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  • image SM D1/14/6
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Reference number

SM D1/14/6

Purpose

Coleorton, Leicestershire, 1802-08

Aspect

[70] Plan, elevation and sections at upper level, as executed

Scale

Scale ½ inch to the Foot

Inscribed

as above, dimensions given and (verso, Dance) Portal / or/ Arched Covering / Principal Entrance and Coleorton Hall

Signed and dated

  • 1802-08

Medium and dimensions

Black and brown pen, sepia and crimson washes, pencil, shaded on laid paper (670 x 515)

Hand

Dance

Watermark

D&CBxX in cartouche surmounted by fleur-de-lis

Notes

The carved lion is incorrectly shown (that is, for Beaumont) with a tail curved over its back but when executed had a correct though unconventional straight tail. A note on the back of drawing [SM D2/12/1] for Micheldever Church states that Sr George Beaumonts Lion is / at Mr Cockayne's, Master Carter / In the new road 4 or 5 doors to the east / of Tottenham Court road. Cockayne does not appear in R. Gunnis, Dictionary of British sculptors 1660-1851, 2nd ed. [1964] but he may be 'J. Cockaine', Plaister of Paris - manuf., Mary-le-bone' in the Post-Office Annual Directory, 1811. The address is probably Alfred Place - a development east of Tottenham Court Road planned by Dance in 1803. James Carter's address was George Street, Grosvenor Square at this period but he may have owned a lease in Alfred Place or the note may refer to another Carter.

A plan as executed [SM D1/10/23], dated August 1808, has the porte-cochere hatched in as if not yet built.

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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