[64] Alternative finished drawing for the ceiling for the circular dressing room, 1767

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Robert and James Adam office drawings
- Country houses
  - Harewood House, Yorkshire: designs for alterations to the church and house; for the interior decoration; and for a greenhouse and gateway for Edwin Lascelles, 1759-1782 (121)
    - Designs for the interior decoration of the house, including the hall, music room, saloon, dining room, gallery, library, bed rooms, dressing rooms, great staircase and portico soffit, 1765-1778 (107)
      - Preliminary design and two alternative finished drawings for the ceiling for the circular dressing room, 1767 (3)

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Reference number

SM Adam volume 11/149

Purpose

[64] Alternative finished drawing for the ceiling for the circular dressing room, 1767

Aspect

Plan of circular, domed ceiling, arranged in a radial pattern around a mask enclosed by a fan, encircled by segmental patera, a band of Vitruvian scroll, medallions, griffons, rinceaux, a band of Vitruvian scroll with foliage, festoons, and with a peltoid shield between the semi-domes of eight curved recesses which are ornamented with urns, and rinceaux, as executed

Scale

bar scale of 1/2 inch to 1 foot

Inscribed

Stucco Cieling for the Gentleman's Dressing Room in the Principal Apartment of / Harewood House

Signed and dated

1767
1767

Medium and dimensions

Pen and coloured washes on laid paper (545 x 586)

Hand

Adam office hand, probably Giuseppe Manocchi

Literature

Bolton, 1922, Volume II, Index p. 16
Hussey, 1956, p. 62
Stillman, 1966, p. 100
Harris, 2001, p. 152-154
For a full list of literature references see scheme notes.

Level

Drawing

Exhibition history

Original Drawings of Robert and James Adam, Kenwood House, London, 1953

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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