[1] Finished drawing for a ceiling for the drawing room, 1773, as executed

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Robert and James Adam office drawings
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  - London
    - Charlotte Street, number 8 (now 10 Bloomsbury Street), London: executed designs for a ceiling and frieze for Mr Lyte, 1773 (2)
      - Finished drawing for a ceiling for the drawing room, 1773, as executed (1)

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Reference number

SM Adam volume 12/133

Purpose

[1] Finished drawing for a ceiling for the drawing room, 1773, as executed

Aspect

Plan of a rectangular ceiling, with a stepped chimneybreast on one of the short sides, and with a central oval medallion, encircled by double calyx, and set within a lozenge-shaped frame of reed and ribbon volutes, terminating in rosettes, and attended by an oval frame of cable moulding, supporting peltoid shields, which connect with the ends of the lozenge with festoons of bell flowers, and with four enclosed urns around the edge, and the whole is enclosed within an oval frame, and a rectangular frame

Scale

bar scale of 3/5 inch to 1 foot

Inscribed

Cieling of the Drawing room at Mr. Lyte's in Charlotte Street Bloomsbury

Signed and dated

10/05/1773
Adelphi / 10t. May 1773.

Medium and dimensions

Pen, pencil, wash and coloured washes including verdigris and pink on laid paper (295 x 437)

Hand

Adam office hand, possibly Joseph Bonomi

Watermark

IHS / IVILLEDARY

Literature

Bolton, 1922, Volume II, Index p. 36
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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