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  • image SM volume 42/15

Reference number

SM volume 42/15

Purpose

Design posted to Richard Kennett, cabinet maker, 37 New Bond Street, London

Aspect

Perspectival half-elevation of an armchair and details for arm-terminal with ram's head

Inscribed

Small Beads / Cast upon the fillets / of the Stumps, Cast Ornaments, Burnished and Brass Nails. (verso, addressed to) Mr Robert Kennett / Cabinet Maker, No 67 / New Bond St

Medium and dimensions

Brown pen on laid secretary paper with two fold marks, sealing wax on verso, old tear (255 x 155)

Hand

unidentified

Notes

The drawing was folded, sealed, stamped (black ink, triangular stamp with PENY POST PAYD), addressed and sent to Robert Kennett, 37 New Bond Street, London. Kent's Directory, 1794, has Kennett & Co, Upholsterers &c at 67 New Bond Street, London.The economical drawing shows an elbow chair with upholstered seat and back, the frame decorated with 'cast ornaments' including 'small beads' upon the 'burnished fillet of the stumps' or frame, and a pair of ram's heads; the delicate baluster legs have leaf enrichment. The refined design is for what Chippendale (and others before him) called a 'French chair' though it does not correspond, for example, with his published designs (plates XIX-XIII, The Gentleman and Cabinet Maker's Director, 3rd ed., 1762. The previous furniture drawings (42/10-13) have been associated with Denton Park, Yorkshire designed by John Carr of York (1723-1807) but the writing and drawing hand is not his though it's quality suggests that it may be that of an unidentified architect.

Level

Drawing

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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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