[11] Design for a funerary monument to David Garrick, 1779, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Wynnstay House, Ruabon, Denbighshire: unexecuted designs for the house, unexecuted designs for a monument to David Garrick for the park, and an executed design for a font for St Mary's Church, Ruabon, for Sir Watkin Williams-Wynn, 4th Baronet, 1770-79 (13)
    - Alternative designs for a funerary monument to David Garrick, 1779, unexecuted (3)

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Reference number

SM Adam volume 44/84

Purpose

[11] Design for a funerary monument to David Garrick, 1779, unexecuted

Aspect

Plan and elevation of a funerary monument, with a deep, rectangular pedestal, surmounted by a sarcophagus, ornamented with fret, a cameo, a band of stiff leaf, and an ox skull flanked by festoons in the volute top, and the sarcophagus is flanked by engaged stiff leaf capital columns, between which is a band of guilloche, surmounted by a segmental compartment enclosing a mask and music instruments, and the whole is surmounted by a Doric frieze ornamented with masks and instruments, and a pediment with a central acroterion

Scale

bar scale of 1/2 inch to 1 foot

Inscribed

Monument for Sir Watkin Wynne Baronet (verso) W. W. Wynne Monument / & 2 pair plan (both recto and verso inscriptions are on a small separate sheet of paper affixed to the top edge of the drawing)

Signed and dated

1779
Adelphi / 2d. August 1779

Medium and dimensions

Pen and pencil on laid paper (379 x 494)

Hand

Adam office hand, possibly Robert Morison

Watermark

Literature

Bolton, 1922, Volume II, Index p. 32
King, 2001, Volume II, p. 267
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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