[4] Design for a carpet, c1763-66

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Robert and James Adam office drawings
- Country houses
  - Moor Park, Rickmansworth, Hertfordshire: designs for the house and park, for Sir Lawrence Dundas, 1763-66 (28)
    - Designs for the house
      - Design for a carpet, c1763-66 (1)

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Reference number

SM Adam volume 17/168

Purpose

[4] Design for a carpet, c1763-66

Aspect

Detail of a carpet, ornamented with guilloche enclosing rosettes, and a border of figure-of-eight acanthus leaves, and calyx, and with pencil-drawn annotations

Scale

full size

Inscribed

Carpet for Sir Laurence Dundass Baronet / (and in pencil in the hand of A.T. Bolton) (1763-5) Arlington Street? / To Design for a Carpet for the Saloon / To [ _ _ _ _ _ _ _ _ _ ] in [ _ _ _ _ _ _ ] the [ _ _ _ _ _ _ _ ] / [ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ] / (RA Bill 1766) / [ _ _ _ _ _ _ _ _ _ _ _ ] Moor Park

Signed and dated

1763-1766
date range: 1763-66

Medium and dimensions

Pen, pencil and coloured wash including Indian red, cerulean blue and Indian yellow on laid paper (575 x 438)

Hand

Adam office hand, with pencil annotations in the hand of Arthur Bolton

Notes

It has been suggested that this carpet was intended for the gallery (now the dining room), but it may also have been the 'bed carpet' for Lady Dundas, included in Adam's bill for designs for Moor Park, at a cost of £1. It is not known if this design was executed.

Literature

Bolton, 1922, Volume II, Index p. 23
For a full list of literature references see scheme notes.

Level

Drawing

Exhibition history

Original Drawings of Robert and James Adam, Kenwood House, London, 1953

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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