[18] Design for adding wings, links and an entrance loggia to the house, c1768, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Eaton Hall, Cheshire, unexecuted designs for a menagerie and banqueting house, and for alterations and additions to the house for Baron Grosvenor (later 1st Earl Grosvenor), c1766-68 (19)
    - Designs and finished drawings for adding wings, links and an entrance loggia to the house, c1768, unexecuted (6)

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Reference number

SM Adam volume 39/87

Purpose

[18] Design for adding wings, links and an entrance loggia to the house, c1768, unexecuted

Aspect

Elevation of the garden (east) front of a three-storey, nine-bay central block, with a hipped roof, a rusticated basement, and a three-bay portico and pediment. To either side (north and south) is a one-storey, nine-bay link wall, containing alternating rectangular windows and urn-filled niches, and a two-storey, eleven-bay wing, with a hipped roof, a central carriage arch, and with a three-bay portico and pediment

Scale

bar scale of 1/20 inch to 1 foot

Inscribed

Elevation towards the Park of a New Design for Eaton Hall in Cheshire. One of the Seats of the Right Honble Lord Grosvenor (verso) 2

Signed and dated

1768
datable to 1768

Medium and dimensions

Pen on laid paper (760 x 474)

Hand

Adam office hand, possibly Joseph Bonomi

Watermark

JVILLEDARY LVG and a fleur-de-lis within crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 10
King, 1992, Volume II, p. 124
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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