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  • image SM Adam volume 43/92

Reference number

SM Adam volume 43/92


[5] Finished drawing for the house, 1761, unexecuted


Elevation of the principal (east) front of a three-storey, five-bay central block, with a balustraded and pitched roof, and the central three bays slightly projecting, and with external stairs leading to a central entrance, within a three-bay Corinthian portico supporting a pediment, and with Venetian windows within relieving arches in the end bays on the first floor. The central block is flanked by three-storey, two-bay projecting wings, with balustraded and hipped roofs, and with aedicular windows on the first storey, and the wings are flanked by three-and-a-half-storey, one-bay, square corner towers, with balustraded, aedicular windows on the first storey, and with a half-height attic surmounted by a pyramidal roof. The basement storey of the entire house is rusticated


bar scale of 1 1/5 inches to 10 feet


New Design of the East Front of Osterly House in Middlesex, One of the Seats of Francis Child Esquire / Copy at Osterley (in pencil in the hand of A.T. Bolton) and some measurements given

Signed and dated

  • 1761
    Robt Adam Architect 1761

Medium and dimensions

Pen and wash within a single ruled border on laid paper (539 x 359)


Adam office hand, possibly Robert Adam or Agostino Brunias, with additional title inscription in the hand of William Adam






Bolton, 1922, Volume II, Index p. 25
Stillman, 1966, p. 68
Rowan, 1988, p. 63
Harris, 1994, p. 24
Harris, 2001, p. 160
King, 2001, Volume I, p. 194, Volume II, p. 132
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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