[10] Finished drawing for a pier glass frame, 1772

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Robert and James Adam office drawings
- Town houses
  - London
    - Charlotte Street, number 9 (later 4 Bloomsbury Street), London: interior decoration and furnishings for George Keate, 1772-78 (22)
      - Finished drawing for a pier glass frame for unknown room, 1772; it is not known if this design was executed (1)

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Reference number

SM Adam volume 20/104

Purpose

[10] Finished drawing for a pier glass frame, 1772

Aspect

Elevation of an oval pier glass frame, ornamented with segmental compartments alternating with calyx, and with a border of reed and ribbon, and with projecting shelves to either side supporting urns, ram masks, and festoons which connect to an enclosed rosette and anthemion at the base of the frame, and the frame is surmounted by winged griffons flanking a tazza, which is hung by ribbons from a bracket composed of a lion mask, a bow, an oval medallion containing an urn, acanthus leaves enclosing rosettes, and surmounted by an anthemion

Scale

bar scale of 2 ¼ inches to 1 foot

Inscribed

Glass frame for George Keate Esqr / (and in pencil) (cropped) at large for the / (cropped)[ _ _ ]

Signed and dated

1772
1772

Medium and dimensions

Pen, pencil, wash and coloured washes including Indian yellow on laid paper (291 x 429)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi

Watermark

GR surmounted by fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 36
Harris, 1963, pp. 54, 87
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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