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image Adam vol.7/52

Reference number

Adam vol.7/52

Purpose

London: Parliament House (designs for). Design for a rectangular panel showing in relief a military figure seated on a chair beneath a canopy on the fight-hand side. At his feet are urns and jewels presented by kneeling figures; in the background are soldiers.

Aspect

Elevation

Inscribed

Inscribed in pencil in a contemporary hand Sesto; and in a diffeerent hand Surrender of Montreal & all Canada July 1760 and Surr

Signed and dated

Undated, probably 1762-63

Medium and dimensions

Pencil, pen, brown wash with white heightening, partly oxidised, on brown washed paper 166 x 459

Hand

Antonio Zucchi (attributed to)

Notes

This composition is the sixth in a series of reliefs of contemporary and historic battles (Adam vol.7/47-59), all intended to be part of a programme of iconographical decoration for James Adam's Parliament House scheme of 1762/63. The drawings are probably all by Antonio Zucchi (1726-95), with his characteristic use of brown paper. The pencil identification and dating of each historical scene is probably in an early nineteenth-century hand.
The figure seated on the right in this drawing is presumably the commander in Canada, Lord Amherst.

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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