[39] Finished drawing for Edwin Lascelles's bed room (now the east bedroom), 1766

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Robert and James Adam office drawings
- Country houses
  - Harewood House, Yorkshire: designs for alterations to the church and house; for the interior decoration; and for a greenhouse and gateway for Edwin Lascelles, 1759-1782 (121)
    - Designs for the interior decoration of the house, including the hall, music room, saloon, dining room, gallery, library, bed rooms, dressing rooms, great staircase and portico soffit, 1765-1778 (107)
      - Finished drawings for Edwin Lascelles's bed room (now the east bedroom), 1766 (2)

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Reference number

SM Adam volume 35/17

Purpose

[39] Finished drawing for Edwin Lascelles's bed room (now the east bedroom), 1766

Aspect

Plan and laid out wall elevations for a rectangular room with a tripartite window, divided by Ionic columns on the north wall, and on the south wall opposite is a chimneypiece, with a door to the left. There is a single window on the east wall, and a door, off centre on the west wall, and the room has a frieze of urns, and double calyx

Scale

bar scale of 1/3 inch to 1 foot

Inscribed

Section of Mr Lascelles own Dressing Room at Gawthorp House in Yorkshire / (and in the hand of William Adam) Mr Lascelles Bed Room / at Gawthorpe, the Seat / of Edwin Lascelles Esqr and some dimensions given

Signed and dated

1766
datable to 1766

Medium and dimensions

Pen and wash within a single ruled border on laid paper (602 x 522)

Hand

Adam office hand, possibly William Hamilton or Robert Nasmith, additional title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 16
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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