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image SM 35/3/16

Reference number

SM 35/3/16

Purpose

[42] Design for trellis and shutters

Aspect

Elevation of the Trellis Work at the / back of the Veranda

Scale

to a scale

Inscribed

as above, John Thomson Esqre, This side of theDrawing / shews the Shutter closed This side of the Drawing / shews the Shutter open and Looking Glass

Signed and dated

Lincolns Inn Fields / Feby 7 1807

Medium and dimensions

Pen, burnt umber, sepia and blue washes, shaded, triple ruled sepia wash border (332 x 490)
Pen and raw umber, sepia, blue and pink washes, shaded, triple ruled and sepia wash border on wove paper (330 x 4900

Hand

Attributed to Henry Hake Seward (1778 - 1848)
Pupil and assistant May 1794 - September 1808.

Watermark

crowned shield with fleur de lis and 1801

Notes

The drawing shows the exterior wall of the saloon; it is difficut to know what is the cladding material with its lattice pattern. There is the new large window with a circular window to each side as shown on the interior drawings [40] and [41]. The purpose of the drawing is to show the shutters 'closed' and 'open' but how to explain the 'Looking Glass'? Presumably it is a shutter to the round window and to be invisible must reflect the lattice patterning opposite?

Drawings [32] and [33] (q.v.) are designs for the front and back verandahs made in 1806 and do not show, for example, the large window to the eating room.

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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