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  • image SM Adam volume 20/169

Reference number

SM Adam volume 20/169


[27] Design for a pier glass frame and candle stands for the great drawing room (now the portico room), 1778, part executed


Elevation of a rectangular pier glass frame, ornamented with a band of enclosed anthemia and surmounted by a central figurative medallion. This supports an urn ornamented with gadrooning and ram masks, and draped by festoons. All this is flanked by winged griffins and corner arabesques. The pier glass is flanked by candle stands as Adam volume 6/52


bar scale of 1 ½ inches to 1 foot


Design of a Glass frame for the piers in the Great Drawing room at Bathurst House

Signed and dated

  • January 1778
    Adelphi / 31st Janry 1778

Medium and dimensions

Pen, pencil and coloured washes including Indian yellow and cerulean blue on laid paper (376 x 555)


Office hand, possibly Joseph Bonomi or Robert Morison


While we have surviving example for this design for the candle stand, it is unknown whether the design for the peir glass frame was also executed.


Bolton, 1922, Volume II, Index p. 44
Harris, 1963, pp. 57, 84
Harris, 2001(a), p. 15
Harris, 2001(b), p. 100
Lea, 2005, p. 11
For a full list of literature references see scheme notes.



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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