Annual Report 2004/5 corrected

Transcription

THE ROYAL COLLECTION TRUST
Annual Report 2010 –2011
A I M S O F T H E R O YA L C O L L E C T I O N T R U S T
In fulfilling the Trust’s objectives, the Trustees’ aims are to ensure that:
• the Royal Collection (being the works of art held by The Queen in right of the crown
and held in trust for her successors and for the nation) is subject to proper custodial
control and that the works of art remain available to future generations;
• the Royal Collection is maintained and conserved to the highest possible standards
and that visitors can view the Collection in the best possible condition;
• as much of the Royal Collection as possible can be seen by members of the public;
• the Royal Collection is presented and interpreted so as to enhance public
appreciation and understanding;
• access to the Royal Collection is broadened and increased (subject to capacity
constraints) to ensure that as many people as possible are able to view the Collection;
• appropriate acquisitions are made when resources become available, to enhance
the Collection and displays of exhibits for the public.
When reviewing future activities, the Trustees ensure that these aims continue to be
met and are in line with the Charity Commission’s General Guidance on public benefit.
This report looks at the achievements of the previous 12 months and considers the
success of each key activity and how it has helped enhance the benefit to the nation.
FRONT COVER: Carl Haag (1820–1915), Morning in the Highlands: the Royal Family ascending Lochnagar, 1853 (detail).
A Christmas present from Prince Albert to Queen Victoria, the painting was included in the exhibition
Victoria & Albert: Art & Love, at The Queen’s Gallery, Buckingham Palace, from March to December 2010.
BACK COVER: Princess Elizabeth, by Marcus Adams (1875–1959), taken on 15 December 1936,
four days after the proclamation of the Princess’s father, the Duke of York, as King George VI.
The photograph was included in the exhibition Marcus Adams: Royal Photographer at Windsor and Holyroodhouse.
FRONTISPIECE: Jan van der Heyden (1637–1712), A Country House on the Vliet near Delft, c.1660 (detail).
The painting was included in the exhibition Dutch Landscapes at The Queen’s Galleries in London and Edinburgh.
THE ROYAL
COLLECTION TRUST
Annual Report
for the year ended 31 March 2011
www.royalcollection.org.uk
Company limited by guarantee, registered number 2713536
Registered Charity number 1016972
Scottish Charity number SC 039772
TRUSTEES OF THE
ROYAL COLLECTION TRUST
Chairman of the Trustees
HRH The Prince of Wales, KG, KT, GCB, OM, AK, QSO, ADC
⬃••⬃
Deputy Chairman
The Earl Peel, GCVO
⬃••⬃
Trustees
Lady Shaw-Stewart (to 31 March 2011)
The Duke of Buccleuch and Queensberry, KBE, DL (from 31 March 2011)
Mr Duncan Robinson, CBE, DL
Mr Peter Troughton
The Rt Hon. Christopher Geidt, CVO, OBE
Sir Alan Reid, KCVO
⬃••⬃
Director of the Royal Collection
Jonathan Marsden, LVO, FSA
CONTENTS
Chairman’s Foreword
5
Report of the Director of the Royal Collection
7
Custodial Control
11
Conservation
Paintings
Decorative Arts
Works on Paper
Preventive Conservation
13
13
14
14
16
Access and Presentation
Buckingham Palace
The State Rooms
The Queen’s Gallery
The Royal Mews
Windsor Castle
The State Apartments and Precincts
The Drawings Gallery
Special Visits and Research Enquiries
Palace of Holyroodhouse
Historic Royal Palaces
Travelling Exhibitions
Loans
17
17
17
18
19
20
20
20
20
21
21
23
24
24
24
Interpretation
Learning
Publishing
New Media
26
26
30
33
Accessions and Acquisitions
34
Trading Activities
Retail
Picture Library
36
36
37
Financial Overview
38
Summarised Financial Statements
40
Exhibitions and Loans
Royal Collection Exhibitions
Loans
43
43
43
Staff of the Royal Collection
External Appointments
Staff Numbers
Staff Training and Development
48
48
48
49
Staff List
50
• More than 400 works of art conserved • 9 exhibitions staged
• 80 public lectures given by staff • 8 books published
• 2.1 million visitors to Buckingham Palace, Windsor Castle,
the Palace of Holyroodhouse, the Royal Mews and The Queen’s Galleries
• 105,000 complimentary or 1-Year Pass visitors
• 94 loans to 41 exhibitions in the UK and 13 other countries
• 5 awards for publications and visitor services
6
ANNUAL REPORT
2011
REPORT OF THE DIRECTOR
O F T H E R OYA L C O L L E C T I O N
Jonathan Marsden
he list of achievements in the year under review provides evidence of sustained progress towards the
T
fulfilment of the Royal Collection Trust’s charitable aims. It also demonstrates the effectiveness
of the ‘virtuous circle’, whereby the ever wider enjoyment of the Collection can contribute towards its
long-term care and preservation.
By any measure, 2010–11 was one of the most successful years since the Trust was founded in 1993,
and it was the most successful in purely financial terms. This was a very strong year for visitors at all the
residences, the Royal Mews and The Queen’s Galleries; despite the overall economic outlook, admissions
grew by 8.3 per cent. The achievement of a 17.8 per cent increase in retail sales no doubt reflected last
year’s investment in the Middle Ward shop at Windsor, the continuing introduction of imaginative and
attractive ranges, and the professionalism of sales staff. The growth in
online retail, particularly of the special range introduced to commemorate
the wedding of Prince William of Wales and Miss Catherine Middleton,
has made a very significant contribution.
The annual Summer Opening of the State Rooms at Buckingham
Palace attracted a total of 413,000 visitors, the second highest total since
the inaugural season of 1993. The special display, The Queen’s Year, gave
visitors a thorough insight into the range of Her Majesty’s duties and
engagements across the seasons, a pattern that has been consolidated in
the course of the reign, but which, as the display made abundantly clear,
continues to develop. The success of the display and its accompanying
book depended heavily on the willing co-operation of the many colleagues
in the Royal Household who work to deliver The Queen’s annual
programme, both in the form of advice as members of the project team,
and in securing appropriate exhibits to illustrate such activities as the
Royal Maundy service, the State Opening of Parliament and Privy
Council meetings. Visitors to the Palace made full use of the Garden
Café, installed on the West Terrace for the second year. The introduction
of Garden Tours as an additional option for group visits to the State
Rooms was also very successful.
The Victoria & Albert: Art & Love exhibition at The Queen’s Gallery,
London, was seen by a total of 185,000 visitors. The daily attendance was
second only to the inaugural Royal Treasures exhibition in 2002. Most
encouragingly, two-thirds of the visitors surveyed in the first three
months (March–June 2010) said they were visiting The Queen’s Gallery
for the first time. This is a sign of our ability to reach beyond the core
Life-size statues of Queen Victoria (1847),
by John Gibson, and Prince Albert (1849),
by Emil Wolff, greeted visitors to the
Victoria & Albert: Art & Love exhibition.
ANNUAL REPORT
2011
7
audience established for the Gallery over nearly 50 years, and is crucial to the attainment of our charitable
aim of ensuring the widest possible enjoyment and appreciation of the Collection. Success in this case
seems to have been due to the intrinsic appeal of the relationship between the young Queen Victoria and
Prince Albert, and the very extensive media coverage that resulted from this, combined with imaginative
marketing and the range of activities undertaken in partnership with such organisations as the National
Gallery, the Victorian Society and the Victoria and Albert Museum. In addition, the 1-Year Pass, enabling
the purchaser to return repeatedly following their initial visit, has proved very popular.
In an eventful year for exhibitions, Dutch Landscapes, selected and catalogued by Desmond
Shawe-Taylor and Jennifer Scott, completed a long and successful run at The Queen’s Gallery, Edinburgh.
It transferred to The Queen’s Gallery, London, on 15 April 2011 and will be shown at the Bowes Museum,
Barnard Castle, from November 2011. A photographic selection of the pioneering work of Roger Fenton
and Julia Margaret Cameron was shown at Aberdeen Art Gallery before transferring to Blackwell, The Arts
and Craft House, at Bowness-on-Windermere. The Heart of the Great Alone, which tells the story of the Scott
and Shackleton expeditions to the Antarctic through the photographs of Herbert Ponting and Frank
Hurley, opened at the Canterbury Museum, Christchurch, New Zealand, shortly before the city was
damaged by a substantial earthquake in September 2010. The exhibition re-opened as soon as was practical
and was seen by almost 20,000 visitors. The curators Sophie Gordon and Emma Stuart, and the explorer
David Hempleman-Adams, co-authors of the accompanying book, took part in events at the Museum
during the period of the exhibition. A week before the planned closing
date in February, a further, more serious earthquake occurred. The
Canterbury Museum withstood the shock far better than any other
historic building in the city, and the exhibition returned to the
UK unscathed after a delay of only six weeks. It will be shown at
The Queen’s Gallery, Buckingham Palace, from October 2011.
The publication of catalogues raisonnés of the Collection is
an essential and perpetual task. Although more than 50 titles have
appeared over the past century, many areas remain as yet unpublished.
Vanessa Remington’s two-volume catalogue of Victorian Miniatures,
which appeared in November 2010, is to be celebrated not only as a
substantial achievement in its own right, completed in a remarkably
short time and to the highest standards of scholarship, but also as it
completes the publication of the entire collection of some 2,646
miniatures, ranging in date from 1526 to 1901. Such catalogues
require a further vital ingredient, in addition to scholarship,
dedication and expertise in design and photography. Without the
generous financial support of KPMG, Sir Harry Djanogly, the Basil
Sir William Charles Ross (1794–1860), Prince Ernst
and Prince Edward of Leiningen with Islay and a macaw,
watercolour on ivory, 1839. This vibrant and colourful
miniature of Queen Victoria’s step-nephews was
included in the exhibition Victoria & Albert: Art & Love
at The Queen’s Gallery, London, and in Vanessa
Remington’s catalogue, Victorian Miniatures in the
Collection of Her Majesty The Queen.
8
ANNUAL REPORT
2011
Samuel Trust and the Michael Bishop Foundation, there would be no
possibility of publishing the Collection to such a high standard.
Looking to the future, the next three years will be amongst our
busiest yet, and none more so than 2012, with the celebration of the
Diamond Jubilee of Her Majesty The Queen, in the same year that
London will host the Olympics. The approval of a rolling Three-Year
Plan for 2011–14 by our Trustees in December 2010 has set a course for significant developments in all
areas over this period. The Plan is informed by the findings of a survey commissioned last summer from
Ipsos MORI, to measure current levels of awareness of the Royal Collection and of the royal residences as
places to visit. The survey provided high approval ratings from a peer review of Royal Collection activities,
but results from a survey of 2,000 UK respondents showed that there was still much work to be done to
raise levels of awareness.
Staff in all sections took part in the preparation of the
Three-Year Plan, and all sections have a part to play in the
achievement of its key objectives (see right). Progress towards
the first of these has included the appointment of two parttime, temporary curators, one for a forthcoming exhibition and
another for a significant media project.
Other major projects for the next two years include the
development of a new and more interactive website and a
Master Plan for the visitor experience at Windsor Castle. It is
also intended that solutions should be found to the longstanding challenge of the conservation of the Royal
Mausoleum at Frogmore and its presentation to a wider
public. Work has begun on a definitive book about this
remarkable yet little-known building.
The current Royal Collection website was launched in
2005 and has developed in numerous directions while
continuing to attract positive responses. Yet the internet
The Three-Year Plan has four
Paramount Objectives:
• to replenish and restore curatorial
expertise;
• to identify and develop income streams
for the Royal Collection Trust that are
independent of international tourism;
• to raise levels of awareness of the
Collection, and participation in its
activities, among UK citizens;
• to establish a target level of free
reserves sufficient to sustain charitable
activity during periods of lower trading
performance.
demands of its participants not only continuous improvement
but also periodic renewal. A project team has been working for
some time on the procurement of an entirely new Royal
Collection site, to be launched at the end of 2011. The e-Gallery, currently presenting more than 8,000
works of art, will be incorporated as The Royal Collection Online, and it is hoped that it will present
100,000 works of art by the end of 2012. In addition to the basic curatorial information, the online
collection will eventually include images, film and conservation details, and users will be able to contribute
their own observations and knowledge. The site will also highlight locations beyond the royal palaces where
works from the Collection can be seen, and will draw attention to works with specific local connections
or associations.
As the first stage of this redevelopment, an entirely new online shop (www.royalcollection.org.uk/shop)
was successfully launched in April 2011. It offers a greatly enhanced range of merchandise and
more effective fulfilment, building on the experience of the strong demand for the Royal Wedding
commemorative range during the first quarter of 2011.
The long-standing need to provide visitors to Windsor Castle with refreshments, on the model of the
successful cafés recently introduced at Holyroodhouse and Buckingham Palace, has prompted a study of
the entire experience of visiting the Castle. This is being led by the architectural consultants Feilden Clegg
Bradley Studios, who will report to Trustees at the end of 2011. The study is directed by a steering group
and its early phases have involved widespread consultation. It is expected to recommend improvements to
ANNUAL REPORT
2011
9
Photograph: Mike Davidson
the circulation within the State Apartments, opportunities
for flexibility and choice within a visit, and improvements to
the quality of the environment. Meanwhile, a strategy for
interpreting this most complex of sites is being developed by
staff, working closely with the consultants.
