Tag Archives: robert adam

Shawls with embroidery from the Punjab in a neoclassical setting

Posted on by
Reply

A FEW MONTHS AGO, we visited Claydon House (in Buckinghamshire) – a stately home filled with antiques and decorative features that are several hundred years old. We went to see an exhibition of contemporary art that was being displayed within the historic rooms of the house and in its gardens. I wrote about this show (https://adam-yamey-writes.com/2026/06/17/modern-art-on-display-in-an-english-country-house-setting/) and concluded:

“From the point of view of looking at these artworks, I see little point in showing them in the historic setting of Claydon House. There is something faintly amusing seeing the contemporary artwork almost competing with the variety of picturesque items within the house, which were created many years before their existence …”

In brief, I was not over impressed. So, it was with some trepidation that I set off to see a collection of nineteenth and early twentieth century Punjabi wedding shawls being displayed in the fine, neo-classical interiors designed by the eighteenth-century architect, Robert Adam (1728-1792) at Osterley Park (in west London).

The exhibition at Osterley Park, “Journeys – Wedding Shawls, Baghs and Phulkaris from the Karun Thakar Collection”, is on until the end of October 2026. The ‘journeys’ in the title refer to the fleeing of Hindus from Pakistan during the Partition of India (in 1947) and to the travelling that is often necessary during Indian weddings (for example, the bridegroom has to travel to meet his bride, and the married couple might need to move elsewhere after the wedding celebrations are over).

Before I explain the textiles, let me outline Karun Thakar, who was born in 1960. The British Museum website (https://www.britishmuseum.org/collection/term/AUTH234453)  summarises him as follows:

 “Born Kenya, brought up in Delhi. Moved to UK as teenager. Former dealer and collector of ethnographic textiles and antiquities. Major collector of textiles from Africa and Asia.”

About 70 pieces from his vast collection are on display at Osterley. As part of the exhibition, there is a short video of him talking most interestingly and sympathetically about the wedding shawls.

The shawls on display are/were worn during weddings and other festivals. They are all embroidered, and fall into two categories: baghs and phulkari.  They are both handmade, traditionally by groups of women working together. Each comprises silk thread embroidered onto a woven cotton cloth or backing. Michael Beste (www.m-beste.com) describes phulkari in his essay “Hopes & Dreams: Phulkari and Bagh from the Punjab” as:

“Phulkari in Punjabi literally means “flower work”and was originally used to describe all types of embroidery. In time, however, the term came to be used only for an embroidered head cloth or shawl …”

And he distinguishes the two categories in his essay:

“The major distinguishing feature between baghs and phulkaris relates to the amount of embroidery. In phulkaris, the motifs are more or less regularly divided over the whole cloth, and large areas of ground fabric are visible. As a rule, the ends have quite different patterns from the centre and are often much more richly worked. The motifs on a bagh, on the other hand, are embroidered so close to each other that the ground cloth shows as just a thin line around each motif. Also the ends of the bagh almost always pick up the motif of the main field.”

The patterns on the phulkari tend to be figurative with spaces surrounding them so that patches of the backing cloth are easily visible. The flowery motifs are like well-spaced plants in a garden. In contrast, the baghs are literally covered with geometric motifs that leave little or none of the underlying backing cloth visible.

All the shawls on display are beautiful and show evidence of painstakingly careful embroidering. At Osterley Park, each of the ground floor rooms, all of which had been decorated by Robert Adam, contains several of the shawls from Karun Thakar’s collection. A few of the shawls have been playfully placed to clothe some of the classical statuary that can be found within Osterley.

The presence of the Punjabi shawls at Osterley is not inappropriate. For some time, Osterley Park was owned by the Child family, owners of Child & Co., a private bank that financed some of the East India Company’s voyages and ships. The company had three trading ships named Osterley. The first of these, which was launched in 1757 was partially financed by Francis Child III (1735-1763). It was this man, who commissioned Robert Adam to redesign his country home, Osterley Park. The house contains several east Asian artefacts in its permanent collection. These were acquired through the Child’s involvement with the East India Company. So, Karun Thakar’s shawls feel, in a way, quite at home in Osterley.

