[5] Finished drawing for a ceiling for the ante room, 1769, unexecuted

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Robert and James Adam office drawings
- Town houses
  - London
    - Hertford Street, number 10 (now Sheridan House), London: designs for interior decoration for Lieutenant-General John Burgoyne, 1769-71 (15)
      - Finished drawing for a ceiling for the ante room, 1769, unexecuted (1)

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Reference number

SM Adam volume 12/6

Purpose

[5] Finished drawing for a ceiling for the ante room, 1769, unexecuted

Aspect

Plan of a rectangular ceiling with a chimneybreast on one of the long sides, and with a central patera enclosed within a fan of stiff leaf, an oval frame of fluting, acanthus leaves enclosed within triangles, and with a border composed of connected rosettes enclosed within figure-of-eight wreaths, and with a rough pencil-drawn plan for a rectangular ceiling to the left-hand side

Scale

bar scale of 3/5 inch to 1 foot

Inscribed

Cieling for the Anti room at Col. Burgoyne's in Hertford Street / 19 by 14 (in pencil) / 2d Room 1 pr (in pencil)

Signed and dated

1769
1769.

Medium and dimensions

Pen, pencil, wash and coloured washes including terre verte, pink and violet within a single ruled border on laid paper (558 x 445)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi, and with pencil-drawn annotations in the hand of Robert Adam

Watermark

D&CBLAUW

Literature

Bolton, 1922, Volume II, Index p. 40
Draper, 1998, fig. 13
Draper 1999, p. 127
King, 2001, Volume I, p. 309
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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