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  • image SM Adam volume 23/51

Reference number

SM Adam volume 23/51


[39] Finished drawing for a chimneypiece and overmantel for the Etruscan dressing room, 1774, as executed


Elevation of a chimneypiece and overmantel mirror frame. The stiles and frieze of the chimneypiece are ornamented with L-shaped bands of enclosed rosettes within figure-of-eight ribbons, with drops below in the stiles, composed of ram masks, calyx, bows, tubular flowers, cameos, urns, and tablets, and with a central tablet in the frieze, containing an oval medallion flanked by urns. The overmantel frame has a three-sided rectangular border of anthemia, flanked by terms holding festoons, and supporting a lintel ornamented with fluting and arabesques, and surmounted by an oval patera within a wreath, supporting an eagle, and flanked by putti and urns


bar scale of 1 1/2 inches to 1 foot


Chimney Piece for the Bow Dressing Room one pair Story / at Lord Stanley's in Grosvenor Square / (and in pencil) Glass / Glass / Mr Carter has / not got this / yet the Drawing / at large having / not quite finished and measurements given in pen and pencil

Signed and dated

  • 1774

Medium and dimensions

Pen, pencil, wash and coloured washes including Indian yellow and cerulean blue within a single ruled border on laid paper (363 x 522)


Adam office hand, possibly William Hamilton or Joseph Bonomi




Bolton, 1922, Volume II, Index p. 38
Harris, 1963, Index p. 55; p. 83
Beard, 1978, p. 64
Harris, 2001, p. 363
For a full list of literature references see scheme notes.



Exhibition history

Original Drawings of Robert and James Adam, Kenwood House, London, 1953

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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