[22] Preliminary design for a chimneypiece for the eating room, c1777, unexecuted

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Robert and James Adam office drawings
- Town houses
  - London
    - Roxburghe House, Hanover Square, London, designs for a house and interiors for John Ker, 3rd Duke of Roxburghe, c1775-79 (55)
      - Preliminary design and design for a chimneypiece for the eating room, c1777, unexecuted (2)

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Reference number

SM Adam volume 23/220b

Purpose

[22] Preliminary design for a chimneypiece for the eating room, c1777, unexecuted

Aspect

Elevation of a chimneypiece with Doric pilaster stiles with pedestal bases containing paterae, bands of guilloche, and bands of laurel leaf tips. The bases are surmounted by tripods with hoof feet and sabre legs, and they are ornamented with rosettes, calyx, peltoid shields, cameos, and festoons. The tripods have ram mask capitals and are surmounted by urns flanked by swags which suspend rosettes. The capitals of the chimneypiece contain medallions set within wreaths, and the frieze contains a central urn ornamented with gadrooning, enclosed anthemia, and the urn is flanked by winged sphinxes, arabesques, rosettes, and half putti

Scale

not to scale

Inscribed

Eating room Chimney Roxburghe House (pencil) and some dimensions given

Signed and dated

c1777
c1777

Medium and dimensions

Pencil on laid paper (309 x 474)

Hand

Probably
Robert Adam

Literature

Bolton, 1922, Volume II, Index p. 40
For a full list of literature references see scheme notes.

Level

Drawing

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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