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  • image SM Adam volume 40/61

Reference number

SM Adam volume 40/61


[6] Design for a new house, 1770, unexecuted


Elevation of the garden front of a house, with a three-storey, thirteen-bay central block, with a hipped roof, and a rusticated ground storey, and with a projecting seven-bay arcaded bow across the central five bays of the ground storey, and supporting a bowed portico, and a conical roof, and the end bays are slightly projecting, articulated by pilasters or engaged columns, and with Venetian windows on the first storey, and the end bays have an additional attic storey containing a rectangular moulded panel, and to either side of the central block can be see a three-storey, three-bay, balustraded projecting bow, and the central block is flanked by links and pavilions although this is only shown on the left-hand side, where there is a single-storey, three-bay, rusticated link, connecting to a two-storey, nine-bay wing, with a hipped roof, and a rusticated ground storey, with the central three, and end bays slightly projecting, and with the central door and windows in these projecting bays within relieving arches


bar scale of 1/5 inch to 1 foot


Elevation of Winnstay House for Sir Watkin Williams Wynn (in the hand of William Adam and underwritten in pencil)

Signed and dated

  • 1770
    datable to 1770

Medium and dimensions

Pen and pencil on laid paper (2184 x 493)


Adam office hand, with title inscription in the hand of William Adam




Bolton, 1922, Volume II, Index p. 32
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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