[65] Alternative preliminary designs for chairs for the hall, 1774; it is not known if this design was executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Grosvenor Square, number 23 (number 26 from 1862), London: designs for interior decoration and furnishings for Lord Edward Stanley, (later 12th Earl of Derby), 1773-75 (94)
      - Alternative preliminary designs for the hall chair, September 1774; it is not known if this design was executed (1)

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Reference number

SM Adam volume 6/158

Purpose

[65] Alternative preliminary designs for chairs for the hall, 1774; it is not known if this design was executed

Aspect

Rough elevation of two chairs. The first (upper) chair has crossed strigil-shaped legs, ornamented with an acorn and an anthemion, surmounted by a seat rail ornamented with festoons, and a chair back supported by a fluted shoe piece, and ornamented with a wreath, four anthemia enclosed within scrolled hearts, and a central portrait medallion. The second (lower) chair has tapering fluted legs, with ball feet, and turned capitals, surmounted by a seat rail ornamented with connected enclosed rosettes, and a chair back supported by a shoe piece containing an enclosed rosette, and ornamented with cable moulding, a central roundel containing an anthemion, and with a cresting composed of an anthemion

Scale

not to scale

Inscribed

Sketch for Hall Chairs for Lord Stanley

Signed and dated

September 1774
Septr. 1774.

Medium and dimensions

Pen and pencil on laid paper (200 x 320)

Hand

Robert Adam

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 38
Harris, 1963, Index p. 55
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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