[117] Design for a bridge, 1768

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Robert and James Adam office drawings
- Country houses
  - Osterley Park, Hounslow, Greater London: designs for the house, interior and park for Francis Child and Robert Child, 1761-80 (126)
    - Additions to the park
      - Alternative designs and a finished drawing for a bridge, 1768, drawing 119 as executed (5)

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Reference number

SM Adam volume 51/6

Purpose

[117] Design for a bridge, 1768

Aspect

Elevation of a bridge, composed of three segmental arches, ornamented with a band of fluting, with roundels in the spandrels, and surmounted by a balustrade, with a central tablet containing a roundel and festoons, and supported by four piers containing niches, and surmounted by urns, and abutments terminating in pedestals surmounted by lamps. One of piers has a niche containing a pencil-drawn figurative sculpture

Scale

bar scale of 1/5 inch to 1 foot

Inscribed

Design of a Bridge for Osterly in Middlesex. The Seat of Robert Child Esquire and some measurements given

Signed and dated

1768
datable to 1768

Medium and dimensions

Pen and pencil on laid paper (1238 x 489)

Hand

Adam office hand, with ornamental details in the hand of Robert Adam

Verso

3 / 4 / Bridges, Lodge & outward Buildings / at Osterly (and in pencil in the hand of Arthur Bolton) These two 3 arched designs / complete copies at Osterley / one is dated 1768

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index p. 25
Rowan, 1988, p. 82
King, 2001, Volume II, p. 224
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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