[63] Preliminary design for ornamental panels for Lady Wynn's dressing room, 1775, possibly executed

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Robert and James Adam office drawings
- Town houses
  - London
    - St James's Square, number 20, London, designs for a house and interiors for Watkin Williams-Wynn, c1772-1777 (99)
      - Preliminary design and finished drawing for Lady Williams-Wynn's dressing room, c1773-75 (2)

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Reference number

SM Adam volume 52/60

Purpose

[63] Preliminary design for ornamental panels for Lady Wynn's dressing room, 1775, possibly executed

Aspect

Above – Elevation of a square ornamental panel containing a central mask set within a wreath, and this crossed by bands of calyx enclosed within wreaths Centre – Elevation of a rectangular ornamental panel containing a tripod flanked by arabesques and tubular flowers supporting anthemia. The tripod bears female figures supporting a platform surmounted by a tubular flower. Above, a central rosette is set within a calyx wreath and flanked by festoons Below- Elevation of an ornamental rectangular panel containing pegasi, with arabesques supporting an urn and anthemia above. The urn is ornamented with gadrooning and a central winged sphinx, and supports an anthemion set within a wreath, with a tubular flower bearing a further anthemion above

Scale

not to scale

Inscribed

Lady Williams’ Dressing Room / To be sketched out at large-

Signed and dated

February 1775
22d Febry 1775

Medium and dimensions

Pen and pencil on laid paper (204 x 317)

Hand

Probably
Robert Adam

Literature

Bolton, 1922, Volume II, Index p. 50
For a full list of literature references see scheme notes.

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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