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The opulent rococo plasterwork was created by the Swiss-Italian stuccadore Filippo Lafranchini, who, with his older brother Paolo, had worked at Carton and Leinster House for Lady Lousia’s brother-in-law, the first Duke of Leinster, as well as at Russborough in Co. Wicklow. Shells, cornucopias, dragons and masks feature in the light-hearted decoration which represents the final development of the Lafranchini style. Family portraits are also included with Tom Conolly at the foot of the stairs and Louisa above to his right. The four seasons are represented on the piers and on either side of the arched screen. castletown.ie/the-house/
Castletown House, County Kildare, Ireland, is a Palladian country house built in 1722 for William Conolly, the Speaker of the Irish House of Commons. It formed the centrepiece of a 550-acre (220 ha) estate. Sold to developers in 1965, the estate is now divided between State and private ownership. en.wikipedia.org/wiki/Castletown_House
In its day The Tooting Granada would hold 2.5k people for 3 shows a day, 7 days a week. Unfortunately, I didn't have a flash on my camera and the building was poorly lit for our visit a couple of weeks back. But you get a feeling of scale here. Can you believe that Frank Sinatra, Vera Lynn, The Beatles and Jimi Hendrix all played here!
Sutton Scarsdale Hall, Derbyshire, 1724.
By Francis Smith of Warwick (1672-1738).
For Nicholas Leke, 4th Earl of Scarsdale (1682-1736).
Roofless since 1919, when its interiors were dismantled and some exported to America.
Grade l listed.
Stucco plasterwork by Italian craftsmen. A number of these panels remain. They were located above fireplaces long since removed.
Originally built by Thomas Ripley to designs by Sir Christopher Wren, the chapel was severely damaged in a fire of 1779. It was redesigned by James Stuart in 1781-98 and restored in the 1950s. The fine ceiling plasterwork is by John Papworth.
Chastleton House, Chastleton near Moreton-in-Marsh, Oxfordshire
Sheldon Bedchamber
Plaster Frieze
The arms shown in the fireplace overmantel are those of Sheldon impaling Ruding. Elements of these arms (lions and birds) are included in the plaster frieze. Although there was no marriage with the Sheldons the room was decorated by Walter Jones in honour of them.
Haddon Hall, Bakewell, Derbyshire
The State Bedroom
The C16 plaster relief over the fireplace shows Orpheus with his lute charming the beasts, flanked by with large telamones.
Fragment of decorative plasterwork found on the corner of Lower Brook Street and Tacket Street, Ipswich, Suffolk
The original house at Kenwood was probably built in the early 17th century. It was transformed by Robert Adam in the 1760s and 1770s into a fine neoclassical villa for the 1st Earl of Mansfield - the greatest judge of his day. In 1925 it was bought by a member of the Guiness family to house his art collection. It was taken over by English Heritage in 1986. In 2012 an extensive refurbishment costing nearly £6 million was started -the house re-opened to the public at the end of 2013.
www.english-heritage.org.uk/daysout/properties/kenwood/hi...
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).
Whitewashed plasterwork detail catching the light. Mykonos, Cyclades.
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A decorative plaster scroll in the St Albans Museum in Hertfordshire, housed in the former Town Hall
Recently restored plasterwork ceiling in the grand salon at Somerset House, Halifax.
Somerset House was built in 1766 for local textile merchant John Royds, to a design by John Carr. The plasterwork was completed by Giuseppe Cortese, and is said to have taken ten years and £2,000 to complete. Nepture here is modelled on Mr Royds himself, with his daughters as nymphs.
The house was disused and hidden behind a row of shops for many years, but has recently been redeveloped. This room is now used for weddings and other ceremonies.
Calke Abbey, N T, Derbyshire
The Dining Room
The unusual paintings of classical figures and cupids are surrounded by fine plasterwork.
Lighting was from the ceiling lamps filled with colsa oil, a vegetable oil which did not smell or smoke. Electricity was not brought into the house until 1960.
The three-dimensional effect, is more than an effect. Real branches of trees, slit in half, were used as the base for the plaster.
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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
The Long Gallery at Burton Constable stretches along the upper floor of the west front. It was built in the C16th. Around the tops of the walls is a plasterwork frieze of creatures - real and mythical. Its style is neo-Jacobean and it dates from the 1830s when the Clifford-Constable’s undertook a programme of extensive redecoration.