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image Adam vol.54/Series 5/14

Reference number

Adam vol.54/Series 5/14

Purpose

Capriccio showing a mountainous and wooded landscape with a road passing over an alpine bridge between gorges. A towered and ruinous castle is on rocks above a ravine, with a waterfall at its foot.

Aspect

Perspectiveverso plan

Inscribed

Inscribed in ink on drawing 14

Signed and dated

Undated, possibly 1757

Medium and dimensions

Pencil, pen220 x 311

Hand

Robert Adam

Verso

Study in pen of an interior plan showing semi-engaged columns with their dimensions.

Watermark

bird on monti circle

Notes

This composition is in the strong picturesque style of Salvator Rosa (1615-1673) and may have been taken from one of his prints. A similar landscape can be seen in Adam vol.54/Series 5/18 and in Adam vol.55/162 verso. In 1760 James Adam bought '... 2 landscapes by Poussin and one by S. Rosa - all clever and I'm sure will please Bob' (see J. Fleming, Robert Adam and His Circle in Edinburgh & Rome, London, 1962, p.372). Two of Rosa's paintings appeared in the Adam sale of 1821 (Christie's London Catalogue of the Effects of Robert Adam Esq. Dec. 9 July 1821 & following days) and there is a small drawing after him in volume 56 (see Adam vol.56/31). A similar style of drawing is found in Robert Adam's proposals for the landscape at Kedleston in Derby, see especially his design for a grotto 'of the early 1760s' (see L. Harris, Robert Adam and Kedleston, London, 1987, p.85, pl.72). The remains of a sketch for a similar composition is apparent on the verso of Adam vol.28/1. The pencil drawing has been partially inked over.This drawing may have been inspired by the picturesque landscape through which Robert Adam passed on his way home in 1757.

Level

Drawing

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

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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