Building
Grade: II
List Entry Number: 1180830
Date first listed: 23-Jan-1958
Statutory Address 1: CORDWINDERS, 89, HIGH STREET
National Grid Reference: TL9153149291
Details
LAVENHAM HIGH STREET 1. 5377 (east side) No 89 (Cordwinders) TL 9149 50/581 23.1.58 II GV 2. A C15 timber-framed and plastered building at one time the One Bell Inn. It stands at the corner of Market Lane and High Street, with the walls leaning outward conspicuously. Roof tiled. Renovated, with most of the timber-framing exposed. Two storeys. Three window range of double-hung sashes with single vertical glazing bars. The ground storey has 2 splayed bays with slate roofs and there is an original blocked window on the upper storey. A central doorway has pilasters and cornice. On the south end there are some restored windows and one double-hung sash with glazing bars (2-light).
Listing NGR: TL9153149291
historicengland.org.uk/listing/the-list/list-entry/118083...
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LAVENHAM
Village in England
Lavenham is a village, civil parish and electoral ward in Suffolk, England. It is noted for its 15th-century church, half-timbered medieval cottages and circular walk. In the medieval period it was among the 20 wealthiest settlements in England.
Set in the lovely village of Lavenham, the Guildhall of Corpus Christi tells the story of one of the best-preserved and wealthiest towns in Tudor England.
When you step inside this fine timber-framed building, you'll feel the centuries melt away. You can discover the stories of the people who have used the Guildhall through its almost-500 years at the heart of its community, and learn about the men and women who have shaped the fortunes of this unique village.
en.wikipedia.org/wiki/Lavenham
www.travelaboutbritain.com/suffolk/lavenham.php
englandspuzzle.com/the-secret-of-the-lavenham-blue/
www.silvertraveladvisor.com/review/place/146603-lavenham-...
www.seeingthepast.com/blog/lavenham
www.thetouristtrail.org/guides/suffolk-guides/lavenham/
www.visitsuffolk.com/destination/lavenham
www.nationaltrust.org.uk/lavenham-guildhall/features/expl...
The plasterwork on the buildings are good; the decorative panels over the windows feature a caduceus.
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
four months into the project in Cornwall, plasterwork ready for shipping to London Foundry.
Work in progress on welded steelwork
The Palace Theatre Swansea is one of only two custom built music halls left standing in Britain. It is now sadly dilapidated, but still has stunning mouldings and architectural features.
Wentworth Woodhouse, Wentworth, South Yorkshire.
Grade l listed.
Whistlejacket Room with plasterwork by Joseph Rose Snr (c1723-1780), c1750-60.
The room takes it name from the painting of the racehorse, Whistlejacket, by George Stubbs (1724-1806). Whistlejacket was bought by the Marquess of Rockingham in the mid 1750s. Rockingham invited Stubbs to his home at Wentworth Woodhouse in 1762 and the painting is a result of that visit. It hung in this room until 1974 but is now in the National Gallery. The picture you see today is a copy.
Wentworth Woodhouse was built for Thomas Watson-Wentworth, 1st Marquess of Rockingham (1693-1750) from circa 1725, the work continuing over four decades, and then passed to the Fitzwilliam family. The house is now owned by the Wentworth Woodhouse Preservation Trust whose sole purpose is regeneration of the site for the benefit of South Yorkshire.
The east front was commenced by Ralph Tunnicliffe (d1736). His scheme was revised and completed by Henry Flitcroft (1697-1769) who continued on the interiors for Charles Watson-Wentworth, 2nd Marquess of Rockingham (1730-1782).
John Carr worked for the 2nd Marquess prior to heightening the service wings for William Wentworth-Fitzwilliam, 4th Earl Fitzwilliam (1748-1833).
17th century plasterwork
Przykro mi, że będę wolna wypowiedzieć ponieważ nowe Flickr jest tak powolny.
Detail of the plasterwork ceiling and painting of Ganymede and the Eagle in the Queen's Closet at Ham House, Richmond-upon-Thames, Surrey.
Chastleton House, Chastleton near Moreton-in-Marsh, Oxfordshire
Great Chamber
A frieze incorporates a total of 24 painted roundels representing 12 Old Testament prophets and their pagan female counterparts, the 12 sibyls of antiquity (who also had the gift of prophecy).
The Phrygian Sibyl
The Delphic Sibyl
The Cumaean Sibyl
The Erythraean Sibyl holding a Lamb
The Samian Sibyl holding a Crown of Thorns
painted 1610/15
Plasterwork of the 1750s, featuring the sort of waterfowl and game birds that could be shot in the countryside surrounding the house.
Behind the portico is the main room, located inside the tower known as Las Damas.
The wall decoration typically consists of a tile socle and wide stretches of plasterwork that originally were polychromatic friezes with wooden frameworks. Its decorative style suggests that it was built during the reign of sultan Muhammad III (1302-1309), making it the oldest—if only partially standing—palace in the Alhambra.
One of the reasons why the Palace of the Partal stands out from its neighbouring Comares and the Lions, which have maintained their overall structure since the days of the Nasrid, is that the Partal was only included in the Alhambra a little more than a century ago.
On 12 March 1891, its owner, Arthur Von Gwinner, handed ownership over to the State. At that time the building was little more than a simple house with a few plants. Its interior walls were covered over so that much of the structure and its original decoration were hidden from view.
Another detail of note is the fact that the wooden ceiling of the upper balcony in the Tower of the Ladies was dismantled by its last owner, turning up early last century in Berlin. It is currently one of the most prominent objects to be found in the Museum für Islamische Kunst del Staatliche Museen Preussischer Kulturbesitz.
The Prince’s Suite (Cuarto del PrÃncipe) in the Palace of King Pedro I is named after the second son of Ferdinand and Isabella, as legend has it that this is where he was born. A hall bookended by two smaller rooms, the suite combines elements of Mudéjar and Renaissance decoration.
Kedleston Hall, Derbyshire
The Marble Hall
Painting:
Night distributing her Poppies with Morpheus Sleeping
British (English) School 1759/69
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.
Adam and Eve:
creation of woman and tasting of the fruit of the tree of knowledge
Lanhydrock
National Trust
near Bodmin, Cornwall
Hardwick Hall, N T, Derbyshire
Hardwick Old Hall
Mr Reason's and Mr Digby's Chambers - these were two of Bess's gentlemen servants.
Overmantel for Mr Reason's Chamber (left)
based on Aser milking a goat (Dirck Coornhert, after Maarten van Heemskerch ' The Twelve Patriarchs" 1550)
Overmantel for Mr Digby's Chamber
The Personification of Air
based on a set of prints showing the Elements (Crispijn de Passe the elder after Maarten de Vos)