The growth in the range and complexity of the activities
of the Royal Collection Trust and its trading subsidiary Royal
Collection Enterprises since 1993 has brought with it a degree
of inconsistency in presentation and representation. This has
prompted a review of the organisation’s identity, so that our
aims, objectives and achievements can be communicated with
greater clarity. The study is expected to bear fruit during
2011–12, especially on the new website.
During the coming year, paid internships in each of the
three main curatorial and conservation sections (Paintings,
Decorative Arts and Works on Paper) and one in marketing
will be advertised and awarded. These will enable the best
among those starting out in their careers to obtain valuable
working experience. Existing, shorter-term annual placements,
with students from Leicester University, the City & Guilds of
London Art School and Camberwell College of Arts will
continue.
Detail from a set of seventeenth-century
crewelwork hangings at the Palace of
Holyroodhouse, conserved during 2010.
The Trustees of the Royal Collection Trust met on four
occasions during the period under review. Lady Shaw-Stewart
retired in March 2011 on completion of two terms of three
years. Her conscientious and supportive involvement in all
aspects of the work of the Trust, not least her attendance of the ten-day Royal Collection Studies summer
school in 2009, has been as valuable as her particular interest in the Palace of Holyroodhouse. It is very
satisfactory that the qualifications of her successor, the Duke of Buccleuch and Queensberry, include many
years of experience of the historic environment in Scotland.
The Strategic Development Committee – a joint committee of the Royal Collection Management
Board, two Trustees (Duncan Robinson and Peter Troughton) and the three non-executive directors of
Royal Collection Enterprises Ltd (Fiona Sale, Tom Jenkins and Edward Griffiths) – met on three occasions.
Peter Troughton continued to serve as Chairman of the Audit Committee, to which Nigel Turnbull has also
once again devoted his time and expertise. The gratitude of the Management Board and the entire staff for
the continuing guidance and support of all those named remains undiminished.
As in previous years, this report describes the activities of the Royal Collection under six headings,
which refer to the six charitable aims listed on the inside front cover. It is under these headings that the
Trustees measure the year’s results, with particular reference to the guidelines on public benefit prepared
by the Charity Commission and the Office of the Scottish Charity Regulator. The financial information is
confined to a summary, but the full financial statements are available online (www.royalcollection.org.uk)
or from the Registered Office, York House, St James’s Palace, London SW1A 1BQ.
10
ANNUAL REPORT
2011
CUSTODIAL CONTROL
To ensure that the Royal Collection is subject to proper custodial control and that the works of
art remain available to future generations.
As anticipated in last year’s report, the Collections Management System has enabled the programme of
on-site checking to proceed more efficiently. More than 100,000 items were checked in situ during the year.
The main check took place at Buckingham Palace, with some 20,000 items in more than 1,000 locations.
Progress with checking and updating the system with movements of works of art was matched by the
expansion of the user group to 163 (130 in 2009–10). Hampton Court Palace was checked in a joint
exercise with colleagues from Historic Royal Palaces.
The entire contents of Queen Mary’s Dolls’ House at Windsor Castle have now been added to the
system, comprising everything from original miniature works of art and literature to the miniature regalia
in the strong room and the mousetrap in the kitchen.
More than 8,600 new records were added to the database, bringing the total to 723,965 records.
Progress was slightly slower this year than last (when more than 10,000 records were added), owing to the
concentration of staff resources on on-site checking. The majority of the additions were photographs,
including the Marcus Adams negative collection, Queen Elizabeth The Queen Mother’s collection,
Queen Mary’s albums and historic inventory negatives.
More than 40,000 images were uploaded to the system during the year, bringing the total to 182,750.
Work in progress to add the
contents of Queen Mary’s
Dolls’ House to the
Collections Management
System.
ANNUAL REPORT
2011
11
12
ANNUAL REPORT
2011
CONSERVATION
To ensure that the Royal Collection is maintained and conserved to the highest possible
standards, and that visitors can view the Collection in the best possible condition.
PA I N T I N G S
The work of the paintings conservation studio was determined very largely by the exhibition programme,
involving 85 paintings. Eighteen were prepared for external loan and 33 for Treasures from the Royal Collection
at The Queen’s Gallery, London. Five paintings, by Hans Holbein the Younger, Joos van Cleve, Mertens and
(after) Gerard David, received full treatments in the studio in preparation for the Northern Renaissance: Dürer
to Holbein exhibition opening at The Queen’s Gallery, Edinburgh, in June 2011. Four paintings underwent full
treatment in external studios, including one (The Misers, illustrated here) for the Northern Renaissance
exhibition.
Scientific analysis in preparation for the Northern Renaissance exhibition included complete infra-red
mosaics of 14 paintings. Seven panels were examined by dendrochronology. The Portrait of François II when
Young, by François Clouet, was found to be painted on an oak panel from the same tree as that of another
painting in a private collection. The portrait of Eleanora of Austria by Joos van Cleve was found to be on French
oak, providing physical evidence to support the general acceptance that the portrait was executed in France.
Infra-red examination also revealed hidden under-drawing on Holbein’s panel of Sir Henry Guildford and
Eleanora of Austria by Joos van Cleve.
Follower of Marinus van Reymerswaele
(c.1490/95–c.1567), The Misers, 1548–51.
This striking painting has not been on display
for some time, due to the heavily discoloured
varnish and darkened patches of overpaint
(right). Cleaning in preparation for the Northern
Renaissance exhibition at The Queen’s Gallery,
Edinburgh (17 June 2011 – 15 January 2012),
has revealed the clarity and vibrancy of the
colours and subtle details previously concealed
by the varnish (opposite). The painting was
found to be in fine condition, with no significant
losses and only a minor split in the oak panel,
which still retains its original thickness.
ANNUAL REPORT
2011
13
D E C O R AT I V E A R T S
At Marlborough House and the two horological workshops, a total of 191 works of art were conserved,
including arms, armour, furniture, clocks, ceramics, metalwork and picture frames. The year’s work
featured a number of complex objects combining different materials, such as tortoiseshell, metal inlay,
lacquer and painted and gilded surfaces. The conservation of two seventeenth-century Japanese
lacquer cabinets from Windsor Castle was completed after almost a year. They have traditionally stood
on early eighteenth-century English carved gesso side tables, one of which (illustrated opposite) has been
fully conserved. Other gilding projects include one of a set of four pedestals with storks, based on
an ancient model, supplied by Tatham, Bailey & Sanders for Carlton House in 1811. Thirty-five
giltwood picture frames were conserved during the year, many in anticipation of the Northern
Renaissance exhibition.
Preparatory work was undertaken in support of forthcoming catalogues of the Collection. For the
catalogue of Chinese and Japanese Works of Art, conservation and cleaning work has proceeded in
tandem with photography campaigns at Holyroodhouse and Hampton Court (including pieces from
Kensington Palace). Work has also continued on the catalogue of Arms and Armour. The Armourer
has benefited from a new, purpose-built arms storage and study room at Windsor, with greatly
improved facilities.
At Hampton Court Palace, the three-year joint project, funded by Historic Royal Palaces, to conserve
and document the display of arms installed for William III in 1699 in the King’s Guard Chamber was
completed in August 2010. A total of 2,860 objects have been treated, and the opportunity was taken to
record them fully for the Collections Management System.
At the Palace of Holyroodhouse, work continued on tapestries: the Flemish seventeenth-century
tapestry The Triumph of Mars was fully conserved by Margaret Maran and reinstated on the Great Stair.
Work has commenced on The Lion Hunt, one of a series of Flemish seventeenth-century panels on the life
of Alexander the Great woven from cartoons by Jacob Jordaens. Further progress was made on the set of
seventeenth-century crewelwork bed hangings (illustrated on page 10).
The Master of the Household’s ‘C’ Branch workshops, based at Windsor, concentrate on the practical
furnishing of the occupied residences. More than 200 treatments were completed, including giltwood
furniture from the Blue Drawing Room, Buckingham Palace, a joint project with the Marlborough House
conservators. During the year, craftsmen from both sections spent periods of time working alongside
their colleagues in the other workshop. This has proved a very effective means of building skills, knowledge
and efficiency.
W O R K S O N PA P E R
In addition to the ongoing programme of book conservation, 153 works on paper were treated in the paper
conservation studio, including Old Master drawings, watercolours, prints, pastels, maps and architectural
plans. Of these, 51 items were treated for Royal Collection exhibitions, including 26 for The Northern
Renaissance. Twenty-eight plans of the Royal Mausoleum at Frogmore were conserved by four students
from the BA Conservation course at Camberwell College of Arts, during their annual two-week placement.
14
ANNUAL REPORT
2011
Conservation of an early eighteenth-century carved and gilded gesso table at Windsor Castle, used for at least
200 years to support a Japanese lacquer cabinet in the State Apartments, has revealed the exceptional quality of
the work. In the upper photograph a later gilding scheme (left) and its preparatory layers are removed to reveal the
original surface (right). The border at the lower edge of the tabletop was not covered by the cabinet and became
heavily discoloured (upper photograph, lower left). The lower photograph shows the tabletop following treatment.
ANNUAL REPORT
2011
15
Among the major projects completed in the bindery at
Windsor was the conservation and rebinding of Specimens
of Persian calligraphy and Indian miniatures (1600–1800),
prior to the volume’s loan to the exhibition The Art of
Courtly Lucknow, at Los Angeles from December 2010
to February 2011.
A total of 37 photographs were conserved
and 105 mounted, all for Royal Collection
exhibitions, including Marcus Adams: Royal
Photographer and Prince Philip: Celebrating Ninety
Years. Six were mounted for the forthcoming
London showing of The Heart of the Great Alone:
Scott, Shackleton and Antarctic Photography.
A Preservation Assessment Survey of the
Royal Archives collections was conducted.
The results will be analysed by the Preservation
Advisory Centre and will inform future
conservation policy. Conservation projects
included 34 Victorian folders, a series of essays
by King George III and a series of bills for
Frederick, Prince of Wales. Around 40 other
individual documents were conserved and
re-housed, and several hundred were sleeved.
The bindings of around 50 important printed works (including several ornithological volumes by
John Gould) were repaired and conserved by external binders. A further 1,035 books were refurbished with
the help of two long-term volunteers, augmented during a concentrated three-week project in August by
four additional volunteers.
P R E V E N T I V E C O N S E R VAT I O N
The day-to-day care of works of art of all kinds in the occupied palaces presents challenges beyond those
that arise in purpose-built museums. The existing arrangements for close collaboration with the Master of
the Household’s Department in maintaining best practices for handling and movement will shortly be
strengthened by the introduction of a new post to provide ongoing specialist advice and training
throughout the palaces.
Continuing improvements at the California Gardens Store included the provision of additional mobile
shelving for photographs and manuscripts and the enhancement of climate controls. Plans were drawn up
for the re-shelving of the Cold Store (for photographs and negatives) in Middle Ward, Windsor Castle.
Advice was sought from museum specialists on suitable storage materials and cabinets for coins and medals.
16
ANNUAL REPORT
2011
ACCESS AND PRESENTATION
To ensure that as much of the Royal Collection as possible can be seen by members of the public,
and that access to the Collection is broadened and increased (subject to capacity constraints)
to ensure that as many people as possible are able to view the Collection.
B U C K I N G H A M PA L A C E
The State Rooms
The State Rooms were open to the public for 67 days, from 27 July to
1 October 2010 (2009: 67 days), attracting 413,000 paying visitors
(2009: 369,000). A special display, The Queen’s Year, was mounted in
the Ball Supper Room, charting the seasonal cycle of The Queen’s
duties by means of 102 objects, including dresses, jewellery, official
gifts and uniforms, imaginatively designed by George Carter and
installed by the Exhibitions team. Film extracts showed the high
points of royal ceremonial, from The Queen’s Birthday Parade and
Garter Day in June to the annual service of commemoration in
Whitehall and the State Opening of Parliament in the autumn.
Buckingham Palace was voted Best Attraction for Group Visits:
Short Visit at the Group Travel Awards 2010, and Best UK Attraction
for Group Visits at the Group Leisure Awards 2010. Both awards are
based on votes from the group travel industry.
Private tours of both the State Rooms and the Garden at
Buckingham Palace took place outside the main Summer Opening
period. Some 1,060 visitors booked on to a private tour of the State
Rooms, and 5,491 enjoyed a group tour of the Garden.
ABOVE AND BELOW: The Queen’s Year
display at Buckingham Palace.
BELOW LEFT: Garden tours were
added to the range of options open
to Buckingham Palace visitors.
ANNUAL REPORT
2011
17
The Gallery enjoyed one of its busiest years since opening in May 2002. The exhibition Victoria & Albert:
Art & Love, featuring 402 works of art of all kinds, attracted a daily average of over 700 visitors during its
long run, with a final total of 185,000 visitors. It opened on 19 March 2010 and closed, following an
extension of one month, on 5 December 2010. A notable feature of the exhibition was the unprecedented
range of events planned and delivered by the Learning team. The introduction of early morning views for
groups, including colleagues from museum and heritage organisations, undoubtedly helped to raise
awareness of the Gallery and its programmes. Evening tours were also very well subscribed, and, in all,
130 group visits were made. The Gallery staff are to be commended for their commitment under these
conditions, which often entailed very long working days.
