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  • image SM Vol 83/64

Reference number

SM Vol 83/64


[191] Preliminary design for an exhibition drawing, Vice Chancellor's Court, Court of Chancery and Lord Chancellor's Robing Room, 6 June 1823


Half-plans of the Vice Chancelllor's Court, the Court of Chancery and the Lord Chancellor's Robing Room, with ceiling plans, with accompanying perspective views coresponding to the plans, the central perspective shown on a fictive unrolled sheet, almost as executed


to a scale


Sketches of New Law Courts - / The Vice-Chancellor's Court: / the Court of Chancery. / The Lord Chancellor's Robing Room. / Chancellors Court / (pencil) [_] Sketch / or ocular perspective

Signed and dated

  • 06/07/1823
    6. June 1823.

Medium and dimensions

Pencil, wash, coloured washes including pink, blue and burnt umber within single border on laid paper (567 x 387)


Attributed to Joseph Michael Gandy (1771 - 1843), draughtsman
attributed in accordance with drawing SM Vol 83/64v


see separate entry for SM Vol 83/64v


Weatherley & Lane / 1818


This is a more worked-up version of the same composition shown in drawing SM Vol 83/64v. In constrast to drawing SM Vol 84/64v, the views either side of the central image have exchanged places. The yellow brushwork at the top of the image could be indicative of an inscription. All three perspective views of these interiors would provide the subjects for meticulously realised watercolours by Gandy: the Vice Chancellor's Court SM 16/1/1, the Court of Chancery SM 16/1/3 and the Lord Chancellor's Robing Room SM 53/2/59.



Digitisation of the Drawings Collection has been made possible through the generosity of the Leon Levy Foundation. This catalogue of Soane’s designs for the New Law Courts was generously funded by The Worshipful Company of Mercers and The Pilgrim Trust.

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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