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Design for the chimneypiece for the dining room, c1769-70; it is not known if this design was executed (1)


The dining room would have been located at the back, on the ground or first storey of the house.

The design is a close variant of that designed by Adam in 1766 for Lady Shelburne’s bedchamber at Shelburne House (Adam volume 22/113). The Shelburne House chimneypiece design was inscribed by Adam in pencil with the words, 10t House, Back Parlor, suggesting that Adam had considered reusing it at the Adelphi, although he had perhaps originally intended it elsewhere.

One of the rooms at number 2 Adam Street received a chimneypiece which is a close variant of one designed for the back parlour or dining room for both number 2 Royal Terrace (Adam volume 24/28) and number 9 Adam Street (Adam volume 24/18). The only difference is that the central tablet contains enclosed rather than unenclosed rosettes, and the tazza is supported by foliage rather than a small pedestal. This is identical to the chimneypiece installed in the front drawing room at number 1a Royal Terrace. Both this chimneypiece and its duplicate at number 1a Royal Terrace were photographed by the LCC in 1936-37.



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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