[39] Design for a chimneypiece for the great drawing room, 1779, executed with alterations

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Robert and James Adam office drawings
- Town houses
  - London
    - Hill Street, number 31 (later 17), London, designs for a rear elevation, interiors and furniture, for Sir Abraham Hume, 1778-1780 (64)
      - Design for a chimneypiece and designs for a fire grate for the great drawing room, 1779 (4)

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Reference number

SM Adam volume 23/145

Purpose

[39] Design for a chimneypiece for the great drawing room, 1779, executed with alterations

Aspect

Elevation of a chimneypiece with stiles ornamented with half-patera enclosed by foil, ox masks, cameos set within a border of beading, drop calyx, miniature figurative panels, tubular flowers and wreaths enclosing rosettes. The stiles and lining are bordered with husks, and the capitals contain draped figures bearing urns. The frieze is ornamented with arabesques, tubular flowers, anthemia, and semi-circular bands of beading, and there is a central tablet depicting a goat and putti

Scale

bar scale of 1 ½ inches to 1 foot

Inscribed

Design of a Chimney Piece for the Great Drawing room at Sir Abraham Hume’s in Hill Street. and faint pencil inscription / Mrsr Hoffman (pencil)

Signed and dated

Feb 1779
12. Febry / 1779.

Medium and dimensions

Pen, pencil and coloured washes including verdigris, cerulean blue and pink on laid paper (406 x 298)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 40
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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