ANNUAL REPORT 2012–2013 - Royal Collection Trust

Transcription

ROYAL COLLECTION TRUST ANNUAL REPORT 2012– 2013
Royal Collection Trust / © HM Queen Elizabeth II 2013
www.royalcollection.org.uk
ANNUAL RE PORT 2012– 20 13
A I M S O F T H E R O Y A L C O L L E C T I O N T RU 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;
With what words will you describe
this heart so as not to fill a book?
My heart has been a picture,
more blurry than the bovine heart
you drew, but still riveting
to my Doc bent over the scan.
He’s hankering after the real thing
at my autopsy which
I will observe from above,
floating like a Sistine angel,
• as much of the Royal Collection as possible can be seen by members of the public;
the feminine one under God’s arm,
• the Royal Collection is presented and interpreted so as to enhance public appreciation
who represents the soul.
But look at me straying
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 plans, the Trustees ensure that these aims continue to be met
into your scratchy mirror script:
The longer you write
on the detail
the more you will confuse
the mind of the reader.
And is this, then,
the dividing wall of the heart –
and are in line with the Charity Commission’s general guidance on public benefit.
it must be pictured
This report looks at the achievements of the previous 12 months and considers the
to make it understood?
success of each key activity and how it has helped enhance the benefit to the nation.
But words ≈ touch in your note
under a little sketch of lung:
like tinder made from fungus,
press it and it yields.
Front Cover: Shown in the exhibition Diamonds: A Jubilee Celebration as part of the Buckingham Palace Summer Opening 2012, Queen Victoria’s
Small Diamond Crown was made in 1870 by the Crown Jeweller, R. & S. Garrard and Co., and is one of the most recognisable crowns of Queen Victoria’s
later reign: she was regularly depicted wearing it, often over a Honiton lace veil, in paintings, sculptures and on coins and postage stamps.
Back Cover: From Leonardo da Vinci: Anatomist, the Royal Collection’s record-breaking exhibition, this pen-and-ink drawing of a section through a human cranium (1489)
includes the artist’s observations on the importance of the cranium as the seat of all nervous activity, demonstrating Leonardo’s pioneering interest in human anatomy.
Frontispiece: Henry VIII’s Greenwich armour of c.1540, exhibited (following conservation) at the Moscow Kremlin Museum
and the Victoria and Albert Museum in 2012–13.
As I yield to you, the way you saw
exactly the flow of blood
around my body, the way
your hand could trace
the network on paper,
spread out its ramifications,
Unless otherwise stated, all illustrations are Royal Collection Trust / © Her Majesty Queen Elizabeth II 2013.
Royal Collection Trust is grateful for permission to reproduce the items listed below:
Page 6: (top row, left) © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York; (top row, middle) photograph by Sandy Young;
(middle row, left and right) photographs by Hayley Madden; (bottom row, left) photograph by Todd White; (bottom row, right) David Hockney, ‘2012 Queen Elizabeth II
Diamond Jubilee’ (detail), inkjet printed iPad drawing on paper, 20 x 14", © David Hockney. Page 7: photograph by Ian Jones. Page 8: photograph by Prudence Cuming.
Page 9 (left): © PA; (centre): photograph by Edward Staines; (right): photograph by John Freeman. Page 11: photograph courtesy of Lady de Bellaigue.
Page 14: photograph by Andrew Wright. Page 18: photograph by Andrew Wright. Page 20: photograph by Prudence Cuming. Page 22 (top): © Whistledown Productions.
Page 23 (right): picture courtesy of Lee Mitchell Photographer and Andrew Mulvenna Hair for National Museums Northern Ireland. Page 35: by permission of the London Grid
for Learning. Page 36: photograph by Prudence Cuming. Page 37: photograph by Andrew Wright. Page 38: photographs by Hayley Madden. Page 43 (right): Touch Press.
Page 48: photograph by Andrew Wright. Page 57: photograph © Scully & Osterman
Designed by Michael Keates Editorial and Project Management by Kate Owen and Alison Tickner
Production by Debbie Wayment Printed and bound by Streamline Press Limited, Leicester
CBP00047770807130749
picture a circulation far beyond
the writing, the saying, the thought.
Jo Shapcott
ROYAL COLLECTION
TRUST
Annual Report
for the year ended 31 March 2013
Company limited by guarantee, registered number 2713536
Registered Charity number 1016972
Scottish Charity number SC 039772
TRUSTEES OF
THE ROYAL COLLECTION TRUST
Chairman
HRH The Prince of Wales, KG, KT, GCB, OM, AK, QSO, ADC
⬃••⬃
Deputy Chairman
The Earl Peel, GCVO
⬃••⬃
Trustees
The Duke of Buccleuch and Queensberry, KBE, DL
Mr Peter Troughton
The Rt Hon. Sir Christopher Geidt, KCVO, OBE
Sir Alan Reid, GCVO
Dame Rosalind Savill, DBE, FSA, FBA
⬃••⬃
Director of the Royal Collection
Jonathan Marsden, CVO, FSA
CONTENTS
Chairman’s Foreword
5
Report of the Director of the Royal Collection
7
Custodial Control
12
Conservation
Paintings
Decorative Arts
Works on Paper
Preventive Conservation
13
13
16
16
17
Access and Presentation
Exhibitions
Visiting the Palaces
Buckingham Palace
Clarence House
Windsor Castle
Palace of Holyroodhouse
Historic Royal Palaces
Loans
19
19
24
24
25
25
26
27
28
Interpretation
Learning
Lectures by Staff
Publishing
New Media
34
34
39
42
45
Acquisitions
46
Trading Activities
Retail
Picture Library
49
49
49
Financial Overview
50
Summarised Financial Statements
52
Staff
55
55
56
57
External Appointments
Staff Numbers
Staff Training and Development
Staff List
58
• 2.4 million visitors to the Palaces and Galleries
• 320,000 visitors to touring exhibitions at 7 UK venues
• 287 works lent to 55 exhibitions at 46 locations in the UK and 8 other countries
• Three awards for print and electronic publications
• More than 225,000 records of works of art online
• 1,735 conservation treatments
• 101 public lectures by staff
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ANNUAL REPORT
2013
REPORT OF THE DIRECTOR
OF THE ROYAL COLLECTION
Jonathan Marsden
A Jubilee year is one in which precedent is put aside, and whose events do not themselves constitute
precedent. The celebrations of The Queen’s Diamond Jubilee marked 2012 as no ordinary year, a year which
also saw the staging of the games of the 30th Olympiad in London. With imagination, versatility and great
efforts, and in concert with the Royal Household as a whole, Royal Collection Trust staff took maximum
advantage of the focus on the UK, the Monarchy and on London in particular. There is ample evidence to
suggest that the progress made towards our charitable aims in this remarkable year will have a significant
lasting effect.
In her wonderful new poem, With what words will you describe this heart so as not to fill a book?, inspired by
Leonardo da Vinci’s drawing (RL 19071) and published here for the first time (see inside back cover),
Jo Shapcott quotes Leonardo’s own warning, from the dense inscriptions surrounding the drawing: ‘the longer
you write / on the detail / the more you will confuse / the mind of the reader’. It is, though, the tradition of these
Reports to record in some considerable detail the activities of the year under review, and this can be no exception.
In the spring of 2012, few were prepared to predict what effect the Jubilee celebrations and the London
Olympics would have on inbound tourism and visitor numbers. There was an unprecedented number of
cultural attractions on offer, but there were doubts, so far as London was concerned, about ease of travel and
the capacity of the city to accommodate the anticipated influx of visitors. There was a concern about a likely
reduction in visitors outside the main metropolitan centres. The period of the Games themselves did indeed,
for most of London’s cultural venues, prove difficult. Yet the pattern of visiting Buckingham Palace and the
Diamonds exhibition remained constant throughout the summer. It was also immensely pleasing that Leonardo
da Vinci: Anatomist proved to be the most visited (on daily average) of the 57 exhibitions held in the 50-year
HRH The Prince of Wales visiting the exhibition
Leonardo da Vinci: Anatomist, with Martin Clayton
(curator, left) and Dr Ron Philo (centre), co-author
of the catalogue.
ANNUAL REPORT
2013
7
history of The Queen’s Gallery, Buckingham Palace.
The success of this remarkable exhibition, described
more fully on pages 19–20, cannot simply be
explained by the star quality of Leonardo’s name, for
it attracted almost twice as much interest as any of
the four previous exhibitions of Leonardo’s work at
the Gallery.
Heather Stanning and Helen Glover, the first members of Team GB to win gold
at London 2012, visited Buckingham Palace with their coach, Robin Williams.
While overall attendance at Windsor Castle
was somewhat lower (4.3 per cent) than in the
previous year, the reduction was smaller than
experienced elsewhere. Admissions to the Palace of Holyroodhouse were reduced by the same small margin on
2011–12, but The Queen’s Gallery in Edinburgh performed better, thanks no doubt to the exhibition, Treasures
from The Queen’s Palaces.
The Summer Opening of the State Rooms at Buckingham Palace attracted a total of 558,000 visitors, the
second highest total in 20 years (the highest being in 2011–12). Even with significantly fewer visitors than in
the previous year, the newly expanded Garden Shop at Buckingham Palace out-performed any previous season.
The overall performance of retail, founded on the special commemorative Jubilee range of fine china, was
outstanding.
Particularly notable among this year’s results was the performance of publishing, with several new titles
selling strongly. The two most successful – The Queen’s Diamonds, a work of exceptional scholarship based on close
examination produced to the highest visual standards, and Queen Elizabeth II: A Diamond Jubilee Souvenir Album,
a uniquely authoritative, concise account of The Queen’s reign – have the additional distinction of having
been written by Sir Hugh Roberts and The Hon. Lady Roberts, respectively Surveyor Emeritus of The Queen’s
Works of Art and Librarian and Curator of the Print Room. Teamwork involving many skills, from photography,
editing, design and production to marketing and publicity, ensured the success of both publications.
As publishing becomes more complex, it was especially good that the printed and electronic publications
for Leonardo da Vinci: Anatomist were recognised together in a leading industry award. The app, Leonardo da
Vinci: Anatomy, developed for tablet format by the exhibition project team, together with Touch Press and
Primal Pictures, has been downloaded more than 12,000 times and went on to win the Education & Reference
category in the 17th Annual Webby Awards.
With few exceptions, excellent progress was made with all Strategic Priorities outlined in last year’s
Report. The continuing growth in attendance by UK-based visitors, of whom 100,000 took advantage of the
1-Year Pass, and the record-breaking attendance at several venues of the touring exhibition of Leonardo’s
drawings, are clear evidence that the Royal Collection is being enjoyed and appreciated by ever growing and
widening domestic audiences. The Jubilee series on BBC Radio 4, The Art of Monarchy, reached more than a
million listeners per episode, with 90,000 UK downloads via iPlayer.
The new website, which went live at the start of the last reporting year, has developed rapidly since that
time. In particular, the number of object records available online has risen fourfold, and continues to rise. From
November these records were fully searchable, and further functional improvements are planned. Work to
enhance the texts and increase the number of images has preoccupied up to a dozen staff throughout the year.
Early analysis of the use of the site has shown that the improved quality and content of a website does not
automatically lead to a rise in visits, but does encourage a higher level of engagement and participation.
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ANNUAL REPORT
2013
A component of our effort to bring the Collection to the attention of greater numbers of people has been
the work undertaken to bring all communications and means of presentation within the scope of a single
identity, Royal Collection Trust. Such changes take time to percolate through any organisation, but the fruits
of the exercise are becoming increasingly visible.
Following the completion and approval of the Master Plan for the Visitor Experience at Windsor Castle
in March 2012, working groups from this and other Departments of the Royal Household have been making
detailed practical assessments of the proposals. Meanwhile, the architects, Feilden Clegg Bradley Studios,
collated all the available archaeological and historical information about the ground floor of the State
Apartments, and undertook a new examination of the existing fabric. Their Assessment of Significance report,
completed with the assistance of English Heritage, will be an invaluable basis for the Windsor Castle Past and
Future project.
Further details of this major undertaking will be announced later in the year. The plans as currently
envisaged entail the modernisation of facilities throughout the public areas, the provision of new conservation
facilities in the Home Park, the re-establishment of the late Georgian entrance, access to the surviving
medieval spaces, including a new refectory-café, and investment in new facilities for a significantly expanded
programme of learning activities.
For the next phase of our Three-Year Plan, looking at the year 2013–14 in particular, we have once again
identified six Strategic Priorities.
Work done over the past two years to place the Collection within closer reach of ever greater numbers
within the UK will continue. This will be achieved not only through the range of exhibitions at The Queen’s
Galleries and their associated learning and events programmes, but also through further ‘extramural’
The roll-out of Royal Collection Trust’s new branding has continued over the past 12 months across new marketing, learning and publishing material
and signage. A prominent example is the identification of each of the major residences with an appropriate, carefully chosen colour. Buckingham Palace
is represented by a rich royal red, Windsor Castle by a natural green, echoing the surrounding parkland, and the Palace of Holyroodhouse by a
deep thistle purple.
Photographer: Edward Staines
© PA
See the historic carriages that took
part in the Royal Wedding procession
and Diamond Jubilee celebrations
Until 31 October, open daily, 10:00–17:00
1 November – 21 December, open Monday – Saturday, 10:00–16:00
Last admission 45 minutes before closing
Book in advance at www.royalcollection.org.uk
or call +44 (0)20 7766 7302
PALACE OF HOLYROODHOUSE
EDINBURGH
WINDSOR CASTLE
Photographer: John Freeman
THE ROYAL MEWS
BUCKINGHAM PALACE
The Queen’s Ofﬁcial Residence
and favourite weekend home
Ofﬁcial Residence in Scotland of
Her Majesty The Queen
November to February, open daily 09:45–16:15 (last admission 15:00)
March to October, open daily 09:45–17:15 (last admission 16:00)
)\TPSVI1EV]5YIIRSJ7GSXW´LMWXSVMGGLEQFIVWXIRQEKRM½GIRX
State Apartments and the 12th-century ruins of Holyrood Abbey.
Travel by train from London Paddington or London Waterloo
Open daily throughout the year.
or call +44 (0)20 7766 7304
or call +44 (0)131 556 5100
ANNUAL REPORT
2013
9
exhibitions, this year in Bath and Suffolk. Other plans include the further development of an online means of
highlighting connections between localities and works in the Collection.
A key objective for all staff is to make maximum use of digital technology in pursuit of our charitable aims.
Social media is an increasingly important part of our communications, and an allied effort will ensure that the
website is fully accessible on mobile devices. Work has begun on a far-reaching project to deliver a new
ticketing system that will meet both customer expectations and our business needs. A pilot of the system will
operate at the Palace of Holyroodhouse in the autumn.
Greater resources will be applied in the coming year to the objective of publishing the Collection, whether
in printed form or online. This will result in an expanded corpus of knowledge about the Collection based on
primary scholarly work and sources such as inventories and accounts.
Scholarly publishing, whether in book or digital form, is for the most part a most unprofitable enterprise.
Recognising the necessity of sharing scholarship as widely as possible, we shall continue to seek financial
support to cover costs associated with individual titles, and to underpin the general publishing effort. The
growth in our ambitions in the field of learning is being matched by new appointments and a parallel quest for
support, with the aim of attracting resources for specific activities and for a fund to support the learning
ingredients of exhibitions.
The Windsor Castle Past and Future project will enter its final preparatory stage towards the end of this
year, with further feasibility work and the compilation of a business plan. The work that is in progress towards
a transformation of the visitor experience at the Palace of Holyroodhouse will result in the presentation of a
draft Master Plan for the Visitor Experience to Trustees in the summer.
Recognising the fundamental value of all our staff in any of these achievements, an emphasis is being
placed throughout the coming year on the quality and pace of recruitment and induction, and on developing
performance management skills.
The Trustees met three times during the year. The Strategic Development Committee (SDC), the forum
where Trustees, non-executive and executive directors meet to develop and scrutinise plans for the future,
also met three times under the chairmanship of Sir Alan Reid. Dame Rosalind Savill is a full-time member of
the SDC, while the Duke of Buccleuch is co-opted for the duration of the Master Plan process at Holyrood.
Peter Troughton continued to serve on the SDC and as Chairman of the Audit Committee. The management
and staff of the Department appreciate greatly the contribution of time and expertise that continues to be
made by Trustees.
We remain indebted to Tom Jenkins, Fiona Sale and Edward Griffiths, the non-executive directors of
Royal Collection Enterprises Ltd, to Nigel Turnbull, external member of the Audit Committee, and to
Jonathan Drori and Mary Butler, who serve in the same way on our New Titles Committee. Their expert ‘view
from the boundary’ is invaluable.
The Steering Group that has been appointed to oversee a Master Plan for the Visitor Experience at the
Palace of Holyroodhouse has been chaired by our Trustee the Duke of Buccleuch, and the four external
members of the Group – Ian Rankin, Sheila Brock, William Gray Muir and David Storrar – have from their
different perspectives contributed substantially to the project and given most generously of their time.
All our work has depended on an ever-increasing number of external advisers, partners and supporters.
The Leonardo da Vinci: Anatomist exhibition gained enormously from collaborations: the didactic anatomical
models made available by Adam,Rouilly Ltd transformed the installation in The Queen’s Gallery; the support
of the Wellcome Trust and the Poetry Society gave much greater reach as well as quality to our events
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ANNUAL REPORT
2013
Sir Geoffrey de Bellaigue, GCVO, FSA, FBA (1931–2013),
photographed in 1968 examining a cabinet formerly in the
possession of Queen Henrietta Maria, in The Queen’s Gallery,
Buckingham Palace. The cabinet (now on view in The Queen’s
Ballroom at Windsor Castle) was included in the exhibition
Van Dyck, Wenceslas Hollar and the Miniature Painters at the
Court of the Early Stuarts.
programme; the participation of distinguished scientists, anatomists, medical students and practitioners, such
as Francis Wells, Peter Abrahams and Helen King, greatly enriched the project; and Sir Derek Jacobi
generously lent his marvellous voice to the audio guide. Interest in the exhibition Cairo to Constantinople and
the accompanying book has been all the greater for the willing involvement of John McCarthy and Badr
El Hage. The long-term project to publish The Paper Museum of Cassiano dal Pozzo has now been set firmly on
its course through the generosity of the Michael Bishop Foundation, and KPMG have continued their vital
support of our publishing programme in general.
