Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-14T22:34:14.019Z Has data issue: false hasContentIssue false
  • English
  • Français

Early drawings of Bolsover Castle

Published online by Cambridge University Press:  11 April 2016

Mark Girouard
Get access Rights & Permissions [Opens in a new window]

Extract

The set of seven drawings of Bolsover Castle now at Renishaw Hall in Derbyshire was first discussed by John Harris in his The Artist and the Country House (1979). He illustrated three of the drawings, and convincingly connected them with the engravings of Bolsover Castle in the Duke of Newcastle’s celebrated La Méthode Nouvelle et Invention Extraordinaire de Dresser les Chevaux, published for the Duke (or, as he then was, Marquess) in 1658, during his exile in Antwerp.

Type
Section 7: Recording and Criticism
Information
Architectural History , Volume 27: Design and Practice in British Architecture , 1984 , pp. 510 - 518
Copyright
Copyright © Society of Architectural Historians of Great Britain 1984

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

1 Harris, John The Artist and the Country House (1979), pp. 14, 38 Google Scholar and pis 33a-c.

2 Information Reresby Sitwell.

3 The conduit to the north-east is now connected directly by a later pipe to the so-called well-house at the southeast corner of the Fountain Garden. This well-house was probably built to connect with another conduit coming from the south-east, four ruined conduit-houses on the line of which survive. The systems are shown on the excellent historical map of Bolsover published by the Bolsover Civic Society and Derbyshire County Council in 1982.

4 RIBA Smythson Drawings III/1 (7), reproduced in Architectural History, 5(1962), 130.

5 For the various dating problems connected with the buildings of Bolsover see M. Girouard, Robert Smythson and the Elizabethan Country House (New Haven and London, 1983), ch. vu and app. n.?

6 Trease, Geoffrey Portrait of a Cavalier: William Cavendish, First Duke of Newcastle (1979), p. 170 Google Scholar, where the full directive of 1649 is quoted.

7 The Lives of William Cavendishe, Duke of Newcastle and of his wife Margaret, Duchess of Newcastle, ed. Lower, M. A. (1872), p. 116.Google Scholar

8 Trease, op. cit., p. 64. The picture was sold at Christie’s, 13 May 1949, and again 27 November 1970; on the back was a copy of the original label on which was recorded the presentation ‘by my Lord Newcastle’ in 1634. Information kindly supplied by Mr Trease.

9 For Keirincx and Charles I, see John Harris, op. cit., p. 11, pis 19, 20, and colour pi. 1; and Inventories and Valuations of the King’s Goods 1649-51 (ed. Millar, Oliver) Walpole Society, xliii (1970-72), p. 278.Google Scholar

10 For dejongh, see Harris, op. cit., pi. 22; the Hardwick drawing is reproduced in M. Girouard, Hardwick Hall: a History and a Guide (National Trust, 1976), p. 15.

11 Welbeck Paintings Nos 301 and 297. A small painting showing two mid-seventeenth-century figures in the forecourt of the Little Castle, possible deriving from No. 1 of the Renishaw drawings, was bought at Christie’s by the author of this article in 1957, and sold to the Duchess of Portland in the same year, but its present whereabouts is unknown.

12 Welbeck Painting No. 298.