[17] Design for a chimneypiece and mirror frame for the drawing room, 1781, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Cullen House, Moray: designs for the interior decoration of Cullen House and an entrance screen for James Ogilvy, 6th Earl of Findlater and 3rd Earl of Seafield, and designs for a chimney piece and furniture for the drawing room at Cullen House, along with a tea pavilion, town house or gardener’s house, and a gated lodge for James Ogilvy, 7th Earl of Findlater and 4th Earl of Seafield, 1767-83, executed in part (26)
    - Preliminary drawings and designs for mirror frames, a commode and a chimneypiece in the drawing room for the 7th Earl of Findlater, 1781, unexecuted (4)

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Reference number

SM Adam volume 20/226

Purpose

[17] Design for a chimneypiece and mirror frame for the drawing room, 1781, unexecuted

Aspect

Elevation of a chimneypiece with stiles adorned with tripods surmounted by a rod with floral bands terminating in lambrequin, with medallions in the capitals and a central relief panel containing an urn flanked by winged lions, with a mirror frame above. The mirror frame comprises a central compartment flanked by outer compartments with candelabra surmounted by half-paterae, and urns, flanked by terms supporting lions in the capitals flanking a band of festoons and rosettes, followed by a frieze of broadleaf and cusps of enclosed anthemion and half-fans

Scale

bar scale of 1 1/4 inches to 1 foot

Inscribed

Glass frame and Chimney ^ ^Piece for the Earl of Findlater’s / Drawing room / Glass / Glass / solid / Glass / Glass / Glass / 226

Signed and dated

2/6/1781
Adelphi / 2^nd June 1781

Medium and dimensions

Pen and pencil on laid paper (277x450)

Hand

Possibly
Adam office hand, possibly Joseph Bonomi or Robert Morison

Watermark

Literature

Bolton, 1922, p. 8
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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