[4] Finished drawing for additions to the house, 1759, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Moy House, Dyke and Moy, Moray: unexecuted designs for alterations to the house for Ludovic Grant (later Sir Ludovic Grant, 6th Baronet), 1759 (6)
    - Finished drawings for additions to the house, 1759, unexecuted (6)

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Reference number

SM Adam volume 30/44

Purpose

[4] Finished drawing for additions to the house, 1759, unexecuted

Aspect

Plan of the garret (roof space) of a rectangular house, unlit by windows, flanked by the roof of rectangular pavilions, and containing garret rooms and lumber storage

Scale

bar scale of 1 1/2 inches to 10 feet

Inscribed

Garret Story of Moy House / Garret Room / Garret Room / Garret Room / Sky light / Lumber Closet / Garret Room / Garret Room / Rooff of the Pavillions / Rooff of the Pavilions and some measurements given

Signed and dated

1759
datable to 1759

Medium and dimensions

Pen, wash and pink wash within a single ruled border on laid paper (534 x 329)

Hand

Adam office hand, possibly the hand of Agostino Scara, or Benedetto Napoletano

Verso

This to be placed ninth (in red pen) / 6 / Moy hall One of the Seats of Sir Ludovick Grant

Watermark

LVG surmounted by a fleur de list within a crowned cartouche

Literature

Bolton, 1922, Volume II, Index p. 23
For a full list of literature references see scheme notes.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

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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