[29] Design for a girandole for the eating room, 1782, as executed

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Robert and James Adam office drawings
- Country houses
  - Culzean Castle, Ayrshire: designs for additions to a castle-style building and its stables and walled gardens, along with a home farm, viaduct, and interior decoration and furniture for David Kennedy, 10th Earl of Cassilis, c.1776-87, executed in part (57)
    - Designs, finished drawings and record drawings for the interior of Culzean castle, 1778-82, as executed (34)
      - Designs for a mirror frame and girandole for the Eating Room, 1782, as executed (2)

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Reference number

SM Adam volume 20/236

Purpose

[29] Design for a girandole for the eating room, 1782, as executed

Aspect

Elevation of a girandole, composed of a central medallion of putti, flanked by fluted bands supporting two candle branches on each side, with bucrania and an apron of festoons, an enclosed rosette and calyx drops. The medallion is surmounted by scrolling foliage on calyx, supporting a panel containing a central mask flanked by festoons and rosettes supporting a pedestal surmounted by an urn flanked by swans

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Girandole for Lord Cassillis’s Eating room / 236

Signed and dated

1782
1782

Medium and dimensions

Pen, pencil, wash, and coloured wash including Naples yellow and cerulean on laid paper (266x448)

Hand

Possibly
Adam office hand, possibly Robert Morison

Watermark

W surmounted by a fleur de lis within a crowned cartouche

Literature

Bolton, 1922, p. 8
Harris, 2001, pp. 329-30
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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