Further alternative (unexecuted) designs for alterations to Mr Tomlinson's premises in Castle Street and Davey Place, April 1828 (4)

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Sir John Soane office drawings: the drawings of Sir John Soane and the office of Sir John Soane
- Bank of England
  - The Bank of England Branch Banks, 1826-1831 (353)
    - Norwich: Bank of England branch: survey drawings, designs for alterations and related documents for 17 premises including the selected one in Queen Street, 1827-1829 (91)

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Reference number

SM (10) 56/11/37 (11) 56/11/38 (12) 56/11/45 (13) 56/11/46

Purpose

Further alternative (unexecuted) designs for alterations to Mr Tomlinson's premises in Castle Street and Davey Place, April 1828 (4)

Aspect

10-11 Variant Plan(s) of the Ground Floor of M^rTomlinsons Premises shewing the Alterations / required to adapt them for the purposes of a Branch Bank Design N^o1 and Design N^o2 respectively (for verso of 11 see Notes below) 12-13 Plans of ground floor with further variant designs (for verso of 12 see Notes below)

Scale

(10-13) bar scales of 1/7 inch to 1 foot

Inscribed

10 as above, Norwich, Castle Street at 12 f^twide, Davey Place, Steps, The Castle Hill Road, labelled: Waiting Room, Agents Private / Room, Bank, Counter, Desk (twice), ab^t10 feet high, High Window (twice), Book / Room, Stairs to the Treasure Vault, WC, Porters Room, Yard (twice), Garden and some dimensions given 11 as above, Norwich, A Narrow Street called Castle Street, Ground belonging to M^rTomlinson, Davey Place, Stair, The Castle Hill Road, labelled: Agents Room, Waiting Room, Book / Room, The Bank, Counter, Desk (twice), High Window (twice), Lobby (twice), Stair to the Treasure Vault, WC, Porters Room, Garden, Yard and some dimensions given 12 Davey Place, Castle Hill Road, labelled: Closet, Agent's Private / Room, Waiting Room, Book / Room, Bank, Counter, Desk (twice), High Window (sic), Lobby, Stair to Treasure Vault, WC, Porters Room, Yard and some dimensions given 13 Davey Place, The Castle Hill Road, labelled: Waiting Room, Porter, Agents Private Room, Stair to the Treasure Vault, Bank and Book /Room

Signed and dated

(10-11) LIF / April 1828 (12) Norwich April 12 1828

Medium and dimensions

(10-11) Pen, sepia, blue, green, pink and raw Sienna washes, pricked for transfer within triple ruled and wash border on wove paper (534 x 364, 533 x 367) (12) pen, sepia, pink and raw Sienna washes on wove paper (502 x 244) (13) pen, sepia, pink and raw Sienna washes, pricked for transfer on wove paper (483 x 356)

Hand

(10-13) George Bailey (1792-1860, pupil then assistant 1806-37, curator 1837-60)

Watermark

10 Smith & Allnutt 1823

Notes

Drawing 10 ('Design 1') has the same design for the remodelling of the front elevation as drawings 7-9 but with the addition of two 'High Windows' on the right-hand flank wall of the ex-warehouse on Davey Place. Drawing 11 is a variant of drawing 10 in which the two high windows are kept but the entrance on to Castle Street is removed to Davey Place and a lobby added. The layout of the various bank rooms is re-organised.
Drawings 12 and 13 both have the bank's entrance in Davey Place, the latter fronted by a two columned porch. Both drawings have three new windows looking on to Castle Street. The inevitable re-configuration of bank rooms is notable in drawing 13 where the old 'iron warehouse' becomes the banking hall and book room with three large windows and a back door giving on to the internal yard. The property eventually selected was in Queen Street (q.v.).
The verso of drawing 12 has a part-plan for an unidentified building. The verso of drawing 13 has part of a plan for a monument to HRH the Duke of York dated 16 September 1827; Soane's scheme for this sepulchral church in Horse Guards Parade was never executed.

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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