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  • image SM Adam volume 40/72

Reference number

SM Adam volume 40/72

Purpose

[4] Finished drawing for an ornamental screen between the house and offices, c1772, as executed

Aspect

Plan and elevation of a screen with columnar pedestals ornamented with rosettes, festoons, and Vitruvian scroll and surmounted by draped figures, all set within reliving arches. The heads of the arches are ornamented with friezes of fluting and fans embellished with calyx, anthemia, and arabesques. The arches are flanked by paired Ionic columns, with tapering terms supporting urns set in between, and friezes of rosette roundels. The spandrels are ornamented with calyx and scrolled hearts supporting urns, and the urns are linked with festoons. The screen terminates in piers with columnar pedestals supporting draped figures bearing urns, all set within niches. The piers are ornamented with a band of fluting and rosette roundels, with a figurative medallion draped in festoons above. The piers are surmounted by urns draped in festoons, and the screen has a frieze of fluting and lion masks

Scale

bar scale of ½ inch to 1 foot

Inscribed

First Design / of an Ornamental Wall on the back wall of the Yard between the House & offices / (and in the hand of William Adam) of Sir Watkin Williams Wynns House / St James’s Square- and some dimensions given

Signed and dated

  • c1772
    c1772

Medium and dimensions

Pen, pencil and wash on laid paper (928 x 361)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi, with part title inscription in the hand of William Adam

Watermark

LVG surmounted by a fleur-de-lis set within a crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 50
King, 2001, Volume I, pp. 275, 280
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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