Unlike the contemporary artworks that were being displayed at Claydon Hall and clashed, sometimes violently, with their historic surroundings, Thakar’s shawls seemed to harmonise with the historic environment in which they were being displayed. They are quite different to what surrounds them, but not at all out of place. To my great joy, what had been done at Osterley was far more satisfactory than what I had seen at Claydon.

A house that Adam built in London

Posted on by
Reply

TRAGICALLY, my friend the art historian and author, Michael, died twelve years ago. I had known him since 1964, when the film “Goldfinger” was released in the UK. By a strange coincidence he was born on the same day in October as my mother, and his mother was born on the same day in May as I was. He studied art history at London’s Courtauld Institute, where he also completed his doctorate. His doctoral supervisor was the Director of the Courtauld, the art historian and Keeper of the Queen’s Pictures, Sir Anthony Blunt (1907-1983), who was eventually unmasked as a Soviet Russian agent. When Michael was studying at the Courtauld, it was housed in Home House on London’s Portman Square. I never managed to visit Michael there, but since his demise, I have been there three times.

Originally, Home House was built for Elizabeth, Countess of Home (c1703-1784), a Jamaican born heiress. The edifice, which was completed during her lifetime, was designed by the famous architect Robert Adam (1728-1782). He is famed for having designed not only buildings, but also their interior décor and furniture as well as many small details (e.g., door handles). After a series of owners, Home House was leased in 1926 by the industrialist and art collector Samuel Courtauld (1876-1947) to house his then growing art collection. In 1931, following his wife’s death, he gave Home House to the then young Courtauld Institute of Art, which he helped to found.

The Institute remained in Home House until it shifted to its current home, Somerset House, in 1989. Home House stayed unoccupied until 1998, when it was extensively and beautifully restored and became a private members’ social club, called, unsurprisingly, Home House.

Of all the Adam designed structures I have visited, and these include Kenwood House, Osterley Park, Kedleston Hall, Pountney Bridge, The Adelphi Buildings, and Lutin Hoo, the restored Home House has the best set of Adam designed interiors I have seen. Today, unless you are a member of the club or a member’s guest, it is not otherwise possible to enter this gorgeous mansion; And it was an honour that a friend of ours, a member of the club, has invited us there on several occasions.

After our most recent visit to Home House, I could not help wonderin whether its present reincarnation would have met with my friend Michael’s approval. I have a sneaking feeling that he would have enjoyed what it has become.

A Scottish architect and a house in north London

Posted on by
Reply

MY NAME IS Adam Robert Yamey. Robert Adam is the name of a famous Scottish-born architect who was born in 1728 (in Kirkaldy, Scotland), and died in 1792 in London. I was brought up within just under two miles of Kenwood House, which lies between Hampstead and Highgate.

Library in Kenwood House

In 1764, Lord Mansfield (1705-1793), then the owner of Kenwood House, commissioned Robert Adam to remodel the place. Adam’s work included adding a library, adding an impressive Ionic portico, and redesigning the interiors of several rooms. Adam’s works, especially the library he designed, made Kenwood House become a remarkable building. Many people visit it today not only to see Adam’s architecture but also to view the magnificent collection of old master paintings housed within the mansion.

In 1780, Kenwood House had a lucky escape. A group of rioters objecting to Lord Mansfield’s espousal of rights for Roman Catholics left London, and headed towards Kenwood. Having already wrecked Mansfield’s central London home, they were aiming to demolish Kenwood House. Luckily for Mansfield, and for us today, the rioters never reached Kenwood House. You can discover how they were stopped by reading my book “Beneath a wide Sky: Hampstead and its Environs”.

My father, an economist, had wanted to name me ‘Adam Smith Yamey’, in honour of the famous pioneer of economics, Adam Smith (1723-1790). However, my mother was not in favour of this choice of names. Instead, my name contains the Scottish architect’s first and family names. Often, I wonder whether this was because my parents, who were both interested in art and architecture, knew and liked Kenwood House.

[My book is available from Amazon: https://www.amazon.co.uk/BENEATH-WIDE-SKY-HAMPSTEAD-ENVIRONS/dp/B09R2WRK92 ]

The home of a viceroy of India and an architect from Scotland

Posted on by
Reply

KEDLESTONE HALL WAS built on the 1760s for Nathaniel Curzon. It was designed by the Scottish architect Robert Adam. It contains many finely decorated rooms designed by Adam.

