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Rough preliminary design and record drawing of a carpet for the great drawing room, 1769, drawing 8 as executed (2)


Thomas Robinson visited Thomas Whitty's Axminster manufactory in August 1769, and the finished work arrived at Saltram on the 22nd of September the following year. The design is based on that of the ceiling (see Adam volumes 11/254 and 11/255), creating a unity to the room that Beard describes as 'particularly effective'. The predominating brown colour contrasts with the ceiling colours, as Harris notes, and complements the browns of the room's many paintings: that of Thomas Parker by Marcus Gheeraerts the Younger was intended for its position from the beginning, and Reynolds' portrait of Theresa Parker was painted as a pendant.

The bottom inscription on Adam volume 8/99 refers to Adam's work at Tusmore House for William Fermor.



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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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