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  • image SM Adam volume 40/26

Reference number

SM Adam volume 40/26


[3] Finished drawing for stables, 1759, unexecuted


Plan and elevation of a one-and-a-half storey stable building with a central tripartite carriage arch within a relieving arch, with a pyramidal roof, and between two turrets with semicircular-headed niches, and surmounted by tholos-shaped lanterns. The turrets are flanked on either side by five-bay links containing stables, with rectangular recesses and semicircular-headed niches on the principal front, and tripartite windows on the rear, and with a pitched roof. The links connect with three-bay, pedimented end pavilions, also containing stables, and with a central window surmounted by a segmental pediment


bar scale of 1 3/4 inches to 10 feet


Stable for Sir Nathaniel Curson Baronet at Kedleston / now Lord Scarsdale (in the hand of William Adam) / 25 (in pencil in a modern curatorial hand) / about 210 (in pencil in a modern curatorial hand) (verso) Lord Scarsdale Stable / Stable for Keddleston

Signed and dated

  • 1759
    datable to 1759

Medium and dimensions

Pen and wash within a single ruled border on laid paper (986 x 641)


Adam office hand, possibly Agostino Brunias or Laurent-Benoît Dewez with now Lord Scarsdale in the hand of William Adam




Bolton, 1922, Volume II, Index p. 19
Harris, 1987, p. 73
For a full list of literature references see scheme notes.



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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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