[17] Design for a sofa, possibly for the Etruscan / octagonal dressing room, 1778, 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)
      - Alternative preliminary designs for chairs and design for a sofa for the Etruscan / octagonal dressing room, c1778, possibly executed (2)

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Reference number

SM Adam volume 17/82

Purpose

[17] Design for a sofa, possibly for the Etruscan / octagonal dressing room, 1778, possibly executed

Aspect

Elevation of a sofa, set within a niche, with four tapering legs with block feet. The legs are ornamented with drop calyx and capitals containg rosettes and the seat rail is ornamented with a band of anthemia alternating with calyx

Scale

bar scale of 2 inches to 1 foot

Inscribed

Sopha for The Earl of Bathurst / Copy part of this Sopha (pencil)

Signed and dated

April 1778
Adelphi / 18th april 1778

Medium and dimensions

Pen, pencil and coloured washes including black and yellow ochre on laid paper (406 x 246)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 44
Harris, 1963 pp 57, 95
Lea, 2005, p. 12
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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