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  • image SM 81/1/18

Reference number

SM 81/1/18


[108] Working drawing for an unidentified chimney-piece, April to July 1791


Details of unidentified chimney piece with strigilated corners and sunk circular bosses; and rough part-elevation


full size


Wall line, face of centre block / line of end block, 1'6" 13/16 from centre block which is 7"¼ square, cable from floor line ½ inch, floor line, (pencil) The Marquiss of Abercorn

Signed and dated

  • April 1791 - July 1791
    Datable to April to July 1791 in accord with the dates on drawings 105-107

Medium and dimensions

pencil and pen on cartridge paper (622 x 504)


Soane Office, draughtsman
Soane office


Drawing 108 is for an unidentified chimney-piece. The drawing is labelled as for the Marquess of Abercorn, thus dating it to after October 1790 (when Lord Abercorn inherited his title). The Marquess's title attributes the drawing to Soane's second phase of building works at Bentley Priory. The chimney-piece appears to follow a similar design as that drawn for the music room in Earsham, Norfolk (q.v.) in 1784 (see SM 81/1/70), and that at John Patteson's house in Surrey Street, Norwich (q.v.), c.1790 . The chimney-piece at Earsham has a quarter-pilaster motif of reeds bound with bowed ribbons. As in drawing 108, strigilated flutes beside sunk circular bosses are above the reeded jambs, and a larger boss is centred on the frieze.



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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