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image SM volume 111/64

Reference number

SM volume 111/64

Purpose

Preparatory design for a hanging wall monument with a blank inscription panel of suspended cloth

Aspect

Elevation

Scale

1 9/32 inches to 1 foot (7 inches to 5 ½ feet) (drawn scale)

Inscribed

By John Talman in pen and brown ink with triple-T collector's mark in oval cartouche at the centre of the base of the monument

Signed and dated

Late 1670s to early 1690s

Medium and dimensions

Pen and brown ink with grey wash and pen shading over pencil under drawing; on laid paper, 402 x 265, laid down on a two-part Talman mount, 447 x 321, the narrower inner part with a triple-line border in gold leaf, the outer part with a single brown-ink ruled line.

Hand

Edward Pearce

Watermark

None visible

Notes

The wall panel is carried on a large, two-sided scrolled bracket of acanthus ornament enclosing is a winged skull crowned with leaves (signifying resurrection). The deep bolection-moulded base of the panel has a long, oval cartouche in the centre (inscribed later by John Talman with his collector's mark). The panel steps forward from narrow flanking panels and carries a square cloth hung from winged cherubs at the upper angles and a knotted fixture in the centre. It is crowned by a broken segmental pediment framing a strapwork cartouche on a tall, ogee-shaped socle. Swags of fruit hang from the lugs of the cartouche to the tops of the pediment either side. These are recognisably in Pearce's hand (see G. Higgott, 'The Revised Design for St Paul's Cathedral, 1685-90: Wren, Hawksmoor and Les Invalides', The Burlington Magazine, vol. 146 (August 2004), pp. 537-38, fig. 000).

Literature

Wren Society, XVII, pl. 23, bottom

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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