[30] Design for a curtain cornice for the great drawing room, 1774; it is not known if this design was executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Grosvenor Square, number 23 (number 26 from 1862), London: designs for interior decoration and furnishings for Lord Edward Stanley, (later 12th Earl of Derby), 1773-75 (94)
      - Design for the great drawing room curtain cornice, September 1774; it is not known if this design was executed (1)

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Reference number

SM Adam volume 17/111

Purpose

[30] Design for a curtain cornice for the great drawing room, 1774; it is not known if this design was executed

Aspect

Full sized elevation of a curtain cornice, ornamented with stiff leaf, and a band of urns supported by arabesques of acanthus, supporting anthemia, and enclosed within arches supported by tubular flowers, and with fans between each arch, and with an apron of crockets of calyx, and surmounted by an anthemion acroterion, and a seated putto beside a flaming urn

Scale

full size

Inscribed

Curtain Cornice for the Great Drawing Room at Lord Stanley's in Grosvr. Square (at Lord Stanley's in Grosvr. Square in the hand of William Adam)

Signed and dated

13/09/1774
Adelphi September 13th: 1774

Medium and dimensions

Pen, pencil and coloured washes including Indian yellow, and pink on laid paper (448 x 459)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonom, with addition to title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 38
Harris, 1963, Index p. 55
Stillman, 1966, p. 110
Harris, 2001, pp. 289, 363
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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