The Gallery closed to the public on 5 December for a planned refurbishment period, prompted by
the need, outstanding from the original building project, to replace defective marble skirtings and facings
in the main spaces, the Pennethorne and Nash Galleries. The opportunity was taken to replace the wall
hangings and re-finish the stone and wood floors, to adjust the glazing configuration of the cabinet
rooms, to introduce a new lighting-control system and to re-decorate throughout. The work was
completed in time for the installation of the next two exhibitions, Dutch Landscapes and Treasures from the
Royal Collection, which both opened on 15 April 2011. The Education Room leading from the main
landing has been re-named the Millar Learning Room, in memory of the founding Director of the Royal
Collection, Sir Oliver Millar (1923–2007), who was associated with The Queen’s Gallery since its creation
in 1962. The naming also honours the contribution of Sir Oliver’s wife, Delia Millar (1931–2004),
particularly in the cataloguing of the Victorian drawings and watercolours in the Royal Collection.
From 15 April 2011, visitors to The Queen’s Gallery have been able to take their own photographs
within the Gallery. This enables works from the Collection to be circulated and enjoyed more widely.
The atmosphere and excellent viewing conditions of the Gallery are highly valued by regular visitors and
it is essential that the opportunity to take photographs should not inhibit the enjoyment of others.
18
ANNUAL REPORT
2011
LEFT: The exhibition Victoria & Albert:
Art & Love at The Queen’s Gallery,
London.
RIGHT: Refurbishment work
in The Queen’s Gallery,
January–March 2011.
BELOW: Opening throughout the year
for the first time enabled visitors to
see the Royal Mews at work, and with
a full complement of carriages and
horses in the stalls.
If successful, the experiment will be repeated at The Queen’s Gallery, Edinburgh. The prohibition of
photography within The Queen’s official residences will remain in place.
The Royal Mews
For the first time, the Royal Mews was open to the public throughout the winter period, thanks to the
kind co-operation of the Crown Equerry and his staff. Whereas during the Summer Opening period the
level of official activity in the Mews is low, winter visitors are able to see carriage processions forming up
Photograph: Pawel Librera
and a full complement of horses in the stalls.
ANNUAL REPORT
2011
19
WINDSOR CASTLE
A total of 1,047,000 paying visitors were admitted to the Castle (an increase of 6 per cent on the previous
year, and 12 per cent on 2008–9).
During the Christmas period, the table in the State Dining Room was laid with pieces from a Minton
service made for Queen Victoria, together with its biscuit sculptures, lately seen in the Victoria & Albert
exhibition at The Queen’s Gallery, London.
During the year, guided tours of the medieval Great Kitchen were extended to individual visitors and
have proved highly popular.
Items from the Royal Library and Royal Archives were displayed for The Queen’s guests on two
occasions in April 2010, and for The Prince of Wales’s guests in June 2010. A display of Islamic
manuscripts was mounted for a reception in April 2010 to launch Bloomsbury Qatar Foundation
Publishing. The Librarian mounted a display in the
Green Drawing Room on the occasion of the State Visit
A certificate presented to the Duke of Edinburgh
on New Year’s Day 1957, included in the exhibition
Prince Philip: Celebrating Ninety Years (to 22 January
2012). The Duke of Edinburgh became the first
member of the Royal Family to cross the Antarctic
Circle, and was thus entitled to join the ‘Order of
the Red Nose’. His Royal Highness contributed to
both the design and the production of the certificate,
which was made on board HMY Britannia.
of the Emir of Qatar and Sheikha Mozah in October
2010. A selection of the works from this display was
posted on the British Monarchy website.
The Drawings Gallery
In addition to changing displays of Old Master
drawings, two exhibitions focused on members of the
current Royal Family: Marcus Adams: Royal Photographer
featured photographs by Adams of the young Princesses
Elizabeth and Margaret Rose and their parents, King
George VI and Queen Elizabeth, while Prince Philip:
Celebrating Ninety Years (continuing to 22 January 2012)
charts the Duke of Edinburgh’s life and career. The
majority of the 141 exhibits, including photographs,
© The Estate of Edward Seago; courtesy Portland Gallery, London
books, sculpture, drawings, paintings, archival material,
coins, medals and insignia, are from Prince Philip’s own
collection. A third display, The Last Post, featured
material relating to the two First World War veterans
who died in 2009, Henry Allingham and Harry Patch.
Special Visits and Research Enquiries
More than 320 individuals visited the Upper Library,
either as part of visiting groups or for independent
research purposes. The 15 visiting groups included
members of the Council of The Prince’s Charities, the
20
ANNUAL REPORT
2011
Committee for The Queen’s Gold Medal for Poetry, members of the International Map Collectors
Society, Patrons of the Royal Academy, paper conservators from the British Museum, staff from Eton
College library, supporters of the Norfolk branch of The Art Fund and prize-winners in the Windsor
Festival Schools’ competition.
The Print Room received visits from 180 individual researchers, and groups from Reading University,
the Courtauld Institute, the Courtauld Neapolitan Roving Seminar and The Prince’s Drawing School.
The photograph collection was visited by groups of students from the Sotheby’s Institute of Art MA
course in Photography and from De Montfort University’s MA course in Photography History and Practice.
The archivists dealt with 1,258 postal, telephone and e-mail enquiries, of which 350 were
genealogical, 734 general and 174 were for information required by the Royal Household. Sixty
researchers visited the Royal Archives, carrying out 273 research days.
Photograph: ©Press Association
PA L A C E O F H O LY R O O D H O U S E
HM The Queen and Pope Benedict XVI on the occasion of the Papal Visit to the Palace of Holyroodhouse
on 16 September 2010. The Pope is looking at the royal gift, a set of facsimiles of the Holbein drawings in
the Royal Collection, in a presentation box created in the bindery at Windsor.
The Palace of Holyroodhouse received 230,000 visitors and a further 43,000 visited The Queen’s Gallery.
Further improvements were made to the furnishing and decoration of the State Apartments.
A contemporary bronze portrait bust of Catherine de’ Medici by Germain Pilon, c.1583, was installed in
the historic apartments, alongside the full-length portrait of her daughter-in-law, Mary, Queen of Scots.
Students at Buckinghamshire New University conserved a pair of late seventeenth-century ‘sleeping
chairs’, including replacing the crimson silk velvet covers. The chairs are now displayed in the King’s Closet.
Guided tours of Holyrood Abbey, one of the most important medieval buildings in Scotland, were
ANNUAL REPORT
2011
21
22
ANNUAL REPORT
2011
introduced as part of the visitor experience from April to October. Developed by the Palace wardens,
these have proved a popular innovation.
Dutch Landscapes, an exhibition of 42 works from the Royal Collection’s rich holdings of Dutch Golden
Age painting, opened at The Queen’s Gallery on 30 April 2010. The fine detail and meticulous finish of
Dutch pictures appealed to British taste, and 34 of the works in the exhibition were acquired by the future
George IV between 1809 and 1820. The exhibition closed on 9 January 2011, with a final total of 33,983
visitors, an average of 135 per day.
It was followed by an extended selection of photographs by Marcus Adams, whose images of the
Royal Family, especially those of the young Princesses Elizabeth and Margaret Rose, had already
captivated visitors to Windsor. The total number of visitors at both venues was 890,385.
ABOVE: The Passage Boat (1650s), by Aelbert Cuyp (1620–91), demonstrates the skill of Dutch Golden Age artists
in endowing everyday scenes with a transcendental quality through the depiction of sea mist and sunlit sky.
LEFT: Bronze portrait bust of Catherine de’ Medici (c.1583), mother-in-law of Mary, Queen of Scots, by the French
Renaissance sculptor, Germain Pilon (c.1537–90), newly installed in the historic apartments at Holyroodhouse.
ANNUAL REPORT
2011
23
H I S T O R I C R O YA L PA L A C E S
More than 3 million visitors to the sites managed by Historic Royal Palaces were able to see works from
the Royal Collection at Hampton Court, Kensington, Kew and the Tower of London.
At the end of a lengthy conservation and redecoration programme at Queen Charlotte’s Cottage,
Kew, all the original prints have now been re-hung in the Print Room.
The display of paintings in The Queen’s Presence Chamber at Hampton Court Palace was upgraded
with the addition of John Michael Wright’s portrait of Charles II in his coronation regalia, which has been
hung above the throne dais. The hang was completed by Daniel Mytens, Charles I and Henrietta Maria, and
Hendrick Cornelisz. Vroom, The Return of the Fleet with Charles I when Prince of Wales in 1623.
The Private Apartments of William III on the ground floor, meanwhile, have been re-hung with works
that appear in his inventories.
Curatorial and conservation staff worked in various ways in support of plans for the re-presentation
of Kensington Palace and the Crown Jewels in the Tower of London, both planned for completion in 2012
by Historic Royal Palaces.
T R AV E L L I N G E X H I B I T I O N S
A new exhibition entitled Roger Fenton and Julia Margaret Cameron: Early British Photographs from the
Royal Collection was shown at Aberdeen Art Gallery from mid-June to late August 2010, and at Blackwell,
The Arts & Crafts House, Bowness-on-Windermere, from late January to late April 2011, where it was
seen by a total of 7,583 people. The exhibition will be shown in Exeter later in 2011.
The Heart of the Great Alone was exhibited at the Canterbury Museum in Christchurch, New Zealand,
from August 2010 to February 2011, prior to a final showing at The Queen’s Gallery, London, from
October 2011 to April 2012. In New Zealand, the Royal Collection items were displayed within the context
of the important Antarctic collection in Christchurch. The exhibition attracted more than 19,000 visitors.
LOANS
Works from the Royal Collection were included in 41 exhibitions in the UK and 13 other countries.
Highlights included the loan of four paintings to the exhibition Venice: Canaletto and his Rivals at the
National Gallery, London, and five portraits by Sir Thomas Lawrence, including three full-lengths from
the Waterloo Chamber at Windsor, to the exhibition at the National Portrait Gallery, Thomas Lawrence:
Regency Power and Brilliance. Fourteen drawings were lent to the major exhibition on Michelangelo at the
Albertina, Vienna, and three by Raphael were included in the exhibition at the Victoria and Albert
Museum that reunited four of Raphael’s Sistine Chapel tapestries (lent by the Vatican to mark the Papal
Visit to the UK) with the seven surviving tapestry cartoons, which remain on long-term loan from the
Royal Collection to the Museum. Two manuscript copies of the Shahnameh (The Book of Kings) were lent
to the exhibition Epic of the Persian Kings at the Fitzwilliam Museum, Cambridge, and two Indian
manuscripts were lent to the Los Angeles County Museum of Art for India’s Fabled City: The Art of Courtly
Lucknow, prior to a second showing in Paris in 2011.
24
ANNUAL REPORT
2011
ABOVE: Following the
exhibition Victoria & Albert:
Art & Love, Franz Xaver
Winterhalter’s painting Florinda
(1852), given by Queen Victoria
to Prince Albert on his
birthday, 26 August 1852, was
returned to its original setting
in The Queen’s Sitting Room
at Osborne House, Isle of
Wight, after an absence of
more than one hundred years.
LEFT: The painting can be seen
on the left in this photograph
of The Queen’s Sitting Room,
taken by Jabez Hughes in 1875.
ANNUAL REPORT
2011
25
INTERPRETATION
To ensure that the Collection is presented and interpreted so as to enhance public appreciation
and understanding.
LEARNING
Educational activities were re-focused this year with the development of a three-year Strategy for
Learning, setting out specific provision for four key audience groups – schools, adult learners, families
and people with access requirements – and plans for interpretation, learning spaces and learning online.
Schools
On-site taught programmes for school pupils have
focused on primary school children, largely for reasons
of capacity. A special ‘Schools Week’ in October 2010
provided exclusive use of The Queen’s Gallery, London,
for 342 primary school pupils and their teachers. A trial
web-based learning resource on Queen Victoria and
Prince Albert, prepared by the Royal Archives, was
successfully launched on the British Monarchy website.
Each of the three palaces now has a partner school,
enabling Royal Collection staff and teachers to work
together in planning activities and jointly developing
learning resources.
Adults
Activities in support of the Victoria & Albert: Art & Love
exhibition included 36 gallery talks by curators, a
conservation day, a concert, a guided walk, ‘An evening
with Victoria and Albert’, a study day on Victoria and
Albert and architecture organised at The Queen’s
Gallery by the Victorian Society, and two public study
days held in the Sainsbury Theatre at the National
Gallery. Approximately 3,000 people took part in these
events.
The adult programme for the Edinburgh showing of
the Dutch Landscapes exhibition included a study day at
the National Gallery of Scotland and a varied lecture
series, featuring a curator, a conservator and a
contemporary landscape painter.
26
ANNUAL REPORT
2011
ABOVE: Primary school pupils in the Victoria & Albert
exhibition at The Queen’s Gallery, Buckingham Palace,
in October 2010.
BELOW: Six new audio tours for adults and families
were introduced. Innovations included the use of
commissioned music recordings on the Victoria & Albert:
Art & Love audio guide and external speakers on the
Dutch Landscapes tour. For the Victoria & Albert guide,
Howard Shelley and Hilary Macnamara made a recording
of music by Mendelssohn on Queen Victoria’s 1856
Erard piano. The recording can be heard at
www.royalcollection.org.uk/microsites/vandahl.
