[95] Unfinished design for a tripod pole screen for the Etruscan dressing room, 1779, executed with alterations

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Robert and James Adam office drawings
- Country houses
  - Osterley Park, Hounslow, Greater London: designs for the house, interior and park for Francis Child and Robert Child, 1761-80 (126)
    - Interior decoration
      - Unfinished design for a tripod pole screen for the Etruscan dressing room, and preliminary design for an alternative border for this screen, 1779 (2)

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Reference number

SM Adam volume 17/148

Purpose

[95] Unfinished design for a tripod pole screen for the Etruscan dressing room, 1779, executed with alterations

Aspect

Elevation of a tripod with paw feet and flutes, sabre legs, ornamented with acanthus leaves, surmounted by a stick ornamented with spiral fluting, gadrooning, flames, and topped by a pinecone, supporting a rectangular fire screen frame, surmounted by two winged putti, and with pencil-drawn annotations to the right-hand side, and inside the fire screen frame

Scale

bar scale of 4 inches to 1 foot

Inscribed

Firescreen for Mrs Child

Signed and dated

April 1779
30t April 1779

Medium and dimensions

Pen, pencil and coloured washes including yellow ochre and black on laid paper (299 x 638)

Hand

Adam office hand, possibly Robert Adam or Robert Morison

Literature

Bolton, 1922, Volume II, Index p. 25
Harris, 1963, pp. 51, 103
Tomlin, 1972, p. 81
Harris, 2001, pp. 178, 352
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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