[52] Finished drawing for the stables, first design, c1767, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Luton Park, designs for a house and interiors including an organ case for John Crichton Stuart, 3rd Earl of Bute, c1763-72 (56)
    - Finished drawings for the stables, first design, c1767, unexecuted (2)

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Reference number

SM Adam volume 39/38

Purpose

[52] Finished drawing for the stables, first design, c1767, unexecuted

Aspect

Plan of a stable block with a central rotunda containing stalls and with entrances to the front and rear. The rotunda links to flanking blocks containing further stalls and with central entrances in the principal front. Beyond this there are pavilions containing staircases and larger stalls, possibly for the storage of carriages

Scale

bar scale of 1 1/4 inches to 10 feet

Inscribed

1st Design for Luton Stables for the Earl of Bute (in the hand of William Adam, underwritten in pencil)

Signed and dated

c1767
c1767

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (656 x 470)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi, William Hamilton or Joseph Bonomi, with title inscription in the hand of William Adam

Verso

2 / number 11 (brown ink) / 11 (pencil)

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index, p. 22
King, 2001, Volume I, p. 344; Volume II, p. 222
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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