At Windsor Castle, a new programme of short courses for adults was launched with an event based on
Queen Mary’s Dolls’ House. Lucinda Lambton gave an expert and engaging lecture, which was followed by
a private view of the Dolls’ House. The event was sold out. Work is in hand to develop a fuller adult learning
programme at Windsor.
The fifteenth annual summer school, Royal Collection Studies, organised by the Attingham Trust, took
place in early September. Based at Cumberland Lodge in Windsor Great Park, 28 delegates from Russia,
Hungary, Belgium, Germany, the UK, Poland, Estonia, Denmark, France, the USA, New Zealand and
China completed the course, with much of the teaching and guiding provided by Royal Collection staff.
Families
The provision of learning activities for families visiting exhibitions was extended, with a programme of
activities during half-term, exploring portraits of kings and queens and encouraging visits to the Marcus
Adams exhibition at the Drawings Gallery, Windsor Castle. The initial responses have been encouraging
and formal evaluation is planned.
Special Access
Provision for visitors aims to ensure that equivalent opportunities to enjoy the Collection are available
to all. New developments have included a hand-held, sign-language video tour of the State Rooms
at Buckingham Palace, and touch tours at The Queen’s Gallery, London, for blind and partially sighted
visitors.
Lectures and Talks given by Staff
Claire Chorley gave a paper entitled ‘Done by Holbein, on a Crackt Board’ about Holbein’s Hans of
Antwerp, at the conference jointly organised by the National Portrait Gallery and The Courtauld Institute
in December 2010. She also gave a talk on Holbein’s technique and miniatures at The Dragon School, Oxford.
Nicola Christie gave an evening lecture at The Queen’s Gallery, Edinburgh, entitled ‘Dutch Landscapes:
conservation and exhibitions’.
Beth Clackett spoke on Queen Mary’s Dolls’ House at the Kensington Dollshouse Festival, May 2010,
and at Ightham Mote, Kent.
Deborah Clarke gave a number of talks in the Dutch Landscapes exhibition at The Queen’s Gallery,
Edinburgh.
Martin Clayton lectured on ‘Caravaggio, Annibale Carracci, and life drawing in baroque Rome’ at the
conference Art Schools: Invention, Invective and Radical Possibilities, at University College London, and on
‘Raphael’s drawings for the tapestry cartoons’ at a study day at the Victoria and Albert Museum. He spoke
on Leonardo’s anatomical drawings in the BBC Two programme The Story of Science, broadcast in May 2011.
Jacky Colliss Harvey spoke at the 14th National Museum Publishing Seminar in Washington, DC and at the
Association for Cultural Enterprises Annual Conference in Cardiff, on creating a children’s publishing
programme.
ANNUAL REPORT
2011
27
Alan Donnithorne gave a short presentation on pastels in the Royal Collection at the Expert Meeting on
the Conservation of Pastels at the Rijksmuseum, Amsterdam.
Sophie Gordon presented a paper entitled ‘“So bright a jewel of the crown”: Queen Victoria, India and
the Orient’ at the National Gallery, for the Victoria & Albert study days. She lectured on Roger Fenton and
Julia Margaret Cameron and gave three public gallery talks at Blackwell, The Arts & Crafts House,
Bowness-on-Windermere. She gave two lectures and four gallery talks on The Heart of the Great Alone at
the Canterbury Museum, Christchurch, New Zealand.
Kate Heard gave a talk on ‘Sketches of rooms by the first artists: picturing the royal residences’ at the
‘Albert and Victoria at home’ Learning event. She spoke at The Queen’s Gallery, London, on ‘The Queen
and Macbeth’ and ‘Queen Victoria: the artist and her tutor’, and gave a British Sign Language
interpreted talk.
Lisa Heighway gave several talks on Marcus Adams in connection with the exhibitions at Windsor and
Edinburgh.
Kathryn Jones lectured on ‘Prince Albert and the mass production of art’ for the National Gallery study
days on Victoria and Albert, on ‘Prince Albert and Elkingtons’ to the Silver Society, on ‘Gold boxes in the
Royal Collection’ at the Wallace Collection, and on ‘Queen Mary’s Dolls’ House’ to the Annual
Symposium of the Furniture History Society. She also spoke (with Stephen Patterson) to the Jewellery
History Society on the personal jewellery and insignia of Queen Victoria and Prince Albert.
Susanna Mann spoke on the promotion of group tourism at the launch in Brussels of the new Groups
Charter for European Cities by the Chair of the European Parliament’s Committee on Transport and
Tourism. She also gave a presentation on group tourism at the Arts Marketing Association’s Cultural
Symposium at Tate Modern in London.
Jonathan Marsden lectured on ‘Victoria & Albert: Art & Love’ at the Summerleaze Gallery, Wiltshire, at
the Victoria and Albert Museum, for the Windsor Festival and for The Art Fund in Jersey and York; on
‘Who was Ludwig Grüner?’ for the Victorian Society study day at The Queen’s Gallery, London; and on
‘Mr Brown and Mr Green: Ludwig Grüner and Emil Braun in the service of Prince Albert’ for the National
Gallery study days. He spoke on ‘The Royal Collection on show’ for The Art Fund in Liverpool.
Simon Metcalf lectured on ‘Royal Arms and Armour: preserving historic displays and a new display at
The Queen’s Gallery’ at the Wallace Collection study day New Approaches to Arms and Armour Collections
in London, and on ‘Arms and Armour in the Royal Collection: study, conservation and display methods’
at the ICON (Institute of Conservation) conference Metals in Focus.
Stephen Patterson spoke (with Kathryn Jones) to the Jewellery History Society on the personal jewellery
and insignia of Queen Victoria and Prince Albert.
Lauren Porter gave a number of talks on the Old Master drawings displays in the Drawings Gallery,
Windsor Castle.
Jemima Rellie spoke on ‘Presenting the Royal Collection in the twenty-first century’ for Royal Collection
Studies.
Vanessa Remington lectured on ‘Queen Victoria, Prince Albert and their relations with artists’ at the
28
ANNUAL REPORT
2011
study day at the National Gallery. She gave the Royal Oak Foundation lecture to the Victorian Society,
Forbes Galleries, New York, on ‘Victoria & Albert: Art & Love’. She spoke on ‘Victorian miniatures in the
Royal Collection’ at Christie’s, London, and at the Winter Antiques Fair, The Armory, New York. She led
a workshop on ‘Queen Victoria and the nineteenth-century portrait miniature’ at the North American
Victorian Studies Association Conference, Montreal, Victorian Scale and Perspective.
Anna Reynolds gave several lectures on ‘Victoria & Albert: Art & Love’ at The Queen’s Gallery, London.
Jane Roberts lectured on ‘Sandby views of Windsor’ at the Royal Academy and on ‘George III and
Windsor Great Park’ at Cumberland Lodge.
Jennifer Scott gave talks on ‘Victoria & Albert: Art & Love’ at The Queen’s Gallery, London, on ‘Dutch
Landscapes’ at The Queen’s Gallery, Edinburgh, and on Caravaggio, Sassetta, Verrocchio, Ruisdael and
Cuyp at the National Gallery, London. She lectured on ‘Looking at landscapes’ at The Queen’s Gallery,
Edinburgh, and on ‘The Royal Portrait: Image and Impact’ for The Art Fund in London, St Paul’s Girls’
School, Hammersmith, the National Portrait Gallery, London, Warwick University, as well as for staff at
The Queen’s Gallery, London, and at Windsor Castle. She gave a joint lecture on royal portraiture with
David Starkey at The Queen’s Gallery, London. She also lectured on ‘Royal portraits: formal or informal?’
at the Wallace Collection, on ‘The royal portrait: Holbein to Beaton’ at the Victoria and Albert Museum,
on ‘Royal portraiture: the female face’ at Lucy Cavendish College, Cambridge, and on ‘Royal portraits
and literature’ at the Bath Literature Festival.
Desmond Shawe-Taylor lectured on ‘Royalty and religion’ at Southwell Minster, on ‘Canaletto and the
English’ at the Little Missenden Festival, on ‘The curator and the object’ at Sotheby’s Institute, on ‘The
paintings in Windsor Castle’ at the Kenton Theatre in Henley-on-Thames, twice on ‘Vermeer’s Music
Lesson’ at Dulwich Picture Gallery, on ‘Caravaggio and his impact’ at the Historic Royal Palaces study day,
and on ‘Dutch landscape painting’ at the National Gallery of Scotland study day. He also spoke at a joint
lecture given by Jennifer Scott and David Starkey on royal portraiture at The Queen’s Gallery, London.
Emma Stuart gave two lectures and a presentation on the Royal Library and the Heart of the Great Alone
exhibition, and five gallery talks on the exhibition in Christchurch, New Zealand, towards the end of its
display there. She also gave a lecture on the Royal Library to the Friends of Ludlow Library.
Stephen Weber gave a talk on ‘Prince Arthur and the Duke of Wellington’ during the exhibition Victoria
& Albert: Art & Love.
David Wheeler spoke to the French Porcelain Society on ‘Discoveries during the catalogue raisonné project’.
Lucy Whitaker spoke about Royal Collection frames, ‘From Elizabeth I to Prince Albert – reframing the
Royal Collection’, at the National Trust and Waddesdon Manor conference on European Frames
1700–1900. She spoke about ‘Prince Albert and frames for his early paintings’ at the National Gallery
and Royal Collection study day, and on ‘Victoria & Albert: Art & Love’ at the National Gallery, London.
She gave several talks about the exhibition Victoria & Albert: Art & Love in The Queen’s Gallery,
London. She gave a paper, ‘Is it Pietro Bembo in Bellini’s portrait?’, at the conference on Pietro Bembo and
the Arts (Pietro Bembo e le Arti), organised by the Centro Internazionale di Studi di Architettura Andrea
Palladio and held at the Accademia Galileiana, Padua.
ANNUAL REPORT
2011
29
The Queen’s Dolls’ House by Lucinda Lambton.
The Dutch edition of Fabergé’s Animals by Caroline de Guitaut.
PUBLISHING
Eight new titles were published this year:
• Victorian Miniatures in the Collection of Her Majesty The Queen, by Vanessa Remington
• Dutch Landscapes, edited by Desmond Shawe-Taylor
• Marcus Adams: Royal Photographer, by Lisa Heighway
• Roger Fenton and Julia Margaret Cameron: Early British Photographs from the Royal Collection,
by Sophie Gordon
• Fabergé’s Animals: A Royal Farm in Miniature, by Caroline de Guitaut
• The Queen’s Dolls’ House, by Lucinda Lambton
• The Queen’s Year: A Souvenir Album, by David Oakey
• The Royal Portrait: Image and Impact, by Jennifer Scott.
Work proceeded on the catalogues of Arms and Armour and Chinese and Japanese Works of Art, and
substantial progress was made towards the re-publication of Oliver Millar’s catalogues of the Tudor, Stuart and
Georgian pictures, first published in 1963 and 1969.
The publishing programme balances the paramount need for scholarly publication of the Royal
Collection’s holdings, with a commitment to more popular and commercial titles. For the Victoria & Albert
30
ANNUAL REPORT
2011
exhibition, the combination of a conventional catalogue, to which 14 curators contributed, and an illustrated
companion book, Passionate Patrons, at a lower price, proved a complete success. Sales of the catalogue reached
848 copies on-site and 1,508 in the trade. The smaller book was the most commercially successful title during
2010, selling 11,309 copies on-site and 789 in the trade.
The Royal Collection remains firmly commited to book publishing, with numerous titles currently in
preparation. At the same time, the ever-increasing potential of digital publishing is being assessed for certain
parts of the Collection, such as maps, where it offers distinct advantages over the printed page.
The following additional publications by staff of the Royal Collection appeared during the year:
Sophie Gordon: ‘A sacred interest: the role of photography in the “City of Mourning”’, in S. Markel (ed.),
India’s Fabled City: The Art of Courtly Lucknow, Los Angeles, 2010.
Jane Roberts: ‘George III and Queen Charlotte at Windsor’, in N. Saul and T. Tatton-Brown (eds),
St George’s Chapel, Windsor. History and Heritage, Wimborne Minster, 2010.
Desmond Shawe-Taylor: ‘The art of music’, Apollo, March 2011.
Publishing awards
Leonardo da Vinci: the Mechanics of Man was judged Exhibition Catalogue of the Year at
the annual British Book Design and Production Awards. Victoria & Albert: Art & Love
was shortlisted in the same category. French Porcelain in the Collection of Her Majesty
The Queen was named Book of the Year in the Apollo magazine awards 2010.
Sir Geoffrey de Bellaigue (left) was presented with
the Apollo Book of the Year Award by Oscar Humphries,
Apollo magazine’s editor, at a gala reception held at
Bonhams on 25 November 2010, for his catalogue of
French Porcelain in the Collection of Her Majesty The
Queen.
Photograph: Michaela Letang; ©Apollo magazine
Flora: The Aztec Herbal, the latest title in the Cassiano dal Pozzo series, was shortlisted
for the annual award of the American Council on Botanical and Horticultural Libraries
for outstanding literature in botany and horticulture.
ANNUAL REPORT
2011
31
Podcasts
The range of topics covered in Royal Collection podcasts since their introduction in 2009 has
continued to expand. All remain accessible via the Royal Collection website or iTunes.