The Cassiano project is one of numerous areas of our work which over many years have depended on the
expertise, commitment and resourcefulness of Lady Roberts, Librarian and Curator of the Print Room. First
appointed to the latter position in January 1975, Jane will be retiring in the summer of 2013. Thenceforth the
two posts of Librarian and Curator of the Print Room will once more be separately held, as responsibility for
the Collection is consolidated in line with the widespread curatorial distinction between the fine and the
decorative arts. A fuller appreciation of Jane’s immense contribution to our work will appear in next year’s
Report, but this introduction cannot end without an expression of the gratitude and good wishes of all at Royal
Collection Trust at the conclusion of such an outstanding and distinguished career.
At the beginning of 2013 came the sad news of the death, following a short illness, of Sir Geoffrey de
Bellaigue, successively Deputy Surveyor and Surveyor of The Queen’s Works of Art, then Director of the
Royal Collection. Through his work on the Collection from 1964 until his retirement in 1996, and through his
involvement with the Rothschild Collection at Waddesdon Manor (where he had first been employed in
1960), Sir Geoffrey became one of the most respected authorities on French eighteenth-century decorative art,
particularly furniture and porcelain. His intense, detective-like examination of the construction and design of
an object was accompanied by an equally exacting approach to documentary evidence. The hallmarks of his
writing were precision and economy, and a delight not only in the works of art but in the personalities involved
as patrons and craftsmen. Attributions, even in areas where his knowledge was unrivalled, were often couched
in the most modest and tentative terms. These scholarly disciplines, and his highly infectious sense of humour,
will continue to guide our work, despite his disappearance from our midst.
In the pages that follow, the year’s work is described according to the Charitable Aims of The Royal
Collection Trust.
ANNUAL REPORT
2013
11
Staff working on a condition check of
the Royal Library as part of a long-term
project to check and record the
conservation needs of every object
in the Collection.
CUSTODIAL CONTROL
The Royal Collection is one of the most widely dispersed art collections in the world, with hundreds of
thousands of items currently distributed over more than 150 locations, of which 16,500 items are on long-term
loan. The work of Royal Collection Trust therefore depends on the ability to maintain excellent custodial
records, thanks to the Collections Management System (CMS) and the team of 13 staff engaged in
maintaining and enhancing the records. This year, more than 16,000 new records were written and added to
the database, bringing the total to 762,000. In addition, more than 60,000 images were uploaded to the system
(2011–12: 35,000), bringing the total to 278,119.
As part of a long-term project to check and record the conservation needs of every object in the
Collection and to plan future conservation work, this year staff have carried out multi-disciplinary pilot
condition checks at Frogmore House and Buckingham Palace and the first phase of a joint condition/inventory
check of Clarence House. They also continued the inventory and condition check of the Royal Library that
began in 2011 and is now 60 per cent complete.
During the year, inventory checks were carried out at Kensington Palace and the Royal Pavilion, Brighton,
the Royal Train, and the Jewel House at the Tower of London; checks were also made at Buckingham Palace,
Sandringham House, and the Royal Library and California Gardens Store at Windsor.
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ANNUAL REPORT
2013
CONSERVATION
PA I N T I N G S
As in previous years, exhibition projects continued to present the conservators with the majority of their work.
A number of paintings received full treatments in preparation for In Fine Style: The Art of Tudor and Stuart
Fashion, for The Queen’s Gallery. Cornelius Johnson’s Portrait of a Lady (1624) and Alonso Sánchez Coello’s
Isabella Clara Eugenia and Catharina, Daughters of Philip II, King of Spain (c.1569–70) were worked on in the
Windsor studio, while the enigmatic and anonymous Portrait of a Man in Red (c.1530–50) was treated at the
Hamilton Kerr Institute in Cambridge. Another 15 paintings needed minor remedial treatment, and six new
reproduction frames were made for the exhibition by the framing team. Meanwhile, 20 paintings received
minor treatment prior to external loan, and ten more significant treatments were completed for this purpose.
As part of the Getty Institute Panel Painting Initiative, four Royal Collection paintings by the workshop of
Giulio Romano are being treated by students as part of a two-year project, beginning in May 2012.
Conservation has revealed many details in the double portrait of the daughters of Philip II, King of Spain by Alonso Sánchez Coello, including the
sitters’ richly embroidered dresses, the green parrot and the spaniel. The portrait was treated in Royal Collection Trust’s Picture Conservation Studio
prior to inclusion in The Queen’s Gallery exhibition In Fine Style.
The programme to enhance the painting displays in the State Apartments at St James’s Palace proceeded,
with three very large paintings in the Banqueting Room being returned from conservation this year. John
Wootton’s panoramas, The Siege of Lille (1742) and The Siege of Tournay (1742), painted for Frederick, Prince
of Wales, and Johann Friedrich Matthäi’s The Death of Frederick William, Duke of Brunswick-Wolfenbüttel at
the Battle of Quatre Bras (?1836), were treated by the studio of Bush & Berry and were re-hung in January.
The Picture Gallery was re-hung with Victorian narrative paintings, many of which had been conserved for
the Victoria & Albert: Art & Love exhibition in 2010.
Planning began for the refurbishment of the paintings conservation studio at St James’s Palace, and more
than 50 paintings were stabilised and nearly 100 re-framed and packed so that they could be transported and
stored while the building work is completed. Once finished, the studio will provide an essential working space
ANNUAL REPORT
2013
13
Ensuring that the Royal Collection
is maintained and conserved to
the highest possible standards
Johann Friedrich Matthäi’s painting,
The Death of Frederick William, Duke of
Brunswick-Wolfenbüttel at the Battle of
Quatre Bras (c.1836), depicts the Duke,
who led resistance to Napoleonic
domination in Germany, moments before
he was mortally wounded by a gunshot.
Restored this year, the painting now
hangs in the Banqueting Room at
St James’s Palace.
for minor treatments in London, while also serving as a base for the re-framing and packing work associated
with loans.
This year an important step was taken to ensure that paintings in residences remote from the conservation
studios are given periodic attention by the conservators. A team comprising a framing specialist, conservator
and photographer spent three weeks at Osborne House as a pilot exercise, working on 24 paintings. Each
painting was surface-cleaned and photographed, the setting of the painting upgraded within its frame and
detailed condition descriptions made. The pilot has informed a campaign beginning in 2012 to provide a
condition report and minor in situ treatments of the entire Collection over the coming years.
As part of the process of revising Sir Christopher White’s catalogue of Dutch Pictures, originally published
in 1982 and due to be re-published in 2014, every painting is being re-examined and an up-to-date condition
and technical description prepared. During the year, some 60 paintings were examined in this way.
The dendrochronologist Ian Tyers examined a group of eight early royal portraits as part of a research
project led by Jennifer Scott and Nicola Christie to determine more precise dates for the earliest panel
paintings in the Collection. The results show that the portrait of Elizabeth of York (1466–1503), the oldest of
the eight, was painted in the 1480s or 1490s, and therefore perhaps from life. The portraits of Henry V
(1386–1422), Henry VI (1421–71) and Richard III (1452–85) were all found to date from between 1504 and
1520, and the portrait of Edward IV (1442–83) from between 1524 and 1556. They may have been painted
for a series of retrospective royal portraits.
ANNUAL REPORT
2013
15
D E C O R AT I V E A RT S
A total of 442 objects, including furniture, clocks, armour, metalwork, jewellery,
ceramics and picture frames, were conserved. In the furniture and gilding workshops,
the second of two carved gesso tables was fully restored, having been used for several
generations as a stand for a lacquer cabinet. Both tables will be exhibited in 2014 at
The Queen’s Gallery, Buckingham Palace. Eight English cabinets with lacquer panels,
formerly at the Royal Pavilion, Brighton, and an early nineteenth-century ‘Boulle
revival’ brass-inlaid tortoiseshell commode were fully conserved. Sixteen picture frames
were treated in preparation for exhibitions. A late seventeenth-century pewter, walnut
and lacquer writing-table and a late nineteenth-century gilt-bronze-mounted
mahogany writing-table were conserved and placed on display at the Palace of
Holyroodhouse. The Rape of Europa, one of two mid-eighteenth-century Gobelins tapestries
representing the Amours des Dieux, was cleaned, fully conserved and reinstated on the
Ministers’ Staircase at Buckingham Palace. The second tapestry, The Rape of Proserpine
(1757), was removed at the same time for treatment. The long-term programme for
tapestry conservation at the Palace of Holyroodhouse continued, with work on a
seventeenth-century Brussels panel, The Lion Hunt (from the series depicting the life of
Alexander the Great), nearing completion. Forty-one clocks were fully conserved.
A significant component of the year’s work related to two forthcoming catalogues,
Among the more complex conservation
treatments carried out during the year
were those for two Chinese armorial
vases from a set of six originally supplied
for the Music Room at Brighton Pavilion.
For that setting, the Chinese vases were
transformed by the English firms of Vulliamy
and Spode in around 1819 to form
uplighters, mounted on new porcelain
bases with gilt-metal embellishments.
Chinese and Japanese Works of Art and European Arms and Armour. Each work to be
included in a catalogue is cleaned and examined prior to photography. In the case of
Henry VIII’s Greenwich armour of c.1540 (see frontispiece), conservation treatment
and photography coincided with preparations for the loan of the armour to the Moscow
Kremlin Museum. The Greenwich parade armour made for Henry, Prince of Wales,
which was lent to The Lost Prince exhibition at the National Portrait Gallery (see page 32),
and the sixteenth-century armour of the Duke of Brunswick, which was included in
The Northern Renaissance exhibition at The Queen’s Gallery, were also conserved and
fully photographed for the catalogue raisonné, as were three further complete armours.
The recruitment of a Metalwork Conservator towards the end of the year has enabled the Armourer to focus
exclusively on the treatment of arms and armour in preparation for the publication of this material.
W O R K S O N PA P E R
During the year, 1,213 items were treated in the paper conservation studio at Windsor Castle, including
30 drawings and watercolours, 201 prints, three fans and 204 photographs. A large proportion of this work
involved the preparation of items for inclusion in exhibitions.
Eight fragments of a papyrus scroll dating from the third century
BC
were conserved. One is included in
the exhibition Cairo to Constantinople at The Queen’s Gallery, Palace of Holyroodhouse. Acquired by the future
King Edward VII during his visit to Egypt in 1862, the fragments were mounted by the British Museum soon
after his return.
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ANNUAL REPORT
2013
A section of papyrus scroll, dating from
c.275 BC, acquired in Egypt by King
Edward VII, when Prince of Wales,
during his 1862 tour of the Middle East.
A funerary text, it describes the journey
of Re, the Egyptian sun god, through the
underworld during the 12 hours from
sunset (symbolising death) to sunrise
(symbolising rebirth).
Staff also completed the surface cleaning and re-housing of historical glass photographic negatives.
In addition, a number of architectural plans were treated by BA Conservation students from Camberwell
College of Arts during their annual two-week work placement.
In the Bindery, work was completed on 36 books and manuscripts. Fifty volumes were re-bound by
contract binders, and the bindings of 730 volumes were refurbished by two volunteers. This year saw the
completion of the ambitious project, commenced last year, to conserve and re-bind John James
Audubon’s Birds of America (1827–38). All four double-elephant-folio volumes have now been returned
to the Library shelves. A full account of the project can be seen on our website.
In preparation for the exhibition In Fine Style, conservation work was undertaken to stabilise the ornate
,
′
r nate
leather binding and four blue silk ribbon-ties on one of the Royal Collection’s 70 copies of the Εικων
Βασιλικη′ (‘Eikon Basilike’). This particular copy was presented to Queen Mary in 1949. An early inscription
states that it had belonged to Charles I’s Master of Ceremonies and that the ribbon-ties were from ‘the garter
His Majesty wore his George on’.
The Bindery welcomed its first intern this year. During her nine-month placement, Aimee Priest worked
alongside staff on a variety of tasks, including exhibition preparation. Towards the end of her internship,
Aimee completed the complex treatment and re-binding of Jean Le Clerc’s three-volume Histoire des ProvincesUnies des Pay-Bas (1723–8), from the library of George III.
P R E V E N T I V E C O N S E R VA T I O N
A major project has begun to document on the CMS the condition of every object in the Collection, which will
in turn inform priorities for conservation work. Pilot surveys took place at Frogmore House, Buckingham Palace,
Osborne House and the Royal Library, Windsor Castle. The project is planned to take several years.
The recently established post of Collections Care Steward has brought a new focus on skills training and
vigilance in the day-to-day care of the Collection at Buckingham Palace, Windsor Castle and the Palace of
Holyroodhouse. Training in collections care has been given to the Master of the Household’s teams of Palace
Attendants and Housekeepers at Buckingham Palace and Windsor Castle, raising awareness and
understanding of materials, conservation techniques and cleaning standards.
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17
Ensuring that as many
people as possible are able
to view the Collection
ACCESS AND PRESENTATION
EXHIBITIONS
Fourteen Royal Collection Trust exhibitions were held in London, Edinburgh, Windsor and six other locations
in the UK. Exhibitions are a very important means of highlighting the range and quality of the Royal
Collection and presenting material to the public in a way that draws out key art-historical themes. During the
year under review, the number, variety and complexity of exhibitions continued to increase. Royal Collection
Trust exhibitions in 2012–13 are listed here in chronological order.
Treasures from The Queen’s Palaces
140 exhibits, including paintings, miniatures, drawings and watercolours, books, furniture, sculpture,
jewellery, Fabergé, silver and gold, ceramics and Indian works of art
The Queen’s Gallery, Palace of Holyroodhouse, 16 March – 4 November 2012
(71,689 visitors)
To mark the Diamond Jubilee and the tenth anniversary of the opening of The Queen’s Gallery, curator
Deborah Clarke selected outstanding works illustrating the breadth of the Royal Collection, drawn from nine
royal residences and covering more than five centuries. Many of the works were shown in Scotland for the first
time. Described by The Scotsman as an ‘astonishing display of riches’, the exhibition included Rembrandt’s
portrait of Agatha Bas (1641) and Sir Edwin Landseer’s painting of Prince Albert’s dog, Eos (1841). The
selection also included paintings by Frans Hals, Rubens and Van Dyck, drawings by Leonardo da Vinci,
Michelangelo and Raphael, marble and bronze sculptures, works by Fabergé and a gold crown from Ecuador.
Additional investment in marketing to support the Diamond Jubilee exhibition programme allowed a
number of new advertising formats to be explored this year. At Edinburgh Airport, details of objects in the
Treasures exhibition were displayed on revolving posts on domestic-arrivals luggage carousels.
Leonardo da Vinci: Anatomist
135 exhibits, including drawings, a binding and modern anatomical models
The Queen’s Gallery, Buckingham Palace, 4 May – 7 October 2012
(148,401 visitors)
This was the largest ever exhibition of Leonardo da Vinci’s anatomical drawings, long regarded as among the
greatest treasures of the Royal Collection. Opened by HRH The Prince of Wales, the exhibition attracted
a record number of visitors to The Queen’s Gallery, with an average daily attendance of 957. Among those
visiting the Gallery for the first time were artists, sportsmen and health professionals, and the range of those
who came to see these precious images reflects the universal nature of the subject. The desire to understand
the workings of the human body, and the story of one man’s unrelenting pursuit of this understanding through
drawing, proved very powerful.
Curated by Martin Clayton, the exhibition charted Leonardo’s developing understanding of human
anatomy through tireless observation, dissection and drawing. The exhibits included his detailed drawings of
a human skull from 1489, his observations from the dissection of a centenarian in a monastic hospital in
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Florence in 1508–9, his comprehensive survey of the muscles and bones of the body made while working
alongside a professor of anatomy at the University of Pavia, and his poignant studies of a foetus in a womb.
In preparation for the Leonardo exhibition, for the first time focus groups were used to test ideas for the
communication and presentation of an exhibition, from marketing concepts and press materials to on-site
interpretation and programming. The participants’ responses suggested that a strategic shift in approach was
required, from a focus on the drawings to one on the artist himself and insight into a relatively little-known
area of his activities. The findings of the formative research were fed into the work of all those involved in the
exhibition, and led to a change in the exhibition title, the addition of an advertising strapline and a multilayered approach to interpretation.
Olympic and Paralympic athletes, including Sir Steve Redgrave, Dame Tanni Grey-Thompson and
Jonathan Edwards, gave generously of their time to help promote the exhibition, and an unprecedented
number and range of activities were programmed, thanks in large part to the support of the Wellcome Trust.
These included: lectures by Martin Clayton and Professors Helen King, Peter Abrahams, Stephen Farthing and
Michael Farthing; a five-day course with The Prince’s Drawing School; two two-day drawing courses led by
artists John Lessore and Stephen Farthing, RA; four research evenings; a three-day ‘Physical Thinking’ course
led by the performance company the Clod Ensemble, which specialises in engaging audiences with
contemporary issues at the heart of medicine and health care; a concert of choral music by Leonardo da Vinci’s
contemporary, Josquin des Prez, given by the acclaimed choir and period-instrument ensemble, The Sixteen;
a Poetry Society workshop for young people aged 15 to 19, and a poetry evening in which Jo Shapcott and
Maurice Riordan read works they had composed in response to the exhibition (see page 64 and inside back
cover). The Poetry Society also ran a competition asking writers to submit work inspired by Leonardo’s
drawings of a foetus in a womb (RL 19101 and 19102). The competition was judged by the poet and academic,
Clive Wilmer, and the six winning poems can be found on the Royal Collection Trust website
(www.royalcollection.org.uk/ exhibitions/leonardo-da-vinci-anatomist/poetry-competition).
