Acknowledgements

Acknowledgements to online edition

I am very grateful to Professor Colin Burrow for inviting me republish this catalogue, and to the Warden and Fellows of All Souls College, Oxford, for inviting me to be a Visiting Fellow in Michaelmas Term, 2018, when the work was undertaken. I am greatly indebted to Gaye Morgan, Librarian in Charge, and Morgan Wilkinson, Assistant Librarian (Digital Resources). They helped me to understand how a book might be translated into a website, and they went about it with determination and enthusiasm. It was a pleasure to work with them.

What follows is essentially The Architectural Drawings of Sir Christopher Wren at All Souls College, Oxford: A Complete Catalogue, originally published as a book by Lund Humphries in 2007. I have not significantly altered the text, and the sequencing of the drawings is exactly as before.

I have, however, added a small group of drawings by Nicholas Hawksmoor for the rebuilding of the College in the first half of the eighteenth century (454-60). These items have been at the College since they were produced, and, as such, have a different provenance from the Wren collection. They complement the two hundred drawings for the rebuilding of All Souls today at Worcester Collection, Oxford.

The entire collection has been photographed anew by Colin Dunn. The images themselves are hosted on Digital Bodleian.

With the online publication of this catalogue, the entire corpus of Wren office drawings is now freely available online (see also Sir John Soane’s Museum and St Paul’s Cathedral). I am very grateful to the College for promoting architectural scholarship in this way, and for honoring the memories of its onetime fellow, Sir Christopher Wren, and its onetime architect, Nicholas Hawksmoor.

Anthony Geraghty
University of York
14 December 2018

Acknowledgements to print catalogue

This catalogue has been nearly a decade in the making, and I have incurred many debts along the way. First and foremost I would like to thank the Warden and Fellows of All Souls College, Oxford, for kindly allowing me to undertake the catalogue and publish the drawings. I owe a particular debt of gratitude to Professor Ian Maclean, Fellow Librarian, Dr Norma Aubertin-Potter, Librarian in charge, and Miss Gaye Morgan, Assistant Librarian. All three have encouraged this project from the outset and facilitated lengthy periods of access to the collection; I have greatly enjoyed my time with them in the Codrington.

Warm thanks also go to Sir Howard Colvin, Professor Kerry Downes, and Dr Gordon Higgott for helping me in numerous ways over many years; I am grateful to them for their generosity, encouragement, and example. Parts 2 and 4 have greatly benefited from Gordon Higgott's parallel researches on the Wren drawings at St Paul's Cathedral and Sir John Soane's Museum.

Financial support was granted by the Arts and Humanities Research Council, the British Academy, the Paul Mellon Centre, and English Heritage. The last-named institution contributed generously to the publication costs of the book.

Many others have helped me along the way, including Nancy Bell, Jane Eagan, Caroline van Eck, Geoffrey Fisher, Ruth Guilding, John Harris, Richard Hewlings, Lisa Jardine, Sally Jeffery, the late Tweet Kimball, Andrew Lambert, Peter Lewis, Charles McCallum, John Newman, Sarah Noble, Jeanne Nuechterlein, Sandy Paul, Alan Powers, Lee Prosser, James Rothwell, the late J.S.G. Simmons, Gavin Stamp, Christine Stevenson, Simon Thurley, Matthew Walker, David Watkin, and Annabel Westman.

I would also like to thank my colleagues at York, my parents, and my wife.

Anthony Geraghty
Department of History of Art
The University of York
2007