Dutch Landscapes
www.royalcollection.org.uk/default.asp?action=article&ID=940
French Porcelain for English Palaces
www.royalcollection.org.uk/default.asp?action=article&ID=753&KeyWords=podcasts
Henry VIII 500th anniversary
Holyrood Abbey
Marcus Adams
Queen & Commonwealth: The Royal Tour
Queen Mary’s Dolls’ House
Roger Fenton and Julia Margaret Cameron
Royal dining
Royal portraiture
The Conversation Piece
The Duke of Edinburgh at 90
The Heart of the Great Alone
The Music Lesson by Vermeer
The Picture Gallery at Buckingham Palace
The Queen’s Garden Parties
The Queen’s Year
The role of the Herald
Victoria & Albert: Art & Love (behind the scenes)
Victoria & Albert: Art & Love (including P.D. James interview)
32
ANNUAL REPORT
2011
NEW MEDIA
Digital access to the Royal Collection continued to increase, and there are now
more than 8,600 items from the Collection available online. More than 1,000
paintings and miniatures were added this year.
During the past year, online versions of the following exhibitions were added
to the website and were available on-site through touch-screen kiosks:
• Dutch Landscapes
• Marcus Adams: Royal Photographer
• The Queen’s Year
• Roger Fenton and Julia Margaret Cameron
• The Last Post (with audio material supplied by the Poet Laureate)
• Prince Philip: Celebrating Ninety Years.
The following microsites were created:
• Hans Holbein in the Royal Collection
• The Drawings of Leonardo da Vinci in the Royal Collection
• Queen Mary’s Dolls’ House
• Victorian Miniatures in the Collection of Her Majesty The Queen
• The Raphael Cartoons.
Additional material associated with HRH The Duke of Edinburgh’s visit to
Antarctica in 1956–7 was added to the Heart of the Great Alone exhibition
microsite, to coincide with the exhibition’s presentation in Christchurch, New
Zealand.
Kiosks were installed at Osborne House for the duration of the Victoria &
Albert: Art & Love exhibition at The Queen’s Gallery in London.
Work has started on a new initiative to increase the number of items online
to more than 100,000 by the end of 2012. This will remain a preoccupation
for all curatorial staff and the Collections Information team throughout the
coming year.
The first of a series of mobile phone apps was launched to mark the wedding
of Prince William of Wales and Miss Catherine Middleton. The increasing use
of social media, including Twitter and Facebook, via the British Monarchy
website (www.royal.gov.uk) is proving highly effective in the promotion of
exhibitions and publications, and increasing the number of visits to the Royal
Collection site. Examples include the posting of images from the Victoria &
New microsites have been created this
year that enable website users to explore
hundreds of pages of information about
recent exhibitions and works in the
Royal Collection.
Albert: Art & Love, Marcus Adams and Prince Philip exhibitions on Flickr, and of
a debate on royal portraiture by David Starkey and Jennifer Scott on The Royal
Channel on YouTube, where it was watched by almost 5,000 people in the
first week.
ANNUAL REPORT
2011
33
ACCESSIONS AND ACQUISITIONS
To ensure that appropriate acquisitions are made when resources become available, to enhance
the Collection and displays of exhibits for the public.
Some 60 books and several sets of coins, medals and banknotes were received as gifts. These included a
facsimile of the ninth-century Lorsch Gospels, presented to The Queen by Pope Benedict XVI during his State
Visit; two copies (one in English and one in Arabic) of a children’s book by Mohammed Ali, Victory over Abu
Derya, with matching bindings by Ian Butterworth, presented by the Bloomsbury Qatar Foundation; the works
of Hans Christian Andersen with illustrations by Queen Margrethe of Denmark; a copy of the Charter of the
United Nations, presented by the Secretary General, Ban Ki-moon, when The Queen addressed the UN in New
York in July 2010; and several books presented during the Royal Tour of Canada.
Eight further portrait drawings of members of the Order of Merit, commissioned by The Queen, were
added to the Collection in the course of the year: Professor Lord May by Elizabeth Blackadder; Lord Rees by
Susan Crawford; The Rt Revd Lord Eames by Carol Graham; Baroness Boothroyd by Geoffrey Hayzer;
Sir Timothy Berners-Lee by Sheldon Hutchinson; Professor Sir Michael Howard by Jennifer McRae; Jean
Chrétien by Bernard Poulin; and Sir David Attenborough by Jonathan Yeo (opposite).
In April 2010, The Queen acquired a watercolour of The Virgin Reading by Princess Mary, Duchess of
Gloucester. This was copied by Princess Mary (daughter of George III) from a painting of the Holy Family by
Garofalo. That painting had been acquired by Princess Mary’s grandfather, Frederick, Prince of Wales, and is
still in the Royal Collection. The copy was reputedly painted as a birthday present for Mary’s niece, Princess
Charlotte of Wales, daughter of George IV.
A watercolour of the interior of St Raphael’s, Kingston upon Thames, on the occasion of the wedding of
Louis Philippe Albert d’Orléans, comte de Paris, and Marie Isabelle d’Orléans, on 30 May 1864, was presented
in memory of Sir Oliver and Lady Millar by their family. Two inkjet prints by Stephen Raw, setting poems by
Carol Ann Duffy, Poet Laureate, were presented by the artist.
Dr Noble Frankland presented papers concerning his biographies of Prince Henry, Duke of Gloucester,
and Prince Arthur, Duke of Connaught, to the Royal Archives; other accessions included the papers of
Lord Stamfordham, 1827–1931 (gift of The Hon. Edward Adeane); papers of Princess Marie Louise
concerning Queen Mary’s Dolls’ House, 1921–5 (purchase); and letters between Tsar Alexander II and his
daughter, Marie, Duchess of Edinburgh, 1849–1901 (gift of Romana Golicz).
Jonathan Yeo, Sir David Attenborough, 2011. This was one of
eight drawings added to the sequence of portraits of members
of the Order of Merit during 2010–11. Sir David was appointed
to the Order in 2005. This portrait was included in a display
at Windsor Castle at the time of The Queen’s luncheon for
members of the Order of Merit, on 19 April 2011.
34
ANNUAL REPORT
2011
ANNUAL REPORT
2011
35
Made in Stoke-on-Trent, the Royal Wedding bone china range was produced to commemorate
the marriage of Prince William of Wales and Miss Catherine Middleton on 29 April 2011.
TRADING ACTIVITIES
R E TA I L
Retail activities enjoyed an exceptionally good year, with a substantial increase in sales through the online
shop and wholesale business, as well as our on-site retail shops. The excellent performance was
undoubtedly helped by worldwide interest in the Royal Wedding range. Following the announcement of
the engagement of Prince William of Wales and Miss Catherine Middleton in late November 2010, the
retail, press and marketing teams worked together to ensure the commemorative china was launched and
available in the shops in time for Christmas. Sales of the bone china range, which is made in Stoke-onTrent, were £1,047,000 to 31 March 2011.
The final figures showed a sales growth of 17.8 per cent on visitor figures of 4.1 per cent.
All sites contributed to this strong year-on-year performance, but Windsor was of specific note,
enjoying the benefits of the major shop refit in 2010. The Buckingham Palace Road shop also showed very
good growth.
The margin continued to improve, from 59.5 per cent last year to 62.0 per cent this year, thanks to
strong china sales and very little discount activity. This performance may not be so easy to maintain in
the future, in view of the higher VAT rate and increasing costs.
36
ANNUAL REPORT
2011
P I C T U R E L I B R A RY
The Picture Library section makes available the work of our three full-time specialist photographers.
During the year, 4,000 new images were added to the Library. At the same time 10,000 existing
transparencies were digitised for use on the web or in publications, and 27,085 images were transferred
from the Picture Library server to the newly implemented Digital Asset Management system (DAM).
More than 180,000 images are now stored in the DAM.
The Bridgeman Art Library was appointed to represent the Royal Collection in the licensing of
selected images.
The main sources of income for the Picture Library were the sale of reproduction rights for
publications and facility fees for television programmes. The Picture Library also contributed to a
number of filming projects during the year, including:
• Blue Peter, BBC One
• The Story of British Sculpture, BBC Four
• The Seven Ages of Britain, BBC One
• The Genius of British Art, Channel 4.
John Gascoigne with a Bay
Horse, 1791, by George
Stubbs (1724–1806).
This painting appeared in
black and white in the
catalogue of Later Georgian
Pictures published by the
founding Director of the
Royal Collection, Sir Oliver
Millar (1923–2007), in 1969.
As part of a project to
re-publish Sir Oliver’s
pioneering catalogue and
its companion volume,
Tudor, Stuart and Early
Georgian Pictures (1963),
Stubbs’s painting has now
been photographed in colour
for the first time, along
with 534 further paintings.
ANNUAL REPORT
2011
37
FINANCIAL OVERVIEW
Incoming Resources
The summarised financial statements set out on pages 41–2 indicate that the Royal Collection increased
its incoming resources by £7,364,000 (21.4 per cent), from £34,421,000 in 2009–10 to £41,785,000 in
2010–11. This was achieved through an increase in visitor numbers of 86,000 (4.1 per cent), from
2,074,000 to 2,160,000, increases in admission charges and retail spend per visitor, and a VAT refund of
£3,806,000 from HMRC in relation to previous years.
The growth in admissions income of £1,939,000 (8.3 per cent), from £23,307,000 to £25,246,000, is
therefore attributable to increased visitor numbers and higher admission charges.
Income from retail, catering and photographic services increased by £1,749,000 (16.9 per cent), from
£10,344,000 to £12,093,000. This increase was generated in part by the sale of Royal Wedding
merchandise, but was also influenced by the growth in visitor numbers, increased spend per visitor and
an increase in off-site retail sales.
Charitable Expenditure
Expenditure on charitable activities increased by £1,387,000 (6.1 per cent), from £22,634,000 in 2009–10
to £24,021,000 in 2010–11. The main component of charitable expenditure is staff costs, which rose by
£71,000 (0.8 per cent), from £9,302,000 to £9,373,000. Expenditure on access to the Royal Collection
increased by £1,910,000 (13.5 per cent), from £14,113,000 to £16,023,000, of which £907,000 relates to
increased facilities management charges from the Royal Household Property section, arising from the
VAT refund.
Net Incoming Resources and Cash Flow
The Trust’s net incoming resources, before recognising the pension scheme actuarial gain of £500,000,
amounted to £7,422,000 (2009–10: £1,908,000). After making a payment of £1,980,000 to eliminate the
pension scheme deficit, the net cash inflow of £6,782,000 has resulted in net cash balances of £2,597,000
at 31 March 2011 (2009–10: net borrowings £4,185,000).
Funds and Reserves
The Trust has total Funds and Reserves of £20,742,000 at 31 March 2011 (2010: £12,820,000). After
allocating funds that are restricted or are represented by fixed assets, the Trustees have designated funds
of £1,400,000 relating to the pension scheme, £500,000 towards the development of Windsor Castle
visitor facilities and £100,000 of free reserves. There were no free reserves at 31 March 2010.
38
ANNUAL REPORT
2011
INCOME AND ADMISSION NUMBERS FOR THE YEAR
Admission numbers
2010–11
2009–10
000
000
2010–11
£000
2009–10
£000
Windsor Castle and Frogmore House
– admissions
– shop sales
12,325
2,687
11,191
2,336
1,073
1,014
Buckingham Palace Summer Opening
– admissions
– shop sales
6,608
2,207
6,122
2,113
422
402
– admissions
– shop sales
1,358
2,495
1,279
2,175
174
175
The Royal Mews
– admissions
– shop sales
1,234
913
936
798
196
164
114
44
165
77
12
19
– admissions
– shop sales
2,383
796
2,405
780
283
300
Other retail income (including cafés)
2,808
1,869
Publishing
263
461
Photographic services
143
196
Gift Aid
1,224
1,209
Other income
4,183
309
41,785
34,421
2,160
2,074
Clarence House
– admissions
– shop sales
F I V E -Y E A R C O M PA R I S O N
2006–7
£000
2007–8
£000
2008–9
£000
2009–10
£000
2010–11
£000
19,814
20,379
21,348
23,307
25,246
8,701
8,542
9,023
9,936
11,705
18,959
20,045
21,179
22,634
24,021
2,234
1,519
802
1,908
7,422
621
1,412
688
647
1,159
Visitor Performance Indicators
Visitor numbers (000)
2,054
1,986
1,993
2,074
2,160
Admissions income per visitor
£9.65
£10.26
£10.71
£11.24
£11.69
Retail spend per visitor (on-site only)
£3.82
£3.91
£4.13
£4.30
£4.59
Admissions income (including Gift Aid)
Retail sales
Charitable expenditure
Net incoming resources (before actuarial
gain/(loss) recognised in pension scheme)
Capital expenditure
ANNUAL REPORT
2011
39
SUMMARISED FINANCIAL
STATEMENTS
I N D E P E N D E N T A U D I T O R S ’ S TAT E M E N T T O T H E R O YA L
COLLECTION TRUST (‘THE CHARITY’)
We have examined the summarised financial statements of the Royal Collection Trust for the year ended
31 March 2011 which comprise the Summary Consolidated Statement of Financial Activities and the
Summary Consolidated Balance Sheet set out on pages 41–2. The summarised financial statements are
non-statutory accounts prepared for the purpose of inclusion in the Annual Report.
