[13] Design for an overmantel mirror frame, 1773

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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)
      - Preliminary design and alternative designs for an overmantel mirror frame for an unknown room, 1773; it is not known if this design was executed (3)

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Reference number

SM Adam volume 20/108

Purpose

[13] Design for an overmantel mirror frame, 1773

Aspect

Elevation of a tripartite overmantel mirror frame, articulated by tapering terms, supported by urns, and the terms support candle branches, and with pencil-drawn candle branches shown in alternative locations, and the terms support a stretcher with an apron of crockets, surmounted by shafts composed of calyx, tubular flowers, anthemia, and urns, between which there is a fan in the central compartment, and peltoid shields hung from festoons in the outer compartments, and with a fluted top rail, surmounted by pinecones, anthemia supported by arabesques, and winged griffons flanking an urn on a tripod base

Scale

bar scale of 1 3/5 inches to 1 foot

Inscribed

Glass frame for George Keate Esqr.

Signed and dated

1773
1773.

Medium and dimensions

Pen, pencil, wash and coloured washes on laid paper (292 x 461)

Hand

Adam office hand, possibly William Hamilton or Joseph Bonomi

Watermark

IV surmounted by fleur de lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 36
Harris, 1963, p. 54
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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