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Part of European Sculpture and Decorative Arts
After a design by Robert Adam (British, Kirkcaldy, Scotland 1728–1792 London)
Date: 1766–69Accession Number: 32.12
Thomas Chippendale (British, baptised Otley, West Yorkshire 1718–1779 London)
Date: ca. 1772Accession Number: 1996.426.1–.14
John Parker (British, active 1759–77)
Date: 1766/67Accession Number: 2011.124.1a–c
probably Axminster (British, 20th century)
Date: ca. 1780–90Accession Number: 57.162a, b
In the style of Robert Adam (British, Kirkcaldy, Scotland 1728–1792 London)
Date: ca. 1780 with latter additionsAccession Number: 55.187.1a–c, .2a–c
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The Annie Laurie Aitken Galleries incorporate three intact eighteenth-century rooms from English homes. The earliest is the dining room from Kirtlington Park in Oxfordshire, a country house richly decorated with Baroque stuccowork. The imagery representing the four seasons would have suggested to guests the prosperity and generosity of the host, Sir James Dashwood (1715–1779), for whom the house was built.
England's fascination with French style intensified during the second half of the eighteenth century, as revealed in the tapestry décor of the drawing room designed by the Scottish architect Robert Adam (1728–1792) for Croome Court, a country estate in Worcestershire. Woven at the Royal Gobelins Manufactory in Paris, the wall and furniture coverings combine architectural details with exotic birds, flowers, and other natural motifs typical of the French Rococo style. Tempering the bold colors of the tapestries, the plaster ceiling features sober geometric ornamentation characteristic of Adam's early Neoclassical style.
Adam's mature Neoclassical style is evident in the dining room from Lansdowne House, a grand London townhouse begun for the third Earl of Bute (1713–1792) and completed for the second Earl of Shelbourne (1737–1805). The delicately rendered stuccowork ornament on the ceiling of the dining room reflects Adam's careful study of archeological finds at Rome, Herculaneum, and Pompeii.
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