[12] Design for a chimneypiece for the hall in the east range by Joseph Wilton, c1760

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Robert and James Adam office drawings
- Country houses
  - Osterley Park, Hounslow, Greater London: designs for the house, interior and park for Francis Child and Robert Child, 1761-80 (126)
    - Interior decoration
      - Design for a chimneypiece for the hall in the east range by Joseph Wilton, c1760 (1)

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Reference number

SM Adam volume 22/210

Purpose

[12] Design for a chimneypiece for the hall in the east range by Joseph Wilton, c1760

Aspect

Elevation of a chimneypiece, with volute stiles, ornamented with acanthus leaves, and coin moulding, with a lining ornamented with egg and dart moulding, with a frieze ornamented with a lion mask and pelt including paws, and with a mantel ornamented with beading, and dentils, and with a part plan drawn in pencil beneath

Scale

bar scale of 1 inch to 1 foot

Inscribed

Chimney Pieces for the Hall at Osterley / of Roach Abbey Stone

Signed and dated

Josp Wilton. Sculptr and datable to c1760

Medium and dimensions

Pen and wash within a single ruled border on laid paper (333 x 239)

Hand

Joseph Wilton

Notes

In 1760 Francis Child commissioned Joseph Wilton to provide marble chimneypieces for the gallery and the entrance hall. Prior to Adam's arrival, the hall was located in the east range of the house. It is not known if this chimneypiece was executed prior to the demolition of the central portion of the east range in 1763-64.

This drawing in Wilton's hand shows an identical design to one in the Avery Library, Columbia University, attributed by John Harris to Sir William Chambers. There is, however, no evidence that Chambers himself was involved in any works at Osterley. See scheme notes.

Literature

Bolton, 1922, Volume II, Index p. 25; Harris, 2001, p. 159 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

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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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