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  • image SM Adam volume 43/96

Reference number

SM Adam volume 43/96


[2] Finished drawing for the house, 1761, unexecuted


Plan of the half-sunk basement storey of a U-shaped house with square corner towers, showing the nine- by two-bay original western range, and Adam's proposed additions shaded darker. The proposed house has a five-bay central block, with the central three bays slightly projecting, and flanked by two-bay projecting wings, each with a corner tower, and resulting in long side fronts of ten bays, with a tower at each end, and the garden front - part of the original house - is nine bays, with the central three bays slightly projecting, and with a tower at each end


bar scale of 1 1/5 inches to 10 feet


Plan of the Ground Story of Osterley Park House / one of the Seats of Francis Child Esqr (of Osterley Park House / one of the Seats of Francis Child Esqr in the hand of William Adam and underwritten in pencil) / Cellar / Ale Cellar / Small Beer Cellar / Ladys Maids Bed Room / Valets Bed Room / Powdering Room / Wine Cellar / Charter Room / Lobby / Servants Hall / Butlers Pantry / Butlers Bed Room / Plate room / Ladys Maid's Room / Servants Room / Servants Bed Room / Billiard Room / Bayliffs Room / Smoaking Room / Housekeepers Bed Room / Still Room / Dairy / Privy and measurements given

Signed and dated

  • 1761
    datable to 1761

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (588 x 613)


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






Bolton, 1922, Volume II, Index p. 25
Stillman, 1966, p. 68
Harris, 1994, p. 24
Harris, 2001, p. 160
King, 2001, Volume I, p. 194, Volume II, p. 132
For a full list of literature references see scheme notes.



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

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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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