[3] Preliminary design for a doorway in the garden wall, 1774, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Hampton House (later Garrick’s villa), Hampton Court Road, Richmond: designs for alterations to the house and garden buildings for David Garrick, 1774-77 (7)
    - Preliminary design and design for a doorway in the garden wall, 1774, unexecuted (2)

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Reference number

SM Adam volume 10/175

Purpose

[3] Preliminary design for a doorway in the garden wall, 1774, unexecuted

Aspect

Alternative elevations of a doorway in the garden wall. The upper alternative is composed of double wooden doors crowned by crockets, and set between bays articulated by engaged Doric columns, and ornamented with a medallion, a frieze containing a festoon, rosettes, and surmounted by a sculpted sphinx, and beyond there is a perimeter wall. The lower alternative is shown from the road and garden sides, with a single-storey, single-bay pedimented gateway, with a central door within a relieving arch, and surmounted by a medallion, and on the road side this is surmounted by a tablet in the frieze containing an ox skull flanked by festoons, and on the side towards the house, the door is flanked by engaged columns, supporting a Doric frieze ornamented with ox skulls flanked by festoons

Scale

not to scale

Inscribed

Next the Road and some measurements and rough calculations

Signed and dated

1774
datable to 1774

Medium and dimensions

Pen and pencil on laid paper (196 x 302)

Hand

Robert Adam

Literature

King, 2001, Volume II, p. 219
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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