The edifice was inherited by Nathaniel’s descendant George Nathaniel Curzon, who was Viceroy of India between 1899 and 1905. I was hoping to see items related to Curzon’s time in India, but saw very few during my visit to Kedlestone Hall.

 

The absence of Indian ‘souvenirs’ is easily compensated by the splendour of the magnificent rooms designed in styles influenced by Ancient Rome and the Italian architect Palladio. Adam not only designed the rooms, but also many of the furnishings including,  for example,  door knobs and fireplaces.

 

I am glad I visited Kedlestone Hall but was disappointed by the paucity of memorabilia from Curzon’s time in India.

A library that is far from mundane in north London

Posted on by
Reply

VISITORS TO LONDON (and residents of the city) should not miss visiting Kenwood House, which is in north London between Hampstead and Highgate. Not only does it contain a magnificent collection of Old Master paintings that can be compared favourably with what can be seen in Britain’s finest public art galleries, but it also has a beautiful library.

In my book about Hampstead, “Beneath a Wide Sky: Hampstead and its Environs”, I wrote:

“The first house to stand on the site of the present one was built in brick by John Bill (1576-1630), printer to King James I. He bought the Kenwood Estate (which was known as ‘Caen Wood’) in 1616. After several changes in ownership, the Estate was bought in about 1747 by a former Prime Minister and King George III’s close associate, John Stuart, third Earl of Bute (1713-1792). In 1754, Bute sold the property to the lawyer and law-reformer William Murray (1705-1793), who became the First Earl of Mansfield, and was Lord Chief Justice of the King’s Bench from 1756 to 1788. In 1778, he was a supporter of the Roman Catholic Relief Bill that led to the violent protests described above. During the First Earl’s stay in the House, he employed the architect Robert Adam (1728-1792) to make improvements.”

The library was one of the improvements that Robert Adam created at Kenwood. The library or Great Room was constructed between 1764 and 1774. It was intended both as a reception room and a library, which might explain why so little of this large room’s wall space is occupied by bookshelves. Most of the wall space is occupied by mirrors and windows. Lord Mansfield would have been used to host guests, hold dinners, and for music performances.

The library’s architecture is based on that of Roman public bath houses.  John Summerson (1904-1992), the architectural historian, wrote of its design in his “The Iveagh Bequest, Kenwood : a short account of its history and architecture” (published 1988):

“This is one of the finest Adam rooms in existence … The shape of the room, with its curved ceiling leading into two apsidal ends, on the chords of which are pairs of columns, is one which Adam used for several of his most stately interiors. Apart from the plan, a great innovation for England was the flat arched ceiling which Adam frankly describes as ‘extremely beautiful …”

Although the library is the finest of Adam’s creations at Kenwood, there are others that deserve to be admired. These include the orangery, the entrance hall with its magnificent stucco ceiling, and the library’s anteroom. In this piece I have concentrated on the interior of Kenwood House, but a visit to this wonderful place should be accompanied by a stroll in the place’s superb, landscaped gardens.

In the style of Adam at a town in Suffolk

Posted on by
Reply

I HAVE VISITED Bury St Edmunds, a town in Suffolk, many times since my childhood in the 1960s. However, it was not until June 2025 that I first stepped inside the town’s Athenaeum. Located in the heart of the town, this edifice began life in the 17th century. It was converted into an Assembly Room in 1714, and then in 1853, it was modified to become the Athenaeum. Today, it is used for special occasions, such as weddings.

The highlight of its interior is the ballroom designed by Franciss Sandys, who died in the 1820s. .The barrel-vaulted ballroom is the full height of the building. What impressed me was that its beautiful stuccoed ceiling resembled the kind of ceilings designed by the great architect Robert Adam (1728-1792).

The naked ceiling at Osterley Park

Posted on by
Reply

WHEN THE BANKER Sir Francis Child (1642-1713) acquired Osterley Park in the 18th century, its Elizabethan manor house was in a poor state of repair. His grandsons, Francis and Robert, employed the famous architect, Robert Adam (1728-1792) to give the house a major ‘makeover’ including adding a grandiose neo-classical front portico. And that is what he did on a grand scale. Adam was no ordinary architect. Not only did he plan buildings (and modifications to them), but he also designed their interiors: everything from ceilings and wall decorations to furniture and doorhandles. Osterley Park offers a magnificent display of his wide-ranging skills.

