[32] Design for a mirror frame for the Earl of Cassilis’s dressing room, 1782, as executed

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Robert and James Adam office drawings
- Country houses
  - Culzean Castle, Ayrshire: designs for additions to a castle-style building and its stables and walled gardens, along with a home farm, viaduct, and interior decoration and furniture for David Kennedy, 10th Earl of Cassilis, c.1776-87, executed in part (57)
    - Designs, finished drawings and record drawings for the interior of Culzean castle, 1778-82, as executed (34)
      - Design for a pair of mirror frames for the Earl of Cassilis’s Dressing Room, 1782, as executed (2)

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Reference number

SM Adam volume 20/233

Purpose

[32] Design for a mirror frame for the Earl of Cassilis’s dressing room, 1782, as executed

Aspect

Elevation of a tripartite overmantel glass frame with slim pairs of stiles, supporting a continuous frieze of enclosed palmette, with a horizontal compartment above comprising a central roundel flanked by festoons and terminating in enclosed patera, surmounted by scalloped baskets topped with foliage, and in the centre rinceaux topped by a basket filled with foliage flanked by swans

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Glass frame for the Earls of Cassillis’s Dressing room / 233 with some dimensions

Signed and dated

3/1782
March 1782

Medium and dimensions

Pen, pencil and coloured wash including Naples yellow, pink and cerulean on laid paper (297x444)

Hand

Possibly
Adam office hand, possibly Robert Morison

Watermark

Notes

This chimney-glass was relocated from the ground-floor dressing room to the second drawing-room on the first floor. The swan supporters were replaced with griffons taken from the mirror in the buffet-room.

Literature

Bolton, 1922, p. 9
Harris, 2001, p. 327
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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