Ceiling rose
Maker & role
Unknown, Maker
Production date
1898
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Object detail
Production place
Measurements
Diam: 122cm (Diam: 1220mm)
Production notes
A section of a similar moulding from the workshop of architectural modellers T Grounds and Sons, Newtown, is held in the MAAS and on display in the Discovery Centre, Castle Hill. It is possible the Kirnbank ceiling rose was cast from a mould in the Grounds’ range.
Credit line
Gift, Paul Storm, 1993
Caroline Simpson Library & Research Collection, Museums of History New South Wales
Caroline Simpson Library & Research Collection, Museums of History New South Wales
Caption
Ceiling rose, cast plaster, 1898
Description
This ceiling rose was cast in plaster of Paris and dates to 1898. It was removed from the ballroom of Kirnbank, a now demolished house in the Sydney suburb of Arncliffe, NSW and is an example of architectural ornament used in large Australian houses of the late 19th century.
The rose is decorated in relief, with classical style scallops filled by Australian Christmas bells, flannel flowers and waratahs in a bed of native ferns. These are rendered in the naturalistic style of the late 19th century and finished with paint and gold gilt in the traditional manner for grand reception rooms.
Influential French born artist Lucien Felix Henry [1850-1896] arrived in Sydney in 1879 and became a teacher at the Sydney Technical College, promoting state involvement in art education and the interdisciplinary work linking the arts and industry. At a time when the movement towards federation was gaining momentum, he advocated ideas of an Australian style and realised the use of Australian flora and fauna in combination with classical decoration. Flannel flowers, waratahs and ferns were among the popular native motifs being used in designs for the applied ornament in decorative plasterwork.
Decorative plasterwork could be produced by a skilled plasterer working on site, or purchased pre-cast from manufactureres. Models were fashioned by hand and from these, moulds were created. Works could then be cast and once dry, applied to ceilings or cornices. Weight necessitated elaborate works be cast from a number of moulds. Known as piece moulding, the cast sections were fixed in situ with plaster putty.
It was common for 19th century architects, builders and house owners to use pattern books and manufacturers’ trade catalogues when choosing decorative styles for interior schemes. The workshop of architectural modellers T Grounds and Sons, Newtown held a moulding identical to this rose and it is possible the Kirnbank ceiling rose was cast from a mould in the Grounds’ range.
'Kirnbank' was built around 1894 as a two storey bachelor house by civil engineering and railway works contractor Justin McSweeney [b.1852 d.1919]. In 1898 a three storey wing was added, which included an elaborately decorated ballroom. Works were conducted in anticipation of McSweeney’s marriage to Emily Ada Dawson, daughter of the proprietor of Dawson’s Hotel in Regent St, Sydney. However, Emily preferred to reside in Elizabeth Bay and the house was instead occupied by McSweeney’s sister and niece. Kirnbank was later tenanted from 1940-1954 and by 1955 was occupied by squatters. The property was sold in 1955 and used as a factory office until its demolition in the mid-1980s for factory extensions. The rose was removed prior to demolition by the donor.
In 1991 Archibald Zammit-Ross of A&J Conservation Services was commissioned to conserve the Kirnbank ceiling rose. It was discovered that the 24 pieces acquired by Historic Houses Trust of NSW (now MHNSW) in 1993 were from two identical, but incomplete, roses installed in the ballroom. The decision was made to make one complete design from the two, ensuring assembly without the need for new infill plasterwork. A flexible and removable latex film was used between the joins and, in order to retain the historical significance of the work, no re-painting or gilding was performed. It was believed this form of conservation would enable better study of the design and interpretation and display of the object. The remaining pieces were used to further research the composition, construction, pigments and finishes used in late 19th century Australian plasterwork.
The rose is decorated in relief, with classical style scallops filled by Australian Christmas bells, flannel flowers and waratahs in a bed of native ferns. These are rendered in the naturalistic style of the late 19th century and finished with paint and gold gilt in the traditional manner for grand reception rooms.
Influential French born artist Lucien Felix Henry [1850-1896] arrived in Sydney in 1879 and became a teacher at the Sydney Technical College, promoting state involvement in art education and the interdisciplinary work linking the arts and industry. At a time when the movement towards federation was gaining momentum, he advocated ideas of an Australian style and realised the use of Australian flora and fauna in combination with classical decoration. Flannel flowers, waratahs and ferns were among the popular native motifs being used in designs for the applied ornament in decorative plasterwork.
Decorative plasterwork could be produced by a skilled plasterer working on site, or purchased pre-cast from manufactureres. Models were fashioned by hand and from these, moulds were created. Works could then be cast and once dry, applied to ceilings or cornices. Weight necessitated elaborate works be cast from a number of moulds. Known as piece moulding, the cast sections were fixed in situ with plaster putty.
It was common for 19th century architects, builders and house owners to use pattern books and manufacturers’ trade catalogues when choosing decorative styles for interior schemes. The workshop of architectural modellers T Grounds and Sons, Newtown held a moulding identical to this rose and it is possible the Kirnbank ceiling rose was cast from a mould in the Grounds’ range.
'Kirnbank' was built around 1894 as a two storey bachelor house by civil engineering and railway works contractor Justin McSweeney [b.1852 d.1919]. In 1898 a three storey wing was added, which included an elaborately decorated ballroom. Works were conducted in anticipation of McSweeney’s marriage to Emily Ada Dawson, daughter of the proprietor of Dawson’s Hotel in Regent St, Sydney. However, Emily preferred to reside in Elizabeth Bay and the house was instead occupied by McSweeney’s sister and niece. Kirnbank was later tenanted from 1940-1954 and by 1955 was occupied by squatters. The property was sold in 1955 and used as a factory office until its demolition in the mid-1980s for factory extensions. The rose was removed prior to demolition by the donor.
In 1991 Archibald Zammit-Ross of A&J Conservation Services was commissioned to conserve the Kirnbank ceiling rose. It was discovered that the 24 pieces acquired by Historic Houses Trust of NSW (now MHNSW) in 1993 were from two identical, but incomplete, roses installed in the ballroom. The decision was made to make one complete design from the two, ensuring assembly without the need for new infill plasterwork. A flexible and removable latex film was used between the joins and, in order to retain the historical significance of the work, no re-painting or gilding was performed. It was believed this form of conservation would enable better study of the design and interpretation and display of the object. The remaining pieces were used to further research the composition, construction, pigments and finishes used in late 19th century Australian plasterwork.
Accession number
L90/38-11
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