[75] Finished drawing for a chair, for the drawing room, 1762

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Robert and James Adam office drawings
- Country houses
  - Kedleston Hall, Derbyshire: designs for landscape architecture, alterations to the house, and interior design for Sir Nathaniel Curzon, 5th Baronet (created Lord Scarsdale 1761), 1759-72 (149)
    - Designs for the interior decoration and furniture including the hall, saloon, drawing room, dining room, music room, library, ante room, breakfasting parlour, staircase, state bed room, and principal dressing rooms
      - Design and alternative finished drawing for a sofa, and finished drawing for a chair, for the drawing room, 1762, sofa executed with alterations and delivered in 1762 (3)

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Reference number

SM Adam volume 17/91

Purpose

[75] Finished drawing for a chair, for the drawing room, 1762

Aspect

Elevation of an arm chair with a voluted top rail with a central shell, and with scrolled arms ornamented with half figures, a fluted seat rail, and tapered, fluted legs with ball feet. The chair is upholstered in green

Scale

bar scale of 1 3/4 inches to 1 foot

Signed and dated

1762
datable to 1762

Medium and dimensions

Pen and coloured washes including verdigris within a single ruled border on laid paper (260 x 231)

Hand

John Linnell

Literature

Bolton, 1922, Volume II, Index p. 19
Downes, 1930, p. 23
Harris, 1963, Index p. 50, p. 91
Hardy and Hayward, 1978, p. 265
Harris, 1987, p. 41
Harris, 2001, pp. 28, 337
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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