[27] Design for the chimneypiece for the saloon (now the library), 1768, as executed

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Robert and James Adam office drawings
- Country houses
  - Harewood House, Yorkshire: designs for alterations to the church and house; for the interior decoration; and for a greenhouse and gateway for Edwin Lascelles, 1759-1782 (121)
    - Designs for the interior decoration of the house, including the hall, music room, saloon, dining room, gallery, library, bed rooms, dressing rooms, great staircase and portico soffit, 1765-1778 (107)
      - Design for the chimneypiece for the saloon (now the library), 1768, as executed (1)

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Reference number

SM Adam volume 22/192

Purpose

[27] Design for the chimneypiece for the saloon (now the library), 1768, as executed

Aspect

Elevation and profile of a tabernacle chimneypiece, with scrolled stiles, a frieze of urns and palmettes, with a tablet containing an urn on a pedestal, flanked by birds, and with ox skulls in the capitals. The aedicular overmantel contains a figurative roundel, and is supported by Spalatro order columns, and has a cameo in the tympanum of the pediment

Scale

bar scale of 1 1/4 inches to 1 foot

Inscribed

Design of a Chimney Piece for the Saloon at Harewood House and some dimensions given

Signed and dated

1768
1768

Medium and dimensions

Pen and wash on laid paper (389 x 550)

Hand

Adam office hand, possibly Joseph Bonomi

Literature

Bolton, 1922, Volume II, Index p. 16
Harris, 2001, p. 140
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

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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