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image SM (73) 11/3/8

Reference number

SM (73) 11/3/8


Design for Messrs Thellusson, Nephew & Co.'s counting house (house No. 2), April 1810


73 Plan of the Principal Floor of the Counting House &c of Messrs Thelusson & Co No 2 New Bank Buildings and rough plan of ground floor of counting house for house No. 3


bar scale of 1/4 inch to 1 foot


as above, labelled: No 1, No 2, No 3, Strong / Closet, Lobby, Closet / for / washing / hands / &c, Clerks room / to the / Counting House, Court, Counting House, Closets for / Hats &c, Cills for / accompts, Entrance / from / Meeting House Court, Passage leading to the several Houses lately erected in Princes Street, (pencil) Counting House, (pencil) Court, 12 x 6, Chy, Water Closet

Signed and dated

  • Lincolns Inn Fields / 23 April 1810

Medium and dimensions

Pen, sepia, pink, yellow and blue washes, pricked for transfer on wove paper with three fold marks (522 x 643)


George Bailey (1792-1860, pupil then assistant 1806-37, curator 1837-60) and later additions by Soane


The new counting house built for Thellusson, Nephew & Co. behind house No. 2 was the largest of the three new offices, measuring 48 feet by 26 feet. Soane retained the octagonal room at the rear of No. 2, which was turned into a 'clerks room' with access to the large, 22 x 24 feet counting house. An entrance vestibule was designed for the Meeting House Court side of the building, with steps down to a lobby with four columns, an adjoining lobby and a stairwell. The offices behind No. 3 are drawn roughly in Soane's hand and were probably added at a later date.



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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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