[19] Preliminary design for tripod candle stand for the first drawing room (now the Piccadilly room), c1778, possibly executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Apsley House, Piccadilly, London: plans, elevations, section and designs for the interior, and an elevation for the gatehouse, for the 2nd Earl Bathurst, 1771-1779 (56)
      - Preliminary design and design for a tripod candle stand for the first drawing room (now the Piccadilly room), c1778-1779, possibly executed (2)

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Reference number

SM Adam volume 6/50

Purpose

[19] Preliminary design for tripod candle stand for the first drawing room (now the Piccadilly room), c1778, possibly executed

Aspect

Elevation of a niche containing a tripod candle stand with a base composed of winged griffins, an oval figurative medallion and festoons. This is surmounted by a tripod supporting a lekythos and an urn flanked by candle branches

Scale

bar scale of 1 ½ inches to 1 foot

Inscribed

Niche for Tripod at Lady Bathurst’s

Signed and dated

c1778

Medium and dimensions

Pencil on laid paper (251 x 428)

Hand

Probably
Robert Adam

Literature

Harris, 1963, p.57
For a full list of literature references see scheme notes.

Level

Drawing

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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