[2] Finished drawing for a ceiling for the dressing room, 1772

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Robert and James Adam office drawings
- Town houses
  - London
    - Charlotte Street, number 9 (later 4 Bloomsbury Street), London: interior decoration and furnishings for George Keate, 1772-78 (22)
      - Finished drawing for a ceiling for the dressing room, 1772; it is not known if this design was executed (1)

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Reference number

SM Adam volume 12/116

Purpose

[2] Finished drawing for a ceiling for the dressing room, 1772

Aspect

Plan of a rectangular ceiling, with a chimneybreast on one of the long sides, and with a central enclosed patera, encircled by double calyx, and set within a lozenge-shaped frame, encircled by four enclosed rosettes, one of which is overdrawn with a peltoid shield, and the whole is set within an oval frame of cable moulding, with a frame of festoons hung from bows, and supporting four enclosed rosettes

Scale

bar scale of 4/5 inch to 1 foot

Inscribed

Design of a Cieling for the Dressing Room for George Keate Esqr / This Ceiling to serve / for the Dining room / the Ornaments in the / Small drawing the / same Size with this / But drawn to the scale / Below. N.B. Pictures / instead of Roses in the / Circles & Sheets / where the small patera / are / The Colouring of the Ground / to be the same

Signed and dated

1772
1772.

Medium and dimensions

Pen, pencil, wash and coloured washes including verdigris, pink and violet within a single ruled border on laid paper (505 x 375)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi

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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