[15] Design for a chimneypiece and overmantel mirror frame for the back parlour, 1775, as 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)
      - Design for a chimneypiece and overmantel mirror frame for the back parlour, 1775, as executed (1)

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Reference number

SM Adam volume 23/64

Purpose

[15] Design for a chimneypiece and overmantel mirror frame for the back parlour, 1775, as executed

Aspect

Elevation of a chimneypiece with stiles ornamented with urns and anthemia enclosed within wreaths. The capitals contain putti bearing cornucopia, and there is a frieze of arabesques supporting fans with a central tablet ornamented with a wreath enclosing an urn and flanked by draped figures holding bushels. Above the chimneypiece there is an overmantel mirror frame with fluted Corinthian pilaster stiles. The capitals contain masks and there is a frieze of rosettes and festoons and a central cameo. The frame is surmounted by a bust flanked by winged sphinxes

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Chimney Piece for the back Parlor at Lady Home's in Portman Square- / 64 / (and in pencil) Eating & [_ _ _ _ ] with faint signature (?)

Signed and dated

May 1775
Adelphi / 13. May 1775.

Medium and dimensions

Pen, pencil, wash and cerulean blue wash on laid paper (440 x 590)

Hand

Possibly
Office hand, possibly Joseph Bonomi

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index p. 48
Hussey and Oswald, 1934, p. 26
Whinney, 1969, pp. 37, 61
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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