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image SM 3/3/17

Reference number

SM 3/3/17

Purpose

[17] Design (largely unexecuted) for south and east fronts and breakfast room, 1797

Aspect

Perspective of south and east fronts of the house and an interior View of Breakfast Room

Scale

to a scale

Inscribed

as above, Godfrey Thornton Esqr, Design A & B and Design A

Signed and dated

(Copy) Lincolns Inn Fields July 6: 1797 / Sent to Mr Thornton July 5th : 1797)
(Copy) Lincolns Inn Fields July 6: 1797 / Sent to Mr Thornton July 5th : 1797)

Medium and dimensions

pen and sepia washes, shaded, pricked for transfer on wove paper with one fold mark (565 x 339)

Hand

Seward, Henry Hake (1778--1848), draughtsman
Jeans, Seward, Good
(Thomas Jeans, pupil 1792-1797), Henry Hake Seward (1778-1848, pupil and assistant 1794-1808) Henry Joseph Good (1775-1857, pupil 1795-1799) (from Day Book for 5 July 1797)
Pupil 1795-1800 Henry Joseph Good, draughtsman
Jeans, Seward, Good
(Thomas Jeans, pupil 1792-1797), Henry Hake Seward (1778-1848, pupil and assistant 1794-1808) Henry Joseph Good (1775-1857, pupil 1795-1799) (from Day Book for 5 July 1797)
pupil August 1792-97 Thomas Jeans, draughtsman
Jeans, Seward, Good
(Thomas Jeans, pupil 1792-1797), Henry Hake Seward (1778-1848, pupil and assistant 1794-1808) Henry Joseph Good (1775-1857, pupil 1795-1799) (from Day Book for 5 July 1797)

Notes

Drawing 17 shows the east (entrance) and south fronts with the proposed bow front. The interior perspective of the breakfast room shows it lit by a bow with three full length windows and having a shallow canopy ceiling whose reeded saucer dome has a sunken central recess holding a patera. The breakfast room scheme was not carried out.

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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