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image Image 1 for SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40
image Image 2 for SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40
image Image 3 for SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40
  • image Image 1 for SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40
  • image Image 2 for SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40
  • image Image 3 for SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40

Reference number

SM (23) 65/4/39 (24) 65/4/41 (25) 65/4/40

Purpose

Presentation drawings for alternative designs Design No 7 and Design No 8 on a quadrangular plan (3)

Aspect

23 Ground plan for two-storey Gallery range with Mausoleum and almshouses 24 Ground plan for alternative Design No 7 for single storey Gallery range with Mausoleum and almshouses 25 Ground plan for alternative Design No 8 with Gallery range set back and quadrant arcades and (verso, pencil) rough plan of same design

Scale

(23-24) bar scale of 1/17 inch to 1 foot

Inscribed

24 as above, Dulwich College, Arcade (twice), Living Room (six times), Chamber (four times), porch (twice), Gallery (three times), Mausoleum, some dimensions given 25 as above, The (sic) / Dulwich, arcade (twice), Cha[mbers] (four times), Entrance, The Picture Gallery, Mausoleum, A (five times), some dimensions given

Signed and dated

(23) datable to May 1811 (24) (Soane) Lincolns Inn Fields 25, May 1811 and (Soane) 25 May 1811 (25) (Soane) Lincolns Inn Field and datable to May 1811

Medium and dimensions

(23-24) Pen, pencil, sepia and rose pink washes, partly pricked for transfer, within nine-ruled pen, sepia and black wash border on laid paper (450 x 582, 452 x 581) (25) pen, pencil, sepia and rose pink washes, pricked for transfer, within nine-ruled pen, sepia and black wash border on laid paper (458 x 579)

Hand

(23-25) John Buxton (pupil 1809-1814) or Charles Tyrrell (1795-1832, pupil 1811-1816) (only two pupils continually recorded drawing plans in the Day Book entries for May) (24) (both pupils specifically recorded on 25 May)

Watermark

(23-25) A Stace 1798, fleur-de-lis above cartouche with bar and below, AS

Notes

On Sunday 19 May 1811, Soane records in his Note Book 'Mr Corri, J. Wariter, Warden called - mark plan on site of kitch[en]: & old women under'. The College authorities wanted the new Gallery range to be to the south west and to accomodate the six 'old women' who lived in the west wing, which was to be demolished.

The pencil revisions on drawing 22 have been realised in these plans. The Gallery moves to the south west of the College, re-creating the quadrangular plan, open to the east. The Gallery is connected to the College by arcades and the Mausoleum remains on the east side of the Gallery.

There is a staircase drawn in the entrance porch of drawing 23, which would presumably lead up to the Gallery still situated on the first floor of the two-storey range as seen in the preliminary plans. Drawing 24 is a further development of drawing 23. The old women's almshouses and the Gallery are in the same single-storey range. The almshouses are situated along the length of the Gallery. Drawing 25 is close to drawing 24. However the Gallery is set further back towards the west and is connected to the north and south wings by a quadrant arcade.

Literature

(24-25) C. Davies, 'Masters of building: the first independent purpose-built picture gallery: Dulwich Picture Gallery', Architect's Journal, April 1984, p. 59; G. Waterfield, Soane and after: the architecture of Dulwich Picture Gallery, 1987, pp. 31; (23-25) F. Nevola, Soane's favourite subject: the story of Dulwich Picture Gallery, 2000, (23) pp. 36 & 178; (24) pp. 37 & 178; (25) pp. 38 & 179

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.

Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).