[24] Unfinished design for an overmantel mirror frame for the ante-room, c1777, possibly executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Home House, Portman Square, number 17 (now 20), London, for the Countess of Home, 1775-78 (73)
      - Unfinished design and design for an overmantel mirror frame for the ante-room, 1777, possibly executed (2)

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Reference number

SM Adam volume 20/164

Purpose

[24] Unfinished design for an overmantel mirror frame for the ante-room, c1777, possibly executed

Aspect

Elevation of an overmantel mirror frame divided into five compartments. The central compartment is surmounted by a rosette enclosed within a fan with an apron of foil, festoons, a rosette enclosed within a wreath and a pendent oil lamp. All this is surmounted by a pedestal with a lion mask supporting a basket of flowers and flanked by calyx and tubular flowers. The central compartment is flanked by crenellations and further fans supporting baskets of flowers, and all this has aprons of festoons. The overmantel mirror frame is flanked by alternative preliminary designs for wall brackets with candle branches

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Glass frame over 1st. Anti room Chimney at Lady Home's in Portman Square / 164 bottom right corner figures listed (pencil)

Signed and dated

c1777
Adelphi / 11. Oct 177[_] (cropped)

Medium and dimensions

Pen, pencil and colured washes including Indian yellow and cerulean blue on laid paper (351 x 505)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 48
Hussey and Oswald, 1934, p. 26
Harris, 1963, p. 57
Whinney, 1969, pp. 44, 63
For a full list of literature references see scheme notes.

Level

Drawing

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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