Long gallery at Osterley Park

The visitor to Osterley Park, now managed by the National Trust, usually gets to see a series of wonderful rooms on the ground floor of the house. All the rooms except one have beautifully decorated ceilings, all designed by Adam. Some of them have paintings created by Adam’s favourite painter, the Venetian Antonio Zucchi (1726-1795). Amongst my favourite ceilings are those in the Etruscan Dressing Room and the Drawing Room. The latter has a fantastic ceiling that was inspired by drawings in “The Ruins of Palmyra otherwise Tedmor in the Desert” by James Dawkin and Robert Wood (published in 1753).The ruins were those that were recently badly vandalised by the IS group. In each of the rooms, except the long gallery, the visitor’s attention is dominated by the eye-catching ceilings.

The ceiling of the long gallery is devoid of decoration. It was in this room that the Child family’s collection of fine paintings used to be displayed. The gallery’s ceiling was left plain, without decoration, deliberately, so that the viewer’s attention would be concentrated on the paintings.  Sadly, the paintings are no more. After WW2, the house’s owner, George Francis Child-Villiers, 9th Earl of Jersey (1910 -1998) gave the house and its grounds to the National Trust. He moved to Jersey, taking with him most of the paintings that had hung at Osterley. Unfortunately, many of these works were destroyed in a warehouse fire soon after he donated the house. The artworks in the gallery have since been replaced with other paintings and because the ceiling is naked, you can give them your full attention.

Sir Anthony Blunt sat here often

Posted on by
Reply

HOME HOUSE IN London’s Portman Square was completed in 1777 for the wealthy Elizabeth Home, Countess of Home (c1703-1784). Born in Jamaica into a slave-owning family, her wealth was produced by the unpaid labour of slaves imported from Africa. The house is remarkable, especially for its intricately detailed interior décor designed by the architect Robert Adam (1728-1792).

In 1933, Home House became home to the Courtauld Institute of Art, now part of the University of London. A close friend of mine, now sadly deceased, studied at the Courtauld for both his bachelor’s degree and his doctorate. Whilst writing his doctoral thesis, my friend was supervised by Sir Anthony Blunt (1907-1983). Blunt was the director of the Courtauld from 1947 to 1974. He was also in charge of the Royal Collections of art from 1945 onwards. In addition, he carried out much important scholarly work in the field of history of art. Blunt, as director of the Courtauld, was given a flat in Home House.

Until 1979, few people knew, or even suspected, that Blunt had been involved with spying for the Soviet Union.  When this came out into the public domain, Blunt’s downfall commenced. He was stripped of his knighthood and his Honorary Fellowship at Cambridge’s Trinity College was rescinded. Also, Blunt resigned as a Fellow of the British Academy. Soon after his exposure as an espionage agent, who worked against his own country for the Soviet Union, Blunt ceased residing at Home House. In 1989, the Courtauld Institute shifted from Home House to larger premises in Somerset House in the Strand. Home House remained vacant until 1998, by which time it had been beautifully restored and adapted to become a private social club. During a recent visit to Home House when we were entertained by a friend, our host, a member, took us to see an interesting exhibit, which is housed in the wash basin area of one of the Club’s unisex toilets. We were shown a glass-fronted display case containing a wooden furniture item. It bears a label with the words: “From the bathroom of Sir Anthony Blunt”. The labelled object is the toilet seat on which Blunt must have sat numerous times, and its wooden lid. Another case in the room contains Blunt’s telephone. Although the loo seat and the ‘phone are unremarkable except for their provenance, the rest of Home House is a visual delight.

Adam’s brother and Jane Austen

Posted on by
Reply

IRRIGATED BY MANY STREAMS, branches of several rivers, notably the Lea and the Beane, the town of Hertford is the county town of Hertfordshire in eastern England. Some parts of this historic place with its numerous water-filled channels recalled distant memories of Brugge (Bruges) in Belgium but the architecture differs considerably from what one sees in the Belgian city. We made our very first visit to Hertford on the 2nd of May 2021 and were surprised by its richness in old buildings and waterside parklands. Amongst the edifices in the historic centre of the town, we came across a well-restored brick building on Fore Street. It, the massive though elegant Shire Hall, now the home of a Crown Court, dwarfs its neighbours. Apart from its size and elegance, its architect attracted my interest.

