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image Adam vol.9/48

Reference number

Adam vol.9/48

Purpose

Unfinished academic study for the plan of a pavilion with a five-bay portico, opening into a small circular hall flanked by double staircases. Beyond this is a long room with screened apsidal ends and a portico, and possibly steps.

Aspect

Planverso plans, outline

Inscribed

Inscribed in ink on drawing 48

Signed and dated

  • Undated, probably 1755 - 56

Medium and dimensions

Pencil, black chalk87 x 93

Hand

Laurent-Benoît Dewez (attributed to)

Verso

Pen and black chalk drawings: plan for pavilion with portico and circular hall; plan for part of an interior; outline of a building. The plan is a rough variation of the plan on the recto, and both can be compared to other small plans attributed to Dewez, see particularly Adam vol.9/4, as well as Robert Adam's exercises on a similar theme. The composition is similar to that in Adam vol.9/49.

Notes

The plan on the verso is a rough variation of the plan here, and both can be compared to other small plans attributed to Laurent-Benoít Dewez, see particularly Adam vol.9/4, as well as Robert Adam's exercises on a similar theme. The composition is similar to that in Adam vol.9/49.

Level

Drawing

Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation

If you have any further information about this object, please contact us: drawings@soane.org.uk

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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