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image SM Adam volume 20/179

Reference number

SM Adam volume 20/179

Purpose

[41] Design for a girandole for Lady Bathurst’s dressing room / third drawing room, 1778, possibly executed

Aspect

Elevation of a girandole composed of a central figurative tablet, of tabula ansata form, flanked by candle branches and with an apron of an ox skull, festoons, peltoid shields, drop calyx, rosettes, and a central medallion enclosed within a wreath. The tablet is surmounted by a pair of reclining heraldic stags, calyx, arabesques and anthemion, and this is surmounted by a further medallion enclosed within a wreath. Above this there is a further tablet ornamented with a rosette and swags, with an apron of festoons, calyx and an anthemion, and all this is surmounted by an urn

Scale

bar scale of 1 ½ inches to 1 foot

Inscribed

Girandol for Lady Bathurst’s Dressing room

Signed and dated

Adelphi / 31st Janry 1778

Medium and dimensions

Pen, pencil and coloured washes including Indian yellow and cerulean blue on laid paper (242 x 431)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 44
Harris, 1963, pp. 57, 88
Harris, 2001(b), p. 100
Lea, 2005, p. 11
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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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