Preliminary designs for a balloon-back armchair, a part-drawn elevation of a table and a rough elevation of a candlestick(?), ND

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Robert and James Adam office drawings
- Other
  - Unattributed drawings
    - Unattributed designs for furniture and fixtures
      - Seat furniture

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Reference number

SM Adam volume 24/232

Purpose

Preliminary designs for a balloon-back armchair, a part-drawn elevation of a table and a rough elevation of a candlestick(?), ND

Aspect

Clockwise from upper right: 1) Part-drawn rough elevation of a table with two turned legs culminating in spade feet and one tapering leg culminating in a ball foot, which are connected by a stretcher. A frieze is ornamented by laurel leaf tips and egg-and-dart 2) Rough elevation of a candlestick with two nozzles, a turned, fluted shaft and a pedestal ornamented by patera and festoons 3) Rough elevation of a balloon-back armchair surmounted by a cresting of a palmette and sphinxes (?) and framed by a band of ribbon. Two arms culminate in knuckle handles and an ornamented shoe piece connects the chair seat and back. A seat rail ornamented by coin moulding enclosing rosettes is supported by tapering legs terminating in spade feet

Scale

not to scale

Signed and dated

Medium and dimensions

Pencil on laid paper (472x294)

Hand

probably Adam, Robert (1728--1792), architect
Robert Adam

Level

Drawing

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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