This statement is made, on terms that have been agreed with the charity, solely to the charity, in order to
meet the requirements of Accounting and Reporting by Charities: Statement of Recommended Practice
(revised 2005). Our work has been undertaken so that we might state to the charity those matters we have
agreed to state to it in such a statement and for no other purpose. To the fullest extent permitted by law,
we do not accept or assume responsibility to anyone other than the charity for our work, for this
statement, or for the opinions we have formed.
Respective Responsibilities of Trustees and Auditors
The Board of Trustees has accepted responsibility for the preparation of the summarised financial
statements. Our responsibility is to report to the charity our opinion on the consistency of the
summarised financial statements on pages 41–2 in the Annual Report with the full statutory Annual
Financial Statements.
We also read the other information contained within the Annual Report and consider the implications for
our report if we become aware of any apparent misstatements or material inconsistencies with the
summarised financial statements.
Basis of Opinion
We conducted our work having regard to Bulletin 2008/3 The auditor’s statement on the summary financial
statement in the United Kingdom issued by the Auditing Practices Board. Our report on the charity’s full
statutory Annual Financial Statements describes the basis of our audit opinion on those financial
statements.
Opinion
In our opinion, the summarised financial statements set out on pages 41–2 are consistent with the full
statutory Annual Financial Statements for the year ended 31 March 2011. We have not considered the
effects of any events between the date on which we signed our report on the full statutory Annual
Financial Statements (28 June 2011) and the date of this statement.
M.G. Fallon
for and on behalf of KPMG LLP
Chartered Accountants
8 Salisbury Square, London EC4Y 8BB
40
ANNUAL REPORT
2011
S U M M A RY C O N S O L I DAT E D S TAT E M E N T O F F I N A N C I A L AC T I V I T I E S
for the year ended 31 March 2011
2011
£000
2010
£000
INCOMING RESOURCES
Incoming resources from generated funds:
12,093
44
10,344
6
12,137
10,350
25,078
431
23,152
616
25,509
23,768
4,139
303
41,785
34,421
9,832
9,100
16,023
3,559
2,151
1,538
750
14,113
3,852
2,451
1,425
793
24,021
22,634
130
122
480
(100)
357
300
380
657
34,363
32,513
Net incoming resources
Actuarial gain recognised in pension scheme
7,422
500
1,908
800
Net movement in funds
7,922
2,708
Fund balances at 1 April 2010
12,820
10,112
Fund balances at 31 March 2011
20,742
12,820
Retail, catering and photographic services
Investment income
Incoming resources from charitable activities:
Access
Presentation and interpretation
Other incoming resources:
Other income
Total incoming resources
RESOURCES EXPENDED
Cost of generating funds:
Retail, catering and photographic services
Charitable activities:
Access
Presentation and interpretation
Exhibitions
Conservation
Custodial control
Governance costs
Other resources expended:
Donation
Pensions finance charge
Total resources expended
ANNUAL REPORT
2011
41
S U M M A RY C O N S O L I DAT E D B A L A N C E S H E E T
as at 31 March 2011
2011
£000
2010
£000
18,683
19,249
2,710
1,282
5,597
1,949
1,045
280
9,589
3,274
Creditors: amounts falling due
within one year
(5,930)
(5,403)
Net current assets/(liabilities)
3,659
(2,129)
Total assets less current liabilities
22,342
17,120
Creditors: amounts falling due after
more than one year
(3,000)
(3,000)
Net assets excluding pension asset/(liability)
19,342
14,120
1,400
(1,300)
Net assets including pension asset/(liability)
20,742
12,820
Income funds
Restricted
Unrestricted
442
18,900
481
13,639
19,342
14,120
1,400
(1,300)
20,742
12,820
Fixed assets
Tangible assets
Current assets
Stock and work in progress
Debtors
Cash at bank and in hand
Pension asset/(liability)
Pension reserve
Total funds
These are not statutory accounts, but a summary of information relating to both the Statement of Financial
Activities and the Balance Sheet. They may not contain sufficient information to allow for a full understanding
of the financial affairs of the charity. For further information, the full annual statutory accounts, the Auditors’
report on those accounts and the Trustees’ Annual Report should be consulted. Copies of these can be obtained
from the Director of the Royal Collection, York House, St James’s Palace, London SW1A 1BQ.
The statutory Annual Financial Statements were approved on 28 June 2011 and have been delivered to the Charity
Commission and the Registrar of Companies. The accounts have been audited by a qualified auditor, KPMG LLP,
who gave an audit opinion which was unqualified and did not include a statement required under section 498 (2)
and (3) of the Companies Act 2006.
The summary financial statements of the Royal Collection Trust were approved by the Trustees on 28 June 2011
and were signed on their behalf by:
Mr Peter Troughton Trustee
42
ANNUAL REPORT
2011
Sir Alan Reid Trustee
EXHIBITIONS AND LOANS
R O YA L C O L L E C T I O N
EXHIBITIONS
141 exhibits (photographs, books, sculpture,
drawings, paintings, archival material, personal
jewellery, coins, medals and insignia)
The Queen’s Gallery, Buckingham Palace
T OURING E XHIBITIONS
Victoria & Albert: Art & Love
19 March – 5 December 2010
402 exhibits (paintings, furniture, sculpture,
ceramics, drawings, watercolours, book,
manuscripts, jewellery, dress, textiles, arms
and armour and insignia)
Buckingham Palace Summer Opening
The Queen’s Year
27 July – 1 October 2010
102 exhibits (dresses, gifts, uniforms, insignia,
silver-gilt and ceremonial objects)
The Queen’s Gallery,
Dutch Landscapes
30 April 2010 – 9 January 2011
42 paintings
Marcus Adams: Royal Photographer
25 February – 5 June 2011
144 exhibits (photographs, commemorative china,
archival material and stamps)
Vancouver Art Gallery
Leonardo da Vinci: The Mechanics of Man
6 February – 2 May 2010
18 drawings by Leonardo da Vinci
Aberdeen Art Gallery,
and Bowness-on-Windermere, Blackwell,
The Arts & Crafts House
Roger Fenton and Julia Margaret Cameron:
Early British Photographs from the Royal Collection
12 June – 21 August 2010
31 January – 27 April 2011
22 photographs by Roger Fenton and
Julia Margaret Cameron
New Zealand, Canterbury Museum,
Christchurch
The Heart of the Great Alone: Scott, Shackleton
and Antarctic Photography
21 August 2010 – 27 February 2011
87 photographs, 1 album, 13 books, 3 flags,
2 drawings, 2 documents, 2 medals and 1 bust
LOANS
The Drawings Gallery, Windsor Castle
Marcus Adams: Royal Photographer
24 April 2010 – 6 February 2011
93 exhibits (photographs, commemorative china,
archival material and stamps)
Treasures from the Royal Library
24 April – 2 November 2010 – 6 February 2011
Two selections, of 15 and 12 drawings and
watercolours respectively (the second selection
included The Last Post display)
Prince Philip: Celebrating Ninety Years
12 February 2011 – 22 January 2012
(listed by date of opening)
London, Tower of London
Fit for a King
1 April 2010 – 31 March 2011
2 swords
Berlin, Ephraim-Palais
Zauber der Zerbrechlichkeit. Meisterwerke
europäischer Porzellankunst
9 May – 29 August 2010
Tureen and stand from the Naples Porcelain
Etruscan Service
Ice pail and cover from the Naples Porcelain
Etruscan Service
ANNUAL REPORT
2011
43
Vienna, Museum of Ethnology,
and Bern, Historical Museum
James Cook and the Exploration of the Pacific
10 May – 13 September 2010
7 October 2010 – 13 February 2011
A Maori Hei-tiki
London, Palace of Westminster
The Defeat of the Spanish Armada
1 June – 30 September 2010
1 painting by Peter Tillemans
Cambridge, Polar Museum,
Scott Polar Research Institute
Inuit Art: Masterworks from the Arctic
2 June – 10 September 2010
1 wall hanging by Jessie Oonark
London, Chancery House
The Classical Ideal: English Silver 1760–1840
3–25 June 2010
Silver-gilt tea urn by Thomas Heming
Silver-gilt tureen by John Wakelin and
William Taylor
A pair of sauceboats by John Wakelin and
William Taylor
Silver-gilt candelabrum
Silver-gilt candelabrum by John Bridge
Hartlepool Art Gallery
Fighting Ships
19 June – 29 August 2010
1 painting by Dominic Serres the Elder
Madrid, Museo Thyssen-Bornemisza
Ghirlandaio y el Renacimiento en Florencia
22 June – 10 October 2010
1 drawing by Domenico Ghirlandaio
44
ANNUAL REPORT
2011
Colchester Castle Museum
Medieval Treasures: Art Treasures from East Anglia
Paris, Musée du Louvre
Musées de papier. L’antiquité en livre 1600–1800
18 July 2010 – 30 January 2011
The Clare Reliquary
22 September 2010 – 3 January 2011
4 drawings from the Paper Museum of Cassiano
dal Pozzo
Paretz, Schloss und Schlossremise
Luise. Die Kleider der Königin
31 July – 31 October 2010
1 painting by Peter Edward Ströhling
Florence, Palazzo Strozzi
Bronzino
1 painting by Agnolo Bronzino
Dublin, National Gallery of Ireland,
and Amsterdam, Rijksmuseum
Gabriel Metsu: Rediscovered Master of
the Dutch Golden Age
Antwerp, Diamantmuseum
Voor Eer en Glorie. Napoleon en de juwelen
van het Keizerrijk
4 September – 5 December 2010
16 December 2010 – 21 March 2011
1 painting by Gabriel Metsu
30 September – 31 December 2010
A sword and baldrick by Nicolas-Noël Boutet
1 Italian finger ring
London, Victoria and Albert Museum
Raphael: Cartoons and Tapestries
from the Sistine Chapel
Norwich Castle Museum and Art Gallery
The Art of Faith: 2000 Years of Art and Belief
in Norfolk
8 September – 24 October 2010
3 drawings by Raphael
2 October 2010 – 23 January 2011
1 drawing by Franz Xaver Winterhalter
West Sussex, Horsham Museum
Forgotten Views of Georgian Sussex:
The Drawings of John Claude Nattes
New York, Metropolitan Museum of Art,
and London, National Gallery
Jan Gossaert’s Renaissance
9 September – 9 October 2010
1 album and 3 drawings by John Claude Nattes
1 painting by Jan Gossaert
2 paintings by Jan Gossaert
Florence, Museo Nazionale del Bargello
I grandi bronzi del Battistero. Rustici e Leonardo
2 drawings by Leonardo da Vinci
Vienna, Albertina Museum
Michelangelo als Zeichner
Cambridge, Fitzwilliam Museum
Epic of the Persian Kings: The Art of Ferdowsi’s
Shahnameh
10 drawings by Michelangelo
2 drawings by Giulio Clovio
1 drawing by Sebastiano del Piombo
1 drawing by Giulio Romano
2 manuscripts
Archers shooting at a herm (c.1530) was one of ten drawings
by Michelangelo (1475–1564) loaned to the Albertina Museum,
Vienna, for its exhibition, Michelangelo als Zeichner
(‘Michelangelo as Illustrator’), held between 8 October 2010
and 9 January 2011.
ANNUAL REPORT
2011
45
Venice: The Grand Canal with Santa Maria della Salute, towards
the Bacino, 1744, by Canaletto (1697–1768), was among four
Royal Collection paintings that featured in the exhibition,
Venice: Canaletto and his Rivals, at the National Gallery, London,
between 13 October 2010 and 16 January 2011.
Cincinnati Art Museum
Wedded Perfection: Two Centuries of Wedding Gowns
1 miniature by John Haslem
London, National Gallery,
and Washington, DC, National Gallery of Art
Venice: Canaletto and his Rivals
46
Washington, DC, National Gallery of Art
The Pre-Raphaelite Lens: British Photography
and Painting 1845–1875
4 photographs by Roger Fenton
London, Imperial War Museum
Extraordinary Heroes
4 paintings by Canaletto
2 paintings by Canaletto
12 November 2010 – November 2020
An artillery shell
London, National Portrait Gallery,
and New Haven, Yale Center for British Art
Thomas Lawrence: Regency Power and Brilliance
26 November 2010 – 6 March 2011
Marble bust by Begas
5 paintings by Sir Thomas Lawrence
1 painting by Sir Thomas Lawrence
Los Angeles County Museum of Art
India’s Fabled City: The Art of Courtly Lucknow
ANNUAL REPORT
2011
Berlin, Deutsches Historisches Museum
Begas – Monumente für das Kaiserreich
12 December 2010 – 27 February 2011
2 manuscripts
1 watercolour by Egron Lundgren
Rome, Palazzo Farnese
Palazzo Farnese, Dalle Collezioni Rinascimentali ad
Ambasciata di Francia
16 December 2010 – 27 April 2011
3 drawings by Annibale Carracci
Brighton, Royal Pavilion
Dress for Excess
5 February 2011 – 5 February 2012
1 painting by Sir William Beechey
Aachen, Suermondt-Ludwig-Museum
Leonardo des Nordens: Joos van Cleve
17 March – 26 June 2011
1 painting by Marco d’Oggiono
Milan, Castello Sforzesco
L’ultimo Michelangelo
24 March – 19 June 2011
2 drawings by Michelangelo
1 drawing after Michelangelo
London, Tate Britain
Watercolour
16 February – 21 August 2011
2 watercolours by Alexander Marshal
1 watercolour by Mark Catesby
2 miniatures by Nicholas Hilliard
Rome, Scuderie del Quirinale
Lorenzo Lotto
25 February – 12 June 2011
1 painting by Lorenzo Lotto
London, Dulwich Picture Gallery
Presiding Genius – A Year of Masterpieces
1 March – 31 March 2011
1 painting by Johannes Vermeer
Newcastle, Laing Art Gallery
John Martin
5 March – 5 June 2011
1 painting by John Martin
Madrid, Museo Thyssen-Bornemisza
Heroines
1 painting by Artemisia Gentileschi
Paris, Grand Palais
Nature et idéal: le paysage à Rome 1600–1650
1 drawing by Nicolas Poussin
2 drawings by Domenichino
London, Wallace Collection
Esprit et Vérité: Watteau and His Circle
1 painting by Godfried Schalken
1 painting by Jean-Baptiste Greuze
White marble half-figure bust of Kaiser Wilhelm II, 1890,
by Reinhold Begas (1831–1911), included in the exhibition
Begas – Monumente für das Kaiserreich (‘Begas – Monuments
of the Empire’) at the Deutsches Historisches Museum,
Berlin, between 26 November 2010 and 6 March 2011.
