[1] Design for a chimneypiece, ND

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Robert and James Adam office drawings
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  - Whitton Place, Richmond upon Thames, London: survey drawings for a tower and chimneypiece for Archibald Campbell, 3rd Duke of Argyll, ND (3)
    - Design for a chimneypiece for the Duke of Argyll, (1)

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Reference number

SM Adam volume 30/107

Purpose

[1] Design for a chimneypiece, ND

Aspect

Elevation, section and profile of a chimneypiece with moulded lining decorated with enclosed anthemion and bead and reel, with stiles adorned and volute capitals decorated with acanthus drops, and an arabesque frieze with eagle heads, with a central tablet containing a festooned mask, with a cornice with egg and dart moulding above

Scale

bar scale of 1 1/4 inches to 1 foot

Inscribed

For His Grace the Duke of Argyle with some dimensions / (verso) (in pencill) 24

Signed and dated

Medium and dimensions

Pen and pencil on laid paper (442x296)

Watermark

LVG surmounted by a cartouche with a fleur de lis above

Notes

In the opinion of A. A. Tait, this drawing relates in time and place or subject to those contained in Adam volume 7. It is possible that this drawing came from the Office of John and James Adam. In c.1755 they designed chimneypieces for Inveraray Castle in Argyll, Scotland, which were later removed by the 5th Duke of Argyll to Roseneath in Dumbartonshire, another Argyll house. Some were returned to Inveraray in 1952 when Roseneath was demolished (see I. G. Lindsay & M. Cosh, inveraray and the Dukes of Argyll, Edinburgh, 1973, pp.15 and 362, n.191; a similar composition to this one is illustrated on p.219).

Literature

Bolton, 1922, p. 52
For a full list of literature references see scheme notes.

Level

Drawing

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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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