[7] Unfinished design for a house, ND, not known to have been executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Harley Street, number 1 (now 2) and Cavendish Square number 16, London, designs for exterior and interior alterations for James Hope-Johnstone, 3rd Earl of Hopetoun, ND (9)
      - Designs and unfinished designs for alterations to a house, ND (8)

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Reference number

SM Adam volume 29/87

Purpose

[7] Unfinished design for a house, ND, not known to have been executed

Aspect

Axial section of a three-and-a-half-storey building, with a sunken basement. At the basement-storey level several of the rooms are barrel-vaulted. At the ground-storey to the right there is a bifurcated staircase, with preliminary designs for additions to the stairwell including balustrades, a suspended oil lantern, and a pedimented screen at the first-storey level Upper left - Preliminary design for an arcade (pencil)

Scale

bar scale of 1 3/4 inches to 10 feet

Inscribed

Section through the Earl of Hopetowns House in Harley Street (in the hand of William Adam) / Section through the Earl of Hopetowns house in Harley Street (pencil)

Signed and dated

ND
ND

Medium and dimensions

Pen, pencil, pink and yellow coloured washes on laid paper (611 x 477)

Hand

Possibly
Office hand, possibly, with title inscription in the hand of William Adam

Verso

Literature

Bolton, 1922, Volume II, Index, p. 40
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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