[19] Design for a curtain cornice for the second 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 second 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 17/110

Purpose

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

Aspect

Full sized elevation of a curtain cornice, ornamented with unlobed acanthus leaves, with an apron of lambrequins, articulated by tubular flowers, and enclosing double calyx and enclosed rosettes, and the cornice is surmounted by an enclosed anthemion acroterion, and crockets of alternating pinecones, and rosettes composed of oak leaves

Scale

full size

Inscribed

Curtain Cornice for the Second Drawing Room / at Lord Stanley's in Grosvenor Square

Signed and dated

13/09/1774
Adelphi Sepr 13th. 1774.

Medium and dimensions

Pen, wash and coloured washes including pink on laid paper (338 x 292)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi

Watermark

fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 38
Harris, 1963, Index p. 55
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

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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