[33] 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 20/234

Purpose

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

Aspect

Oval mirror frame with a waterleaf border, with a dropped peltoid shield containing a mask and terminating in candleholders at the bottom, and flanking reclining figures at the top topped by a panel containing an enclosed rosette and swags, surmounted by a swan and held by a string of beads terminating in an enclosed lion mask with festoons of husks

Scale

bar scale of 1 1/2 inches to 1 foot

Inscribed

Glass frame for the Earl of Cassillis’s / Dressing room / 234 with some dimensions

Signed and dated

1782
1782

Medium and dimensions

Pen, pencil, and coloured wash including Naples yellow and cerulean on laid paper (266x449)

Hand

Adam office hand, possibly Robert Morison

Watermark

J WHATMAN

Notes

Harris suggests that this design was probably for the dressing room on the first floor, adjoining the ‘best’ bedroom.

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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