[1] Design for an organ case, c1763, possibly executed

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Robert and James Adam office drawings
- Country houses
  - Luton Park, designs for a house and interiors including an organ case for John Crichton Stuart, 3rd Earl of Bute, c1763-72 (56)
    - Designs for an organ case, c1763, possibly executed (2)

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Reference number

SM Adam volume 25/5

Purpose

[1] Design for an organ case, c1763, possibly executed

Aspect

Elevation of an organ case, with a base ornamented with rosettes enclosed within a band of rope moulding, and with festoons. Above this there is a panel ornamented with rosettes enclosed within overlapping circles and lozenges, and compartments ornamented with rosettes surrounded by calyx. The compartments are flanked by ram masks suspending festoons and cameos, and by ribbons suspending musical instruments. The central compartment is ornamented with a figurative roundel surrounded by rosettes enclosed within wreaths, and with a band of anthemia below. The pilaster stiles are ornamented with spears surmounted by masks, continuous bands of olive branch wreaths, and by acanthus leaf, anthemia and drop calyx. The organ case has a frieze of fluting and is surmounted by urns

Scale

to a scale

Inscribed

Organ Case for The Earl of Bute / 5

Signed and dated

c1763
c1763

Medium and dimensions

Pen and pencil on laid paper (228 x 329)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi or William Hamilton

Literature

Bolton, 1922, Volume I, PP. 69-70; Volume II, Index, p. 21
Malloch, 1983, pp. 172-183
Russell, 1992, pp. 44-47
King, 2001, Volume I, pp. 409, 411, pl. 566; Volume II, p. 272
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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