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  • image SM Adam volume 40/59

Reference number

SM Adam volume 40/59


[25] Finished drawing for a farm house, 1759-61, unexecuted


Plans of the first and second floors, and elevation of the principal front, of a three-storey, three-bay, T-shaped central block with a hipped roof, one-storey, one-bay links with semicircular-headed doors, and one-and-half-storey, one-bay pavilions with pitched roofs. The pavilions extend back into domestic and agricultural spaces, with a hay loft above in the apex of the roof


bar scale of 1/10 inch to 1 foot


Plan & Elevation of a Farm House for the Tenants of / Lord Scarsdale at Kiddleston (in the hand of William Adam) / Cheese Chamber / Cheese Chamber / Cheese Chamber / Plan of Attick Story got partly out of / the Roof (underwritten in pencil) / Open Passage / Bed room / Bed room / Passage / Bed room / Roof hid under the parrapit (underwritten in pencil) / Hay loft / Brewhouse / Continued / One pair of stairs Story / Elevation of a Farm House for the Tenants of Sr Nathl Curson Baronet / Ld Scarsdale (in pencil) / now Lord Scarsdale (in the hand of William Adam) / 29 (in pencil in a modern curatorial hand) and dimensions given (verso) This to be placed Twenty first / Farm house for Keddleston

Signed and dated

  • 1759-1761
    date range: 1759-61

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (393 x 514)


Adam office hand, possibly Agostino Brunias, with title inscription in the hand of William Adam


Bolton, 1922, Volume II, Index p. 19
King, 2001, Volume II, p. 219
For a full list of literature references see scheme notes.



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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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