[1] Finished drawing for a ceiling for the dressing room, 1766, as executed (possibly with minor alterations)

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Robert and James Adam office drawings
- Town houses
  - London
    - Hill Street, number 23 (now 31), London: designs for redecorating the dressing room for Mrs Elizabeth Montagu, 1766 (6)
      - Finished drawing for a ceiling for the dressing room, 1766, as executed (possibly with minor alterations) (1)

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Reference number

SM Adam volume 11/200

Purpose

[1] Finished drawing for a ceiling for the dressing room, 1766, as executed (possibly with minor alterations)

Aspect

Plan of a square ceiling, with a central rosette enclosed within a fan, encircled by a circular frame of guilloche, bows connected to calyx and fans, and alternating with Chinoiserie style medallions, all set within a circular frame of guilloche, and encircled by peltoid shields, festoons, bells, and enclosed rosettes, and with a border divided by bands of calyx, containing lozenges of bell flowers enclosing rosettes, and with fans in between

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Cieling for a room at Mrs Montagu's House in Hill Street

Signed and dated

1766
1766

Medium and dimensions

Pen, pencil, and coloured washes including Indian yellow, sepia, and red, on laid paper (524 x 440)

Hand

Adam office hand

Literature

Bolton, 1922, Volume II, Index p. 41
Stillman, 1966, p. 99; Harris, 2001, p. 349
Eger, 2008, p. 26
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
Brilliant Women: 18th-Century Bluestockings, National Portrait Gallery, London, 13 March - 15 June 2008

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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