[38] Finished drawing for farm offices containing stables, c1763, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Kedleston Hall, Derbyshire: designs for landscape architecture, alterations to the house, and interior design for Sir Nathaniel Curzon, 5th Baronet (created Lord Scarsdale 1761), 1759-72 (149)
    - Designs for buildings within the park, including a boat house, garden hut, garden pavilion, stables, farm offices, greenhouse, viewing tower, bridge, gateway, milestone, pheasant house, parsonage house, farm house and inn
      - Finished drawings for farm offices containing stables, c1763, unexecuted (4)

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Reference number

SM Adam volume 40/31

Purpose

[38] Finished drawing for farm offices containing stables, c1763, unexecuted

Aspect

Plan as drawing Adam volume 40/30 but showing the upper storey, with the roof of the ranges, and the upper storey of the front and rear central blocks and corner pavilions

Scale

bar scale of 3/4 inch to 10 feet

Inscribed

Farm Offices at Kiddleston for Lord Scarsdale (in the hand of William Adam) / Grainery / 39 (in pencil in a modern curatorial hand) and dimensions given (verso) 4 / This to be placed Eleventh / Farm Offices for Kiddleston

Signed and dated

c1763
datable to c1763

Medium and dimensions

Pen and wash within a single ruled border on laid paper (567 x 436)

Hand

Adam office hand, possibly Agostino Brunias or Laurent-Benoît Dewez, with title inscriptions in the hand of William Adam

Watermark

IV and LVG and fleur-de-lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 19
King, 2001, Volume II, p. 219
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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