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image SM Adam volume 20/74

Reference number

SM Adam volume 20/74

Purpose

Finished drawing for a Chinoiserie mirror frame, 1769, unexecuted

Aspect

Elevation of a rectangular, tripartite mirror frame, with painted ornamentation, articulated by drops of calyx which become terms, connected by figure-of-eight olive leaves, and supporting oval medallions, festoons, and drops of calyx and peltoid shields, with a serpentine top rail, ornamented with crockets, acanthus leaves, tubular flowers in the form of pergolas, bells, and surmounted by a central anthemion, and the base of the mirror is ornamented with a band of oval medallions and fans, supporting rinceaux, urns, birds, anthemia, and tubular flowers containing flowers, and with an apron of festoons, fans, calyx, and bells

Scale

bar scale of 1 3/4 inches to 1 foot

Signed and dated

Febry 1769

Medium and dimensions

Pen, pencil and coloured washes including Indian yellow, cerulean blue, and verdigris on laid paper (277 x 462)

Hand

Adam office hand, possibly Giuseppe Manocchi

Notes

The use of the Chinoiserie style is extremely rare within Adam's work. The nearest contemporary example is Elizabeth Montagu's dressing room at 23 Hill Street, London, completed in 1766. It has previously been tentatively suggested that these mirror frames were intended for that room, but the date of these drawings does not tally. By 1769 Mrs Montagu had firmly allied herself with Adam's rival, James Stuart, who had already begun make alterations to the interior decorative scheme at her house.

This frame is not known to have been executed.

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).