Bloggers’ Breakfasts, at which
influential bloggers are invited to
view and write about Royal Collection
Trust exhibitions, have become an
established means of spreading the
word when an exhibition opens.
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The Northern Renaissance: Dürer to Holbein
139 exhibits, including paintings, drawings, prints, miniatures, books and illuminated manuscripts,
tapestries, sculptures, metalwork and armour
The Queen’s Gallery, Buckingham Palace, 2 November 2012 – 14 April 2013
(59,230 visitors)
Based on the exhibition held at The Queen’s Gallery, Edinburgh, in 2012–13,
this showing – also curated by Lucy Whitaker and Kate Heard – included an
additional 29 works, exploiting the greater space available in the London gallery.
The smaller rooms at the start of the exhibition were used to introduce the main
themes of humanism, friendship and travel, with spectacular works by Holbein,
Dürer and Cranach. A display of armour and metalwork formed a bridge between
the two main galleries, which were devoted to art of the English and French
courts, and of the Low Countries, including Bruegel’s Massacre of the Innocents.
Two large and contrasting Brussels tapestries from Hampton Court, the Triumph of
For art history you
can trust, there is no
better location in
Britain right now than
The Queen’s Gallery, in
Buckingham Palace …
Waldemar Januszczak,
Sunday Times,
11 November 2012
Time over Fame (after Petrarch) and The Redemption of Man, both formerly in the
possession of Cardinal Wolsey, provided a magnificent backdrop. Press coverage of the exhibition included the
investigations into the identity of the sitter during the conservation of Holbein’s portrait of the German
merchant known as ‘Hans of Antwerp’, shown for the first time in its newly conserved state alongside the betterknown Derich Born (1533) and the portraits of Sir Henry Guildford (1527) and Thomas Howard, Third Duke of
Norfolk (c.1539). Holbein’s lost Whitehall mural was represented by the copy made by Remigius van Leemput.
The Queen: 60 Photographs for 60 Years
60 photographs
The Queen’s Gallery, Palace of Holyroodhouse, 16 November 2012 – 24 February 2013
(6,862 visitors)
Curated by Lisa Heighway, this exhibition celebrated The Queen’s 60 years as Sovereign in a display of
photographs, covering informal and official occasions throughout The Queen’s reign. The majority of the 60
photographs had been generously presented to The Queen for the Royal Collection by the press photographers
and agencies concerned. In addition, a short film of The Queen’s visit to Edinburgh in 1953 was shown in the
Gallery.
The Queen: Portraits of a Monarch
31 exhibits, including photographs, prints, drawings, busts and a painting
Drawings Gallery, Windsor Castle, 23 November 2012 – 9 June 2013
To celebrate the Diamond Jubilee in 2012 and the sixtieth anniversary of The Queen’s Coronation in 2013,
a selection of portraits of Her Majesty The Queen from the last 60 years was displayed at Windsor. The
exhibition, curated by Lauren Porter, charted the varied and innovative ways in which artists and
photographers have approached the portrayal of The Queen. It included images from the first official
photographic sitting on 26 February 1952 – just 20 days after the Accession – by the society photographer
Dorothy Wilding, a famous image from the Coronation by Cecil Beaton, portraits by the American
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21
photographer Annie Leibovitz, Lucian Freud’s 2001 painting, and the official Diamond Jubilee photograph by
John Swannell. The exhibition also provided the opportunity to exhibit for the first time the recently acquired
‘Royal Edition’ screenprints by Andy Warhol (see page 46).
Cairo to Constantinople: Early Photographs of the Middle East
152 exhibits, including photographs, watercolours, antiquities, papyrus manuscript, books, insignia, royal
archival material and sculpture
The Queen’s Gallery, Palace of Holyroodhouse,
8 March – 21 July 2013
(2,860 visitors to 31 March 2013)
In 1862, the Prince of Wales (later King Edward VII)
was sent to the Middle East on a four-month
educational visit, accompanied by Francis Bedford, the
first photographer to travel on a royal tour. Through
Bedford’s work, this exhibition documents the Prince’s
journey to Egypt, Palestine and the Holy Land, Syria,
Lebanon, Turkey and Greece, exploring the cultural
and political significance that Victorian Britain
attached to these regions, which were then as complex
and contested as they remain today. Travelling by horse
and camping out in tents, the royal party met rulers,
politicians and other notable figures; on his return to
England, Francis Bedford’s work was displayed in what
was described at the time as ‘the most important
photographic exhibition that has hitherto been placed
before the public’. The exhibition has been curated by
Sophie Gordon, with Alessandro Nasini, and the travel
writer and former hostage John McCarthy (pictured
left) contributed to the catalogue and audio guide. John
McCarthy’s ten-part series In a Prince’s Footsteps was
made for BBC Radio 4 to coincide with the exhibition.
Over the course of ten programmes he revisited many of
the sites on the Prince’s 1862 itinerary and considered
how these locations have changed during the
intervening 150 years. The series was accompanied by a
BBC website, on which Bedford’s photographs were
One of the highlights of the Cairo to Constantinople: Early Photographs of the
Middle East exhibition, Francis Bedford’s photograph records the Temple of Isis
(colloquially known as ‘Pharaoh’s Bed’) and the Kiosk of Trajan, part of the
Dendera temple complex in Egypt, at the time of the visit of the Prince of Wales (later
King Edward VII) on 13 March 1862. The itinerary was re-traced by John McCarthy
(above) for his BBC Radio 4 series.
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ANNUAL REPORT
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shown alongside the views of the locations today. The
Prince’s handwritten journal of his tour, in the Royal
Archives, has also been digitised and can be seen in full
for the first time on the Royal Collection Trust website
(www.royalcollection.org.uk).
Travelling Exhibitions
Ten Drawings by Leonardo da Vinci:
A Diamond Jubilee Celebration
10 drawings
Bristol Museum and Art Gallery, 31 March – 10 June 2012
(66,908 visitors)
Ulster Museum, Belfast, 15 June – 27 August 2012
It was just great to see
some original works by
this great artist displayed
locally; you could feel you
had a connection with him
over space and time.
Visitor’s comment,
Ulster Museum, Belfast
(50,228 visitors)
The McManus: Dundee’s Art Gallery and Museum, 31 August – 4 November 2012
(44,294 visitors)
Ferens Art Gallery, Hull, 10 November 2012 – 20 January 2013
(54,960 visitors)
Total visitor numbers for the five venues: 291,253 (216,390 during the period under review)
This exhibition visited four further venues this year after its highly successful initial showing at Birmingham
Museum and Art Gallery (13 January – 25 March 2012; reported last year). The ten drawings in the exhibition
were selected to reflect Leonardo’s use of different media and the extraordinary range of his interests –
painting and sculpture, engineering, botany, map-making, hydraulics and anatomy. The exhibition included
designs for chariots fitted with flailing clubs, a study of the head of Leda and a drawing of oak leaves, intended
as a study for the same painting, a double-sided sheet of anatomical sketches, a design for a scheme to drain
marshland, a view of a river valley, a costume study of a man on horseback, apocalyptic scenes and a study of
an old man in profile, one of the last drawings made by the artist.
This was the fifth small touring exhibition of its kind to have been mounted since 2000, and in several of
the venues it broke attendance records. Staff and affiliated groups at all the participating museums and
galleries created lively events programmes, and the public response has been consistently affirmative and
appreciative of the chance to see the work of Leonardo at close quarters.
Ten Drawings by Leonardo da Vinci
was the most successful exhibition
ever mounted at the Ulster
Museum. While the exhibition was
on view in Belfast, local stylist
Andrew Mulvenna was inspired
by Leonardo’s drawing of the head
of Leda to attempt a re-creation
of her elaborate hairstyle. The
process was captured for YouTube
(www.youtube.com/watch?v=
PeNWO7H-4Uw).
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23
Marcus Adams: Royal Photographer
141 exhibits, including photographs, postcards, Christmas cards, china, sheets of stamps, book, folder, letter,
miniature and negative box
Harewood House, Leeds, 31 March – 7 June 2012
(13,898 visitors)
Russell-Cotes Art Gallery and Museum, Bournemouth, 27 June – 6 September 2012
(14,122 visitors)
This exhibition, curated by Lisa Heighway and previously shown at Windsor and Edinburgh, toured to two
further venues in 2012. It featured photographs of two generations of royal children: Princesses Elizabeth and
Margaret Rose, and Prince Charles and Princess Anne.
Occasional Displays
Royal Collection Trust staff – led by the Librarian – arranged and installed various displays for guests of
The Queen during the year. These included a reception for 26 sovereigns from around the world held at
Windsor Castle to mark the Diamond Jubilee, during which the recently re-bound volumes of Audubon’s
Birds of America were displayed in the Waterloo Chamber, while old master drawings, by artists such as
Leonardo da Vinci, Michelangelo and Hans Holbein, were laid out for Her Majesty’s guests in the Royal
Library.
The digital publication of Queen Victoria’s Journals (a joint Royal Household and Bodleian Library
project) was celebrated at Buckingham Palace on 24 May 2012, Queen Victoria’s birthday. The event
was accompanied by a display from the Royal Archives and Royal Collection, including a number of
Queen Victoria’s sketchbooks. The Journals can be viewed at www.queenvictoriasjournals.org/home.do.
On 23 July, The Queen held a reception at Buckingham Palace for the International Olympic
Committee, for which a display was arranged of photographs illustrating the Royal Family’s long
association with the Olympic Games. In October and November, displays were arranged for the State
Visit of the President of Indonesia at Buckingham Palace, and for the State Visit of the Amir of the
State of Kuwait at Windsor Castle.
V I S I T I N G T H E PA L A C E S
Buckingham Palace
The twentieth annual Summer Opening of the State
Rooms took place in two phases, with a nine-day opening
between 30 June and 8 July 2012, during The Queen’s
Holyrood week, and a second main season running from
31 July to 7 October 2012. In the intervening period,
Buckingham Palace reverted to official use, as The Queen
and members of the Royal Family held several receptions
to mark the London 2012 Olympic Games.
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ANNUAL REPORT
2013
For the second year
running, Buckingham
Palace was voted Best
Attraction for Group
Visits (Long Visit) at the
industry’s prestigious
Group Travel Awards
ceremony.
In the course of the 78-day opening (2011–12: 73 days), we welcomed
514,217 visitors (2011–12: 605,022). In addition, there was a significant
increase in return visitors, with 6.4 per cent of visitors taking advantage of the
1-Year Pass (2011–12: 2.1 per cent).
The special exhibition, Diamonds: A Jubilee Celebration, gave an
unprecedented opportunity to see some famous pieces, illustrating the many
ways in which diamonds have been used by British monarchs over the last 200
years. It included a number of Her Majesty’s personal jewels, along with all but
two of the numbered stones from the largest diamond ever discovered, the
Cullinan. (The exceptions were the two largest stones, which form part of the
regalia kept in the Tower of London.) Beginning with Queen Victoria’s small
diamond crown (see front cover), well known from the official photograph for
the Diamond Jubilee of 1897, the exhibition encompassed tiaras, swords, a fan
and a snuffbox alongside exquisite personal jewels.
Private Evening Tours of the State Rooms were offered at the end of each
day throughout the Summer Opening period. These tours also took place
during December and January and over the Easter period, the only other times
in the year when Buckingham Palace is not fully in use for official business.
Caroline de Guitaut installing one of the exhibits in
the Buckingham Palace summer exhibition Diamonds:
A Jubilee Celebration. Made for George IV in 1820,
the Diamond Diadem incorporates the national flowers
of England, Scotland and Ireland and is probably the
most familiar piece of The Queen’s jewellery, from its
frequent appearance on postage stamps and coins and
because it is the diadem that The Queen wears for
the State Opening of Parliament.
The Royal Mews
The Royal Mews was open to the public for 298 days (2011–12: 296 days),
excluding January 2013. One of the highlights was the display of the 1902
State Landau, the open-top carriage that was used by The Queen for her
Diamond Jubilee carriage procession from the Palace of Westminster to
Buckingham Palace.
Clarence House
The use of the Mall as an Olympic venue prevented the annual summer
opening of Clarence House, which will resume in 2013.
Windsor Castle
The State Apartments at Windsor Castle were open throughout the year, with
the usual occasional closures at times when the Castle is in use for Investitures
or other official events. A total of 1,096,728 visitors were welcomed during the
year, a slight decline (4.3 per cent) from 2011–12 (1,146,316). During July,
August and September 2012, the ‘Conquer the Tower’ guided tour was offered
as an optional extra visit, following last year’s successful pilot, with 11,621
visitors making the climb to the top of the Round Tower.
The Christmas season was once again celebrated with decorations and
family activities on a Victorian theme. Throughout the Semi-State Rooms
Windsor Castle’s traditional festive Christmas display.
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25
History of Art students examine works by Holbein
in the Royal Library at Windsor Castle.
visitors were given a sense of how Queen
Victoria and her young family celebrated
Christmas at home: a chandelier was decorated
to resemble a Victorian hanging Christmas tree,
the State Dining Room was laid for a seasonal
feast, and there was a display of the Christmas
presents exchanged by members of Queen
Victoria’s family.
The Royal Library received visits from
25 researchers, amounting to 52 research days, during the year. In addition, there were 23 group visits,
including participants in Royal Collection Studies, the Typography MA group from Reading University,
prize-winners in the Windsor Festival Schools Competitions, the Essay Club of the Society of Antiquaries of
London, the American Trustees of the British Library, Young Fellows of The Duke of Edinburgh’s International
Award and conservators from the National Trust. It was also a particular pleasure to receive a visit from
19 members of the family of Sir Owen Morshead, Royal Librarian and Assistant Keeper of the Royal Archives
from 1926 to 1958.
The Print Room was visited by 193 individual researchers. In addition, there were visits by groups of
students from the Courtauld Institute, Reading University, the University of Buckingham, Christie’s
Education, the Institute of Fine Arts at New York University and The Prince’s Drawing School. In January
2013, a group of Royal Academicians visited the Royal Library and Print Room following the presentation of
their Diamond Jubilee gift to Her Majesty. In addition, 40 individual researchers visited the Photographs
section, as well as three student groups.
The Palace of Holyroodhouse received 255,309 visitors during the year, a slight decrease (4.4 per cent)
from the previous year (2011–12: 267,000), and a further 76,697 people visited The Queen’s Gallery
(up 44.2 per cent from 2011–12).
Following the successful pilot last year, Garden History Tours were established as one of a range of
additional opportunities now available to
visitors. The tours were enjoyed by 3,654
people. The guided tour takes visitors to parts of
the Palace Garden that are not usually open to
the public, providing an insight into the extent
and layout of the lost parts of Holyrood Abbey,
the formal gardens of the time of Charles II, and
the traditional uses of the grounds for Garden
Seeking ways to improve the visitor experience at the Palace
of Holyroodhouse: the members of the Steering Group take a
tour of the Palace with their chairman, the Duke of Buccleuch
(far right).
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ANNUAL REPORT
2013
Parties and the activities of the Royal Company of Archers. As in previous years, guided tours of the Abbey
were also offered during the summer months.
A Steering Group chaired by the Duke of Buccleuch is overseeing a Master Plan for the Visitor Experience
at Holyrood. The objective is to identify ways in which visitors can gain a better sense of the Palace’s history
and art treasures, and of the role that the Palace continues to play as the official residence of the Sovereign in
Scotland. As reported last year, the Plan will make proposals for bringing the redundant Abbey Strand
buildings back into public use. Six architectural practices were shortlisted in July 2012 and asked to prepare
initial proposals. Burd Haward Architects were selected, and consultation will continue in advance of the
presentation of the Plan in summer 2013.
H I S T O R I C R O Y A L PA L A C E S
The contents of Hampton Court Palace, Kensington
Palace and the Tower of London form part of the Royal
Collection and are cared for by Historic Royal Palaces
staff. During 2012–13 these Palaces welcomed 3.5 million
visitors. Additional works were placed on temporary loan
at Hampton Court Palace in support of two major
exhibitions: The Wild, the Beautiful and the Damned
(5 April – 30 September 2012), to which 18 works were
lent, and Secrets of the Royal Bedchamber (27 March –
3 November 2013), which includes 14 special loans.
A new selection of works from the Royal Collection
has been added to the permanent display at Kensington
Palace, Victoria Revealed, which opened to the public in 2012.
These include the manuscript of a musical composition
by Prince Albert, his velvet-covered prayer book and a
selection of watercolours and etchings by Queen Victoria.
At the end of March 2013, 46 Royal Collection Trust
curators and conservators joined their Historic Royal
Palaces counterparts for a morning of short presentations
on work in progress, including the scientific monitoring
of the condition of tapestries, the conservation of
armour, books and external terracotta sculpture, the
design of French gilt-bronze porcelain mounts, the use of
Rowlandson’s caricatures on furnishing screens, and
forthcoming exhibitions on gardens, Frederick, Prince of
Bridget Holmes, who lived to be a centenarian, occupied the post
of ‘Necessary Woman’ (or Housekeeper) at Court during the reigns of
Charles I, and of Mary II and William III. John Riley’s 1686 portrait was
included in Secrets of the Royal Bedchamber at Hampton Court.
Wales and Inigo Jones. This was a highly stimulating
inauguration of what is intended to become an annual
event, aimed at encouraging the sharing of ideas about the
collections and palaces for which the two organisations are
jointly responsible.
