[5] Unfinished design for the west front of a house, ND, not known to have been executed

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Robert and James Adam office drawings
- Town houses
  - London
    - Harley Street, number 1 (now 2) and Cavendish Square number 16, London, designs for exterior and interior alterations for James Hope-Johnstone, 3rd Earl of Hopetoun, ND (9)
      - Designs and unfinished designs for alterations to a house, ND (8)

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Reference number

SM Adam volume 29/85

Purpose

[5] Unfinished design for the west front of a house, ND, not known to have been executed

Aspect

Elevation of a three-storey, five-bay building, with a half-hipped roof. At the ground-storey-level there is a tripartite window in the central bay, and this is flanked by Tuscan porticos with stepped entrances beyond. At the first-storey-level there is a pedimented window with an Ionic screen, all set within an apse. This is flanked by further pedimented windows with Ionic screens, and there is a string course of Vitruvian scroll above. The second and fourth bays are surmounted by pediments articulated by Corinthian columns, and there is a preliminary design for a half-height tripartite window in the upper register of the second bay. There are preliminary designs for further windows in the first bay, along with a preliminary design for a string course of Vitruvian scroll

Scale

to a scale

Inscribed

West front as proposed of Hopetoun House to Harley Street (in the hand of William Adam, underwritten in pencil) / 31

Signed and dated

ND
ND

Medium and dimensions

Pen and pencil on laid paper (490 x 270)

Hand

Possibly
Office hand, possibly, with title inscription in the hand of William Adam

Watermark

PORTAL & BRIDGES

Literature

Bolton, 1922, Volume II, Index, p. 40
For a full list of literature references see scheme notes.

Level

Drawing

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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