[35] Design for a door panel for the great drawing room, 1774, as 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)
      - Designs and finished drawings for the great drawing room door panels, August 1774, Adam volumes 46/61, 24/261, 24/262, 24/264 executed (5)

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Reference number

SM Adam volume 24/264

Purpose

[35] Design for a door panel for the great drawing room, 1774, as executed

Aspect

Elevation of a rectangular door panel, ornamented with an oval medallion, within a frame of acanthus leaves, and supported by a tubular flower ornamented with sphinxes, and by rinceaux, which also supports two urns, and two festoons, which are connected to tablets of guilloche to either side of the medallion, surmounted by winged griffons, surmounted by tubular flowers, and anthemia enclosed within laurel wreaths, supporting festoons connected to an urn which surmounted the central medallion, and supports a portion of rinceaux and a large anthemion

Scale

to a scale, possibly full size

Inscribed

Bottom Pannell for Doors at Lord Stanley's in Grosvenor Square

Signed and dated

19/08/1774
Adelphi August 19t. 1774

Medium and dimensions

Pen, pencil and coloured washes including Indian yellow, pink, and terre verte on laid paper (289 x 520)

Hand

Adam office hand, possibly Joseph Bonomi

Watermark

LVG surmounted by fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 38
Stillman, 1966, p. 85
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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