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image SM Adam volume 22/170

Reference number

SM Adam volume 22/170

Purpose

[7] Finished drawing for a chimneypiece for the dining room, 1766-67, unexecuted

Aspect

Elevation of a chimneypiece, with fluted console stiles ornamented with beading, and drops of calyx, with a lining ornamented with acanthus leaves, and laurel leaf tips, with a frieze ornamented with peltoid shields, bows, and festoons, and a tablet containing an urn-filled with flowers, rosettes, and arabesques, and with a mantel ornamented with acanthus leaves, and dentils

Scale

bar scale of 1 1/4 inches to 1 foot

Inscribed

Chimney piece for the Dining room at Ugbrooke (in pen in the hand of William Adam) / (and in pencil) Lord Clifford's Dining room Chimney / 3d House / River front / Back Parlor and some dimensions given in pencil

Signed and dated

1766

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (415 x 287)

Hand

Adam office hand, possibly William Hamilton, with title inscription in the hand of William Adam

Notes

The pencil inscription on this drawing, 3d House / River front / Back Parlor, suggests that Adam had intended to reuse the design at the Adelphi, as was the case with various other chimneypiece designs of the 1760s. In this case it was clearly intended for use in the back parlour of 3 Royal Terrace. Contrary to the inscription, however, the design does not correspond with Adam’s extant chimneypiece deign for that room (Adam volume 24/28), although the frieze was reproduced in the chimneypieces designs for the back parlour at 9 Royal Terrace (Adam volume 24/42), and the back drawing room at 4 Royal Terrace (Adam volume 24/34).

Literature

Bolton, 1922, Volume II, Index p. 30
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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