REPTON, Humphry (1752-1818). Original watercolor drawing (with two overlays) of Rivenhall Place, Essex, Seat of Baron Western. N.p. 1794. 136 x 210 mm. Matted; quarter morocco folding case. ORIGINAL WATERCOLOR DRAWING, used opposite page 4 in Repton's Sketches and Hints on Landscape Gardening. London, 1794. "The present character of Rivenhall Place is evidently gloomy and sequestered, with the appearance of being low and damp. The interference of art, in former days, has, indeed, rendered the improvement and restoration of its natural beauties a work of some labour; yet by availing ourselves of those natural beauties, and displacing some of the incumbrances of art, the character of the place may be made picturesque and cheerful, and the situation, which is not really damp, may be so managed as to lose that appearance. The first object is to remove the stables, and all the trees and bushes, in the low meadow, which may then with ease be converted into a pleasing piece of water, in the front of the house" (Repton, pages 4-5).
REPTON, Humphry (1752-1818). Original watercolor drawing (with two overlays) of Rivenhall Place, Essex, Seat of Baron Western. N.p. 1794. 136 x 210 mm. Matted; quarter morocco folding case. ORIGINAL WATERCOLOR DRAWING, used opposite page 4 in Repton's Sketches and Hints on Landscape Gardening. London, 1794. "The present character of Rivenhall Place is evidently gloomy and sequestered, with the appearance of being low and damp. The interference of art, in former days, has, indeed, rendered the improvement and restoration of its natural beauties a work of some labour; yet by availing ourselves of those natural beauties, and displacing some of the incumbrances of art, the character of the place may be made picturesque and cheerful, and the situation, which is not really damp, may be so managed as to lose that appearance. The first object is to remove the stables, and all the trees and bushes, in the low meadow, which may then with ease be converted into a pleasing piece of water, in the front of the house" (Repton, pages 4-5).
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