[10] Design for a chimneypiece for the back parlour, 1769, unexecuted

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Robert and James Adam office drawings
- Town houses
  - London
    - Hertford Street, number 10 (now Sheridan House), London: designs for interior decoration for Lieutenant-General John Burgoyne, 1769-71 (15)
      - Design for a chimneypiece for the back parlour, 1769, unexecuted (1)

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Reference number

SM Adam volume 22/266

Purpose

[10] Design for a chimneypiece for the back parlour, 1769, unexecuted

Aspect

Elevation of a chimneypiece, with the stiles ornamented with scrolled hearts, double calyx in the lining, a frieze ornamented with double anthemia and lozenges containing alternating enclosed rosettes, and enclosed masks, and with enclosed rosettes in the capitals

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Chimney Piece for the back Parlor for General Burgoyne's / (and in pencil) [cropped]k Parlour River / [cropped]t House River / Back Parlor and some measurements given in pencil

Signed and dated

1769
1769

Medium and dimensions

Pen and wash on laid paper (407 x 292)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi

Notes

The pencil inscription on this drawing, [Bac]k Parlor River / [cropped]t House River, suggests that Adam had intended to reuse the design at the Adelphi, as was the case with various other chimneypiece designs of the 1760s. In this case it was clearly intended for the back parlour in one of the houses on the Royal Terrace. Indeed, there is a similar chimneypiece, with the same frieze and capitals in the back parlour of 11 Royal Terrace (Adam volume 24/47), corresponding with the pencil inscription.

Literature

Bolton, 1922, Volume II, Index p. 40
Draper, 1999, p. 126
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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