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Newly conserved for the Royal River exhibition at the National Maritime Museum, The Lord Mayor’s Water-Procession on the Thames, by an unknown
artist, shows Charles II watching the procession (on 29 October 1683) from the low rooftop at right. The painting provides a valuable record of the
appearance of Whitehall before the catastrophic fire of 1698.
LOANS
With many UK institutions staging major exhibitions to mark the Diamond Jubilee and London
Olympics, 2012 was a very busy year for loans. The largest single loan, of 48 items, was to Royal River:
Power, Pageantry and the Thames at the National Maritime Museum, Greenwich (27 April – 9 September
2012). Guest-curated by David Starkey, the exhibition in the new Sammy Ofer Wing told the story of
the connection between the Royal Family and the River Thames and its palaces, from Tudor times to the
present day. The loans from the Royal Collection included paintings by Gainsborough, Winterhalter and
West, silver and porcelain, uniforms and drawings by Canaletto and others.
Leonardo da Vinci’s recently restored masterpiece, The Virgin and Child with St Anne, was the
centrepiece of a magnificent exhibition at the Musée du Louvre, Paris. The exhibition explored the slow
and complex genesis of the painting, from its origins in 1501 until Leonardo’s death in 1519, when the
painting was left unfinished. Twenty-two compositional sketches, preparatory drawings and landscape
studies by Leonardo and his pupils were lent from the Royal Collection to this landmark exhibition,
reuniting the painting and its related drawings for the first time since the artist’s death.
Henry VIII’s Greenwich armour of c.1540 (see frontispiece) was lent to an exhibition at the Moscow
Kremlin Museum, explaining links between the Russian tsars and the Tudor and Stuart courts, and a
spectacular display of craftsmanship in gold at Goldsmiths’ Hall included the 1911 investiture regalia of
the Prince of Wales and eight other loans.
Other highlights included the loan of 19 pieces of Sèvres porcelain to Versailles, three paintings to
the Scuderie del Quirinale, in Rome, for Johannes Vermeer and the Golden Age of Dutch Art, and 14 works,
including paintings, miniatures, drawings and armour, to The Lost Prince: The Life and Death of Henry Stuart
at the National Portrait Gallery, London. Prince Henry, the eldest son of James I, died in 1612, and the
objects and paintings lent to the exhibition were chosen to reflect Henry’s remarkable qualities as a
collector, sportsman and scholar.
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ANNUAL REPORT
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Loans to Exhibitions
(listed by date of opening)
Paris, Musée du Louvre
St Anne: Leonardo’s Ultimate Masterpiece
29 March – 25 June 2012
22 drawings by Leonardo da Vinci and his pupils
Ambleside, Armitt Museum and Library
Centenary exhibition
29 March 2012 – 15 April 2013
Four Bronze Age weapons
London, The Goldsmiths’ Company
The Glory of Gold
31 March – 28 July 2012
Pair of Coronation spoons
Garter collar
Badge of the Order of Solomon’s Seal
Badge of the Order of Solomon
Danish cup and cover
Freedom casket
Thistle goblet
Gold pen in form of a quill
Investiture regalia of The Prince of Wales
Leeds, Harewood House
Royal Harewood: Celebrating the Life of the
Yorkshire Princess
31 March – 30 September 2012
Four Fabergé frames
Fabergé cameo portrait
London, Hampton Court Palace
The Wild, the Beautiful and the Damned
5 April – 30 September 2012
Painting by Jacob Huysmans
Painting by Hieronymus Janssens
Painting by Sir Peter Lely
Painting by Sir Peter Lely and Benedetto Gennari
Painting by Parmigianino
Painting by Guido Reni
Painting by Sir Anthony van Dyck
Painting by Simon Verelst
Painting by Claude Vignon
Painting by Ferdinand Voet
Two paintings by Willem Wissing
Miniature by British School
Miniature by Samuel Cooper
Bronze sculpture after François Girardon
Mary II’s patch box
Badge of William III
Dorchester-upon-Thames, Dorchester Abbey
John Piper and the Church
20 April – 10 June 2012
Facsimile of a watercolour by John Piper
Perugia, Galleria Nazionale dell’Umbria
Luca Signorelli, ‘de ingegno et spirto pelegrino’
20 April – 26 August 2012
Drawing by Luca Signorelli
London, National Maritime Museum, Greenwich
Royal River: Power, Pageantry and the River Thames
27 April – 9 September 2012
Painting by British School, fifteenth century
Two paintings by Thomas Gainsborough
Painting by David Mossman
Painting by Remigius van Leemput (after Hans
Holbein)
Painting by Benjamin West
Painting by Franz Xaver Winterhalter
Miniature by David Des Granges
Miniature by Princess Elizabeth after Henry Edridge
Miniature by Joseph Lee
Miniature by Christian Friedrich Zincke
Mauchline ware box by Craig D. Helensburgh
Astronomical clock by Christopher Pinchbeck
and William Chambers
Fan by I.G. Schwartz & Son, with carving by
Christian Carl Peters
Tea kettle and stand from a tea service supplied
for Queen Charlotte
Tea cup and saucer marked ‘Kew’ belonging to
Queen Charlotte
Egg boiler with the ciphers of George III and his
five youngest daughters
Gold medallion commissioned by Queen Charlotte
Sèvres plate with cipher and motto ‘Huzza the King
is Well!’
Sèvres plate with cipher and motto ‘God Save the
King!’
Sèvres plate with portrait medallion
Sèvres preserve pots and stand with portrait
medallion
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King George VI’s full dress uniform of Admiral
of the Fleet
Bonnet worn by Princess Alexandra
Sprig of artificial orange blossom
Two wedding favour rosettes
Ceylonese bowl and stand
Minton oval dish
Minton bottle cooler
Minton dessert plate
Minton compote dish
Minton cream jug
Minton ice cup and saucer
Minton sugar bowl and cover
Minton fruit dish
Caviar bowl with pierced liner from a royal yacht
Water jug from a royal yacht
Fan decorated by Princess Elizabeth, daughter
of George III
Drawing by Canaletto
Drawing by Robert Havell
Two watercolours by Edwin Aaron Penley
Drawing by William Innes Pocock
Drawing by Thomas Rumball
Drawing by Sir Frederick William Trench
Book by Admiralty Office, London
Book by Alfred, Lord Tennyson
Badge of the Order of Victoria and Albert
Kitchener, Ontario, Homer Watson House
and Gallery
Homer Ransford Watson
1 May – 30 September 2012
Two paintings by H.R. Watson
London, National Portrait Gallery
The Queen: 60 Images for 60 Years
5 May – 21 October 2012
Painting by Lucian Freud
Paris, Château de Versailles
Charles Nicolas Dodin
19 items of Sèvres porcelain:
Vase antique ferré
Pair of vases à anses tortilles
Vase royal
Pair of vases à bandes
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Two vases angora
Vase à bandes
Pair of vases des âges
Two plates
Two seaux à liqueurs
Seau à glace
Compôtier ovale
Jatte à punch
Seau à bouteille
Newcastle upon Tyne, Laing Art Gallery
Family Matters: The Family in British Art
1 October – 21 December 2012
Painting by Sir Peter Lely
Painting by Johan Zoffany
Nuremberg, Germanisches National Museum
The Early Dürer
Drawing by Albrecht Dürer
London, British Museum
The Horse in the Middle East and Beyond:
The History of the Arabian Horse
Painting by Thomas Butler
Painting by George Stubbs
Fabergé silver model of Persimmon
Ottoman cavalry armour
London, Kensington Palace
Queen Victoria’s Diamond Jubilee
24 May – 31 October 2012
Queen Victoria’s lace flounce
Argyll and Sutherland Highlanders
Regimental Museum
6 June – 30 September 2012
Silver figure of a Highlander
Silver model of Cruachan
London, Handel House Museum
11 June 2012 – 11 June 2013
Bust of Handel after Roubiliac
Madrid, Museo Nacional del Prado,
and Paris, Musée du Louvre
Late Raphael
8 October – 14 January 2013
Two drawings attributed to Giulio Romano
20 September 2012 – 6 January 2013
Drawing by Federico Zuccaro
Washington DC, National Gallery of Art
Elegance and Refinement: The Still-life Paintings
of Willem van Aelst
24 June – 14 October 2012
Painting by Willem van Aelst
Paris, Grand Palais
Bohèmes
Drawing by Leonardo da Vinci
Double Take
Drawing by Hans Holbein the Younger
Warwickshire, Compton Verney
Flight and the Artistic Imagination
Two drawings by Leonardo da Vinci
Map by George Augustus Schulz
Edinburgh, Dovecot Studios
Weaving the Century: Tapestry from the
Dovecot Studios 1912–2012
13 July – 7 October 2012
Tapestry cartoon by Stephen Gooden
Shakespeare and the Theatre of the World
19 July – 25 November 2012
Painting by Jacob de Wet
Melrose, Roxburghshire,
Abbotsford Trust Visitor Centre
The Life and Career of Sir Walter Scott
23 July 2012 – 20 July 2014
Painting by Sir William Allan
Paris, Jacquemart-André Museum
Canaletto et Guardi: Venise et sa lumière
Four paintings and four drawings by Canaletto
London, Royal Academy of Arts
Bronze
15 September – 9 December 2012
Bronze head of a man from the Yemen
Bronze bust of Catherine de’ Medici
Renaissance to Goya: Prints and Drawings
made in Spain
Rome, Scuderie del Quirinale
Johannes Vermeer and the Golden Age of Dutch Art
Painting by Pieter de Hooch
Painting by Gabriel Metsu
Painting by Godfried Schalcken
New York, Metropolitan Museum of Art,
and Fort Worth, The Kimbell Art Museum
Bernini: Sculpting in Clay
2 October 2012 – 6 January 2013
3 February – 5 May 2013
Six drawings by Gian Lorenzo Bernini
Two drawings by the studio of Bernini
Manchester Museum,
The University of Manchester
Breed: The British and their Dogs
6 October 2012 – 14 April 2013
Three Fabergé hardstone carvings
Cartier hardstone carving
Rotterdam, Museum Boijmans Van Beuningen
The Road to Van Eyck
13 October 2012 – 10 February 2013
Two manuscript sheets from the so-called
‘Fly Missal’, French, c.1400
Paris, Musée D’Orsay
Victor Baltard (1805–1874). Le fer et le pinceau
Two watercolours by Max Berthelin
Watercolour by Ernest-Georges Coquart
Two watercolours by Arthur Stanislas Diet
Two watercolours by Jean-Louis-Charles Garnier
Two watercolours by Charles-Gustave Huillard
Two watercolours by Denis Lebouteaux
Two watercolours by Max Vautier
Watercolour by Édouard-Auguste Villain
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Madrid, Fundación Juan March
British Art from Holbein to Hockney
Painting by David Roberts
The Lost Prince: The Life and Death of Henry Stuart
Painting by Robert Peake
Painting by Michiel van Mierevelt
Painting by Hans Vredeman de Vries
Painting by an anonymous sixteenth-century artist
Two miniatures by Nicholas Hilliard
Four miniatures by Isaac Oliver
Armour made at the Royal Armoury, Greenwich,
under Jacob Halder
Bronze sculpture by Pietro Tacca after Giambologna
Two drawings by Hans Holbein the Younger
Saint Louis, Missouri, Saint Louis Art Museum
Federico Barocci, Renaissance Master
Five drawings by Federico Barocci
Malaga, Museo Picasso
The Grotesque Factor
Drawing by Leonardo da Vinci
Moscow Kremlin Museum
The ‘Golden Age’ of the English Court:
from Henry VIII to Charles I
Armour of Henry VIII
London, Sir John Soane’s Museum
Giving our Past a Future: The Work of the World
Monuments Fund, Britain
Watercolour by Joseph Nash
Wakefield, The Hepworth
Barbara Hepworth: The Hospital Drawings
Drawing by Barbara Hepworth
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London, National Gallery, and Barcelona,
CaixaForum
Seduced by Art: Photography Past and Present
Photograph by Oscar Rejlander
Zagreb, Galerija Klovicevi Dvori
Giulio Clovio
8 November 2012 – 20 January 2013
Six drawings by Giulio Clovio
Armour for a boy prince (c.1608), made for Henry, Prince of Wales
(1594–1612), eldest son of James I, whose short but remarkable
life was celebrated in the National Portrait Gallery exhibition,
The Lost Prince: The Life and Death of Henry Stuart.
Frankfurt, Städel Museum
Raffael als Zeichner
8 November 2012 – 20 January 2013
Seven drawings by Raphael
London, British Library
Mughal India: Art, Culture and Empire
8 November 2012 – 2 April 2013
Two pages of the Padshahnama by Bhola
Indian crown
Breda, The Netherlands, Breda Museum,
and Luxembourg, Museum Villa Vauban
Petrus van Schendel
10 November 2012 – 17 February 2013
9 March – 16 June 2013
Painting by Petrus van Schendel
Madrid, Museo Nacional del Prado
The Young Van Dyck
20 November 2012 – 3 March 2013
Reims, Musée des Beaux-Arts
Champagne!
11 December 2012 – 26 May 2013
Champagne glass and presentation box
Bath, Holburne Museum
Painted Pomp: Art and Fashion in the
Age of Shakespeare
26 January – 6 May 2013
Leather fan
London, The Kennel Club
The Welsh Corgi in Art and Literature
4 February – 19 July 2013
Painting by Edward Irvine Halliday
Painting by Derek Hill
Painting by William E. Narroway
Worcester dessert plate
Drawing by Davina Owen
Photograph by Marcus Adams
Three photographs by Baron (Sterling Henry
Nahum)
Two photographs by Yousuf Karsh
Three photographs by Lisa Sheridan
for Studio Lisa Ltd
Four photographs by Studio Lisa Ltd
Two pages of photographs by Studio Lisa Ltd
Photograph by an unknown photographer, 1984
London, Serpentine Gallery
Rosemarie Trockel: A Cosmos
13 February – 7 April 2013
Four drawings by Maria Sibylla Merian
London, National Gallery
Barocci: Brilliance and Grace
Five drawings by Federico Barocci
New Haven, Yale Center for British Art
Edwardian Opulence: British Art at the Dawn
of the Twentieth Century
28 February – 2 June 2013
Fabergé fan by Henrik Emanuel Wigström
Three Fabergé bell pushes
London, Victoria and Albert Museum
Treasures of the Royal Courts: Tudors, Stuarts
and the Russian Tsars
9 March – 14 July 2013
Armour of Henry VIII
Madrid, Museo Nacional del Prado
Juan Fernández el Labrador. Still Lifes
12 March – 16 June 2013
Painting by Juan Fernández (‘El Labrador’)
London, Hampton Court Palace
Secrets of the Royal Bedchamber
27 March – 3 November 2013
Painting by Sir Godfrey Kneller
Painting by John Riley
Painting after Enoch Seeman
Painting by anonymous British artist
Silver-gilt ewer and basin by George Garthorne
Watch by Daniel Quare
Marble bust by William Theed
Bed hanging
Embroidered cushion
William III door lock and key
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2013
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INTERPRETATION
LEARNING
The aim of Royal Collection Trust’s Learning team is to inspire deeper levels of engagement with the
Collection by finding new ways of inspiring younger people as well as adults. The creative insights of writers,
poets, musicians, artists, storytellers and dancers lie at the heart of many of these initiatives.
During the past year, the Wellcome Trust and The Prince’s Foundation for Children and the Arts have
both provided valuable financial support for learning programmes, and fertile partnerships have been
established with The Prince’s Drawing School, the Poetry Society and others who have shared in the
development of new ideas and new approaches. Royal Collection Trust’s three partner schools, Abbeyhill
Primary School in Edinburgh, Barrow Hill Junior School in Westminster and Montem School in Slough,
continue to test and give advice on new types of learning materials.
Schools
London and Windsor
The Diamond Jubilee saw increased numbers of schoolchildren visiting Windsor Castle, Buckingham Palace
and the Royal Mews, many for the first time. Of the 33,434 pupils who visited Windsor Castle in 2012–13,
51 per cent attended a taught session. Jubilee-based programmes featured role-play activities combined with
handling mystery objects from the 1950s (including a typewriter and an early television) and learning from
portraits. These sessions took place in the Garter Throne Room, using the state portrait of Queen Elizabeth II
in her Coronation Robe, and the very positive response led to the development of similar programmes for the
sixtieth anniversary of the Coronation and the exhibition The Queen: Portraits of a Monarch. A two-week
programme of free art and creative writing for schools was also themed around the Diamond Jubilee, and was
targeted at children from disadvantaged backgrounds and local schools visiting for the first time.
During the Summer Opening of
Buckingham Palace, landscape-drawing
workshops took place in the Garden. Now
in their second year, the workshops
continue to prove popular with primary
school pupils.
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Developed in partnership with the London Grid for Learning, The Royal Mews at Buckingham Palace features extensive video material showing staff
going about their daily work, as they explain the techniques underpinning the centuries-old traditions that support the Royal Household. Launched
at The Queen’s Gallery teachers’ evening in May 2012, the online resource has since been featured in The Times Educational Supplement.
When evaluating the
creative-writing programme
at Buckingham Palace,
98 per cent of teachers
said that the experience was
‘very good’ or ‘excellent’.
Of the 5,558 pupils visiting Buckingham Palace, The Queen’s Gallery
and the Royal Mews, 85 per cent attended a taught session; 2,054 of these
participated in workshops linked to the Diamond Jubilee, and 335 also
visited the Leonardo da Vinci: Anatomist exhibition (see page 19). The schools
programme for that exhibition focused on the intersections between science
and art, and it included two Sixth-Form Study Days delivered in partnership
with the Wellcome Collection, during which students explored the topic of
anatomy using Leonardo da Vinci’s drawings alongside contemporary three-dimensional imaging.
