Annual Report 2004/5 corrected

Transcription

ANNUAL RE PORT 2011– 20 12
A I M S O F T H E R OY 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;
• as much of the Royal Collection as possible can be seen by members of the public;
• the Royal Collection is presented and interpreted so as to enhance public appreciation
and understanding;
• access to the Royal Collection is broadened and increased (subject to capacity
constraints) to ensure that as many people as possible are able to view the Collection;
• appropriate acquisitions are made when resources become available, to enhance
the Collection and displays of exhibits for the public.
When reviewing future activities, the Trustees ensure that these aims continue to be
met and are in line with the Charity Commission’s General Guidance on public benefit.
This report looks at the achievements of the previous 12 months and considers the
success of each key activity and how it has helped enhance the benefit to the nation.
Front Cover: Sir John Godsalve (c.1532–4) by Hans Holbein the Younger, executed in chalk and ink on pale pink paper,
and included in the exhibition The Northern Renaissance: Dürer to Holbein, shown at The Queen’s Gallery,
Palace of Holyroodhouse, 17 June 2011 to 15 January 2012.
Back Cover: Endurance, included in the exhibition The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography.
The ship that Sir Ernest Shackleton used for his 1914–15 Antarctic expedition became bound in the ice
of the Weddell Sea and sank in November 1915. Frank Hurley, who took this photograph on a moonlit night
in June 1915, described the scene in his autobiography: ‘never did the ship look quite so beautiful as when the
bright moonlight etched her in inky silhouette, or transformed her into a vessel from fairy-land’. The picture was later used
on the front cover of South, Shackleton’s account of the expedition, published in 1919.
Frontispiece: Jan Gossaert’s Adam and Eve (c.1520), from the exhibition The Northern Renaissance: Dürer to Holbein.
ROYAL COLLECTION
TRUST
Annual Report
for the year ended 31 March 2012
www.royalcollection.org.uk
Company limited by guarantee, registered number 2713536
Registered Charity number 1016972
Scottish Charity number SC 039772
TRUSTEES OF
THE ROYAL COLLECTION TRUST
Chairman
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 Duncan Robinson, CBE, DL, FSA (to 14 March 2012)
Mr Peter Troughton
The Rt Hon. Sir Christopher Geidt, KCVO, OBE
Sir Alan Reid, KCVO
Dame Rosalind Savill, DBE, FSA, FBA (from 14 March 2012)
⬃••⬃
Director of the Royal Collection
Jonathan Marsden, LVO, FSA
CONTENTS
Chairman’s Foreword
5
Report of the Director of the Royal Collection
7
Custodial Control
11
Conservation
Paintings
Decorative Arts
Works on Paper
Preventive Conservation
11
11
12
15
16
Access and Presentation
Exhibitions
Visiting the Palaces
Buckingham Palace
Windsor Castle
Palace of Holyroodhouse
Historic Royal Palaces
Loans
Interpretation
Learning
Workshops and Courses
Lectures by Staff
Publishing
New Media
Royal Collection Trust in the Media
17
17
24
24
26
28
29
30
36
36
37
39
41
44
46
Acquisitions
47
Trading Activities
Retail
Picture Library
48
48
49
Financial Overview
50
Summarised Financial Statements
52
Staff
55
55
56
56
External Appointments
Staff Numbers
Staff Training and Development
Staff List
59
• 135,000 works of art online
• 3,000 conservation treatments
• 2.6 million visitors
• 12 exhibitions at eight UK venues
• 177 works lent to 45 exhibitions at 31 locations in the UK
and 11 other countries
• Two major series on BBC One and BBC Radio 4
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ANNUAL REPORT
2012
REPORT OF THE DIRECTOR
OF THE ROYAL COLLECTION
Jonathan Marsden
T
he year under review has been marked by excellent results in many areas. The variety and quality of
the Royal Collection, combined with the ingenuity and commitment of our staff in every discipline,
have resulted in some of the most highly acclaimed exhibitions of the year, consistently high visitor
numbers and many productive new ventures, whether in the fields of technology and new media or
through partnerships with museums, schools and the media. Perhaps the most significant of these
achievements, and certainly the most demanding, has been the launch in March 2012 of an entirely new
website. Our first online resource, the e-Gallery, was launched at the time of the Golden Jubilee, in 2002.
It eventually presented 8,000 works of art and was widely praised. The Collection Online now contains
details of 135,000 objects and offers numerous different avenues by which visitors can prepare for a visit
to one of the palaces or galleries, learn more about the history of the Collection or the monarchy, and
make purchases in the online shop.
The marriage of The Duke and Duchess of Cambridge in April 2011 provided the best possible start
to the year. The early success of the special commemorative range of china from the time of its launch the
previous December was repeated during the summer, when unprecedented numbers came to see
The Duchess’s wedding dress, as the centrepiece of a special display celebrating the role of British design and
designers in this most memorable event. The enthusiasm and efficiency with which this display was mounted
could be found throughout the organisation, whether among the team responsible for taking bookings over the
internet or telephone, the press and marketing teams who produced a first-rate publicity campaign in next to
P.-P. Thomire’s splendid Apollo Clock
(1800–1810) was one of the highlights
of the exhibition Treasures: Mythology and
Regency, shown at The Queen’s Gallery,
Buckingham Palace, between 15 April
and 9 October 2011. Originally purchased
by the Prince Regent for display in Carlton
House, the clock depicts the sun god
racing through the heavens, the mechanism
and the dial being wittily housed in the
chariot’s wheel.
