Adam, Robert and James.

First edition, 2 volumes bound in one, each volume containing 5 parts, folio (642 x 490mm.), title-pages to each volume and part, text in English and French, engraved allegorical frontispiece by Bartolozzi after Zucchi, 80 engraved plates by G.B. Piranesi, D. Cunego, B. Pastorini and others after Robert and James Adam, 8 coloured by hand, recent calf retaining contemporary calf upper and lower panels, [BAL RIBA 28; Berlin Katalog 1977], reguarded, occasional spotting and soiling, some leaves repaired and laid down, other instances of repair and restoration, usually not affecting text or image, vol. 2 part 2 title cropped at foot, vol. 2 part 5 plate 5 worn with loss

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The rare issue with some plates coloured by hand. BAL RIBA suggests that nine plates were so treated in this issue, while the present copy has eight. The only comparable copy in ABPC had just five plates coloured.

The Adam brothers delayed publishing these designs for fear of copying by their rivals. It was only due to a financial crisis that they were forced to publish, as well as to sell their private collection of Old Master paintings. By limiting the number of plates used to illustrate each part, the brothers hoped to ensure prompt and substantial return on only a moderate outlay. Paradoxically, this method also afforded them the freedom of unlimited extravagance. Employing the finest artists and engravers - Piranesi, Cunego, Pastorini, Zucchi, Bartolozzi - they lavished every extra penny on producing the most brilliant display of commissioned architectural work ever published.

See also illustration on page 50.