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image SM 39/3/3

Reference number

SM 39/3/3

Purpose

[2] Design for street front

Aspect

Elevation and section (verso) rough plan and interior perspective of a room with a bow having three French windows

Scale

to a scale of 1/4 inch to 1 foot

Inscribed

as above,Coll Graham

Signed and dated

June 22d 1797

Medium and dimensions

Pen , sepia and pale red washes, pricked for transfer, on wove paper (540 x 330) (verso) pencil

Hand

Inscriptions by Soane.
The Soane office Day Book for 22 June 1797 has (under Colonel Graham) Jeans / Seward / Good - that is:
Thomas Jeans (c.1775 - 1866), pupil August 1792 - 25 August 1797
Henry Hake Seward (1778 - 1848), pupil and assistant May 1794 - September 1808
Henry Joseph Good (1775 - 1857), pupil January 1795 - January 1799

Notes

The elevation shows the attic with two dormer windows rather than the single dormer of drawing [1]. The storey heights (starting with the basement) are given as: 8 feet 6 inches, 11 feet, 12 feet, 9 feet and (attic) 7 feet. The building is 20 feet wide. The elevation shows the toothing often used by Soane. Here it consists of a row of horizontal stretcher bricks in which every other brick is supported by an end-wise brick making a series of T shapes.
The verso has a part-plan of a ceiling which is basically a circle within a square. The perspective shows a three-windowed bow, a panelled door and a chimneypiece. There is a reference on drawing [26] ( which is a design for the library placed in the front room of the first floor) to a 'Balcony ... if possible to project as much as the bow window'. A later drawing (dated 1801) of the front elevation shows it without a bow ( cf. drawing [39]).

Level

Drawing

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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