[58] Unfinished design for a chimneypiece for Lady Williams-Wynn’s dressing room, 1772, unexecuted

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Robert and James Adam office drawings
- Town houses
  - London
    - St James's Square, number 20, London, designs for a house and interiors for Watkin Williams-Wynn, c1772-1777 (99)
      - Preliminary design and unfinished design for a chimneypiece for Lady Williams-Wynn's dressing room, c1772, unexecuted (2)

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Reference number

SM Adam volume 23/13

Purpose

[58] Unfinished design for a chimneypiece for Lady Williams-Wynn’s dressing room, 1772, unexecuted

Aspect

Elevation of a chimneypiece with a lining bordered with a band of laurel leaf tips. The stiles are alternatively formed. On the left-hand side there is an Ionic pilaster stile ornamented with ribbons suspending anthemia and medallions, and on the right-hand side there is a part-fluted Ionic pilaster. The capitals contain figurative roundels, and there is a central tablet ornamented with a cameo depicting a reclining figure and winged putti, and this is flanked by drop calyx. The tablet is flanked by alternative friezes. On the left-hand side there is a band of medallions, rosettes and festoons, and a band of cameos set within hexagonal compartments. On the right-hand side there is a band of fluting, and a band of masks bearing festoons. The mantel is ornamented with a band of acanthus leaves

Scale

bar scale of 1 ¾ inches to 1 foot

Inscribed

Chimney Piece for Lady Williams Wynn’s Dressing room / 13 and some dimensions given

Signed and dated

August 1772
Adelphi / 27.t Aug.st 1772.

Medium and dimensions

Pen, pencil, wash and coloured washes including Indian red, Indian yellow, pink and verdigris on laid paper (405 x 292)

Hand

Possibly
Office hand, possibly William Hamilton or Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 49
For a full list of literature references see scheme notes.

Level

Drawing

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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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