9 Charlotte Street had been newly built in the late 1760s. It was one of seventeen houses built on Charlotte Street by the Duke of Bedford, to designs by Stiff Leadbetter (d 1766). In 1772 Adam was commissioned to provide interiors for the house, and later, in 1777, Keate acquired additional land at the rear of his property, enabling him to commission Adam again to design an octagonal extension. Wainwright has suggested that the octagonal extension at the rear of 9 Charlotte Street was intended to serve as Keate’s museum, housing his noted collection. Indeed, this museum was visited by Mrs Delany in 1779.
It is not known which of Adam’s designs for the house were executed, but we do know that at least one of his ceiling designs did come to fruition, as in 1787 Keate wrote The Distressed Poet: a Serio-Comic Poem, in which he described taking Adam to court because a ceiling to his design had collapsed. Keate lost his suit, and Adam was awarded £163.14s.4d in 1786. The ceiling in question was described in Keate’s poem as Etruscan, and while none of Adam’s extant ceiling designs for the house make use of the characteristic black and terracotta colour scheme of an Etruscan design, there was an Etruscan-style overmantel mirror frame designed for the octagonal room, so the ceiling in question was most likely in that room.
Adam also designed and executed a ceiling and frieze for an unknown Mr Lyte in the neighbouring house at number 8 Charlotte Street (now 10 Bloomsbury Street) in 1773. The designs for Lyte have previously been conflated by Bolton as part of the project for Keate, but this is incorrect, and they were resident within two separate neighbouring houses. Unlike number 8 Charlotte Street for Mr Lyte which survives and is used as offices, Keate’s house at number 9 was destroyed in the Blitz.
See also: Charlotte Street, number 8 (now 10 Bloomsbury Street), London.
A. T. Bolton, The architecture of Robert Adam, 1922, Volume II, Index, pp. 36, 77; E. Harris, The furniture of Robert Adam, 1963, pp. 22, 54, 71, 76-77, 87-88; C. Wainwright, ‘The ‘distressed poet’ and his architect: George Keate and Robert Adam’, Apollo, January 1996, pp. 39-44; D. King, The complete works of Robert & James Adam and unbuilt Adam, 2001, Volume I, pp. 317, 423; ‘Keate, George (1729–1797)’, Oxford dictionary of national biography online
Frances Sands, 2014
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).
Contents of Charlotte Street, number 9 (later 4 Bloomsbury Street), London: interior decoration and furnishings for George Keate, 1772-78 (22)
- Finished drawing for a ceiling for the dining room, 1772; it is not known if this design was executed (1)
- Finished drawing for a ceiling for the dressing room, 1772; it is not known if this design was executed (1)
- Finished drawings for a mirror frame and a pier glass frame for the dressing room or eating room, 1772; it is not known if these designs were executed (2)
- Preliminary designs and finished drawings for two girandoles for unknown room/s, 1772; it is not known if these designs were executed (5)
- Finished drawing for a pier glass frame for unknown room, 1772; it is not known if this design was executed (1)
- Preliminary design and alternative designs for an overmantel mirror frame for an unknown room, 1773; it is not known if this design was executed (3)
- Alternative designs for the ceiling for the octagonal room, 1772, Adam volume 12/117 unexecuted; Adam volume 12/119; it is not known if this design was executed (2)
- Preliminary design and alternative finished drawings for a chimneypiece and overmantel mirror frame for the octagonal room, 1777; it is not known if this design was executed (3)
- Design for a pedestal table, probably for the octagonal room, 1777; it is not known if this design was executed (1)
- Alternative design and finished drawing for a pier glass and commode for an unknown room, 1778; it is not known if this design was executed (2)
- Preliminary design for a chimneypiece for an unknown room, c1772-78; it is not known if this design was executed (1)