[12] Design for the walls for stairwell, 1772, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Headfort House, County Meath: designs for interior decoration for Thomas Taylor, 1st Earl of Bective, 1771-75 (18)
    - Designs for the walls for stairwell, 1772, unexecuted (4)

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Reference number

SM Adam volume 50/61

Purpose

[12] Design for the walls for stairwell, 1772, unexecuted

Aspect

Elevation of a three-storey wall, with a central urn-filled niche on the ground floor, surmounted by a medallion and festoon, and flanked by doors with rectangular overdoor panels, and on the first storey is a large medallion, within a frame ornamented with terms, festoons, an anthemion within a scrolled heart as the apron, and surmounted by an urn, and flanked by rectangular panels containing medallions enclosed within wreaths; and on the second storey are two doors behind a balustrade, and in between is a wall ornament composed of a tablet containing rinceaux, with an apron of festoons, and surmounted by an urn flanked by winged sphinxes

Scale

bar scale of 2/5 inch to 1 foot

Inscribed

Section of one side of Staircase opposite windows / for Lord Bective

Signed and dated

24/01/1772
Janry 24t 1772

Medium and dimensions

Pen and pencil on laid paper (301 x 489)

Hand

Adam office hand, either Joseph Bonomi or Robert Adam

Watermark

LVG surmounted by fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 52
Harris, 1973, note to pls. 15-18
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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