[54] Finished drawing for the stables, second design, c1767, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Luton Park, designs for a house and interiors including an organ case for John Crichton Stuart, 3rd Earl of Bute, c1763-72 (56)
    - Finished drawing for the stables, second design, c1767, unexecuted (2)

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Reference number

SM Adam volume 39/40

Purpose

[54] Finished drawing for the stables, second design, c1767, unexecuted

Aspect

Plan of a five-bay block with entrances to the front and rear. The front entrances are flanked by staircases set within square stairwells. To the rear of the building there is a space for stalls. To the right- and left-hand sides of the principal block there are link blocks containing further stalls. The link blocks are flanked by pavilions containing staircases and larger stalls, possibly for carriages. To the rear of the principal block there is an additional four-by-one-bay building containing raised coppers

Scale

bar scale of 1 1/4 inches to 10 feet

Inscribed

2.d Design for Luton Stables The Earl of Bute (in the hand of William Adam, underwritten in pencil) and some dimensions given

Signed and dated

c1767
c1767

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (673 x 507)

Hand

Possibly
Office hand, possibly Giuseppe Manocchi, William Hamilton or Joseph Bonomi, with title inscription in the hand of William Adam

Verso

number 2 (brown ink) / 2 / Luton Stables 2d / 12 (pencil)

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index, p. 22
King, 2001, Volume I, p. 344; King Volume II, p.222
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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