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image SM Adam volume 53/16

Reference number

SM Adam volume 53/16

Purpose

[26] Record drawing for friezes, ND, thought to have been executed

Aspect

Elevation of friezes for the hall, the lobby, the dining room, the oval dressing room, the first-storey drawing room, and the square dressing room. The hall frieze is composed of fluting alternating with oval enclosed rosettes. The lobby frieze is composed of fluting enclosing anthemia and calyx. The dining room frieze is composed of jugs, alternating with enclosed rosettes encircled by wreaths. The oval dressing room frieze is composed of calyx, supporting calyx, anthemia, and arabesques enclosing rosettes, and from which hangs festoons of bell flowers. The drawing room frieze is composed of urns of fruit, supported by calyx, and alternating with anthemia, supported by calyx, and arabesques enclosing rosettes, and connected by festoons of calyx. The square dressing room frieze is composed of urns, supported by calyx and arabesques, of ribbon, alternating with anthemia

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Honble Baron Grant. / Hall / Lobby / Dining room / Oval Dressing room / Drawing room one pair / Sqr. Dressing room / on Baron Grant. (in pencil in a modern curatorial hand)

Signed and dated

  • ND

Medium and dimensions

Pen and pencil on the laid paper of the folio page (291 x 471)

Hand

Adam office, probably James Adam

Watermark

fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 50
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

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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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