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image Adam vol.56/159

Reference number

Adam vol.56/159


View showing boats in a bay.




Inscribed in ink, bottom left Di Teodoro Vivarini f Olandese; in ink 28, in red ink 159; in ink 'F'verso: pencil inscription Di Teodoro Vevares f

Signed and dated

  • Undated

Medium and dimensions

Pen, grey wash; double ink framing lines247 x 330


François Vivares (attributed to)


This is a copy after a seascape in the tradition of Claude Lorrain (1600-82). Despite the inscription on the verso and recto, which reads 'Teodoro', this drawing is likely to be by French artist François Vivares (1709-80) who worked for Robert Adam on both The Ruins of the Palace of the Emperor Diocletian at Spalatro (1764) and The Works in Architecture (1773). Vivares was a pupil of Jean-Baptiste-Claude Chatelain (c.1710-c.1771), which may represent a further Adam connection (see Adam vol.56/27 and 28 if they are attributable to Chatelain and not Paul Sandby). Vivares was distinguished for his copies after Claude and this drawing may be an adaptation of a work in the Adam collection. In the 1818 Adam sale (Catalogue of A Valuable Collection of Antique Sculpture etc. R. Adam, Christie's, London, 21 & 22 May 1818), lot 11 was described as 'Claude, An Italian landscape with buildings and figures in the manner of', although this is unlikely to have been the source for the current drawing (see Watkin (ed.) Sale Catalogues of Libraries of Eminent Persons, Vol. 4, Architects (London, 1972), p.162).Two inscriptions on the recto of Adam vol.56/159 and 160 are in the same hand, as is that on the verso of 56/160.



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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