[8] Design for a ceiling for the drawing room, 1775

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Robert and James Adam office drawings
- Country houses
  - The Elms, Epsom, Surrey: designs for alterations to the house, and for the interior, and unexecuted designs for estate buildings, for Anthony Chamier, 1774-76 (15)
    - Designs for the house
      - Design for a ceiling for the drawing room, 1775 (1)

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Reference number

SM Adam volume 14/11

Purpose

[8] Design for a ceiling for the drawing room, 1775

Aspect

Plan of a rectangular ceiling with apsidal ends divided by bands of guilloche enclosing rosettes. The central flat is ornamented with a central medallion, encircled by enclosed calyx, and within a circular frame ornamented with crockets, encircled by fans, and set within a x-shape arrangement which terminates at each end with a segmental band of anthemia enclosed within scrolled hearts, and the x-shaped arrangement supports a drop of calyx which runs into each corner, with a central medallion, and terminating in a tazza. The apses are ornamented with a patera enclosed within a fan, encircled by a segmental frame ornamented with crockets, and a band of enclosed rosettes within a repeating segmental pattern, and drops of calyx

Scale

bar scale of 1/2 inch to 1 foot

Inscribed

Cieling of the Drawing room at Anthony Chamier Esqrs at Epsom

Signed and dated

February 1775
Adelphi / 14t Febry 1775

Medium and dimensions

Pen and cerulean blue wash on laid paper (552 x 381)

Hand

Adam office hand, possibly Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 13
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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