[100] Alternative preliminary design for the chimneypiece for the gallery, 1774

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Robert and James Adam office drawings
- Country houses
  - Harewood House, Yorkshire: designs for alterations to the church and house; for the interior decoration; and for a greenhouse and gateway for Edwin Lascelles, 1759-1782 (121)
    - Designs for the interior decoration of the house, including the hall, music room, saloon, dining room, gallery, library, bed rooms, dressing rooms, great staircase and portico soffit, 1765-1778 (107)
      - Alternative preliminary designs, and designs for the chimneypiece for the gallery, 1774-1777 (7)

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Reference number

SM Adam volume 22/199

Purpose

[100] Alternative preliminary design for the chimneypiece for the gallery, 1774

Aspect

Elevation of a chimneypiece with Doric pilaster stiles, embellished with ram masks, and drops including calyx, festoons, and urns, and with a frieze ornamented with guilloche enclosing rosettes, with a tablet containing a winged sphinx, and with a cameo in the right-hand capital, and an enclosed oval patera in the left-hand capital

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Chimney Piece for the Gallery at Harewood House / 1st Design (all in the hand of William Adam)

Signed and dated

1774
1774

Medium and dimensions

Pen and pencil on laid paper (411 x 291)

Hand

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

Watermark

fleur-de-lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 16
Mauchline, 1992, p. 80
Harris, 2001, pp. 146, 149
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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