[5] Unfinished design for a chimneypiece for the first floor large room, 1782, 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 first floor large room, 1782, unexecuted (1)

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Reference number

SM Adam volume 23/142

Purpose

[5] Unfinished design for a chimneypiece for the first floor large room, 1782, unexecuted

Aspect

Elevation of a chimneypiece with pilaster stiles ornamented with an ox skull, festoons of husks suspending a wreath, drop calyx, and an anthemion. The capital contains a rosette enclosed within a wreath and superimposed on crossed thyrsi. The frieze is ornamented with a band of enclosed calyx and fluting, and there is a central tablet containing an urn ornamented with gadrooning, swags and sphinxes

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Chimney piece for the one pair large room at Mr Weavers house in the Tower / 142 and some dimensions given

Signed and dated

July 1782
July 1782

Medium and dimensions

Pen and pencil on laid paper (406 x 285)

Hand

Possibly
Office hand, possibly Robert Morison

Verso

Preliminary design for a chimneypiece (pencil), possibly for SM Adam volume 23/143, bar scale of 1 1/2 inches to 1 foot

Watermark

LVD surmounted by a fleur-de-lis within a crowned cartouche

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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