[49] Finished drawing for the Etruscan room / third drawing room, c1775, as executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Home House, Portman Square, number 17 (now 20), London, for the Countess of Home, 1775-78 (73)
      - Preliminary design and finished drawings for the Etruscan room / third drawing room, c1775, as executed (3)

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Reference number

SM Adam volume 14/134

Purpose

[49] Finished drawing for the Etruscan room / third drawing room, c1775, as executed

Aspect

Elevation of a room with Etruscan-style ornamentation and with a central tripartite window surmounted by a cornice ornamented with a band of enclosed anthemia and with corner anthemia and thyrsi crenellations above. The piers and walls are ornamented as SM Adam volume 14/132, with the windows flanked by additional ornamental panels with arabesques and a tubular flower supporting a half-putto bearing swags and a cameo. This is surmounted by further arabesques and a cameo flanked by winged figures, with a tablet containing a fan above. This is surmounted by a tripod and urn flanked by winged griffin which suspend drop calyx, oil lamps and further cameos. The room has a frieze as for the lady's dressing room, SM Adam volume 53/8

Scale

to a scale

Inscribed

22 (pencil) / 134

Signed and dated

c1775
c1775

Medium and dimensions

Pen, pencil and coloured washes including yellow ochre, black and olive green on laid paper (414 x 320)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 48
Hussey and Oswald, 1934, pp. 21-22, 26
Whinney, 1969, pp. 53, 66
King, 2001, Volume I, pp. 27, 197-198, 290
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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