[11] Design for an overmantel mirror frame for the library, 1778, possibly executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Apsley House, Piccadilly, London: plans, elevations, section and designs for the interior, and an elevation for the gatehouse, for the 2nd Earl Bathurst, 1771-1779 (56)
      - Designs for a chimneypiece and overmantel mirror frame for the library and alternative design for a tablet, 1774-1778 (3)

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Reference number

SM Adam volume 20/175

Purpose

[11] Design for an overmantel mirror frame for the library, 1778, possibly executed

Aspect

Elevation of an tripartite overmantel mirror frame articulated by pilasters. The central compartment is ornamented with a band of enclosed anthemia and rosettes imitating the lining of a chimneypiece. The capitals contain enclosed anthemia and there is a frieze of festoons for the side compartments. The frame is surmounted by a base ornamented with a rosette, wreath and festoons and is surmounted by a recumbent heraldic stag (the Bathurst armorial supporter)

Scale

bar scale of 1 ½ inches to 1 foot

Inscribed

Glass frame for the Library for The Earl of Bathurst

Signed and dated

June 1778
Adelphi / 12th June / 1778

Medium and dimensions

Pen, pencil, wash and cerulean blue wash on laid paper (290 x 427)

Hand

Possibly
Office hand, possibly Joseph Bonomi or Robert Morison

Watermark

GR surmounted by a fleur-de-lis within a crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 44
Harris, 1963, p. 57
Harris, 2001(b), p. 100
Lea, 2005, p. 12
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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