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'Step through the front door and your expectations evaporate in amazement and delight': The humble end-of-terrace house that's a wonder of neo-Classical grandeur
This article details the extraordinary transformation of an unassuming 1910 end-of-terrace house in Swansea, owned by Royston Jones and Fiona Gray. From its outwardly modest appearance, the interior reveals a remarkable collection of neo-Classical decorative plasterwork, demonstrating a deep appreciation and scholarly knowledge of late 18th-century English architecture and decorative arts. The owners, particularly Mr. Jones, have meticulously crafted these interiors, creating spaces that evoke the grandeur of larger estates but are scaled to their home.
Mr. Jones's passion for architecture originated from his childhood experiences at grand estates, specifically Heveningham Hall, which fostered an admiration for the work of architect James Wyatt. His recovery from illness during his studies in London led him to more academic research into architecture and the creation of models. He later met Fiona Gray, whose organizational skills and support were instrumental to his work. Their first significant commission in 1985 involved a detailed model of Sledmere’s drawing-room, complete with miniature furniture and artwork, earning acclaim.
Their work also includes exhibitions of Wyatt's watercolour designs and interiors of English and Russian country houses, as well as contributions to plasterwork restoration at Home House in Portman Square. This extensive experience has been channeled into their Swansea home, which Mr. Jones describes as an evolving project driven by a desire for experimentation and enjoyment. The interiors, though meticulously planned, have seen several iterations, with ceilings and decorative elements being refined over time.
The house's entrance, despite its narrowness, immediately introduces visitors to this neo-Classical wonderland. A fibreglass Georgian fanlight over the inner door sets the tone. A small storeroom features a ceiling copied from George Richardson’s 1774 publication, 'A Book of Ceilings in the Style of the Antique Grotesque.' Mr. Jones has adapted Richardson's designs, re-proportioning them and substituting figures with generic Classical scenes, all executed in watercolour. He emphasizes that the colors used are carefully researched and mixed, often based on unique colored copies of Richardson's engravings.
The dining room also features a Richardson-inspired ceiling from a 'breakfasting room' design, augmented with a cornice, frieze, and a chimneypiece inspired by an unexecuted Wyatt drawing for Heveningham Hall. The staircase, a visually distinct element, is adorned with dense white and two-tone grey ornamentation, drawing inspiration from Georgian staircases and specifically the magnificent plasterwork of Belvedere House in Dublin, which itself was influenced by Adam brothers' designs.
Fiona Gray's study is decorated based on a Wyatt design for Curraghmore, Co Waterford, and the main bedroom ceiling takes its inspiration from a Robert Adam design at Headfort, Co Meath. The creation process involves modelling elements in plasticine or clay, from which silicon rubber moulds are made. These moulds are then used to cast plaster pieces, allowing for the replication of intricate designs at a relatively low cost. Currently, only one room, a rear bedroom, remains unfinished, with Mr. Jones contemplating a future design, possibly an Etruscan room. He expresses a desire for a larger canvas, such as a commission, to fully explore his creative visions. Meanwhile, he continues to create models of late 18th-century rooms, including elements for a model of the entrance hall to Heveningham Hall, underscoring his belief in Wyatt's architectural genius.
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