A history-based workshop examined the portraits in The Northern Renaissance as historical evidence –
investigating artists’ techniques and exploring the messages conveyed by colours, posture, dress and
accessories. Creative writing workshops for pupils aged 7 to 18 have continued to grow in popularity, taking
inspiration from the State Rooms at Buckingham Palace and the paintings on display in The Queen’s Gallery
to develop narrative, description, dialogue and monologue.
The Royal Mews had a successful year, with 1,560 pupils participating in sessions for Key Stages 1 and 2,
introducing pupils to Queen Victoria’s Diamond Jubilee in 1897 and the role of the Royal Mews in
those celebrations.
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Edinburgh
At The Queen’s Gallery and the Palace of Holyroodhouse, 3,977 pupils attended taught sessions in 2012, some
of which were linked to the Diamond Jubilee. Four Edinburgh primary schools took part in The Great Art
Quest, a national initiative supported by The Prince’s Foundation for Children and the Arts. Inspired
by the Jubilee exhibition, Treasures from The Queen’s Palaces, participants studied a variety of exhibits over a
five-month period, with the help of a poet, a local artist and members of the Learning team. Participants also
considered what qualities defined a treasure, and designed, made and wrote about their own treasures.
The project culminated in an exhibition of the children’s work in the Palace Mews.
Adult learning
The adult learning and access programmes in London and Edinburgh embrace a range of activities, including
‘Ten-minute Talks’, lectures given by Royal Collection Trust curators and external specialists, and verbal
description workshops. Partner events included Martin Clayton speaking on ‘Leonardo’s anatomical work’
(in conversation with Alice Roberts) at the Wellcome Collection. During the Treasures from The Queen’s
Palaces exhibition in Edinburgh, Royal Collection Trust participated in Scotland’s first Luminate festival,
organised by Creative Scotland, the Baring Foundation and Age Scotland, with the aim of engaging older
people in creative activities.
Royal Collection Studies
The seventeenth annual session of Royal Collection Studies, organised by the Attingham Trust and directed
by Giles Waterfield, took place in London, Windsor and Hampton Court, with an international range of
participants from ten countries, including curators, academics and specialists from such institutions as the
Moscow Kremlin Museum, the Getty Research Institute, Los Angeles, the Metropolitan Museum of Art,
Participants in Royal Collection
Studies visiting The Queen’s Chapel,
St James’s Palace.
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Through research and
creative excellence we act
as guides to the Palaces
and Collection
New York, the Yale Center for British Art, New Haven, the
Courtauld Institute of Art, London, Historic Royal Palaces, the
National Trust and the Victoria and Albert Museum, London.
Most of the guided visits and many of the lecture components
of the course are provided by Royal Collection Trust curatorial staff.
As in previous years, the course provided participants with a
thorough introduction to the Collection, its settings and history,
and opened numerous new dialogues and further avenues for
advanced study and collaboration.
Edinburgh
The Treasures from The Queen’s Palaces exhibition was accompanied
by a programme of lectures on aspects of the Royal Collection and
the history of its display. A Fabergé Study Day offered an
opportunity for participants to examine Fabergé pieces closely.
This year has also seen the start of a new collaboration with the
universities of Edinburgh and St Andrews for students of History of
Art, Theory and Display, and Museum and Gallery Studies.
In London, two well-attended family art workshop days were based
around the Leonardo exhibition in conjunction with the children’s arts
and science magazine, OKIDO.
Families
London and Windsor
Family learning events in London were enjoyed by 1,263 children
and 1,589 adults this year. On-demand activities, including
exhibition activity packs, were also available for families, while
child-friendly seating and activities and children’s books relating
to the theme of the exhibition were provided in the Millar Learning
Room.
At Windsor Castle, 8,206 children took part in art workshops
and family presentations this year, including six events during the
school holidays. These included costume-handling sessions using
three replica Stuart costumes based on those in Van Dyck’s
painting, The Five Eldest Children of Charles I (1637), and armourhandling workshops. Storytelling sessions were trialled in
Family workshops held at Windsor Castle during February half-term
in 2013 attracted a record number of participants.
St George’s Hall in the run-up to Christmas.
Edinburgh
This year the emphasis has been on raising the profile of the Palace of Holyroodhouse as a family venue, and
the Family Room at the Palace is now well stocked with on-demand activities and child-friendly tables and
seating. The Big Jubilee Lunch, held in the Palace Mews on 3 June 2012, attracted many families who came
to enjoy a picnic and watch the Thames River Boat Pageant on a big screen in the Mews. Pupils from Abbeyhill
Primary School sang at the Palace as part of the Jubilee celebrations, and around 130 children and adults
joined the activity table to make crowns and contribute to the Diamond Jubilee banner.
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L E C T U R E S B Y S TA F F
Rufus Bird lectured on ‘Five centuries of collecting: the Royal Collection’ for Arthritis Research UK at
Chawton House, Hampshire; he gave the annual lecture of the Frederick Parker Foundation on ‘Chairs in the
Royal Collection’; and spoke at the AGM of the Furniture History Society about ongoing conservation and
research work.
Tatiana Bissolati lectured on ‘Michelangelo’s presentation drawings’ at the Università Cattolica del Sacro
Cuore, Milan.
Al Brewer gave a talk on ‘Structural conservation of a small panel painting by Annibale Carracci’ at the
30th Anniversary Gerry Hedley Student Symposium held at Tate Britain.
Wolf Burchard spoke on ‘Hanoverian royal residences’ at the Gelbe Kreis, Hanover, on ‘The palaces of
George IV in London and Hanover’ at the Royal Over-Seas League, London, on ‘Charles Le Brun and the
Gobelins manufactory’ for the Furniture History Society in London, and on ‘The lost decoration of the
Ambassadors’ Staircase at Versailles’ at the Courtauld Institute of Art, London.
Claire Chorley gave a talk on the conservation treatment of ‘Hans of Antwerp’ by Hans Holbein the Younger
to a group of students from the Hamilton Kerr Institute, University of Cambridge, and participated in the
National Gallery/Royal Collection Trust seminar on The Northern Renaissance exhibition. She also gave a
‘Perfect Partners’ talk at The Queen’s Gallery, Buckingham Palace, about ‘Hans of Antwerp’.
Beth Clackett spoke on Queen Mary’s Dolls’ House to the Kent and North Kent Miniaturists groups and at
the Kensington Dolls’ House Festival.
Deborah Clarke gave a number of lectures associated with the exhibition Treasures from The Queen’s Palaces,
including ‘From idea to exhibition’ at The Queen’s Gallery, Palace of Holyroodhouse. She lectured on the
exhibition to the Edinburgh Decorative and Fine Arts Society, to Museum and Gallery Studies students at
the University of St Andrews and to postgraduate students at the University of Edinburgh. She spoke on
‘The Palace of Holyroodhouse as a royal residence’ to the Fife Decorative and Fine Arts Society.
Martin Clayton gave numerous lectures on Leonardo’s drawings, in connection with Royal Collection Trust
exhibitions. Associated with the travelling exhibition Ten Drawings by Leonardo da Vinci, he gave two lectures
at Birmingham City Art Gallery (one for The Art Fund), and led a study day there on ‘Leonardo the
anatomist’; he lectured three times, to friends, sponsors and teachers, at Bristol Museum and Art Gallery;
he spoke on ‘Leonardo through his drawings’ at the Ulster Museum, Belfast; he gave three lectures at
The McManus: Dundee’s Art Gallery and Museum (one to The Art Fund), and two at the Ferens Art Gallery,
Hull (one to The Art Fund). In addition, he lectured on ‘Leonardo’s drawings’ at the National Gallery,
London; gave a paper on ‘The artistic context of Leonardo’s anatomical work’ at a Courtauld Institute
research seminar; and spoke on ‘Leonardo’s anatomical work’ (in conversation with Alice Roberts) at the
Wellcome Collection, on ‘Leonardo and dissection’ to the Last Tuesday Society in London, on ‘Leonardo’s
anatomical work’ at the Cheltenham Festival, and on ‘Reflections on the exhibition Leonardo: Anatomist’ at
The Prince’s Drawing School.
Eloisa Dodero gave two lectures on the Cassiano dal Pozzo collection, one at the History of Art Seminar held
at the Warburg Institute, entitled ‘The Paper Museum of Cassiano dal Pozzo. Drawings after the Antique’, and
the other at the Roman Art Seminar, at Royal Holloway, University of London, on ‘Public reliefs of Rome in
the Paper Museum of Cassiano dal Pozzo’.
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Alan Donnithorne gave gallery talks for the Leonardo da Vinci: Anatomist and The Northern Renaissance
exhibitions at The Queen’s Gallery, Buckingham Palace. He presented a paper entitled ‘Recent studies of the
materials of Leonardo’s drawings in the Royal Collection, Windsor Castle’ to participants of the seminar
Diagnostica Conservazione Tutela i Disegni di Leonardo, at the Istituto Centrale per il Restauro e la Conservazione
del Patrimonio Archivistico e Librario in Rome.
Sophie Gordon gave a lecture on ‘At the ends of the earth: Royal collecting and polar exploration’ at
The Queen’s Gallery, Buckingham Palace. She also lectured at Kensington Palace on ‘Queen Victoria’s
photograph collection’, at Dulwich Picture Gallery to the Association of Historical and Fine Art
Photographers on ‘Photography and the Royal Collection’, and at the National Portrait Gallery, at the
Understanding British Portraits annual seminar, on ‘Public or private? Making photographs in the Royal
Collection accessible’.
Caroline de Guitaut gave numerous introductory lectures, talks and tours of the exhibition Diamonds: A Jubilee
Celebration: to the participants in Royal Collection Studies, to the Society of Jewellery Historians, to the
patrons of the Queen Elizabeth Scholarship Trust, to staff of Historic Royal Palaces, to NADFAS, to the
patrons of the National Museum of Women in the Arts and to the patrons of The Prince’s Foundation for
Children and the Arts. She spoke on ‘Royal diamonds’ at the Diamonds Study Afternoon at The Queen’s
Gallery, to the Friends of the V&A and for the De Ferrieres Lecture to the Friends of Cheltenham Art Gallery
and Museum. She lectured on ‘Royal Fabergé’ at the Palace of Holyroodhouse and also on ‘Carl Fabergé:
Imperial Jeweller to the Tsars’ as part of the Distinguished Lecture Series at the Houston Museum of Natural
Science, Texas, organised with Rice University. She gave a paper entitled ‘Queen Mary’s dress and jewels:
formula or fashion?’ at the conference organised by Historic Royal Palaces and held at Kensington Palace
entitled The Making of a Monarchy for the Modern World. She also lectured on ‘Coronation jewels and dress’ at
the West of England Costume Society’s fortieth anniversary conference, Seeing Red.
Kate Heard gave a lecture and gallery talks for the exhibition The Northern Renaissance at The Queen’s Gallery,
Buckingham Palace. She delivered a lecture entitled ‘Still “verais, popres e beaus”? English ecclesiastical
embroidery from the Wars of the Roses to the Reformation’, at the symposium on English medieval embroidery
at the Victoria and Albert Museum, and spoke on The Northern Renaissance exhibition at the Summerleaze
Gallery, Wiltshire, and to the York and East Yorkshire Art Fund group in York. She also gave the keynote
address, entitled ‘To honour the proficient and entertain the people: the visual culture of Majesty’, at the day
conference Majesty: Constructing Royal Authority in Medieval and Early Modern Europe, at the University of Hull,
and spoke on the print room in Queen Charlotte’s Cottage, Kew, at the Paul Mellon Centre’s two-day
workshop in London.
Lisa Heighway lectured on the exhibition Marcus Adams: Royal Photographer at the Russell-Cotes Art Gallery
and Museum, Bournemouth, and at Norwich Castle, Norfolk.
Kathryn Jones spoke on ‘The Royal Collection and the Grand Service’ as part of a symposium on royal
collecting (Kongelige samling) at the Kunstindustrimuseet, Oslo.
Jonathan Marsden lectured on ‘The Royal Collection on show’ at Haseley Court, Buckinghamshire, at the
Palace of Holyroodhouse, for The Art Fund in Hereford and at Christ Church, Oxford, and on ‘“Portrait as
Trophy”: three Imperial busts by Leone Leoni’ at the Frick Collection, New York. He also spoke about
the Royal Collection for sixth-form students at The Ashcombe School, Dorking, for the Greater London
Lieutenancy and for NADFAS on the Isle of Wight.
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ANNUAL REPORT
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David Oakey spoke on ‘Celebratory ceramics: a royal celebration’ to the English Ceramic Circle, and on
‘Henry Holland and furniture – the beginning of the Regency style?’ at a research seminar held by the
Furniture History Society at The Wallace Collection.
Stephen Patterson spoke on ‘Symbols of the Durbar’ at the conference Staging Empire – New Perspectives on the
1911 Coronation Durbar and Imperial Assemblage, at Manchester Metropolitan University, and on ‘The King’s
medals’ at the Special Forces’ Club. He also spoke on Collections Information as part of the Perspectives
Lecture Series to the Museum Studies course, University of Leicester.
Lauren Porter gave talks on the exhibitions Leonardo da Vinci: Anatomist and The Northern Renaissance at
The Queen’s Gallery, Buckingham Palace. She also spoke at Bristol Museum and Art Gallery on ‘Leonardo’s
drawings in the Royal Collection’.
Vanessa Remington gave a lecture on ‘Sir William Ross (1794–1860): le miniaturiste des cours européennes?’
at the Second International Seminar, La Miniature en Europe, Fondation Cini, Paris, and on ‘“Philistines or
Connoisseurs?”: the collecting of miniatures by the early Hanoverians at the English Court (1714–60)’ at the
European Miniatures: Artists, Functions and Collections international conference, Celle Castle, Germany.
Anna Reynolds spoke on ‘Democratising fashion’ at the TEDx (Technology, Entertainment and Design)
conference, Houses of Parliament. She also gave various talks at The Queen’s Gallery, Buckingham Palace,
including one on the exhibition In Fine Style: The Art of Tudor and Stuart Fashion for students at Wimbledon
College studying costume design and interpretation.
Jane Roberts spoke on ‘The drawings of Leonardo in the Royal Collection’ at the National Gallery, London,
on ‘Fine bindings in the Royal Library, Windsor Castle’, to the Designer Bookbinders, at the Art Workers
Guild, London, on ‘The history of Virginia Water (the lake)’, to the Friends of the Savill Garden, at
Cumberland Lodge, and on ‘An extra-illustrated volume created by Queen Charlotte’ at the Paul Mellon
Centre’s two-day workshop in London.
Jennifer Scott gave ‘Perfect Partners’ and student talks for the exhibitions Leonardo da Vinci: Anatomist and
The Northern Renaissance at The Queen’s Gallery, Buckingham Palace, and talks at the National Gallery,
London, on Thomas Lawrence, Masaccio, Tintoretto and Jan Van Huysum. She lectured on ‘Mathematics and
nature in Renaissance art’, ‘High Renaissance to Mannerism’ and ‘The Dutch and Flemish seventeenth
century’ at Sotheby’s Institute of Art, London. She moderated at a Salon-style discussion on ‘The royal image’
at the Royal Academy, London, and lectured on ‘Royal portraiture’ at the Havering Museum, Romford.
She gave a joint lecture with Desmond Shawe-Taylor and Steven Parissien on ‘The changing face of monarchs’
at Blenheim Palace Literary Festival, Woodstock. She delivered lectures on ‘The monarchy and the arts:
British royal collecting from Henry VII to today’ at Homer Watson House and Gallery, Kitchener, Ontario, and
on ‘Women in art’ at Bath Literature Festival.
Desmond Shawe-Taylor gave a lecture on ‘Italian paintings in the Royal Collection’ at Locko Park and a talk
about ‘The northern Renaissance in Europe’ at the Little Missenden Festival. He gave a lecture on ‘Sporting
art in the Royal Collection’ for the British Sporting Art Trust, and a joint lecture with Jennifer Scott and
Steven Parissien on ‘The changing face of monarchs’ at Blenheim Palace Literary Festival, Woodstock.
He lectured on the inventories of the Royal Collection made during the Regency period at the University of
Cambridge, as part of a series of talks on ‘Things: early modern material cultures’, and was engaged in a
conversation with Anna Somers Cocks, Chief Executive of The Art Newspaper, on ‘Royal collections and the
ANNUAL REPORT
2013
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future of museums’, at the Fred Jones Jr. Museum of Art, University of Oklahoma, and the Crystal Bridges
Museum of American Art, Bentonville, Arkansas.
Emma Stuart gave ‘Perfect Partners’ talks for The Northern Renaissance exhibition at The Queen’s Gallery,
Buckingham Palace.
Stephen Weber lectured on ‘Stubbs in the Royal Collection: patronage of George IV’ at the British Museum’s
study day, ‘Stubbs to Delacroix: Arabian and thoroughbred horses in European art’, held in association with
its exhibition, The Horse: From Arabia to Royal Ascot?
Lucy Whitaker gave a lecture entitled ‘Art without frontiers. Connections and cross currents in Northern
Europe’ as part of the lecture series connected to The Northern Renaissance exhibition at The Queen’s Gallery,
Buckingham Palace. She gave many talks and lectures related to the exhibition, including several to specialist
groups such as The Art Fund.
PUBLISHING
Several new publications in 2012–13 focused on the Diamond Jubilee. They included:
• The Queen’s Diamonds, by Hugh Roberts
• Diamonds: A Jubilee Celebration, by Caroline de Guitaut
• Dressing The Queen: The Jubilee Wardrobe, by Angela Kelly.
Other new titles supported the exhibition programme or extended the range of children’s titles:
• Leonardo da Vinci: Anatomist, by Martin Clayton and Ron Philo
• Cairo to Constantinople: Francis Bedford’s Photographs of the Middle East, by Sophie Gordon, Badr El Hage
and Alessandro Nasini
• J. Smith, by Fougasse (published in association with Walker Books)
• Kings, Queens and a Scottish Lion, by Leah Kharibian, with illustrations by Katy Sleight.
