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image SM (12) 56/10/11

Reference number

SM (12) 56/10/11

Purpose

Design for a new bank on an adjacent site, 1832

Aspect

12 Plan of the Principal Story of the Bank of England Branch at Liverpool, shewing the Alterations and Additions / proposed in the Plan &c forwarded by Mr Turner

Scale

bar scale of ? inch to 1 foot

Inscribed

as above, Hanover Street, Seel Street, Proposed line of the New Boundary Wall, Line of the present Boundary Wall, "The Stables & Coach house / are intended to have a Ground / Floor with Loft over", "The dotted lines / denote the / present buildings", labelled: Lobby, The present / Bank / 42: 0 by 19:0, Book Room, Stair to the Livery / Room &c, Entrance to Dwelling House, Footmans / Pantry, Staircase (twice) , Present Private / Office, Pantry, Kitchen, Housekeepers Room, Yard, Manure, Privy, Stable, Coals, Harness Room, Coach House, The proposed New Bank / 45:0 by 39. / & about 15ft

Signed and dated

  • May 1832

Medium and dimensions

Pen, black, grey, pink and blue washes with single-ruled border on wove paper (590 x 380)

Hand

George Bailey (1792-1860, pupil then assistant, 1806-37, curator 1837-60)

Notes

A comparison of this ground floor plan an earlier drawing (5) shows that the earlier proposals were carried out. This later drawing is a design for a new bank with stables at the back. The rear boundary line has been re-drawn thus extending the yard while the 'Dwelling House' on Seel Street is to be demolished and the new bank together with coach house and stables are to replace it. The entrance to the bank is to be on the curved corner of Hanover Street and Seel Street. It will be larger than the old banking hall and offices that will presumably revert to domestic use. 'Mr Turner' was Samuel Turner who was appointed the agent in 1827 and who is referred to on drawings 5 and 7. In the event, Liverpool was one of five Bank of England branch banks that were built on new sites to the designs of C.R.Cockerell.

Level

Drawing

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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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