Shire Hall, Hertford

In 1627, a Sessions House was constructed on the site of the present Shire Hall following the issue of a charter by King Charles I (https://historicengland.org.uk/listing/the-list/list-entry/1268930). By the mid-18th century, it was considered to be too small. An Act of Parliament issued in 1768 during the reign of King George III led to raising money to build a new shire hall. The specifications were sent out to various architects, and amongst the six short-listed were the now very famous Robert Adam (1728-1792) and his far less well-known younger brother James Adam (1732-1794). The new structure was to incorporate:

“…2 courts, a room for the Corporation of Hertford, and both with and without a County Room.”

 The Adam’s brothers won the contract to carry out the above along with the addition of a previously unspecified Assembly Room.

James Adams took charge of the project, which commenced in April 1769 and was completed in April 1771. The arcaded ground floor was used by the Corn Exchange until 1849, after which date a separate edifice for the Corn Exchange was built in 1857-58 on Fore Street. James Adam built far fewer buildings than his better-known brother Robert. James and Robert, both born in Kircaldy (Scotland), started their architectural practice in London in 1758. Not only did they design buildings but also, they provided detailed designs for their interior decoration and furnishings; they provided what could be described as a ‘holistic’ design service. James collaborated with Robert on several other projects apart from the Shire Hall in Hertford. These include the now mostly demolished Adelphi buildings near London’s Strand and Wedderburn Castle in Berwickshire.

The Assembly Room in the Shire Hall, which was used for concerts and theatrical performances, is supposed to have inspired Jane Austen (1775-1817) when she was writing her novel “Pride and Prejudice”, part of which is set in the fictional ‘Merytown’, which she might have based on Hertford. The Assembly Room featured as the ballroom in Austen’s novel (http://wardtimes.info/hertfordshire/east-herts/hertford/news/what-now-shire-hall-hertford). Here is a little extract from Chapter 3 of the book:

“An invitation to dinner was soon afterwards dispatched; and already had Mrs. Bennet planned the courses that were to do credit to her housekeeping, when an answer arrived which deferred it all. Mr. Bingley was obliged to be in town the following day, and, consequently, unable to accept the honour of their invitation, etc. Mrs. Bennet was quite disconcerted. She could not imagine what business he could have in town so soon after his arrival in Hertfordshire; and she began to fear that he might be always flying about from one place to another, and never settled at Netherfield as he ought to be. Lady Lucas quieted her fears a little by starting the idea of his being gone to London only to get a large party for the ball; and a report soon followed that Mr. Bingley was to bring twelve ladies and seven gentlemen with him to the assembly. The girls grieved over such a number of ladies, but were comforted the day before the ball by hearing, that instead of twelve he brought only six with him from London—his five sisters and a cousin. And when the party entered the assembly room it consisted of only five altogether—Mr. Bingley, his two sisters, the husband of the eldest, and another young man.”

The above-mentioned assembly room was that in the Hertfordshire town of Meryton to which the wealthy Mr Bingley had recently arrived from the north of England.  Although the Assembly Room, mentioned in the novel, is thought to be that in the building designed by the Adam brothers in Hertford, at least one authority identifies Meryton not with Hertford but instead with nearby Ware (http://wp.lancs.ac.uk/dighum/2016/12/01/mapping-pride-and-prejudice/). Yet another informant felt:

“Re-reading Pride and Prejudice, I have to say that Meryton bears a strong resemblance to Hertford. But it also feels remarkably like Harpenden. And what about Ware?” (https://www.greatbritishlife.co.uk/people/finding-jane-austen-s-hertfordshire-7217568).

Stepping aside from the identification of the fictional Meryton in “Pride and Prejudice”, I must not forget to mention the large clock attached to the Shire Hall, which projects over Fore Street. Supplied by the Hertford bell founder and clockmaker John Briant (1749-1829), this clock with two faces was erected on the Shire Hall in 1824. It still works and now has a mechanism regulated by a radio signal from Rugby (www.hertford.gov.uk/town-clocks/).

