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  • image SM 12/3/13

Reference number

SM 12/3/13

Purpose

[87] Drawing of Lothbury Court, possibly for exhibition at the Royal Academy

Aspect

Perspective looking south of the Court, showing east and west sides of the court similar to SM 12/3/10, with the south side consisting of a semicircular-headed entrance between twin raised Corinthian columns, each supporting a figurative statue; an additional pedestal on top of the centre of the attic supports fluted pilasters capped by antefixes and, in the centre, a statue of a seated female flanked to either side by lions

Hand

Soane office (Thomas Malton? see Notes)

Notes

A drawing similar to this was published 1 March 1801 by Thomas Malton (fl. 1748-1804) entitled Lothbury Court, Bank. In contrast to the published drawing, the ornament has been altered within the niches of the entry gate.

Soane exhibited a 'view of one of the interior quadrangles of the Bank of England' at the Royal Academy in 1807 (1060). Staffage was probably added by the painter Antonio Van Assen (exhibited at the Royal Academy between 1778 and 1804).

Literature

F. Sands, Fanciful Figures: people in architectural drawings, 2024, pp. 42-43

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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