[30] Design for gates and lodges, 1785, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Lowther Hall and village, Penrith, Cumberland: designs for a model village, and unexecuted designs for rebuilding Lowther Hall, a dairy, banqueting house, gateway and stables for Sir James Lowther, 5th Baronet, 1766-71 and 1785 (41)
    - Lowther Hall estate buildings
      - Alternative preliminary designs and design for gates and lodges, 1785, unexecuted (3)

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Reference number

SM Adam volume 51/102

Purpose

[30] Design for gates and lodges, 1785, unexecuted

Aspect

Elevation of a two-storey castle-style gateway, flanked by shields, with an attic containing three cross-shaped slit windows, and with small turrets at each corner, and this arch is flanked by single-storey, three-bay lodges with canted fronts, with pyramidal roofs, and a central pedestrian gate flanked by windows, and beyond the lodges are wooden fences, and single-storey, single-bay wooden huts with pyramidal roofs, and with pencil-drawn wooden doors set within the central arch

Scale

to a scale

Inscribed

Lord Lonsdale (in the hand of William Adam) (verso) Number 31 (in red pen) / Gateway Ld Lonsdale

Signed and dated

1785
datable to 1785

Medium and dimensions

Pen and pencil on laid paper (533 x 348)

Hand

Adam office hand, possibly Robert Morison, with title inscriptions in the hand of William Adam

Watermark

JWHATMAN

Literature

Bolton, 1922, Volume II, Index p. 21
King, 2001, Volume II, p. 246
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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