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  • image SM 73/3/33

Reference number

SM 73/3/33

Purpose

[15] Working drawing for estimates for the 'finishing', 2 May 1791 or before

Aspect

NoI, details of women's cell doors

Scale

1 inch to one foot and half full size

Inscribed

as above, Cell Doors for the Women Felons / on the First Story, Bond Stone, Paving of Cells, Stone / Step, Paving of Passage, A, Section of the Cell doorways, door, Sliding Shutter / half the full size, Groove, Grating / in the / Cell doors, Groove, Women Felons Cell Doors on Second Story &c / 3" thick with Iron plating between the two thicknesses, Section of the doors half the full size / shewing the two thicknesses of ½" Oak / with the Iron plating between, Section of the Clamp / Iron Bolt, Iron Plating, Clamp (twice), Boarding of the Door dovetailed into / the Top and Bottom Clamps / half the full size and Clamp

Medium and dimensions

Pen, sepia, warm sepia, Naples yellow, light blue and black washes, shaded on laid paper (aprox 590 x 480)

Hand

Thomas Chawner (1774-1851, pupil December 1788-1794)

Watermark

J Whatman, fleur-de-lis above cartouche with bar and below, ornate W

Notes

The drawings for the tradesmen tendering for the 'finishing' work were made by a talented draughtsman: Thomas Chawner, born 1774 and articled to Soane in December 1788 at the age of 14. Chawner was about 17 years old when this drawing was made. Subtly washed and shaded (even the Roman numeral is shaded), the drawing is not dated but was produced on or before 2 May 1791 when copies were made.

See SM 73/3/2 for a related specification.

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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