Apart from the Adelphi, which I have seen several times, but until now did not know it was associated with James Adam, the Shire Hall is the first building of which I was aware of James’s hand in its design. I noticed that a plaque attached to this building makes no mention of Robert Adam but only of his brother. It reads:

“Shire Hall. Designed by James Adam. Built 1769-1771”

I do not know whether one can conclude from this that James’s contribution to its design was considerably greater than that of his brother, if he had any involvement at all. In any case, the large structure has a magnificent presence in amongst the smaller and often older buildings amongst which it stands.

Adam in the garden

Posted on by
1

WHEN I WAS BORN, my parents wanted to call me ‘Adam’. That was in the early 1950s. However, Mom and Dad were worried that Adam was a relatively unusual first name in those far-off days and that with such a name I might have been teased at school. As it happened, I only attended schools where the pupils were addressed by their surnames and mine, Yamey, was subject of a lot of mirth amongst my schoolmates. In view of their concerns, I was named ‘Robert Adam’, but have always been called ‘Adam’. My father, an economist, was all for calling me ‘Adam Smith Yamey’ in memory of the father of economics Adam Smith (1723-1790), but my mother was not keen giving me this name. The choice of Robert was possibly influenced by the fact that one of my mother’s brothers bore this name. It is also very vaguely possible that the name ‘Robert Adam’ was chosen in memory of another man who was alive during Adam Smith’s lifetime, the architect Robert Adam (1728-1792).

Garden House by Robert Adam at Osterley Park

Maybe because I share his name, I have grown to like and appreciate the architecture and interior decors created by the 18th century Robert Adam. However, you do not need to be called Robert Adam to enjoy Adam’s great works.

Last year, we visited Osterley Park on an extremely rainy day and were able to wander around the interior of Osterley Park House (https://adam-yamey-writes.com/2020/11/02/at-home-with-adam/). Built by the merchant and founder of London’s Royal Exchange Sir Thomas Gresham (c1519-1579) in about 1575, the house was extensively remodelled by the Child family, who owned it, during the 1760s and 1770s. The remodelling was to the detailed designs of Robert Adam.

When we visited the house on that rainy day in November 2020, we omitted walking around the house’s fine semi-formal gardens. On our recent visit, the house was not open because of covid19 prevention measures and there was no rainfall. So, we wandered around the lovely gardens. Like so many other 18th century landscaped gardens attached to stately homes, that at Osterley contains several buildings that were placed to add to the picturesqueness of the grounds.

The Doric Temple of Pan with four columns and four pilasters was built in the 18th century, probably to the design of the Scottish-Swedish architect William Chambers (1723-1796), who was born in the Swedish city of Gothenburg. Between 1740 and 1749, while in the employ of the Swedish East India Company, he made three voyages to China, where he learnt Chinese. A major rival of Robert Adam, he was an exponent of neo-classicism, of which the small Temple of Pan is a fine example. The interior of the temple, which we were unable to see because of covid19 prevention measures, contains, according to Nikolaus Pevsner and Bridget Cherry:

“… mid c18 interior plasterwork with Rococo flourishes and medallions of Colen Campbell and Sir Isaac Newton.”

The front of the temple faces across a lawn towards a structure, 175 yards away, designed by Chambers’ rival Robert Adam: The Garden House.

Adam designed the Garden House in about 1780. It has a semi-circular façade with five large windows within frames topped with semi-circular arches. Pevsner and Cherry describe these windows as “five linked Venetian windows”. A balustrade tops the façade and almost hides the conical roof. Between the windows, there are roundels containing bas-relief depictions of classical scenes with bucolic themes. The building was part of Mrs Child’s Flower Garden. The National Trust, which manages Osterley Park, notes in its website (www.nationaltrust.org.uk/osterley-park-and-house/features/the-garden-house-at-osterley-park-and-house) that the Garden House’s original purpose was:

“… a display house for the collection of rare trees and shrubs that were housed here in the 18thC. The main type of plant that we always grow and display in this building is lemon trees as we have historic evidence that 45 lemon trees were on show here in the 1780’s. We choose to have a mixed display of other interesting specimens alongside the lemons so as to give a greater display and range of interest for our visitors. All of these plants are known to have been either at Osterley in the 18thC or to have been available to grow at that time.”

Although it is not as spectacular as Adam’s interiors of Osterley Park, the Garden House is both delightful and elegant, a fine feature that enhances the appearance of the formal part of the gardens. This and other buildings designed by the same architect makes me proud to have been given, maybe accidentally, the name Robert Adam Yamey.