[14] Record drawings for friezes for the hall, ante room, and dining room N.D.

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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
      - Record drawings for friezes for the hall, ante room, dining room, and drawing room, N.D. (2)

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Reference number

SM Adam volume 53/52 (part)

Purpose

[14] Record drawings for friezes for the hall, ante room, and dining room N.D.

Aspect

Elevation of friezes for the hall, ante room, and dining room. The frieze for the hall is composed of a band of ox skulls connected by festoons of beading, a band of laurel leaf tips, and a band of roundels enclosing trophies, altars, and urns. The frieze for the ante room is composed of naturalistic palmettes, alternating with rectangular compartments enclosing ox skulls and swags, and connected by scrolls. The frieze for the dining room is composed of bacchic masks, with vine and wheat headdresses, enclosed within a figure-of-eight of a vine in one strand, and wheat sheaves in the other

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

Anthony Chamier Esqr (in pen) / Hall at Mr Chamiers (in pencil) / Hall (in pen) / (and in pen and underwritten in pencil) Anti room / Dining room / Anthony Chamier (in pencil in a modern curatorial hand)

Signed and dated

N.D.

Medium and dimensions

Pen and pencil on laid paper of folio page (291 x 471)

Hand

Adam office hand, possibly James Adam

Watermark

VDL V and fleur de lis within crowned cartouche

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

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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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