[146] Design for unknown carpets, c1759-68

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Robert and James Adam office drawings
- Country houses
  - Kedleston Hall, Derbyshire: designs for landscape architecture, alterations to the house, and interior design for Sir Nathaniel Curzon, 5th Baronet (created Lord Scarsdale 1761), 1759-72 (149)
    - Designs for the interior decoration and furniture including the hall, saloon, drawing room, dining room, music room, library, ante room, breakfasting parlour, staircase, state bed room, and principal dressing rooms
      - Preliminary designs and designs for unknown carpets, c1759-68 (5)

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Reference number

SM Adam volume 17/164

Purpose

[146] Design for unknown carpets, c1759-68

Aspect

Plan of a rectangular carpet with a central patera encircled by figure-of-eight wreaths, within a lozenge with flowering plants in the corners, within an oval band of vines. Outside this central oval are birds, arabesques and cornucopia in the corners, and with an outer band of enclosed rosettes with acanthus leaves in the corners

Scale

to a scale

Inscribed

Carpet for Sir Nathaniel Curzon Baronet

Signed and dated

1759-1761
1759-61

Medium and dimensions

Pen on laid paper (575 x 385)

Hand

Adam office hand, possibly Agostino Brunias

Literature

Bolton, 1922, Volume II, Index p. 19
Harris, 1963, Index p. 50
Stillman, 1966, p. 106
Harris, 2001, p. 337
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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