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image Adam vol.55/130

Reference number

Adam vol.55/130

Purpose

Academic studies showing two plans, overlaid, and a sketch detail, which are all for a symmetrical pavilion with apsidal ends; on either side are pairs of large and small circular staircases. Above and below are parts of circular plans.

Aspect

Plans, detail verso plans

Inscribed

Inscribed in ink on drawing 130

Signed and dated

Undated, probably 1755 - 56

Medium and dimensions

Black chalk 178 x 166

Hand

Robert Adam
verso: unidentified eighteenth-century hand (part)

Verso

Academic studies showing four plans in pencil and black chalk, which are related to the drawing on the recto. The top plan is of a rectangular building with apsidal ends and circular staircases; it is possible that this is not in Robert Adam's hand. In the centre is an unfinished plan of a circular hall with two staircases. The other two plans are for part of a rectangular building.

Watermark

coat of arms

Notes

The drawings on recto and verso relate to the same scheme. It is possible that the bold chalk overdrawing represents corrections or suggestions by Laurent-Benoít Dewez (1731-1812), as is also the case in Adam vol.55/121. The plans are variations of that in Adam vol.55/120.

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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