[91] Design for a candelabrum, 1773, as executed

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Robert and James Adam office drawings
- Town houses
  - London
    - St James's Square, number 20, London, designs for a house and interiors for Watkin Williams-Wynn, c1772-1777 (99)
      - Preliminary designs, designs and finished drawings for silverware, c1773, possibly executed (18)

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Reference number

SM Adam volume 25/125

Purpose

[91] Design for a candelabrum, 1773, as executed

Aspect

Elevation of a candelabrum with a socle base ornamented with beading, arabesques, and rosettes. The base supports an eagle set within a shell flanked by winged sphinxes. Above this there are bands of guilloche flanking a rosette roundel, and an anthemion supporting a tubular flower bearing an urn. The urn is ornamented with enclosed acanthus leaves, bands of guilloche enclosing rosettes, a half putto flanked by arabesques, and bands of beading. The flared lid of the urn is ornamented with bands of guilloche, fluting, and reed and ribbon, and is surmounted by a rosette and a pine cone. The urn is flanked by fluted sabre legs which terminate in ram masks. The ram masks support candle branches embellished with foliage, which terminate in candle holders in the form of tubular flowers

Scale

to a scale

Inscribed

Candlestick for Sir Watkin Wynn Bart. / 47

Signed and dated

January 1773
Adelphi / 18.t Janry 1773

Medium and dimensions

Pen, pencil and wash on laid paper (460 x 448)

Hand

Possibly
Office hand, possibly William Hamilton or Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 50
Fairclough, 1995, pp. 376-386
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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