[9] Design for farm offices, c1773, possibly executed

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Robert and James Adam office drawings
- Country houses
  - Ray House or Ray Lodge, Woodford, Redbridge, designs for a conservatory, farm and stable offices, and for alterations to a house for Sir James Wright, Bt., c1773-1782 (17)
    - Designs for farm offices, c1773, possibly executed (4)

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Reference number

SM Adam volume 41/94

Purpose

[9] Design for farm offices, c1773, possibly executed

Aspect

Above- Axial section of a farm office, with a Tuscan portico entrance to the east, and this links to a circular room with a domed ceiling. The room contains an entrance flanked by niches. In the western part of the building there are rooms at the ground and first-storey levels which contain fireplaces Below- Longitudinal section of a farm office with a hipped roof. Within the building there is a central circular room with a domed ceiling. The room contains an entrance flanked by semi-circular-headed windows(?). The room to the left has a coved ceiling, and a central window flanked by niches(?). Below the window there is a window seat with turned feet and tapering legs. The room to the right contains a central window

Scale

bar scale of 2 1/2 inches to 10 feet

Inscribed

Sections of Farm Offices for Sir James Wright (and in the hand of William Adam) at Ray Hall

Signed and dated

c1782
c1782

Medium and dimensions

Pen and pencil on laid paper (510 x 276)

Hand

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

Literature

Bolton, 1922, Volume II, Index p. 26
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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