[4] Design for the second floor of a house, 1789, executed in part

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Robert and James Adam office drawings
- Country houses
  - Yester House, East Lothian: designs for alterations to a house for the 4th and 7th Marquesses of Tweeddale, c.1760-89, executed in part (8)
    - Designs for a carriage entrance and alterations to a house, 1789, executed in part (5)

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Reference number

SM Adam volume 41/9

Purpose

[4] Design for the second floor of a house, 1789, executed in part

Aspect

Plan of the second floor comprising a rectangular block. In the centre of the plan is a large saloon flanked by two staircases, with a proposed large drawing room to the rear containing corner apses and screens of columns. There are also four turret staircases. Rooms include a saloon, great drawing room, boudoir, bed chambers, dressing rooms and closets. The coloured washes denote the additions proposed to the building

Scale

bar scale of 1 inch to 10 feet

Inscribed

Plan of the Second Floor of Yester House / the parts shaded black / show the alterations proposed within the House & the red parts the additions proposed to the South front (and in the hand of William Adam) the Seat of / The Marquis of Tweedale / (and in an unknown hand) Boudoir / Closet / Bed Chamber / Closet / Dressing room / Bed Chamber / Great Drawing room / Saloon / Bed Chamber / Dressing room / Closet / Bed Chamber / Bed Chamber / Closet / Dressg room with some room dimensions and pencil annotations. (Verso) 5 / 5 / Number two / (and in a different hand ) Yester House Marquis Tweeddle

Signed and dated

24/03/1789
Albemarle Street / 24th March 1789

Medium and dimensions

Pen, pencil, wash and coloured wash including pink on laid paper (540x383)

Hand

Possibly
Adam office hand, possibly Robert Morison or Daniel Robertson

Watermark

W with a fleur de lis within a crowned cartouche

Literature

Bolton, 1922, Index, pp. 32
King, 2001, Volume 1, pp. 188-189
Further literary references in scheme notes

Level

Drawing

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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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