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image SM 13/4/4

Reference number

SM 13/4/4

Purpose

[52] Presentation drawing of anti room by J.M.Gandy

Aspect

Interior perspective facing south

Signed and dated

June 9th 1800

Medium and dimensions

Pen, burnt Sienna, sepia, blue and yellow washes, shaded with triple ruled black and sepia washed border on wove paper (845 x 738)

Hand

Joseph Michael Gandy (1771 - 1843)
The office Day Book entry for 9 June 1800 has 'W R Cartwright Esqre / View of the Anti Room / ½ day Gandy'. It would be remarkable if Gandy made the drawing in half a day and, in fact, the first entry for Gandy working on a 'Perspective View of / the Anti Room' appears on 19 May 1800 and is followed by 13 similar entries finishing on 9 June 1800, that is fourteen and half days work.

Notes

The 'Anti Room' between the library and the eating room appears in all of the plans for the ground floor. In drawing [20] it is rectangular with an oval ceiling and two south-facing windows and is linked to a separate, one-bay entrance on the right-hand side. Drawings [25], [35, [39] and [48] have the anti-room reconfigured so that it is L-shaped. Thus it is two bays wide at the back but three bays wide at the front and provides an integral entrance to the south-west side of the house. Drawings [25] and [49] have the entrance bay labelled 'Vestibule'. Although the entrance is unassuming, the anti-room as shown in Gandy's perspective is rather grand with a fluted Ionic order supporting a ribbed domical ceiling and with a Greek fret designs for both ceiling and floor.

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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