[2] Unfinished design for a chimneypiece for the large parlour, c1782, unexecuted

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Robert and James Adam office drawings
- Public buildings
  - The Tower of London, London, designs for chimneypieces and mirror frames for Mr Weaver, 1782-3, unexecuted (12)
    - Unfinished design for a chimneypiece for the large parlour, c1782, unexecuted (1)

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Reference number

SM Adam volume 23/141

Purpose

[2] Unfinished design for a chimneypiece for the large parlour, c1782, unexecuted

Aspect

Elevation of a chimneypiece, with a Doric stile ornamented with a ribbon suspending drop calyx. The capital contains a rosette enclosed within a band of beading, and there is a fluted cornice above. The frieze is ornamented with arabesques supporting calyx and anthemia, and has a central tablet containing a rosette speared by a thyrsus suspending swags, and enclosed within a wreath

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Chimney piece for the large Parlor at Mr Weavers house in the Tower / 141 and some dimensions given

Signed and dated

c1782
c1782

Medium and dimensions

Pen and pencil on laid paper (406 x 289)

Hand

Possibly
Office hand, possibly Robert Morison

Verso

Preliminary design for a chimneypiece (pencil) with stiles ornamented with a mask and festoons suspending a wreath and drop calyx, as SM Adam volume 23/142. The capital contains an urn, the central tablet is ornamented with a figurative scene, and this is flanked by tripods supporting urns, bar scale of 1 1/2 inches to 1 foot

Watermark

IVILLEDARY

Literature

Bolton, 1922, Volume II, Index p. 51
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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