[143] Finished drawing for the book room, April 1768, unexecuted

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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
      - Finished drawing and record drawing for the book room, April 1768, unexecuted (2)

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Reference number

SM Adam volume 11/46

Purpose

[143] Finished drawing for the book room, April 1768, unexecuted

Aspect

Plan of a rectangular ceiling with a central figurative medallion framed with a fan, and bands of Vitruvian scroll, arabesques and calyx, and coin moulding, with four lunette panels containing arabesques and an urn on each side, and in each corner a square compartment containing a rosette within a fan and a calyx and anthemion in each corner

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Cieiling for a new / intended Book room / at Kedleston

Signed and dated

April 1768
April (torn) [1768]

Medium and dimensions

Pen and coloured washes including terre verte, pink and cerulean blue on laid paper (599 x 465)

Hand

Adam office hand, possibly Joseph Bonomi with the medallion in a different hand, and the title inscriptions in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 19
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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