ANNUAL REPORT
2011
47
STAFF OF THE ROYAL
COLLECTION
EXTERNAL APPOINTMENTS
Julia Bagguley: Member of the Lucy Cavendish
College Fine Arts Committee; Honorary Secretary of
The Prince’s Teaching Institute.
Robert Ball: Member of the Executive Committee,
National Benevolent Society of Watch and Clock
Makers; Vice Chairman of the Council, British Watch
and Clock Makers Guild; Trustee, British Horological
Institute Museum Trust.
Stephen Chapman: Member of the Committee of the
Association of Historical and Fine Art Photography.
Martin Clayton: Member of the Ente Raccolta
Vinciana.
Jacky Colliss Harvey: Trustee of the Association for
Cultural Enterprises.
Paul Cradock: Member of the Executive Committee,
National Benevolent Society of Watch and Clock
Makers; Secretary, British Watch and Clock Makers’
Guild.
Alan Donnithorne: Visiting Professor at Camberwell
College of Arts (University of the Arts London).
Frances Dunkels: Member of the British Tourism
Development Committee, VisitBritain.
Kate Heard: Deputy Editor, Journal of the History of
Collections; member of the UK Print Curators’ Forum.
Kathryn Jones: Member of the Committee, and of
the Research and Publications Committee of the Silver
Society; Member of the Antique Plate Committee.
Jonathan Marsden: Trustee of Historic Royal Palaces,
The Art Fund, Royal Yacht Britannia Trust, Household
Cavalry Museum Trust, City & Guilds of London Art
School; Hon. Editorial Secretary, Furniture History
Society; Member of Council, Attingham Trust.
Simon Metcalf: Member of the Conservation Committee,
Church of England Church Buildings Council.
Jemima Rellie: Member of the International
Programming Committee, Museums and the Web.
Jane Roberts: Member of the Ente Raccolta Vinciana,
the Editorial Advisory Board of the Master Drawings
Association, the Council of Management of the
Windsor Festival, the Chatsworth House Conservation
48
ANNUAL REPORT
2011
Advisory Board and the Consultative Committee
of the Walpole Society; Governor of the British
Institute of Florence.
Jennifer Scott: Trustee of the Living Paintings Trust.
Desmond Shawe-Taylor: Trustee of the Samuel
Courtauld Trust; Member of the Advisory Council,
Hamilton Kerr Institute; Vice President, NADFAS.
Shaun Turner: Tutor/Lecturer in Woodwork/
Cabinet-making, Picture Frame-making and Furniture
Restoration for Hammersmith and Fulham Adult
Education, Macbeth Centre.
David Wheeler: External Examiner for the MA
in Conservation of Historic Objects, University of
Lincoln; member of the Conservation Advisory
Panel, the Wallace Collection.
Bridget Wright: Honorary Editor of the Annual
Report of the Society of the Friends of St George’s
and Descendants of the Knights of the Garter.
S TA F F N U M B E R S
(2009–10 numbers in brackets)
The Paintings section had 7 (7) full-time and 10 (9)
part-time staff.
The Decorative Arts section had 13 (12) full-time
and 3 (4) part-time staff. In addition, their work was
supported by 3 Horological Conservators, who are
funded by the Royal Household Property section,
and aided by the services of 0 (1) intern.
The Royal Library (which includes the Print Room,
Photographs and Paper Conservation sections, the
Exhibitions section, the Curator at the Palace of
Holyroodhouse and the Dal Pozzo Project Co-ordinator
and Research Assistant) had 20 (21) permanent full-time
staff, 4 (4) permanent part-time staff and 4 (1) staff on
fixed-term contracts. Their work was aided by the services
of 5 (5) long-term volunteers in the Royal Library and
Print Room, 1 (2) student on a three-month placement
in the Print Room and 4 (4) paper conservation students
on a two-week placement from Camberwell College of
Arts (University of the Arts London). An additional
4 (5) volunteers assisted with the refurbishment of
books in the Royal Library during August.
The Collections Information section had 12 (13)
full-time and 2 (2) part-time members of staff.
Central Departments had the following full-time
equivalents:
Visitor Services staff, which includes wardens, retail
and visitor management, had the following full-time
equivalents:
Retail 20 (19)
Public Relations and Marketing 8 (7)
Publishing 3 (3)
Learning 6 (6) (Their work was aided by the services
of 2 (1) volunteers.)
Photographic Services 8 (8)
Administration 2 (2)
Windsor Castle 147 (146)
Buckingham Palace and Clarence House 120 (118)
Palace of Holyroodhouse 45 (48)
Ticket Sales and Information 38 (36)
Finance, IT and Personnel services are provided by the
Royal Household under a shared services arrangement.
S TA F F T R A I N I N G A N D D E V E L O P M E N T
In the spring of 2010, the Royal Collection Department took part in the accreditation of the Royal
Household by the Investors in People scheme. This award recognises the work that has been undertaken
at all levels to ensure that all staff are aware of the nature and value of their contribution to
the objectives of the Royal Collection Trust and those of the Royal Household, and are given every
opportunity to develop to their potential. It also provides a framework for further improvement. During
2011, a structured management development programme will provide existing and potential leaders in
the Department with the means to become more effective in leading their specialised teams towards the
achievement of the Trust’s charitable aims.
Members of the Department undertook training in the following areas provided by the Royal
Household: Health and Safety Awareness; the Information Systems Learning Pathway; Public Speaking;
Equality and Diversity; and Managing Absence. External courses attended covered a range
of specialised subjects, including identifying prints; investigating, dating and documenting garments;
the study and conservation of state beds; British portraiture; and the identification of historic
photographic processes.
Nine members of Visitor Services staff were
awarded Vocational Qualifications in Heritage Care,
Visitor Services and Retail Skills. Emma Featherstone
Members of the Visitor Services team at Windsor Castle
were awarded Vocational Qualifications in Heritage Care,
Visitor Services and Retail Skills this year.
achieved a Level 3 award in assessing Vocational
Qualifications.
Development opportunities in various forms
continue to be found for senior managers. Kerry
Bishop took part in a short course at the Disney
Institute in Florida on Disney’s Approach to Quality
Service, and Stephen Patterson spent a week in
Moscow studying Imperial Russian and Soviet
insignia, as a guest of the Kremlin Palace Museum,
Moscow. Roderick Lane visited the monastery of
Deir-al-Sourian, Egypt, to advise on conservation, at
the invitation of the Levantine Foundation.
ANNUAL REPORT
2011
49
STAFF LIST
as at 31 March 2011
DIRECTORATE
Director of the Royal Collection
Assistant to the Director
Caroline de Guitaut, MVO
Administrator and Assistant
to the Surveyors
David Rankin-Hunt, LVO, MBE, TD
Assistant to the
Administrator/Receptionist
Georgina Asplin
Superintendent of the Royal Collection
(Hampton Court Palace)
Christopher Stevens
Senior Paintings Conservator
Nicola Christie
Conservators
Karen Ashworth, MVO
Al Brewer
Claire Chorley
Adelaide Izat
Rosanna de Sancha, MVO
Tabitha Teuma
Framing and Exhibitions Conservator
Michael Field, MVO
Framing and Exhibitions Technician
Stephanie Carlton
Paintings Conservation Administrator
Nicola Swash Hardie (maternity leave)
Neil Vaughan (maternity cover)
Senior Horological Conservator
(Buckingham Palace)
Robert Ball, MVO
Horological Conservator
(Buckingham Palace)
Paul Cradock, MVO
Horological Conservator
(Windsor Castle)
Steven Davidson
THE ROYAL LIBRARY
Librarian and Curator of
the Print Room
The Hon. Lady Roberts, CVO, FSA
Custodian of California Gardens Store
(Windsor Castle)
Anthony Barrett, RVM
DECORATIVE ARTS
Assistant Custodian
Arthur Pottinger
Surveyor of The Queen’s Works of Art
Assistant to the Librarian and
Curator of the Print Room
Rhian Wong (maternity leave)
FINANCE
Deputy Surveyor of The Queen’s
Works of Art
Rufus Bird
Secretary to the Librarian and
Office Administrator
Margaret Westwood
Curators of Decorative Arts
Caroline de Guitaut, MVO
Kathryn Jones
Bibliographer
Bridget Wright, LVO
Finance Director
Michael Stevens, CVO, FCA
PAINTINGS
Surveyor of The Queen’s Pictures
Desmond Shawe-Taylor
Assistant to the Surveyor of
The Queen’s Pictures
Lucy Peter
Assistant to the Deputy Surveyor
of The Queen’s Works of Art
David Oakey
Senior Furniture Conservator
David Wheeler, MVO
Senior Curator of Paintings
Lucy Whitaker, MVO
Furniture Conservators
William Miller
Shaun Turner, MVO
Jane Wallis
Curators of Paintings
Vanessa Remington
Anna Reynolds
Jennifer Scott
Senior Gilding Conservator
Stephen Sheasby
Exhibition Curatorial Assistant
Wolf Burchard
50
Armourer and Senior Metalwork
Conservator
Simon Metcalf
ANNUAL REPORT
2011
Gilding Conservators
Peregrine Bruce-Mitford
Elizabeth Parker
Curator of Books and Manuscripts
Emma Stuart, MVO
Senior Curator of Prints and Drawings
Martin Clayton, MVO
Curator of Prints and Drawings
Dr Kate Heard, FSA
Print Room Assistant
Lauren Porter
Assistant to the Curators
of the Print Room
Katherine Bradley
Dal Pozzo Project Co-ordinator
Panorea Alexandratos
Dal Pozzo Project Research Assistant
Dr Eloisa Dodero
COLLECTIONS INFORMATION
MANAGEMENT
Dal Pozzo Project Assistant
Sabrina Stevenson
Head of Collections Information
Management
Stephen Patterson, LVO
Senior Curator of Photographs
Sophie Gordon
Curator of Photographs
Lisa Heighway
Head of Paper Conservation
Alan Donnithorne, MVO, FIIA
Head of Book Conservation
Roderick Lane, MVO, RVM
Deputy Head of Book Conservation
Irene Campden, MVO
Exhibitions and Maintenance
Conservator
David Westwood, MVO, RVM
Paper Conservator
Megan Gent, MVO, RVM
Archives Bookbinder
Philippa Jones
Conservation Mounter/Framer
Kathryn Stone
General and Workshop Assistant
Martin Gray
EXHIBITIONS
Head of Exhibitions
Theresa-Mary Morton, LVO
Senior Exhibition Project Co-ordinator
Stephen Weber
Exhibition Project Co-ordinator
Sandra Adler
Loans Officer (Royal Library)
and Exhibitions Secretary
Sarah Murray
Inventory Clerk (Buckingham Palace)
Melanie Wilson (maternity leave)
Inventory Clerk (Windsor Castle)
Alexandra Barbour
PUBLISHING AND NEW MEDIA
Director of Publishing and New Media
Jemima Rellie
Publisher
Jacky Colliss Harvey, MVO
Publishing Assistant
Nina Chang
Head of Learning
Lucie Amos
Senior Collections Information
Assistant (Paintings)
Alex Buck
Senior Learning and Access Manager
Amy Watsham
Collections Information Assistants
(Decorative Arts)
Julia Bagguley
Beth Clackett
Learning Manager
(Buckingham Palace)
Karly Allen (maternity leave)
