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  • image SM Adam volume 12/39

Reference number

SM Adam volume 12/39


[6] Finished drawing for a ceiling for the first drawing room, 1770, as executed


Plan of a rectangular, compartmental ceiling, divided by bands of scrolled hearts and enclosed rosettes, with a central square compartment, containing a medallion enclosed within a frame of guilloche, and framed by four peltoid shields, enclosed within festoons, and between the festoons are drops of calyx supporting medallions, and the festoons continue to form segmental compartments against each side, containing segmental tablets of urns flanked by winged griffons, and triangular compartments in each corner, containing segmental rosettes, encircled by fans of anthemia, and the central square is flanked by tripartite compartments, with a central oval medallion, flanked by circular medallions, all of which are enclosed within laurel wreaths, and have arabesques and anthemia on each corner


bar scale of 3/4 inch to 1 foot


Cieling of the first Drawing room at The Honble Mr. Hobart's in St. James's Square / [cropped] St James's Square (in pencil)

Signed and dated

  • 1770

Medium and dimensions

Pen, pencil, wash and coloured washes including terre verte, and pink on laid paper (606 x 451)


Adam office hand, possibly Joseph Bonomi


Bolton, 1922, Volume II, Index p. 49
Survey of London, 1960, pl. 187a
For a full list of literature references see scheme notes.



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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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