[22] Preliminary design for a banqueting room, c.1783, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Cullen House, Moray: designs for the interior decoration of Cullen House and an entrance screen for James Ogilvy, 6th Earl of Findlater and 3rd Earl of Seafield, and designs for a chimney piece and furniture for the drawing room at Cullen House, along with a tea pavilion, town house or gardener’s house, and a gated lodge for James Ogilvy, 7th Earl of Findlater and 4th Earl of Seafield, 1767-83, executed in part (26)
    - Preliminary drawings and designs for a banqueting house for the 7th Earl of Findlater, 1783, unexecuted (6)

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Reference number

SM Adam volume 1/220

Purpose

[22] Preliminary design for a banqueting room, c.1783, unexecuted

Aspect

Lower: principal elevation of a single-storey banqueting room, same as SM Adam volume 36/60 with the omission of the central drum tower and addition of a pediment Upper: rear elevation of a single-storey banqueting room with a central drum tower with a conical roof, over a half-sunk basement. The elevation is rusticated and adorned with square-headed windows, urn-filled segmental-arches, a continuous frieze, and a balustrade to the central bow

Scale

to a scale

Signed and dated

c.1783
datable to c.1783

Medium and dimensions

Pencil on laid paper (225x393)

Hand

Possibly
Adam office hand, possibly Robert Morison

Watermark

W surmounted by a cartouche with a fleur de lis above

Literature

King, 2001, p. 217
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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