[69] Preliminary design for the end of a terrace forming part of the forecourt to Cumberland House, 1788, unexecuted

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Robert and James Adam office drawings
- Town houses
  - London
    - Cumberland House, 86 Pall Mall, London: designs for the interior, and additions to the house for the Duke of Cumberland, August 1780 - January 1788 (69)
      - Designs for alterations to the house, and various gateways and screens (10)
        Preliminary designs for the end of a terrace forming part of the forecourt to Cumberland House, 1787-88, unexecuted (2)

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Reference number

SM Adam volume 2/77

Purpose

[69] Preliminary design for the end of a terrace forming part of the forecourt to Cumberland House, 1788, unexecuted

Aspect

Elevation of a two-storey, three-bay building, with a central arched door, surmounted by a Venetian window and clock on the first floor, and with chimney stacks above. The end bays are pedimented on the ground floor, with openings screened by columns, and surmounted by alcoves, and a frieze of scrolled hearts enclosing anthemia on the first floor, and supporting a sculpted lion and unicorn on the roof

Scale

not to scale

Inscribed

Cover for the Wall of Mr Christie's auction room next the Terrace at Cumberland House

Signed and dated

January 1788
Janry '88

Medium and dimensions

Pen and wash on cartridge paper (226 x 179)

Hand

Robert Adam

Literature

Bolton, 1922, Volume II, Index p. 44
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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