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Reference number

SM Adam volume 29/27

Purpose

[4] Finished drawing showing a plan of the half sunk basement for the first scheme, c1777, unexecuted

Aspect

Plan of the ground (half sunk) storey of a house, with a rectangular central block, with a central two-bay canted bow in the principal front, and a central three-bay bow in the garden front, and with single-bay, slightly projecting square towers at the corners, and connected to the front two towers are single-bay links, and wings with canted ends to front and rear, although the right-hand wing is shown only in outline (possibly only foundations at this level), and the house contains service rooms

Scale

bar scale of 1 ¼ inches to 10 feet

Inscribed

A (in pencil) / Plan of the Ground Storey. of Oaks Castle one of the Seats / of the Earl of Derby (of Oaks Castle one of the Seats / of the Earl of Derby in the hand of William Adam and underwritten in pencil) / Wine in Casks / Wine binns / Beer Cellar / Passage / Still room / Housekeepers room / Store room / Valets room / Servants Hall / Stewards room / Writing room / Butlers Pantry / Plate room / Wine binns and some measurements given (verso) 3

Signed and dated

  • c1777
    datable to c1777

Medium and dimensions

Pen, pencil and wash within a single ruled border on laid paper (644 x 491)

Hand

Adam office hand, possibly Joseph Bonomi, with addition to title inscription in the hand of William Adam

Watermark

PVL

Literature

Bolton, 1922, Volume II, Index p. 24
Rowan, 1985, p. 102
Rowan, October 1985, p. 678
King, 2001, Volume II, p. 164
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

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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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