[5] Design for a chimneypiece for the ground storey dressing room (later the morning room), 1765

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Robert and James Adam office drawings
- Town houses
  - London
    - Grosvenor Square, number 18 (later 19), London: executed and unexecuted designs for interior decoration for the 8th Earl of Thanet, 1764-66 (14)
      - Design for a chimneypiece for the ground storey dressing room (later the morning room), 1765 (1)

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Reference number

SM Adam volume 22/142

Purpose

[5] Design for a chimneypiece for the ground storey dressing room (later the morning room), 1765

Aspect

Elevation of a chimneypiece, with tapering, fluted pilaster stiles, ornamented with urns, with an architrave ornamented with anthemia, enclosed by strigils, and bell flowers, with a fluted frieze, and a tablet containing an urn, flanked by winged half putti, rosettes, and arabesques, with a mantel ornamented with acanthus leaves, and dentils, and with enclosed rosettes in the capitals, and with pencil-drawn annotations of a rosette to the right-hand side

Scale

bar scale of 1 3/8 inches to 1 foot

Inscribed

Design of a Chimney piece for a Dressing Room in The Right Honble The / Earl of Thanet's House in Grosvenor Square (in pen) and illegibly feint pencil inscriptions including the frieze and &

Signed and dated

1765
1765

Medium and dimensions

Pen, pencil and wash on laid paper (388 x 292)

Hand

Adam office hand, possibly George Richardson or James Adam

Literature

Bolton, 1922, Volume II, Index p. 39
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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