DIAMONDS
A J U B I L E E C E L E B R AT I O N
Caroline de Guitaut
42
ANNUAL REPORT
2013
The iPad app, Leonardo da Vinci: Anatomy (seen here on the right, with the exhibition catalogue to the left), has achieved more than
12,000 downloads since publication in April 2012, and won the 2013 Webby Award in the Education & Reference category.
Leonardo da Vinci: Anatomy, the first Royal Collection Trust app for use on
tablets, was created in association with Touch Press and Primal Pictures, and
launched to coincide with the Leonardo exhibition at The Queen’s Gallery.
With the accompanying exhibition catalogue, it was the inaugural awardwinner in the Best Use of Cross-Media category at the British Book Design
and Production Awards in 2012 and has been downloaded more than 12,000
times from the iTunes shop. The app was chosen as the winner in the Tablet
Education and Reference category of the Lovie Awards (named after the
pioneer of computing, Ada Lovelace) by members of the International
Academy of Digital Arts and Sciences from almost 1,000 entries; it also won
the Education & Reference (Tablet & All Other Devices) category in the
17th Annual Webby Awards.
I believe it is the first
successful example of a new
media publication that
accomplishes what has
always been a vague promise
of how new media will
change the way we confront
and learn about art.
Louis Marchesano, Curator
of Prints and Drawings,
Getty Research Institute,
Los Angeles
Several Royal Collection Trust publications have attracted interest from
foreign-language publishers, with rights to Czech, Slovak, German and
French editions being sold in 2012–13. Future plans include exploring the
demand from Far Eastern markets, as well as increasing the number of
languages in which guidebooks are offered. A Brazilian Portuguese guidebook
will be available at Buckingham Palace and Windsor Castle in 2013.
All three major Jubilee titles met with critical approval and commercial
success, with The Queen’s Diamonds reprinting three times during the year,
and selling particularly strongly in North America. The book also won the
Book of the Year 2013 award from the Motovun Group Association, an
international network of publishers. Diamonds: A Jubilee Celebration proved
equally popular, while Dressing The Queen became an Amazon Christmas
best-seller. Publishing income rose by 360 per cent in 2012–13; this growth
was primarily down to Leonardo and the Jubilee-related publications.
With 11,000 entries from
all 50 US states and over
60 countries worldwide,
the 17th Annual Webby
Awards is the biggest in our
history and continues to be
the leading international
award honoring excellence
on the Internet. Your work
truly represents the best
of the Web.
International Academy of
Digital Arts and Sciences
The series of children’s on-site guidebooks was completed with the
publication of Kings, Queens and a Scottish Lion, introducing younger visitors
to the Palace of Holyroodhouse. The project provided an opportunity to
work closely with partner schools in Edinburgh, and the experience gained
ANNUAL REPORT
2013
43
from the project will help to inform thinking about presentation for the Palace of Holyroodhouse Master Plan.
A relationship was initiated with Walker Books, the children’s trade publisher, with the publication of
J. Smith, a fairy story written in 1922 by the cartoonist and editor of Punch magazine, Cyril Kenneth Bird
(pen name ‘Fougasse’), for the miniature library in Queen Mary’s Dolls’ House. This charming work was
brought to the market as a silk-bound gift-book and has sold strongly, as well as earning royalties from trade
sales and French and German language editions.
Work continued on the preparation of a number of catalogues raisonnés, in particular Chinese and Japanese
Works of Art, Military Maps of George III and European Arms and Armour. Research and editorial work has also
continued on the long-term project to publish The Paper Museum of Cassiano dal Pozzo, a collection of some
10,000 drawings and prints dispersed between the Royal Library at Windsor, the British Library, the Institut de
France and other public and private collections. Generous support for this important project has again been
provided by the Michael Bishop Foundation. The sixteenth volume in the series – Part A.VI, Classical
Manuscript Illustrations, by Amanda Claridge and Ingo Herklotz – was published in October 2012. Nine further
parts (21 volumes) are in preparation to complete the series by 2017, with the next title – Part A.X,
Renaissance and Later Architecture and Ornament (two volumes) – scheduled for publication in October 2013.
Publications by Staff
The following additional publications appeared during the year:
Wolf Burchard: ‘Savonnerie reviewed: Charles Le Brun and the “grand tapis de pied d’ouvrage à la turque”
woven for the Grande Galerie at the Louvre’, Furniture History, 48, pp. 1–43 (2012); book reviews of
Europäische Galeriebauten (Bibliotheca Hertziana, Berlin, 2011) and Les grandes galeries européennes (Éditions de
la Maison des sciences de l’homme, Versailles, 2011), in The Court Historian, 17(1), pp. 95–104 (2012), and
P. Schneider, Die erste Ursache: Kunst, Repräsentation und Wissenschaft zu Zeiten Ludwigs XIV. und Charles Le Brun
(Gebr. Mann Verlag, Berlin, 2011), in Revue de l’Art, 179, pp. 79–80 (March 2013).
Irene Campden: ‘Rebinding the Royal Collection’s Birds of America’ (co-author with Philippa Räder),
Skin Deep, 34, pp. 2–9 (Autumn 2012).
Martin Clayton: ‘Leonardo’s anatomy years’, Nature, 484, pp. 314–16 (April 2012).
Eloisa Dodero: ‘Marmi antichi a Palazzo Cellamare e un nuovo sarcofago con mito di Fetonte’, Napoli
Nobilissima, 3, pp. 55–74 (2012).
Sophie Gordon: You Animal, You! Charlotte Cory (co-author with A.N. Wilson and Jane Sellars) (Black Dog
Publishing, London, 2012).
Jonathan Marsden: ‘Canova and George IV, Prince Regent and King’, Studi Neoclassici, 1, pp. 157–70 (2013).
David Oakey: ‘Henry Holland, the Prince of Wales and Carlton House: “the Most perfect Palace in Europe”’,
Georgian Group Journal, 21, pp. 87–102 (2013).
Stephen Patterson: ‘The Stuart jewels – their travels and travails’, Jewellery Studies, 12, pp. 40–54 (2012).
Philippa Räder: ‘Rebinding the Royal Collection’s Birds of America’ (co-author with Irene Campden),
Skin Deep, 34, pp. 2–9 (Autumn 2012).
Vanessa Remington: ‘Sir William Ross (1794–1860): international court miniaturist?’, in N. Lemoine-
44
ANNUAL REPORT
2013
Bouchard (ed.), La Miniature en Europe. Des portraits de propogande aux œuvres éléphantesques, pp. 83–9
(Lemoine-Bouchard Fine Arts, Paris, 2013).
Helen Ritchie: ‘“A Superb Service of Toilette Plate”: historicist plate in the Royal Collection’, Silver Studies,
28, pp. 101–11 (2012).
Jennifer Scott: ‘Painting from life? Comments on the date and function of the early portraits of Elizabeth
Woodville and Elizabeth of York in the Royal Collection’, Proceedings of the Harlaxton Symposium: The Yorkist
Age, XXIII, pp. 18–26 (2013).
Desmond Shawe-Taylor: book reviews of M. Webster, Johan Zoffany (Yale University Press, New Haven and
London, 2011), in The Burlington Magazine, pp. 351–2 (May 2012), and M.E. Wieseman, W.E. Franits and
H.P. Chapman, Vermeer’s Women: Secrets and Silence (Yale University Press, catalogue to accompany exhibition
at the Fitzwilliam Museum, Cambridge, October 2011 – January 2012), in Apollo, pp. 98–9 (May 2012);
‘My favourite painting: Mars and Venus by Pablo Veronese’, Country Life, p. 274 (23 May 2012); ‘Sporting
pictures in the Royal Collection’, The British Sporting Art Trust Newsletter (Spring 2013).
Lucy Whitaker: ‘Bembo in focus: a fair conclusion’, published in conjunction with the exhibition Pietro Bembo
e l’invenzione del Rinascimento, Palazzo Monte di Pietà, Padua (2 February – 19 May 2013), in G. Beltramini,
H. Burns and D. Gasparotto (eds), Pietro Bembo e le Arti, pp. 329–38 (Marsilio, Venice, 2013); ‘The repetition
of motifs in the work of Maso Finiguerra, Antonio Pollaiuolo and their collaborators’, in M.W. Kwakkelstein
and L. Melli (eds), From Pattern to Nature in Italian Renaissance Drawing: Pisanello to Leonardo, pp. 152–73
(Centro Di, Florence, 2012).
NEW MEDIA
The first phase of the new website went live in March 2012, presenting a fresher, more colourful and dynamic
resource. The Collection Online continued to be enriched and expanded during the year. A Collection Online
search tool went live in November, allowing access to more than 227,000 records by creator, title, date, object
category (and type), as well as by material, reference and acquirer. The existing records are continually being
enhanced and images added, and the overall number of records continues to rise. A notable achievement was
the inclusion of more than 72,000 book records, bringing the contents of the Royal Library to public awareness
for the first time. Areas with significant numbers of images added in the past year include coins, miniatures,
paintings, drawings and watercolours, prints (particularly engraved royal portraits), nineteenth-century
photography, ceramics and gold boxes. Over the coming year, work on the website will move into its second
phase, enhancing what has already been delivered and adding new functionality and features.
The most significant digital project in the coming year will be the delivery of a new ticketing system for
visitors booking online, at the counters and through the Contact Centre. The current solution was first
implemented in 1998 and has grown organically through numerous modifications ever since. As visitor
numbers and expectations increase, Royal Collection Trust’s current and future requirements, including printat-home and mobile ticketing, business-to-business sales and more sophisticated customer-relationship
management, have outgrown the technology available through the present system. A new supplier was
appointed in December 2012, with the aim of testing the pilot version of its ticketing solution in Edinburgh in
the autumn of 2013.
ANNUAL REPORT
2013
45
Four screenprints of Her Majesty The Queen from Andy Warhol’s Reigning Queens series (1985), acquired during the year, were exhibited at
Windsor Castle from November 2012.
ACQUISITIONS
Four screenprints of Her Majesty The Queen from Andy Warhol’s Reigning Queens series were acquired to mark
The Queen’s Diamond Jubilee. The 1985 portfolio of 16 large-format prints comprised four portraits of three
female sovereigns and one regent (the Queen of Swaziland). Warhol based his portrait of The Queen on a
photograph taken by Peter Grugeon at Windsor in 1975 and later released for the Silver Jubilee in 1977. The
prints are from the second, ‘Royal Edition’ of the portfolio, which is distinguished by the addition of highlights
in ‘diamond dust’. They featured in the exhibition The Queen: Portraits of a Monarch, on view at Windsor Castle
from November 2012 to June 2013.
The Royal Academy of Arts presented more than one hundred works on paper to The Queen to mark
the Diamond Jubilee. The gift, which was presented to Her Majesty in November 2012 by the Academy’s
President, Christopher Le Brun, and Secretary and Chief Executive, Dr Charles Saumarez Smith, includes
works by current Academicians, including Tracey Emin, David Hockney, Anish Kapoor, Cornelia Parker and
Grayson Perry. This generous gift follows those made on the occasions of The Queen’s Coronation in 1953 and
the Silver Jubilee in 1977. The works will be shown at The Queen’s Gallery, Buckingham Palace, from
November 2013.
Several important photographic acquisitions were made this year. An album of hand-painted albumen
photographs and watercolours made by Gustav Henry William Mullins in 1890–93, showing members of the
royal family at Balmoral and Osborne, was donated in May 2012. In the following month, the photographer
James Eckersley presented a set of 36 portraits of pilots who fought in the Battle of Britain, and in July 2012
the album illustrated top right on the facing page was acquired.
46
ANNUAL REPORT
2013
The Barns-Graham Charitable Trust presented Wilhelmina Barns-Graham’s St Ives
(1940–41) to Her Majesty The Queen on the occasion of the Diamond Jubilee.
This interesting example of Barns-Graham’s early work joins the small group of
significant modernist works already in the Royal Collection.
The President of the Royal Academy, Christopher Le Brun, presented works
by Royal Academicians to The Queen to mark the Diamond Jubilee.
Purchased in 2012, this album contains photographs taken in
1901–4 by Queen Victoria’s granddaughter, Princess Victoria
Eugénie of Battenberg (1887–1969), later Queen Victoria Eugénie,
consort of Alfonso XIII, King of Spain. It includes records of the
1902 Coronation and of a visit to Egypt during which the royal
party met the archaeologist Howard Carter.
Princess Victoria Eugénie’s mother, Princess Beatrice (1857–1944),
the youngest child of Queen Victoria and Prince Albert and widow
of Prince Henry of Battenberg (1858–96), in a portrait by Philip
de László painted in 1926 and purchased for the Royal Collection
in 2012. This is one of several that the artist painted of the Princess
over an extended period, and is a particularly fresh example of
de László’s work at its most subtle.
ANNUAL REPORT
2013
47
We generate revenues
to fund our charitable work
TRADING ACTIVITIES
R E TA I L
This year’s retail performance (an increase of 5.9 per cent on 2012–13) was remarkably strong in view of
the slight reduction in overall attendance figures, access constraints during the celebrations of the
Diamond Jubilee, and road closures during the Olympic and Paralympic Games. While all the shops
performed well, the outstanding success was the extended Garden Shop at Buckingham Palace, which
recorded a 42 per cent increase in spend per visitor. Initiatives to increase tax-free sales and home
delivery have been well received and now form a key part of the sales and training strategy.
Limited editions have proved very popular, and merchandise to celebrate the Diamond Jubilee
accounted for 28 per cent of all sales – a very high figure considering the volumes of this range that had
already been sold in the previous financial year. Items linked to the Diamonds exhibition during the
Buckingham Palace Summer Opening were also in great demand, especially books and jewellery. The
new range developed to celebrate the anniversary of the Coronation was launched in December 2012
and has been well received across all markets.
The wholesale supply of exclusive Royal Collection Trust ranges is an important element of the retail
business. Attention is now focused on a small number of high-volume customers, which has led to
increased revenues with lower overheads than in previous years.
PICTURE LIBRARY
In excess of 90,000 images were added to the Digital Asset Management System (DAM) during the year.
These included images from new photography by both in-house and freelance photographers, and from
the digitisation of stock analogue material and images transferred from conservation records. Digitisation
of microfilm and microfiche, which was started in the 2011–12 period, was completed during the current
reporting period, with 34,000 image files added to DAM.
The agreement with Bridgeman Art Library was extended, and the number of images available for
purchase from this commercial picture library was increased by 50 per cent. Images were licensed for the
IWC media programme Inside the Mind of Leonardo, coins produced by Perth Mint, the programme Britain’s
Hidden Heritage 2 and the forthcoming TV series Music and Monarchy, presented by David Starkey.
Five work-experience students spent time in the Picture Library, gaining valuable experience of
the day-to-day workings of a busy picture library and the work of studio photographers.
ANNUAL REPORT
2013
49
FINANCIAL OVERVIEW
Incoming Resources
The summarised financial statements set out on pages 53– 4 indicate that Royal Collection Trust
increased its incoming resources by £546,000 (1.1 per cent), from £50,272,000 in 2011–12 to
£50,818,000 in 2012–13. The reduction in admissions income of £1,418,000 (4.5 per cent), from
£31,815,000 to £30,397,000, is largely due to a decrease in visitor numbers of 169,000 (6.5 per cent),
from last year’s record visitor numbers of 2,596,000 to 2,427,000, partially offset by higher admission
charges.
Income from retail, catering, publishing and photographic services increased by £1,003,000
(5.7 per cent), from £17,693,000 to £18,696,000. This increase was generated largely by the popularity
of Diamond Jubilee merchandise, but was also influenced by the increased spend per visitor and strong
off-site retail sales.
Charitable Expenditure
Expenditure on charitable activities increased by £1,516,000 (5.7 per cent), from £26,657,000 in
2011–12 to £28,173,000 in 2012–13. Expenditure on presentation and interpretation increased by
£1,000,000 (27.2 per cent); conservation increased by £333,000 (17.3 per cent); and access to the Royal
Collection increased by £551,000 (3.1 per cent).
Net Incoming Resources and Cash Flow
Net incoming resources, before recognising the pension scheme actuarial gain of £800,000
(2011–12 loss: £1,300,000), amounted to £9,016,000 (2011–12: £10,437,000). The net cash inflow of
£8,996,000 has resulted in net cash balances of £23,656,000 at 31 March 2013 (2011–12: £14,660,000).
Funds and Reserves
Royal Collection Trust has total Funds and Reserves of £38,895,000 at 31 March 2013
(2011–12: £29,379,000). After allocating funds that are restricted or are represented by fixed assets, the
Trustees have designated funds of £1,200,000 relating to the pension scheme and £16,500,000 towards
the development of the Windsor Castle Past and Future project, leaving £4,042,000 of free reserves
(2011–12: £3,814,000).