Will Graham (maternity cover)
Collections Information
Co-ordinator and Indexer
Paul Carter
Learning Manager
(Palace of Holyroodhouse)
Alison Campbell
Collections Information Assistant
(Prints and Drawings)
Allan Chinn
Learning Manager (Windsor Castle)
Penelope Russell
(Photographs)
Paul Stonell
(Paintings and Photographs)
Alessandro Nasini
Learning Co-ordinator
(Windsor Castle)
Catherine Martin
Head of Photographic Services
Shruti Patel, MVO
Senior Picture Library Assistant
Karen Lawson
(Books)
Elizabeth Clark
Picture Library Assistant
Katie Holyoak
Siân Cooksey
Digital Imager
Daniel Partridge
Collection Online Assistant
Steven Blench
Senior Photographers
Stephen Chapman, MVO
Eva Zielinska-Millar, MVO
Photographer
Dominic Brown
ANNUAL REPORT
2011
51
RETAIL
Retail Director
Nuala McGourty, LVO
Head of Design
Katrina Munro, MVO
Production Controller
Ian Grant
Senior Buyer
Charlotte Burton
Buyer
Johan Verbruggen
Project Manager – Retail Systems
Charlotte Carter
Merchandisers
Nicole Goodchild
Lei Song
Retail Operations Manager
Jacqueline Clarke
Retail Operations Administrator
Jacqueline Bowden
Retail Administration Assistant
Kate Kenah
Warehouse Manager
James Hoyle, RVM
Warehouse Administrator
Sheila Clements
Assistant Warehouse Administrator
Emma Wood
Delivery Fulfilment Operatives
Rosanna Earles
Kathleen Gomm
Matthew Whitehouse
Linda Wroth
Warehouse Operatives
Bernard Barfield
Derek Foster
James Hall
Robert Kedge
PUBLIC RELATIONS AND
MARKETING
Administrator and Staff Co-ordinator
Elizabeth Grogan
Director of Communications and
Business Development
Frances Dunkels, LVO
Technical Support Assistant
Christopher Hallworth
Administrator to Director of
Communications and Business
Development
Henry Dawe
Acting Administrator
Bruce Davies
Business Development Manager
Susanna Mann
Press and Public Relations Officers
Emma Shaw
Rachel Woollen
Sales and Marketing Officer
Rhiannon Marsh
Web and Marketing Assistant
Anna Lucas
Press and Public Relations Assistant
Hanae Tsuji
Website Redevelopment
Project Manager
Lydia Weller
Head of Ticketing and Sales
Mark Fisher
Contact Centre Manager
Christopher Gilbert
Specialist Sales Supervisor
Janice Galvin
Operations Supervisor
Lucy Allen
Technical Support Supervisor
Gareth Thomas
Staffing and Development
Supervisor
Prakuti Deolia
Contact Centre Supervisor
James Healey
52
ANNUAL REPORT
2011
Learning Bookings Co-ordinator
Nicola Jones
Senior Ticket Sales and Information
Assistant
Audrey Lawrence
Ticket Sales and Information
Assistants
Genevieve Arblaster-Hulley
Katherine Bason
Scott Bowman
Faye Grimes
Fraser Hamilton
Lucy Ward
Ticket Sales and Information
Assistants – Casual
Matthew Baldwin
Anil Banga
Rina Bhudia
Sarah Blakeburn
Rachel Brookes
Lawrence Coppin
Marquita Cox-Carder
Olivia Davies
Mariam El-sraidi
Laura Grant
Jake Mead
Jo-Anne Mead
Jade Nicholls
Zachery O’Brien
Lee Preston
VISITOR SERVICES
Director of Visitor Services
Kerry Bishop, MVO
Administrator to Director
of Visitor Services
Henry Dawe
Acting Administrator
Bruce Davies
Buckingham Palace
Visitor Manager
Richard Knowles
Operations Manager
Sarah Thompson
Visitor Office Administrator
Amanda Jacobs
Staff Co-ordinator
Samuel Faure Ackroyd
Visitor Office Assistants
James Lagden
Grace Swanborough
Senior Wardens
Clive Bayard
Jon Lopiano
Ioan Waight
Supervising Wardens
Ernie Kingston
Charles Nicholls
Duty Manager
Beverley Hamsley
Wardens
Marie Barenskie
Elspeth Bayley
Marilyn Carpenter
Gisele Deliege
Pamela Eden
Catherine Fyfield
Carolyn Glover
Louise Halfpenny
Martin Harris
Fiona Kuznetsova
Stephen Kyte
Ilenia Martini
Simon Piercy
Dr Shalini Punjani
Keith Waye
Wardens – Seasonal
Janis Aunon
Adrian Beckwith
Susan Bolster
Sinead Booth
John Brown
Janet Burrell
Ursula Claxton
Michael Cox
Lara Davenport
Peter Davis
Lesley Denham
Lynne Denham
Stephen Denham
Leonard Franklin
Kate Gazzard
Susannah Geary
Sarah Goldsmith
Sarah Goodall
Christopher Grigsby
Bridget Harris
Elizabeth Ibbotson
Claire Jackson
Dr Stephanie Kirby
Susan Latimer
Louise Lavell
Alan Lion
Bridget Little
Paula Malaney
Martina Melkonian
Daniele Middleton
Clive Mills
Georgia Moult
Kaitlyn Pettengill
Valerie Ross
Benedict Sherry
Pamela Tebbs
Steve Trotter
Sophie Waterman
Stephen Wild
Wardens – Casual
George Banham
Matthew Caro
Bob Castledine
David Charleston
Barbara Donne
Peggy Duffin
Sheila Edgar
Juan Edwards
Christine Erne
Vernon Goodwin
John Leeds
Margaret Legg
Maureen Maron
George Martin
Brian McBride
Michael Nash
Anna Thomas
Retail Manager
Virginia Green
Deputy Retail Manager
Andrew Fairmaner
Assistant Retail Managers
Stuart Cullen
Beatriz Ramirez
Mark Randall
Senior Retail Assistant
Gillian Burke (maternity cover)
Diana Rakhimova (maternity leave)
Retail Assistants
Douglas Bell
Alyssa Boomgarden
Lieselotte Burdof-Cook
Africa Calzon
Linda Craker
Ami Cullum
Kevin Dimmock
Andrew Fay
Khushpreet Gulshan
Jane Hackwood
Daniel Kennedy
Claire McDougall
Fiona Moore
Craig Pryor
Juno Rae
Patricia Sweetland
Michie Wake
Amani Waldron-Isioye
Jackie Young
Retail Assistants – Casual
Penny Dalziel-Smith
Janet Easto
Helen Hollis
Margie Nolan
Windsor Castle
Visitor Manager
Christine Taylor
Operations Manager
John Phillips
Admissions Manager
Richard Sugg
Assistant Operations Manager
Alison O’Neill
Financial Administrator
Roger Freeman
Staff Operations Administrator
Emma Featherstone
Visitor Operations Administrator
Helena Holden
Staff Co-ordinator
Christopher Thomas
ANNUAL REPORT
2011
53
Assistant Retail Managers
Susan Asbery
Hanna Cross
Retail Supervisor
Kathryn Freeman
Senior Retail Assistant
Anne McGowan, RVM
Senior Ticket Sales Assistant
Shirlee Pouncett
Visitor Services Assistants
Linda Bacon
James Ball
Lauren Beldom
Monika Bone
Ceri Brough
Gemma Buckner
Janet Cary
Marian Challis
Helen Clark
Brian Deenihan
Yvonne Edwards
Sarah Entwistle
Brenda Gardner
Emilia Garvey
Fraser Gillham
Linda Gould
Olga Horlock
Gemma Lee
Aileen Lewis
Mark Lines
Jane McKenzie
Julie Purvis
Alexandra Sills
Charlotte Slark
Diane Smith
Kathleen Temple
Faye Wichelow
Bernadette Woolley
Huai Fiona Yan
Visitor Services Assistants – Seasonal
Georgia Bradley
Charlotte Cole
Jessica Goldsmith
Charlotte Lee
Elena McGregor
Carl Taylor
Visitor Services Assistants – Casual
Nagina Chaudhry
Louisa Knight
Janet Maxwell
Rosemary Osgood, RVM
James Rodrigues
Marit Stokes
54
ANNUAL REPORT
2011
Senior Wardens
Susan Ashby
Claude-Sabine Bikoro
Caroline Sara
Jeffrey Wilson
Deputy Senior Wardens
Peter Critchley
Philip Howarth-Jarratt
Alun Thomas
Carla Weston
Wardens
Colin Adams
Colin Ailes
Maria Axelson
Mark Ayling
Thomas Mark Aylward Greenway
Sandra Baker
Marcus Barton
Sophie Bate
Alexander Bogard
Ellen Bolick
Geoffrey Bonehill
Donald Bradley
Michael Campbell
Colin Carter
Jacqueline Clemson
Janet Cole
Ellen Compton-Williams
Sheila Cook
Bruce Davies
Marcelle Dovell
Katie Duncombe
Adele Fellows
Richard Fry
Kate Gazzard
Anthony Golding
Barry Gould
Carol Greenhow
Robert Griffith
Sarah Gunton
Philip Hall
Susan Hiscock
Lorna Holliday
Rita Horner
Jack Howarth-Jarratt
Christine Hughes
Peter Humphrey
Catherine Ingham
David Kenway
Patrizia Knight
Gary Langford
Margot Law
Paul Leighton
Helen Lincoln
Steven Lovegrove
Rita Lyons
Michael Macaskill
David Mason
Freda Mason
Anne Meyer
Bina Modi
Giulia Ovidi
Elizabeth Pantia
Edward Pink
Nicholas Preston
Arturo Ramirez
Ian Read
Josephine Redfern
Berni Reid
Lynne Roberts
Edwin Rodbard-Brown
Charles Rosen
Carly Rowlinson
Martin Ryan
Judy Salmon
Lauren Samet
Karen Shirtcliffe
Victor Sidebotham
Allan Smith
John Smith
Jean Spratley
Graham Stagg
Susan Suchodolska
Aileen Sutherland
Monica Tandy
Christopher Tilly
David Uppington
Anna Wallas
Kin Yip Wan
Barry Ward, RVM
Robert Webster
Rebecca Welch
Susan Wells
Peter Wilkinson
Joseph Wood
David Woodall
Peter Woodall
Derek Woodman
Geoffrey Woodruff
Leanne Workman
Robert Workman
Mark Wright
Helen Zacks
Wardens – Casual
Robert Atcheson
Ricardo Bessford
Maurice Bevis
David Buttimer
Leonard Chandler
John Clayton
Peter Cockbain
Geoffrey Cox
Kevin Cronin
Malcolm Davis
Caroline Dewell
John Dexter
Paul Dunham
Brian Dupe
Henry Everist
Francis Franklin
Roy Gardner
Norman Garrett
Ronald Grant
Nancy Green, RVM
Gordon Haines
Jacqueline Haines
Brian Hall
Alan Head
Brenda Herbert
Peter Hicks
Francis Holland, RVM
Margaret Holmes
John Janes
Diana Jolley
Enda McArdle
Patricia McGill
Geoffrey Murray
Pearl Nodwell
Bryan Percy
Patricia Pipe
Frank Poole
Malcolm Potter
Rodney Richardson
Molly Rudge
René Schurtenberger
Roger Taoka-Thompson
Bert Turner
Anthony Wise
Patricia Wright
Superintendent
Geoffrey Mackrell
Visitor Operations Manager
Kirsty McNiece (maternity leave)
Curator
Deborah Clarke
Operations Manager
Joanne Butcher
Senior Wardens
Pilar Aran (maternity leave)
Brian Coutts
Magdalena Kasprzyk (maternity cover)
Mary Mowbray
Wardens
Juan Aguero Benítez
Rosie Croker
Colin Dempster
Ross Hannay
Andrew Hume-Voegeli
Chantal Hume-Voegeli
Seana Keenahan
Carol Leslie
Edward Lipscomb
Lesley McGlinchey
Brian Morley
Katarzyna Musur
Ian Reilly
Harriette Riddell
Yvonne Rollert
Rachel Skilling
David Thomson
Sharon Thomson
Janet Whellans
Peter Whyte
Shelagh Wilson
Wardens – Casual
Douglas Alexander
Cameron Baillie
Lucia Baker
Callum Casebow
Jim Church
Catherine Crompton
Gemma Cruickshanks
Rosie Grahame
Jim Hinks
Moira Hinton
Christian Millar
Keith Mullins
Callum Mutch
Carol Schreuder
Veronica Schreuder
Paul Steele
Cecelia Teitz
Tom Turpie
Andrew Young
Retail/Admissions Visitor Service
Assistants – Casual
Emily Clarke
Susan Davidson
Fiona Dempster
Rachel Lammiman
Sharon McBride
Jonathan Read
Fiona Simpson
Frances Singer
Rebeka Venters
Fiona Wood
Retail and Admissions Manager
Shirley Duke
Assistant Retail and
Admissions Managers
Claire Anderson
Andy Dickson
Retail and Admissions Supervisor
Andrew Grant
Financial Administrator
Elaine Maclean
Porter
Stuart Robertson
Daily Ladies
Elinor Allan
Sheila Cairns
Julie-Anne Duff
Doreen Fraser
Retail/Admissions Visitor
Services Assistants
Shona Cowe
Jennie Crossley
Janet Ferguson
Alison Gove
Zoë Hayes
Rosie Hunter
Paul Lambert
Amanda Mills
Janet Stirling
Joanna Todd
ANNUAL REPORT
2011
55
© 2011 The Royal Collection Trust
Designed by Mick Keates Editorial and Project Management by Kate Owen and Alison Thomas
Production by Debbie Wayment Printed and bound by Streamline Press Limited, Leicester
© 2011 The Royal Collection Trust
www.royalcollection.org.uk

Annual Report 2004/5 corrected

Transcription

Similar documents

TOWNSHOES PARK ROYAL FIT OUT

Iluminate Your Style

MSLM Chamber Promo Sheet

Museu Nacional dos Coches

Homes June 2013

Christmas Gala 2011 - Goan Association of New Jersey

Royal LePage Dynamic Real Estate Brochure

130 Empire Ave

Royal LePage Burloak Real Estate Services, Brokerage