[69] Design for a curved recess, and for the walls of the circular dressing room, 1766-9

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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)
      - Preliminary design and designs for a curved recess, and for the walls of the circular dressing room, 1766-9 (6)

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Reference number

SM Adam volume 50/87

Purpose

[69] Design for a curved recess, and for the walls of the circular dressing room, 1766-9

Aspect

Section as Adam volume 14/121, but grey washed, and with vines in the paired pilasters rather than drops

Scale

bar scale of 9/10 inch to 1 foot

Inscribed

Section of a Chapel for Edwin Lascelles Esqr afterwards Lord Harewood (in the hand of William Adam) (verso) Drawings for Mr Lascelles / Octagonal Dressing Rm? See Vol 14 (120-121) (in pencil in the hand of Arthur Bolton)

Signed and dated

1766-69
date range: 1766-69

Medium and dimensions

Pen, pencil and wash on laid paper (588 x 510)

Hand

Adam office hand, possibly Giuseppe Manocchi, title inscription in the hand of William Adam

Literature

Bolton, 1922, Volume II, Index p. 16
Stillman, 1966, p. 100
Mauchline, 1992, p. 83
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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