• 1702
  Main Year
• 1703
  Other Years

The drawings are all in the same hand, and that hand appears to be William Talman's. His ability in freehand pencil, pen and wash drawing is evident from numerous sketches in his hand in the RIBA and Victoria & Albert Museum collections (see particularly, J. Harris, William Talman, 1982, pls 46, 49, 58). A common trait in his sketch designs and more finished drawings is the figurative style: cat-like faces, with close-set features and broad-shouldered upper torsoes. Other shared features include flame-like vase finials, a mixed grey and brown inks and washes. Common to several of the most carefully finished drawings is a scale bar with three parallel line divisions and fleur-de-lys or triple-dot motifs at the 10-feet and 50-feet divisions. In all the neat presentation drawings, the technique is extremely precise, in fine lines, drawn with a ruling pen. The figurative drawing, in particular, finds close parallels in the two designs which immediately precede the grand Haughton elevation in volume 111: the half-elevation of a long palace frontage (111/21) and the elevation of an entrance pavilion (111/20). The tapering vase finial is found on the design for a stable at 111/47. This has pencil sketches on the verso characteristic of Talman's hand.

Sub-scheme

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

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