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image Image 1 for SM 28/7/12, 28/7/14, 81/1/24
image Image 2 for SM 28/7/12, 28/7/14, 81/1/24
image Image 3 for SM 28/7/12, 28/7/14, 81/1/24
image Image 4 for SM 28/7/12, 28/7/14, 81/1/24
image Image 5 for SM 28/7/12, 28/7/14, 81/1/24
image Image 6 for SM 28/7/12, 28/7/14, 81/1/24
  • image Image 1 for SM 28/7/12, 28/7/14, 81/1/24
  • image Image 2 for SM 28/7/12, 28/7/14, 81/1/24
  • image Image 3 for SM 28/7/12, 28/7/14, 81/1/24
  • image Image 4 for SM 28/7/12, 28/7/14, 81/1/24
  • image Image 5 for SM 28/7/12, 28/7/14, 81/1/24
  • image Image 6 for SM 28/7/12, 28/7/14, 81/1/24

Reference number

SM 28/7/12, 28/7/14, 81/1/24

Purpose

Working drawings for Mrs Dillingham's dressing room, c. 29 November 1786 (3)

Aspect

54 Plan and laid-out wall elevations inscribed Section of Lobby to Mrs Dillinghams / Dressing Room
55 Plan and laid-out wall elevations of Mrs Dillinghams / Dressing room and detail of Mouldings on / doors & Shutters / in Mrs D: room
56 Elevation and details of The Chimney piece for Mrs Dillinghams / Dressing Room

Scale

(54) bar scale of 3/8 in to 1 ft approximately (55) to a scale (56) 1½ in to 1 ft and full size

Inscribed

(54) as above, (Soane) A.B. This part of the door only / opens & must be exactly / of the same dimensions as / the other doors & fra[me]d to correspond on the back / C. this part is fixed and fra[me]d to / correspond with the framing / of the door, & when the door / is shut it appears as part / of the door / D. This recess is on 2¼ inches deep / & is formed by battening out / that end of the Passage. / Angle beads in Wood to the / springg of the Arches & / then in Stucco, (Sanders) When the Door is shut /all the Pannels are / to range, bead (twice), hang the door / on this side, Doorway into best Staircase, (pencil, ? hand) Jaumb (jamb) Inch thick and A A B C (55) as above, This window / to be finished / like the others, Jib door, a / a. finish this door so / as to leave the pier / a as small as possible, Front Shutters 1½ thick / doors 2 in: thick, Mouldings on both sides of doors, & Shutters (fronts only) / of the Chambers / floor and some dimensions given
(56) as above, (Soane) Moulding at Large, Composition, Line of Tablet A, A. Tablet with Festoon of Fruit & Flowers / B. Projects before C ¼ of an Inch, Wall line must be determined by the / projection of the Impost Moldings / the Pilasters are to stand / before those Moldings 1/16 of / an Inch only, Profile of the Pilasters, In the expectation these will / be ovals so as to bring in / four on each side of the / Tablet, Slab of Vein'd Marble, White Marble (twice), A B C, some dimensions given, (Sanders) Length of Slabb 5.3, (pencil, Soane) Eatg Room / Dep Acct

Signed and dated

Margaret Street (home and office address, June 1781 to 30 November 1786)

Medium and dimensions

(54) Pen on thin laid paper (334 x 590) (55) pen on cartridge paper with two fold marks and some creases and stains (430 x 605) (56) pen and sepia wash on cartridge paper with three fold marks (552 x 670)

Hand

(54-55) John Sanders (pupil 1784-90) / Soane (56) Soane

Notes

Drawing 54 is the same as drawing 51 where it is labelled 'Lobby to Mr Dillingham['s] Room' so a mistaken inscription or a change of use? When Mr Dillingham inherited Letton Hall in 1783 he was a widower (G.Darley, John Soane ..., 1999, p.66) and subsequently (Burke's Peerage and Baronetage, 1934) married again, probably in 1786 or 1787.
Drawing 56 like drawing 40 is a full size working drawing beautifully done by Soane probably at the same time, that is, 29 November 1786.
See also drawing 57, made for the fabricator of composition mouldings, where the details of the tablet have been altered so that there are 'Boys' instead of a festoon.

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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