Approximately 16 feet to 1 inch
Signed and dated
- c.1702-03 (on comparison with designs for Haughton and Welbeck)
Medium and dimensions
Pen and brown ink with grey and black washes, over fine pencil under drawing, and pencil sketching on verso; on laid paper, 83 x 220.
The pencil sketches on the verso aid the attribution of this drawing to William Talman. The drawing technique, with lightly applied grey washes and black wash for the openings, is matched in the designs for Haughton. It could be a design for at stable at one of the Duke of Newcastle's house in 1702-03, for example Haughton or, more probably, Welbeck Abbey, where Talman was working on designs for the Duke of Newcastle's 'Buildings' at this time (see letter from Talman to the Duke, 17 April 1703, Wren Society, XVII, p. 8, pl. 1). On the verso are two pencil sketches: on the left, a half elevation of a rusticated Doric door arch similar to that in the central bay of the stable design: the Doric column is set on channelled walling, surmounted by a ball finial; there is a key block at the apex of the arch and a sloping pediment cornice above. On the right is a sketch of tripartite single-storey lodge, with a hipped roof and a projecting pedimented central entrance bay. It resembles Talman's studies associated with George London's little house built on the site of the Trianon (see Harris, William Talman, 1982, pl. 49).
The cigar-shaped vase finials over the attic of the central frontispiece are similar to those on the attic of an alternative scheme for the rear elevation of Welbeck Abbey, in the Welbeck library; see Wren Society, XVII, pl. 13, bottom.
Wren Society, XVII, p. 86, pl. 39.
Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation
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.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of
Concise catalogue records – drawn from an outline list of the collection – and
fuller records where drawings have been catalogued in more detail (an ongoing