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  • image SM Adam volume 50/78

Reference number

SM Adam volume 50/78


[4] Finished drawing for the drawing room, c1767, as executed


Plan and laid out wall elevations for a rectangular room, with three windows in one wall, with a chimneypiece with Ionic columns, and a frieze of festoons on one side wall, and two doors on the wall opposite, and the room has a frieze of urns, rinceaux, and anthemia, and with a pencil-drawn annotation showing the arrangement for the ceiling design, with a central rosette, enclosed within a fan, and a circular frame of Vitruvian sroll, encircled by rinceaux anthemia, festoons, and drops of calyx, within an oval fluted frame, and with a medallion in each corner


to a scale 2/5 inch to 1 foot


Section of a Drawing Room for / Thos Oliver Esqr at Leyton Essex (all in the hand of William Adam)

Signed and dated

  • c1767
    datable to c1767

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (929 x 653)


Adam office hand, possibly Joseph Bonomi, with drawn pencil annotations in the hand of Robert Adam, and with title inscription in the hand of William Adam


4 / Mr Oliver / Layton


Bolton, 1922, Volume II, Index p. 21
For a full list of literature references see scheme notes.



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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