George III Carved Giltwood Oval Mirror after designs by Robert Adam
PROBABLY IRISH, CIRCA 1770
188 x 83 cm
74 x 32 ¾ in
74 x 32 ¾ in
619a
Further images
Provenance
Private Collection, IrelandPrivate Collection, Surrey
With flowering foliate scrolls, swags and gadrooning, surmounted with a classical urn and upspringing anthemion. The design for this mirror bears close comparison with a drawing by Robert Adam in...
With flowering foliate scrolls, swags and gadrooning, surmounted with a classical urn and upspringing anthemion.
The design for this mirror bears close comparison with a drawing by Robert Adam in the Sir John Soanes Museum (ref. no. SM Adam volume 3/46 - https://collections.soane.org/OBJECT3507), particularly the upper part of the mirror frame. The drawing which dates from 1771-73 is a rough preliminary design made for publication for Kenwood, Hampstead, London, specifically for the private dining parlour for William Murray, 1st Earl of Mansfield (1764-83). The mirror design was included in an engraving by P. Begbie, London, 1775 (see Sotheby's New York, 26 January 2020, lot 1758).
The foremost designers of the Georgian neo-classical period incorporated the elements seen in this mirror in their designs from the 1770s onwards. Other prominent figures including John Linnell featured urns and anthemion as a prominent motif (see Victoria and Albert Museum accession no. E.3466-1911.)
The design for this mirror bears close comparison with a drawing by Robert Adam in the Sir John Soanes Museum (ref. no. SM Adam volume 3/46 - https://collections.soane.org/OBJECT3507), particularly the upper part of the mirror frame. The drawing which dates from 1771-73 is a rough preliminary design made for publication for Kenwood, Hampstead, London, specifically for the private dining parlour for William Murray, 1st Earl of Mansfield (1764-83). The mirror design was included in an engraving by P. Begbie, London, 1775 (see Sotheby's New York, 26 January 2020, lot 1758).
The foremost designers of the Georgian neo-classical period incorporated the elements seen in this mirror in their designs from the 1770s onwards. Other prominent figures including John Linnell featured urns and anthemion as a prominent motif (see Victoria and Albert Museum accession no. E.3466-1911.)