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image SM Adam volume 17/112

Reference number

SM Adam volume 17/112

Purpose

[44] Designs for curtain cornices for the Etruscan dressing room and the bedchamber, 1774, as executed

Aspect

Full sized elevations of details of curtain cornices. The cornice for the Etruscan dressing room is ornamented with stiff leaf, with an apron of enclosed rosettes, flanked by drops of calyx, and connected by festoons of beading, and surmounted by crockets composed of fluted cups containing pinecones. The bedchamber cornice is ornamented with fluting, with an apron of lambrequins containing poppies, and with calyx in between, and surmounted by foliate crockets, and an acroterion of acanthus leaves

Scale

full sized

Inscribed

Curtain Cornice for the Bow Dressing Room at Lord Stanley's / in Grosvenor Square (at Lord Stanley's / in Grosvenor Square in the hand of William Adam) / Curtain Cornice for the Bed Chamber / Bed Chamber (in pencil) / Black (in pencil) / Blue (in pencil) and some measurements given in pencil

Signed and dated

  • 13/09/1774
    Adelphi Sepr. 13t. 1774

Medium and dimensions

Pen, pencil, wash and coloured washes including Indian yellow and cerulean blue on laid paper (292 x 502)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonom, with addition to title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 38
Harris, 1963, Index p. 55
Harris, 2001, pp. 294, 363
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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