[18] Design for the first scheme of alterations to the house, 1774, unexecuted

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Robert and James Adam office drawings
- Country houses
  - Mamhead, Ashcombe, Devon: designs for interior decoration, alterations to the house, a garden seat, a temple and stable offices for the 1st Earl of Lisburne, 1767-80 (32)
    - Designs for the first scheme of alterations to the house, 1774, unexecuted (7)

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Reference number

SM Adam volume 32/30

Purpose

[18] Design for the first scheme of alterations to the house, 1774, unexecuted

Aspect

Section through a house, as Adam volumes 32/28-29, 31-34, with a three-and-a-half-storey central block, flanked by two-storey, balustraded links, and three-storey pavilions (verso) preliminary design showing a plan similar to Adam volume 32/31, in pen and pencil

Scale

bar scale of 1 1/4 inches to 10 feet

Inscribed

Section of Mamhead House / one of the Seats of Lord Viscount Lisburne (all in the hand of William Adam) / Section from A to B as markd on the Plans and some measurements given (verso all in pencil) Wash house / Wine in Casks / Laundry / Still Room / Store Room / Housekeepers room / Wine in Bottles / Wine in Bottles / Stewards room / Servants Hall / Butlers Pantry / Bed Room / Larder / Pantry / D / Scullery / Kitchen

Signed and dated

1774
Adelphi July 4t. 1774

Medium and dimensions

Pen and pencil on laid paper (594 x 414)

Hand

Adam office hand, possibly William Hamilton

Literature

Bolton, 1922, Volume II, Index p. 22
Rowan, 1988, p. 88
King, 2001, Volume II, p. 132
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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