[9] Record drawing for friezes for the dining parlour, and the front and back drawing rooms, ND

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Robert and James Adam office drawings
- Town houses
  - London
    - Grosvenor Square, number 25 (later number 28), London: designs for interior decoration for Lieutenant-General Sir Robert Rich, 5th Baronet, 1769-70 (9)
      - Record drawing for friezes for the dining parlour, and the front and back drawing rooms, ND (1)

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Reference number

SM Adam volume 53/17 (part)

Purpose

[9] Record drawing for friezes for the dining parlour, and the front and back drawing rooms, ND

Aspect

Elevation of friezes for the dining parlour, the back parlours, and the front and back drawing rooms. The dining parlour frieze is composed of fluting, alternating with rosettes enclosed within lozenges. The back parlour frieze is composed of masks with vines for hair, alternating with jugs, and connected by festoons. The front drawing room frieze is composed of anthemia supported by calyx, alternating with calyx, and connected by arabesque ribbons. The back drawing room frieze is composed of alternating anthemia, and anthemia enclosed within scrolled hearts, connected by arabesque ribbons

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Sir Robert Rich / Front Parlor / Back Parlor / First Drawing room one pair / Second Drawing room / Sir Robert Rich (in pencil in a modern curatorial hand)

Signed and dated

Medium and dimensions

Pen and pencil on the laid paper of the folio page (292 x 470)

Hand

Adam office hand, possibly James Adam

Watermark

IVILLEDARY

Literature

Bolton, 1922, Volume II, Index p. 38
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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