50
ANNUAL REPORT
2013
INCOME AND ADMISSION NUMBERS FOR THE YEAR
Admission numbers
2012– 13
2011–12
2012–13
2011–12
£000
£000
000
000
Windsor Castle and Frogmore House
– admissions
– shop sales
13,878
3,543
14,044
3,314
1,134
1,182
Buckingham Palace Summer Opening
– admissions
– shop sales
8,891
4,648
10,040
3,874
522
613
The Queen’s Gallery
– admissions
– shop sales
1,708
3,598
1,431
3,331
209
196
The Royal Mews
– admissions
– shop sales
1,511
1,250
1,707
1,233
228
271
–
–
127
51
–
13
– admissions
– shop sales
2,917
1,116
2,862
1,055
334
321
Other retail income (including off-site and cafés)
4,318
4,594
Publishing
942
262
Photographic services
223
242
1,492
1,604
783
501
50,818
50,272
2,427
2,596
Clarence House
– admissions
– shop sales
Gift Aid
Other income
F I V E -Y E A R C O M PA R I S O N
2008– 9
2009– 10
2010– 11
2011– 12
2012– 13
£000
£000
£000
£000
£000
21,348
23,307
25,246
31,815
30,397
9,023
9,936
11,705
17,068
18,048
21,179
22,634
24,021
26,657
28,173
Net incoming resources (before actuarial
gain/(loss) recognised in pension scheme)
802
1,908
7,422
10,437
9,016
Capital expenditure
688
647
1,159
902
630
1,993
2,074
2,160
2,596
2,427
£10.71
£11.24
£11.69
£12.26
£12.52
£4.13
£4.30
£4.59
£5.40
£6.24
Admissions income (including Gift Aid)
Retail sales (excluding cafés)
Charitable expenditure
Visitor Performance Indicators
Visitor numbers (000)
Admissions income per visitor
Retail spend per visitor (on-site only)
ANNUAL REPORT
2013
51
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 OYA L
COLLECTION TRUST (‘THE CHARITY’)
We have examined the summarised financial statements of The Royal Collection Trust for the year ended
31 March 2013 which comprise the Summary Consolidated Statement of Financial Activities and the
Summary Consolidated Balance Sheet set out on pages 53– 4. 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 53– 4 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 53– 4 are consistent with the full
statutory Annual Financial Statements for the year ended 31 March 2013. 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 (26 June 2013) and the date of this statement.
M.G. Fallon
for and on behalf of KPMG LLP
Chartered Accountants
8 Salisbury Square, London EC4Y 8BB
52
ANNUAL REPORT
2013
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 2013
Restated
2013
2012
£000
£000
120
64
18,696
17,693
INCOMING RESOURCES
Incoming resources from generated funds:
Voluntary income:
Grants and donations
Activities for generating funds:
Retail, catering, publishing and photographic services
Licences and commissions
166
90
Sponsorship
140
140
370
216
30,178
31,626
1,099
388
49
55
50,818
50,272
13,223
12,504
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, publishing and photographic services
Charitable activities:
18,193
17,642
Presentation and interpretation
4,676
3,676
Exhibitions
2,210
2,631
Conservation
2,257
1,924
837
784
28,173
26,657
138
129
Access
Custodial control
Governance costs
Other resources expended:
Donation
Pensions finance income
Total resources expended
Net incoming resources
Actuarial gain/(loss) recognised in pension scheme
Net movement in funds
Fund balances at 1 April 2012
Transfer of pension liabilities
Fund balances at 31 March 2013
468
745
(200)
(200)
41,802
39,835
9,016
10,437
800
(1,300)
9,816
9,137
29,379
20,242
(300)
38,895
–
29,379
ANNUAL REPORT
2013
53
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 2013
Restated
2013
2012
£000
£000
17,144
17,956
Stock and work in progress
2,978
3,484
Debtors
1,957
1,804
21,000
9,000
5,656
8,660
Fixed assets
Tangible assets
Current assets
Bank deposits
Cash at bank and in hand
31,591
22,948
(11,040)
(8,625)
Net current assets
20,551
14,323
Total assets less current liabilities
37,695
32,279
Creditors: amounts falling due within one year
Creditors: amounts falling due after more than one year
–
Net assets excluding pension asset
Pension asset
Net assets
(3,000)
37,695
29,279
1,200
100
38,895
29,379
416
429
16,500
7,500
16,737
4,042
17,536
3,814
37,695
29,279
1,200
100
38,895
29,379
Income funds
Restricted
Unrestricted
Designated funds
Windsor Castle Past and Future project
General funds
Fixed assets
Free reserves
Funds excluding pension reserve
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 26 June 2013 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 26 June 2013 and were signed on
their behalf by:
Mr Peter Troughton Trustee
54
ANNUAL REPORT
2013
Sir Alan Reid Trustee
STAFF
EXTERNAL APPOINTMENTS
Simon Metcalf: Member of the Conservation
Committee, Church of England Church Buildings
Lucie Amos: Trustee of the Rose Theatre Trust;
Council.
Co-Chair of the Diversity in Heritage Group.
David Oakey: Member of the London Events
Julia Bagguley: Member of the Lucy Cavendish
Committee, The Art Fund.
College Fine Arts Committee; Honorary Secretary
Philippa Räder: Committee Member of the London
of The Prince’s Teaching Institute.
and South branch of the Society of Bookbinders.
Robert Ball: Member of the Executive Committee
David Rankin-Hunt: Norfolk Herald of Arms
of the National Benevolent Society of Watch and
Extraordinary; Deputy Inspector of Regimental
Clock Makers; Chairman of the Council, British
Colours; Deputy Inspector of RAF Badges;
Watch and Clock Makers’ Guild; Trustee of the
Genealogist of the Antigua and Barbuda Orders of
British Horological Institute Museum Trust.
Chivalry; Special Adviser (Honours), Government
Wolf Burchard: Member of the Committee, Society
of Grenada.
for Court Studies.
Anna Reynolds: Secretary of the Association of
Martin Clayton: Member of the Ente Raccolta
Dress Historians.
Vinciana.
Jane Roberts: Member of the Ente Raccolta
Jacky Colliss Harvey: Trustee of the Association
Vinciana, the Editorial Advisory Board of the
for Cultural Enterprises.
Master Drawings Association, the Council of
Paul Cradock: Trustee of the National Benevolent
Management of the Windsor Festival, the
Society of Watch and Clock Makers; Honorary
Chatsworth House Conservation Advisory Board
Secretary and Director of the British Watch and
and the Consultative Committee of the Walpole
Clock Makers’ Guild.
Society; Governor of the British Institute of Florence.
Alan Donnithorne: Visiting Professor at Camberwell
Jennifer Scott: Trustee of the Living Paintings Trust.
College of Arts (University of the Arts London).
Desmond Shawe-Taylor: Trustee of the Samuel
Kate Heard: Deputy Editor of the Journal of the
Courtauld Trust (to December 2012); Member of
History of Collections; member of the UK Print
the Advisory Council, Hamilton Kerr Institute;
Curators’ Forum.
Vice-President, NADFAS; Trustee of The Holburne
Kathryn Jones: Member of the Committee of the
Silver Society and of the Silver Society’s Research
and Publications Committee; member of the
Antique Plate Committee.
Jonathan Marsden: Trustee of Historic Royal
Palaces, The Art Fund, Royal Yacht Britannia Trust,
City and Guilds of London Art School; Member of
Council, Attingham Trust; Selection Panel Member,
Plowden Medal (RWHA).
Museum, Bath; Trustee of Compton Verney
Collections Settlement; Trustee of The Burlington
Magazine; member, selection panel for the Sunday
Times Watercolour Competition for 2012 and for
Drawn 2013 at the Royal West of England Academy.
Shaun Turner: Tutor/Lecturer in Woodwork/
Cabinet-making, Picture Frame-making, Decorative
Surfaces and Furniture Restoration for
Hammersmith and Fulham Adult Learning Skills
Services, MacBeth Centre.
ANNUAL REPORT
2013
55
Oliver Walton: Council Member of the Navy
The curatorial team is completed by the Curator,
Records Society; Council Member of the Prince
Palace of Holyroodhouse (1), and the
Albert Society.
Superintendent of the Royal Collection at Hampton
David Wheeler: Member of the Conservation
Court (1).
Advisory Panel, The Wallace Collection.
During the summer of 2012, management
Bridget Wright: Honorary Editor of the Friends of
responsibility for the Exhibitions section (consisting
St George’s and Descendants of the Knights of the Garter
of 4 (3) permanent full-time staff, and 1 (2) member
Annual Review.
of staff on a fixed-term contract) was transferred
from the Librarian to the Operations Director
S TA F F N U M B E R S
(now Visitor Experience Director).
(2011–12 numbers in brackets)
The Collections Information section had 11 (12)
full-time and 4 (3) part-time members of staff. Their
The Directorate had 4 (4) full-time and
work was aided by 3 (2) volunteers.
2 (2) part-time staff.
Front-of-house staff, which includes Visitor
The Paintings section had 11 (10) full-time and
Services, Retail and Ticket Sales staff, had the
6 (8) part-time staff. Their work was aided by 2 (1)
following full-time equivalents:
interns on six-month placements.
Windsor Castle 158 (155)
The Decorative Arts section had 16 (16) full-time
and 4 (3) part-time staff. Their work was aided by
the Royal Household’s Collections Care Steward
and 3 (2) interns on nine-month placements.
The Royal Library (which includes the Print Room,
Photographs and Paper Conservation sections and
the staff of the Dal Pozzo Project) had 18 (19)
permanent full-time staff, 3 (4) permanent part-time
staff and 1 (4) member of staff on a fixed-term
contract. Their work was aided by 5 (5) long-term
volunteers in the Royal Library and Print Room,
3 (2) interns on placements of between six and nine
months, and 3 (4) paper conservation students on
a two-week placement from Camberwell College of
Arts (University of the Arts London).
56
ANNUAL REPORT
2013
Buckingham Palace and Clarence House 148 (146)
Palace of Holyroodhouse 49 (49)
Ticket Sales and Information 42 (40).
Central Departments had the following full-time
equivalents:
Retail 22 (23)
Public Relations and Marketing 8 (8),
with 1 (1) intern
Publishing 4 (4)
Learning 7 (6)
Photographic Services 8 (9). Their work was aided
by 5 (2) people on short-term work experience.
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
The range of skills required across the spectrum of Royal Collection Trust’s charitable activities demands
continuous support and replenishment. Curatorial staff, for example, have taken full advantage of specialist
German language tuition, and undertaken study visits to other UK institutions and to Russia, Bavaria, Saxony
and Washington DC.
The Chartered Management Institute (CMI) and Institute of Leadership and Management (ILM)
management-development programmes are progressing well, with 13 staff working towards completion of the
CMI’s Level 2 Award in Team Leading and Level 3 Certificate in First Line Management, and Level 5 of the
ILM’s Leadership and Management Programme. In addition to individual development programmes, members
of the Management Committee have taken part in leadership team coaching seminars, aimed at developing
the principles of shared leadership. Various members of staff talked about their work for Royal Collection Trust
in a short video produced during the year for use in inducting new recruits.
The Curatorial Forum, and staff forums in several locations, continued to provide an increasing number
of staff with opportunities to participate more fully in the work of their sections, and the preparation of annual
work plans in support of the Three-Year Plan has helped managers to demonstrate the contribution of their
sections to the overall direction of the Department. Visitor Services and Retail teams participate in continuous
peer-review and learning sessions aimed at building knowledge and expertise in connection with the Palaces
and Collection.
Specialist qualifications were obtained in many fields: Alex Barbour was awarded the Diamond diploma
by the Gemmological Association of Great Britain; Shirley Duke gained a BA in Psychology and Creative
Writing from the Open University; Susanna Mann was awarded a Certificate in Digital Marketing from the
Institute of Direct and Digital Marketing; and Jane Wallis was accredited as a Member of the Institute
of Conservation.
A very large number of good applications were received for
the second round of curatorial internships. Cristina Alfonsin
Barreiro (Works of Art), Hannah Belcher (Paintings) and
Charlotte Slark (Print Room) spent an initial six months in post
(April–September), gaining valuable experience of working with
a major collection: each undertook an individual research project.
The standard internship has been extended from six to nine
months for the third intake, to give interns more time to
contribute to the work of Royal Collection Trust and complete
their projects: Thomas Smith (Works of Art), Adam Sammut
(Paintings) and Louise Pearson (Photographs) joined in October.
Catherine Murphy was appointed in December as the fourth
Marketing intern.
During a visit to Lacock Abbey, Wiltshire, staff from the Photographs section were
involved in the creation of this tintype, a process popular between 1855 and 1870.
They were photographed by Mark Osterman and France Scully Osterman, who teach
and demonstrate nineteenth-century photographic processes (www.collodion.org).
Staff had the opportunity to follow the entire process, from the initial preparation of
the plate to the development and fixing of the image in a darkroom.
ANNUAL REPORT
2013
57
STAFF LIST
as at 31 March 2013
DIRECTORATE
Director of the Royal Collection
Assistant to the Director
Caroline de Guitaut, MVO
Personal Assistant to the Director
Denise Vianna Haran
Administrator and Assistant
to the Surveyors
David Rankin-Hunt, LVO, MBE, TD
Assistant to the
Administrator/Receptionist
Sophie Hetreed
Records Officer
Amelie Von Pistohlkors
FINANCE
Senior Metalwork Conservator
Sophy Wills
Conservators
Karen Ashworth, MVO
Dr Al Brewer
Claire Chorley
Adelaide Izat
Rosanna de Sancha, MVO
Tabitha Teuma
Conservation Administrator
Fiona Norbury
Framing and Exhibitions Conservator
Michael Field, MVO
Framing and Exhibitions Technician
Stephanie Carlton
Paintings Conservation Administrator
Katelyn Kucey
PAINTINGS
Surveyor of The Queen’s Pictures
Desmond Shawe-Taylor, LVO
Assistant to the Surveyor of
The Queen’s Pictures
Lucy Peter
Senior Curator of Paintings
Lucy Whitaker, MVO
Curators of Paintings
Vanessa Remington
Anna Reynolds
Jennifer Scott
Senior Horological Conservator
(Buckingham Palace)
Paul Cradock, MVO
Horological Conservator
(Windsor Castle)
Steven Davidson, MVO
Superintendent of the Royal Collection
(Hampton Court Palace)
Christopher Stevens, MVO
Custodian of California Gardens Store
(Windsor Castle)
Anthony Barrett, RVM
DECORATIVE ARTS
Surveyor of The Queen’s Works of Art
Finance Director
Michael Stevens, CVO, FCA
Deputy Surveyor of The Queen’s
Works of Art
Rufus Bird
Curators of Decorative Arts
Caroline de Guitaut, MVO
Kathryn Jones
Decorative Arts Intern
Thomas Smith
Senior Furniture Conservator
David Wheeler, MVO
Furniture Conservators
Will Miller
Shaun Turner, MVO
Jane Wallis
Assistant Custodian
Arthur Pottinger, RVM
THE ROYAL LIBRARY
Librarian and Curator of
the Print Room
The Hon. Lady Roberts, CVO, FSA
Secretary to the Librarian and
Office Administrator
Margaret Westwood
Curator, Royal Library
Lauren Porter
Bibliographer
Bridget Wright, LVO
Curator of Books and Manuscripts
Emma Stuart, MVO
Senior Gilding Conservator
Stephen Sheasby, MVO
Senior Curator of Prints and Drawings
Martin Clayton, MVO, FSA
Paintings Intern
Adam Sammut
Gilding Conservators
Perry Bruce-Mitford
Gary Gronnestad
Curator of Prints and Drawings
Dr Kate Heard, FSA
Archives Researcher
Dr Oliver Walton
Armourer
Simon Metcalf
Exhibition Curatorial Assistant
Wolf Burchard
58
Senior Paintings Conservator
Nicola Christie
ANNUAL REPORT
2013
Assistant to the Curators
of the Print Room
Rhian Wong
Print Room Assistant
Rosie Razzall
Raphael Collection Cataloguer
Tatiana Bissolati
Project Assistant (Military Maps)
Kirsten Sierag
Collection Online Assistant
Charlotte Slark
Dal Pozzo Project Co-ordinator
Panorea Alexandratos
Dal Pozzo Project Research Assistant
Dr Eloisa Dodero
COLLECTIONS
INFORMATION
MANAGEMENT
Learning Manager
(Buckingham Palace)
Will Graham
Head of Collections Information
Management
Stephen Patterson, LVO
Learning Manager
(Palace of Holyroodhouse)
Alison Campbell
Collections Information Data Manager
Paul Carter
Learning Manager (Windsor Castle)
Penny Russell
Inventory Clerk (London)
Penny Thompson
Learning Co-ordinator
(Windsor Castle)
Catherine Martin
Inventory Clerk (Windsor Castle)
Alexandra Barbour
Photographs Intern
Louise Pearson
Collections Information Assistants
Julia Bagguley
Alexandra Buck
Allan Chinn
Beth Clackett
Elizabeth Clark
Siân Cooksey
