[71] Finished drawing for a ceiling for the Etruscan dressing room, 1772

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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
      - Variant finished drawing and record drawings for a ceiling for the Etruscan dressing room, 1772, drawing 73 as executed (3)

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Reference number

SM Adam volume 11/210

Purpose

[71] Finished drawing for a ceiling for the Etruscan dressing room, 1772

Aspect

Plan of a rectangular ceiling, with a central x-shape arrangement of guilloche, containing a figurative medallion, arabesques and calyx, and encircled by anthemia supported by urns on pedestals supported by sphinxes, bows, festoons, rosettes, calyx and peltoid shields, and with a patera enclosed by guilloche and drops of calyx in each corner, and with rectangular bordering panels at either end, containing enclosed rosettes, arabesques, calyx and rosettes

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

1st Cieling for the Dressing room at Osterley

Signed and dated

1772
1772

Medium and dimensions

Pen, pencil and coloured washes including pink, terre verte and cerulean blue on laid paper (448 x 414)

Hand

Adam office hand, possibly Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 25
Stillman, 1966, p. 76
Harris, 2001, pp. 177, 352
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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