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image Image 1 for SM 81/2/84
image Image 2 for SM 81/2/84
  • image Image 1 for SM 81/2/84
  • image Image 2 for SM 81/2/84

Reference number

SM 81/2/84

Purpose

[17] Designs for four chimney-pieces

Aspect

(recto) Plans, elevations and details (including pencil details) for two chimney-pieces, the first with an X cancellation mark and (against right-hand design) Approved Octr 24:1798 (verso) plans,elevations and details for two chimney-pieces, both with cancellation marks

Scale

bar scale of 3/4 inch to 1 foot

Inscribed

(against right-hand design) Approved of Octr 1798, The South East (small) Drawing / Room, The plan of the / Pilasters, The Plan of the / Shelf and Portland Stone, The Chimney Piece of North west Chamber / the other Chimney Piece on this floor/ to be the same designs but where / there is Marble already that to be / used in the place of Portland Stone, The Plan of the Pilaster, The Plan of the Shelf, Rounded, Portland Stone (twice) and dimensions given (verso) The Chimney Piece for (?) Arch Room, Plan of the the Pilasters, Plan of the Shelf and The Chimney piece for South West Drawing Room, Plan of the Pilasters, Plan of the Shelf

Medium and dimensions

Pen, sepia, burnt sienna and light red washes washes on thin laid (secretary) paper with severn fold marks (for pocket or post?) ( 339 x 456)

Hand

The office Day Book for 24 Octoner 1798 has George Mansfield (surveyor from 1 May 1797 to December 1800) 'Abt Accts & Sketches of chy piece' for the Countess of Pembroke (for half a day)

Watermark

J Bigg and crowned cartouche with post horn and below, JB

Notes

Although intended for fourdifferent rooms only one design (for the north west chamber) was approve; the others have cancellation marks.

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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