Alessandro Nasini
Paul Stonell
Head of Paper Conservation
Alan Donnithorne, MVO, FIIC
Catalogue Raisonné Assistant
Melanie Wilson
Head of Book Conservation
Roderick Lane, MVO, RVM
Photograph Collection Cataloguer
Natalie Milor
Senior Curator of Photographs
Dr Sophie Gordon
Curator of Photographs
Lisa Heighway, MVO
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 Räder
Conservation Mounter/Framer
Kathryn Stone
Drawings Conservator
Rachael Smith
General and Workshop Assistant
Martin Gray
PUBLISHING AND
NEW MEDIA
Director of Publishing and New Media
Jemima Rellie
Publisher
Jacky Colliss Harvey, MVO
Project Editor
Nina Chang
Publishing and New Media Project
Co-ordinator
Elizabeth Simpson
Head of Learning
Lucie Amos
Senior Learning and Access Manager
Amy Stocker (maternity leave)
Head of Photographic Services
Shruti Patel, MVO
Picture Library Supervisor
Karen Lawson
Picture Library Assistant
Agata Rutkowska
Digital Imager
Daniel Partridge
Senior Photographers
Stephen Chapman, MVO
Eva Zielinska-Millar, MVO
Photographer
Tung Tsin Lam
Collection Online Photographer
James Ryan
RETAIL
Retail Director
Nuala McGourty, LVO
Head of Design
Katrina Munro, MVO
Production Controller
Ian Grant, MVO
Senior Buyer
Charlotte Burton
Buyer
Victoria Emmerson
Merchandisers
Nicole Andrews
Lei Song
ANNUAL REPORT
2013
59
Merchandising Assistant
Sophie Bate
Head of Retail Operations
Jacqueline Clarke
Retail Operations Administrator
Jacqueline Bowden
Customer Service Assistant
Keshava Menon
Warehouse Manager
James Hoyle, RVM
Administration Manager
Emma Wood
Administrative Assistant/Delivery
Fulfilment Assistant
Linda Wroth
Delivery Fulfilment Operator
Rosanna Earles
Delivery Fulfilment Assistants
Yvonne Deluca
Matthew Whitehouse
Warehouse Operatives/Drivers
Bernard Barfield
Derek Foster
James Hall
Robert Kedge
Buckingham Palace
Retail Manager
Morayo Idowu
Retail Supervisor (fixed term)
Lianne Royall
Senior Retail Assistants
Gillian Burke
Diana Rakhimova
Retail and Display Assistant
Kevin Dimmock
Retail Assistants
Douglas Bell
Africa Calzon
Stephen Cook
ANNUAL REPORT
Retail Assistants – Casual
Penelope Dalziel-Smith
Janet Easto
Helen Le Brun
Michael Nash
Margie Nolan
Windsor Castle
Retail Manager
Hanna Cross
Assistant Retail Managers
Susan Asbery
Rachel Eaton
Retail Supervisor (fixed term)
Gemma Buckner
Senior Retail Assistant
Anne McGowan, RVM
Assistant Retail Managers
Stuart Cullen
Beatriz Ramirez
Mark Randall
60
Lynda Craker
Kayleigh Cray
Joshua Edery
Andrew Fay
Kate Fitch
Khushpreet Gulshan
Jane Hackwood
Yvonne Howard (fixed term)
Aminata Kalokoh
Daniel Kennedy
Vivian Lau
Claire McDougall
Fiona Moore
Lyudmyla Ostapenko
Anne Rice
Patricia Sweetland
Michie Wake
Richard Winstone
2013
Retail Assistants
David Birrell
Yvonne Edwards
Sophie Ellis
Sarah Entwistle
Emilia Garvey
Julia Godsell
Carla Griffiths
Jessica Hardwick
Olga Horlock
Gemma Lee
Aileen Lewis
Leigh Macnab
Jane Mckenzie
Amber Poulson
Julie Purvis
Maria Nuria Romero-Jose
Anudee Siasakul
Diane Smith
Kathleen Temple
Faye Wichelow
Huai Fiona Yan (maternity leave)
Retail Assistants – Casual
Janet Cary
Brenda Gardner
Charlotte Lee
Janet Maxwell
Marit Stokes
Retail and Admissions Manager
Shirley Duke
Assistant Retail and Admissions
Manager
Claire Anderson
Retail and Admissions Supervisor
Andrew Grant
Retail and Admissions Assistants
Niamh Crimmins
Jennie Crossley
Janet Ferguson
Alison Gove
Zoë Hayes
Jennifer Kirk
Paul Lambert
Amanda Mills
Janet Stirling
Rebeka Venters
Retail and Admissions Assistants –
Casual
Laura Bain
Emily Clarke
Fiona Dempster
Frances Singer
Ellis Urquhart
Fiona Wood
COMMUNICATIONS AND
BUSINESS DEVELOPMENT
Director of Communications and
Business Development
Frances Dunkels, LVO
Administrator to the Director of
Communications and Business
Development
Edward Harris
Head of Marketing
Susanna Mann
Sales and Marketing Officer
Rhiannon Marsh
Web and Digital Marketing Officer
Vacancy
Marketing Assistant
Alison Beer
Marketing Intern
Catherine Murphy
Head of Media Relations
Alice Ross
Press and Public Relations Officer
Rachel Woollen
Assistant Press Officers
Sophie Lawrenson
Hanae Tsuji
Ticket Sales and Information
Head of Ticketing and Sales
Mark Fisher
Contact Centre Manager
Loretta Kennedy
Customer Service Manager
Carol Merrett
Systems Administrator
Gareth Thomas
Operations Supervisor
Lucy Allen
Training and Development Supervisor
Prakuti Deolia
Specialist Sales and Travel Trade
Supervisor
Janice Galvin, MVO
Senior Ticket Sales and Information
Assistant
Audrey Lawrence
Assistants
Genevieve Arblaster-Hulley
Nicola Bentley
Scott Bowman
Nicholas Buckman
Faye Grimes
Fraser Hamilton
Rosie Hunter
Sellisha Oliver
Rachel Toogood
Francesca Williams
Assistants – Casual
Matthew Baldwin
Anil Banga
Rina Bhudia
Sarah Blakeburn
Marquita Cox-Carder
Olivia Davies
Mariam El-Sraidi
Laura Grant
Lee Hiorns
Jake Mead
Jo-Anne Mead
Alan Nicholls
Zachery O’Brien
Lee Preston
Stephanie Retigan
Rosalind Ryder
Chloe Taylor
Abigail Trime
VISITOR EXPERIENCE
Visitor Experience Director
Kerry François, MVO
Administrator to the Visitor
Experience Director
Edward Harris
Exhibitions
Technical Support Assistant
Christopher Hallworth
Correspondence and Administrative
Assistant
Faye Habgood
Learning Bookings Co-ordinator
Nicola Jones
Head of Exhibitions
Theresa-Mary Morton, LVO
Senior Exhibitions Project
Co-ordinator
Stephen Weber
Exhibitions Project Co-ordinator
Sandra Adler
Exhibitions Assistant
Hannah Belcher
Exhibitions Administrator
Roxanna Hackett
Visitor Services
Buckingham Palace
Visitor Manager
Richard Knowles
Operations Manager
Sarah Thompson
Visitor Operations Administrator
Amanda Jacobs
Visitor Operations Co-ordinator
Stephanie Howard
Staff Co-ordinator
Jennifer Stewart
Senior Wardens
Claire Blantern
Susan Bolster
Jon Lopiano
Natasha Nardell
Warden Supervisor
Charles Nicholls
Casual Warden Supervisor
Ernest Kingston
Casual Operations Assistants
Dorothy Barlow
Beverley Hemsley
Wardens
Eleanor Bagnall
Marie Barenskie
Elspeth Bayley
Monica Bennett
Charlotte Brainwood
Janet Burrell
Marilyn Carpenter
Ursula Claxton
Michael Cox
Pamela Eden
Leonard Franklin
Alexandra Frost
Carolyn Glover
LucyAnn Gray
Christopher Grigsby
Louise Halfpenny
Bridget Harris
ANNUAL REPORT
2013
61
Louise Hunter
Rachel Kelly
Fiona Kuznetsova
Stephen Kyte
Susan Latimer
Louise Lavell
Bridget Little
Sophie Mackenzie
Ilenia Martini
Georgia Moult
Simon Piercy
Dr Shalini Punjani
Rosalind Spencer
Helen St Clair Martin
Stephen Stanley
Letitia Steer
Steve Trotter
Keith Waye
Stephen Wild
Wardens – Seasonal
Janis Aunon
Courtney Barry
Helen Davis
Lynne Denham
Stephen Denham
Emma Garrett
Susanna Geary
Anna-Maria Grammatica
Jade Hoogenboom
Alan Lion
Jemma Malpas
Charlotte Newton
Charlotte Regan
Valerie Ross
Alice Russell
Meredith Seabrook
Pamela Tebbs
Wardens – Casual
George Banham
Robert 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
Anna Thomas
62
ANNUAL REPORT
2013
Windsor Castle
Visitor Manager
Christine Taylor, MVO
Operations Manager
Janet Cole
Special Events and Administration
Manager
Alison O’Neill
Admissions Manager
Alison Farrell
Financial Administrator
Roger Freeman
Staff Operations Administrator
Emma Featherstone
Visitor Operations Administrator
Monika Bone (adoption cover)
Helena Holden (adoption leave)
Staff Co-ordinator
Christopher Thomas
Ticket Sales Supervisors
James Ball
Fraser Gillham
Senior Ticket Sales Assistant
Shirlee Pouncett
Ticket Sales Assistants
Charlotte Austin
Heather Baker
Lauren Beldom
Keren Bensalmon
Danielle Browne
Marian Challis
Charlotte Cole
Sarah Cowdrey
Brian Deenihan
Linda Gould
Joshua Humby
Mark Lines
Elena McGregor
Kirstie Meredith
Ticket Sales Assistants – Casual
Georgia Bradley
Jessica Goldsmith
Louisa Knight
Alexander Smith
Senior Wardens
Susan Ashby
Claude-Sabine Bikoro
Caroline Sara
Jeffrey Wilson
Deputy Senior Wardens
Peter Critchley
Philip Howarth-Jarratt
Carla Weston
Wardens
Colin Adams
Janet Adams
Colin Ailes
Rosemary Alp
Sandra Argiolas
Maria Axelson
Mark Ayling
Sandra Baker
Marcus Barton
Oliver Blumfield
Ellen Bolick
Geoffrey Bonehill
Jane Bowditch
Danitza Bowers
Lynne Boyd
Donald Bradley
Catherine Brailsford
Delia Bull
Michael Campbell
Colin Carter
Benjamin Christophers
Jacqueline Clemson
Ellen Compton-Williams
Sheila Cook
Astrid Crawley
Patricia Curtis
Sandra DeCecco
Marcelle Dovell
John Driscoll
Adele Fellows
Douglas Frame
Richard Fry
Anthony Golding
Sarah Gorveatt
Barry Gould
Thomas Gray
Carol Greenhow
Sarah Gunton
Philip Hall
Colette Halliday
John Hampton
Charles Hartley
Freddy Heffernan
Stevie Heywood
Susan Hiscock
Francesca Holley
Lorna Holliday
Rita Horner
Laura Horsley
Jack Howarth-Jarratt
Christine Hughes
Peter Humphrey
Sylvia James
Patrizia Knight
Gary Langford
Margot Law
Jessica Lehane
Helen Lincoln
Steven Lovegrove
Joshua Lovell
Rita Lyons
Lesley Macaskill
Michael Macaskill
Freda Mason
Anne Meyer
Giulia Ovidi
Elizabeth Pantia
Christopher Phillips
Josie Phillips
Kirsty Phillips
Edward Pink
Nicholas Preston
Fiona Proudfoot
Arturo Ramirez
Ian Read
Josephine Redfern
Berni Reid
Edwin Rodbard-Brown
Charles Rosen
Carly Rowlinson
Martin Ryan
Philip Ryan
Judy Salmon
Lauren Samet
Karen Shirtcliffe
Victor Sidebotham
Allan Smith
John Smith
Jean Spratley
Graham Stagg
Susan Suchodolska
Aileen Sutherland
Monica Tandy
Carl Taylor
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
Robert Workman
Mark Wright
Helen Zacks
Evelina Zavataro
Wardens – Casual
Robert Atcheson
Ricardo Bessford
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
Ronald Grant
Nancy Green, RVM
Gordon Haines
Jacqueline Haines
Alan Head
Brenda Herbert
Peter Hicks
Francis Holland, RVM
Margaret Holmes
John Janes
Diana Jolley
Enda McArdle
Mary McGill
Geoffrey Murray
Pearl Nodwell
Bryan Percy
Patricia Pipe
Frank Poole
Rodney Richardson
Molly Rudge
René Schurtenberger
Anthony Wise
Patricia Wright
Superintendent
Geoffrey Mackrell, MVO
Curator
Deborah Clarke
Operations Manager
Joanne Butcher
Operations Co-ordinator
Brian Coutts
Senior Wardens
Pilar Aran Molina
Bartosz Bruzda
Magdalena Kasprzyk
Kirsty Roger
Wardens
Juan Aguero Benítez
Almundena Cachaza
Rosie Croker
Colin Dempster
John Farquhar
Ross Hannay
Andrew Hume-Voegeli
Chantal Hume-Voegeli
Elisabeth Ibbotson
Seana Keenahan
Mavis Lasne
Carol Leslie
Edward Lipscomb
Catherine McCann
Lesley McGlinchey
Brian Morley
Keith Mullins-MacIntyre
Ian Reilly
Harriette Riddell
Emily Roads
Philippa Roper
Veronica Schreuder
Rachel Skilling
David Thomson
Sharon Thomson
Janet Whellans
Peter Whyte
Shelagh Wilson
Wardens – Casual
Douglas Alexander
Lucia Baker
Peter Brown
James Church
Catherine Dickson
Doreen Gillon
James Hinks
Moira Hinton
James Oswald
Carol Schreuder
Paul Steele
Caecilia Teitz
Andrew Young
Financial Administrator
Shona Cowe (maternity cover)
Elaine Maclean (maternity leave)
ANNUAL REPORT
2013
63
The Cranium
(after Neruda)
I didn’t give it a thought until I was knocked down
and I heard my soul roll away in the dark.
I was dead to the world, gone – but then pain,
a spasm, and the throbbing flare of blue lights.
Later, I could pick out the moonscape of the ward,
between sleeps that felt like dirty cotton wool.
This morning my hand extended a shaky finger,
poking at the cuts and bruises, until it found
one item still whole, still game: you, poor skull –
how vainly across the years, hustling, on the prowl,
I’d examine each hair, check over every feature,
but missed this prime asset – your handsome dome
enclosing the delicate wetware of vessels
and pathways, the impossibly knotted connectors,
all that softly booming vegetal chemistry
a mini-ocean into which reason shoots bright bolts
and where, among sea-wrack and fronds of childhood,
the fish of volition darts now here, now there …
Where too, who knows, my timid soul hides out.
Tap-tap, knock-knock! Adam, wakey-wakey!
I’m the stonecutter on the hillside stripped clean
of trees and birdsong bowing to the trusty marble.
Or a safecracker on his knees in a vault, his ear
to the steel door, trembling for it to open.
Maurice Riordan
Inspired by Leonardo da Vinci
These poems were composed in response to the exhibition
Leonardo da Vinci: Anatomist,
Anatomist, and read by their authors at an
event held jointly with the Poetry Society at The Queen’s
Gallery, Buckingham Palace, in September 2012.
A I M S O F T H E R O Y A L C O L L E C T I O N T RU 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;
With what words will you describe
this heart so as not to fill a book?
My heart has been a picture,
more blurry than the bovine heart
you drew, but still riveting
to my Doc bent over the scan.
He’s hankering after the real thing
at my autopsy which
I will observe from above,
floating like a Sistine angel,
• as much of the Royal Collection as possible can be seen by members of the public;
the feminine one under God’s arm,
• the Royal Collection is presented and interpreted so as to enhance public appreciation
who represents the soul.
But look at me straying
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 plans, the Trustees ensure that these aims continue to be met
into your scratchy mirror script:
The longer you write
on the detail
the more you will confuse
the mind of the reader.
And is this, then,
the dividing wall of the heart –
and are in line with the Charity Commission’s general guidance on public benefit.
it must be pictured
This report looks at the achievements of the previous 12 months and considers the
to make it understood?
success of each key activity and how it has helped enhance the benefit to the nation.
But words ≈ touch in your note
under a little sketch of lung:
like tinder made from fungus,
press it and it yields.
Front Cover: Shown in the exhibition Diamonds: A Jubilee Celebration as part of the Buckingham Palace Summer Opening 2012, Queen Victoria’s
Small Diamond Crown was made in 1870 by the Crown Jeweller, R. & S. Garrard and Co., and is one of the most recognisable crowns of Queen Victoria’s
later reign: she was regularly depicted wearing it, often over a Honiton lace veil, in paintings, sculptures and on coins and postage stamps.
Back Cover: From Leonardo da Vinci: Anatomist, the Royal Collection’s record-breaking exhibition, this pen-and-ink drawing of a section through a human cranium (1489)
includes the artist’s observations on the importance of the cranium as the seat of all nervous activity, demonstrating Leonardo’s pioneering interest in human anatomy.
Frontispiece: Henry VIII’s Greenwich armour of c.1540, exhibited (following conservation) at the Moscow Kremlin Museum
and the Victoria and Albert Museum in 2012–13.
As I yield to you, the way you saw
exactly the flow of blood
around my body, the way
your hand could trace
the network on paper,
spread out its ramifications,
Unless otherwise stated, all illustrations are Royal Collection Trust / © Her Majesty Queen Elizabeth II 2013.
Royal Collection Trust is grateful for permission to reproduce the items listed below:
Page 6: (top row, left) © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York; (top row, middle) photograph by Sandy Young;
(middle row, left and right) photographs by Hayley Madden; (bottom row, left) photograph by Todd White; (bottom row, right) David Hockney, ‘2012 Queen Elizabeth II
Diamond Jubilee’ (detail), inkjet printed iPad drawing on paper, 20 x 14", © David Hockney. Page 7: photograph by Ian Jones. Page 8: photograph by Prudence Cuming.
Page 9 (left): © PA; (centre): photograph by Edward Staines; (right): photograph by John Freeman. Page 11: photograph courtesy of Lady de Bellaigue.
Page 14: photograph by Andrew Wright. Page 18: photograph by Andrew Wright. Page 20: photograph by Prudence Cuming. Page 22 (top): © Whistledown Productions.
Page 23 (right): picture courtesy of Lee Mitchell Photographer and Andrew Mulvenna Hair for National Museums Northern Ireland. Page 35: by permission of the London Grid
for Learning. Page 36: photograph by Prudence Cuming. Page 37: photograph by Andrew Wright. Page 38: photographs by Hayley Madden. Page 43 (right): Touch Press.
Page 48: photograph by Andrew Wright. Page 57: photograph © Scully & Osterman
Designed by Michael Keates Editorial and Project Management by Kate Owen and Alison Tickner
Production by Debbie Wayment Printed and bound by Streamline Press Limited, Leicester
CBP00047770807130749
picture a circulation far beyond
the writing, the saying, the thought.
Jo Shapcott
ROYAL COLLECTION TRUST ANNUAL REPORT 2012– 2013
ANNUAL RE PORT 2012– 20 13

ANNUAL REPORT 2012–2013 - Royal Collection Trust

Transcription

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