[16] Alternative preliminary designs for chairs for the Etruscan / octagonal dressing room, c1778, possibly executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Apsley House, Piccadilly, London: plans, elevations, section and designs for the interior, and an elevation for the gatehouse, for the 2nd Earl Bathurst, 1771-1779 (56)
      - Alternative preliminary designs for chairs and design for a sofa for the Etruscan / octagonal dressing room, c1778, possibly executed (2)

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Reference number

SM Adam volume 6/163

Purpose

[16] Alternative preliminary designs for chairs for the Etruscan / octagonal dressing room, c1778, possibly executed

Aspect

To the left - Elevation of a chair with tapering legs and ball feet. The seat rail is ornamented with a band of enclosed anthemia and the seat back with rosettes and further anthemia. The top rail contains a central medallion To the right - Elevation of a chair with straight, fluted legs and block feet. The seat rail is ornamented with a band of enclosed rosettes(?), and the seat back with a band of lozenges, anthemia, lozenges enclosing paterae, foil enclosing rosettes and drop calyx

Scale

to a scale

Inscribed

Lady Bathurst’s Etruscan Room

Signed and dated

c1778

Medium and dimensions

Pencil on laid paper (181 x 135)

Hand

Probably
Robert Adam

Literature

Bolton, 1922, Volume II Index p. 44
Harris, 1963, p. 57
Lea, 2005, p.12
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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