Shortly after Leyswood, and following fairly closely its manner although with fewer Late Gothic elements of detail, came the house later called Grim’s Dyke built at Harrow Weald in 1870-2 for F. W. Goodall, afterwards the country house of the composer W. S. Gilbert, and Preen Manor in Shropshire also designed in 1870. Then followed Hopedene, near Holmbury in Surrey, and Boldre Grange, near Lymington in Hampshire, in 1873; Wispers, Midhurst, in Sussex, in 1875; Chigwell Hall in Essex, and Pierrepoint, near Farnham in Surrey, in 1876; Merrist Wood near Guildford in Surrey, and Denham at Totteridge in Hertfordshire, in 1877; and so on down into the nineties. After their showing each year at the Royal Academy Exhibition Shaw’s brilliant pen-and-ink perspectives of these houses were published photo-lithographically in the professional press; moreover, from 1874 the plans were usually given as well, the first published being that of Hopedene. Not surprisingly these were the most influential of Shaw’s works abroad, providing in the late seventies and early eighties one of the most important sources of the American ‘Shingle Style’ (see Chapter 15). Beside them, moreover, Webb’s more prominent London works of the late sixties, the house for George Howard, later Earl of Carlisle, built in 1868 near Thackeray’s in Palace Green, Kensington, and the small office building at 19 Lincoln’s Inn Fields, also of 1868, appear somewhat cranky and overstudied, still rather too Gothic in detail and lacking the comfortable air of his country-house work. However, the modest London studio-house at 14 Holland Park Road, Kensington, which was designed in 1864 and built in 1865 for Val Prinsep, like Morris and Spencer Stanhope one of the crew of artists who worked on the decoration of the Oxford Union, must have been more like the Red House and Benfleet Hall before it was recurrently enlarged by Webb in the following decades. Another London studio-house for the water-colour painter G. B. Boyce at 35 Glebe Place, Chelsea, which was begun in 1869, is in rather better condition today and quite exemplary in its quiet way despite some changes by Webb and others.