[115] Record drawing for friezes, n.d.

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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)
      - Record drawings for friezes, n.d. (3)

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Reference number

SM Adam volume 53/33

Purpose

[115] Record drawing for friezes, n.d.

Aspect

Elevation of friezes for Edwin Lascelles's dressing room, the saloon, the 1st and 2nd drawing rooms, and the gallery. The frieze for Edwin Lascelles's dressing room is composed of urns. The frieze for the saloon is composed of urns on calyx socles, alternating with palmettes supported by rinceaux. The frieze for the 1st drawing room is composed of calyx in between alternating eagles and anthemia enclosed by scrolled hearts. The frieze for the 2nd drawing room is composed of fans in between lozenges of beading and rosettes, enclosing medallions containing putti riding sea-horses. The frieze for the gallery is composed of double calyx in between guilloche enclosing rosettes

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Dressing room / Saloon / 1st Drawing room / 2d Drawing room / Gallery

Signed and dated

N.D.

Medium and dimensions

Pen on laid paper (291 x 470)

Hand

Adam office hand, possibly James Adam

Watermark

VLVD and fleur-de-lis within crowned cartouche

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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