ANNUAL REPORT
2012
7
St George’s Hall, Windsor Castle. The quality of the
experience of 1 million annual visitors is the focus of
the Master Plan by Feilden Clegg Bradley Studios,
completed in 2011.
no time, or the Summer Opening team of
mostly temporary staff. This achievement was
all the more impressive for the fact that the
display was in addition to the exhibition Royal
Fabergé, which had been in preparation for
nearly a year.
Further details of these projects are found
elsewhere in this report. Meanwhile, the
exhibition The Northern Renaissance: Dürer to
Holbein, which opened in June 2011 at the Palace
of Holyroodhouse, was praised as one of the
most beautiful in recent years. Alongside some of the famous stars of the Collection, in particular by Dürer
and Holbein, were numerous outstanding but less well-known works, by artists as varied as Hugo van der Goes,
Urs Graf, and (in the context of the French Renaissance) Benvenuto Cellini and Leonardo da Vinci. This
exhibition will be seen in London at the end of 2012.
The final showing of The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography (previously
seen in Edinburgh and Christchurch, New Zealand) took place at The Queen’s Gallery, Buckingham Palace,
coinciding with the climax of the centenary commemoration of the Terra Nova expedition. Resulting
attendance figures were good and the exhibition, at turns revelatory, sublimely beautiful and very moving in
its effect, attracted large numbers of people who had not previously been to the Gallery.
A major study undertaken at Windsor Castle throughout the year concluded with a theoretical plan for
improvements to the circulation, environment, facilities and provision of information, as well as catering.
These recommendations resulted from a total of 75 consultations undertaken throughout the year by the
architectural design firm, Feilden Clegg Bradley Studios. During the coming year, work will continue on the
development of this scheme, with the aim of completing the design stages by the end of the year.
The Management Board and 24 senior managers have taken part in the preparation of our Three-Year
Plan for 2012–15. This began with a review of progress against the Plan for 2011–14, and in particular the four
Paramount Objectives that appeared in last year’s report.
The first of these objectives, a focus on curatorial expertise, has borne fruit in several ways. A Curatorial
Forum, convened by Desmond Shawe-Taylor, now meets regularly to share research interests and expertise,
often linked to current and future exhibitions. The work of preparing records for online publication has
involved the entire curatorial team. Although mechanical in some of its aspects, this enormous task has helped
develop collective knowledge of the Collection and the important skills involved in describing and explaining
concisely the significance of individual works. Meanwhile, collaborative research seminars, such as those
detailed below concerning the role of Italians in the artistic life of the Tudor court, the attribution and dating
of The Embarkation of Henry VIII, and the depiction of costume in early modern portraiture, have also proved
very fruitful. As a means of promoting such collaborations and encouraging wider scholarly interest in the
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ANNUAL REPORT
2012
Royal Collection, early morning private views are now held regularly in The Queen’s Galleries for curators,
scholars and other professionals from museums and arts and heritage organisations. The newly formalised
internship programme and some notable achievements in postgraduate study are reported on pages 56 –7.
The opportunity to display The Duchess of Cambridge’s wedding dress during the Summer Opening of
Buckingham Palace was undoubtedly very helpful in pursuit of two more of our strategic objectives. The online
shop, launched in April 2011, has transformed our ability to develop our income without relying solely on
visitors to the palaces or galleries. Royal Wedding and Diamond Jubilee merchandise accounted for around
75 per cent of online sales, building on an already strong performance in respect of the wedding range from
the end of 2010. In similar vein, the Retail Director continues to seek new partnerships and potential licensing
agreements on the model of the Designers Guild Royal Collection, which has continued to produce significant
income. As a further step towards a more diverse range of income streams, a review of our fund-raising
activities was commissioned from specialist consultants. For many years, financial support from individuals or
businesses has been essential for the publication of our scholarly catalogues to the appropriate standard.
Trustees have now endorsed a proposal to extend the qualification for external support to other areas, such as
Learning and digital programmes. During 2012 a plan will be developed, based on the consultants’ findings, to
grow this component of our income.
Last year saw an increase of around 100,000 in the number of UK-based visitors, a significant step towards
the third of last year’s strategic objectives, to raise levels of awareness of the Royal Collection among UK
citizens. There are also clear signs that the programme of regional exhibitions, with a strong events programme
promoted by the host museums, has been effective in this direction. A further step will be the implementation
of a geographical search tool for the website, allowing users to identify works with connections to their locality,
or which are either permanently or temporarily located there.
The high levels of visitors and excellent trading results have meant that the fourth main objective in last
year’s Plan has also been substantially met. The Financial Statements on pages 50 –54 demonstrate that Royal
Collection Trust has, for the first time since its incorporation in 1993, begun to establish reserves. Resilient
charities are defined as having reserves equal to six months’ operating expenditure, and although this target
remains distant, Trustees have also decided to designate the sum of £7.5 million towards future works at
Windsor Castle (see page 27).
The next Three-Year Plan, for 2012–15, has set six strategic priorities. First of all, The Queen’s Diamond
Jubilee offers an exceptional opportunity for attracting further interest in the Royal Collection, especially
within the UK. Our activities will include a display of diamond jewellery and other works of art for the
Summer Opening of Buckingham Palace, several Jubilee publications and a further 14 exhibitions in London,
Edinburgh, Leeds, Bristol, Bournemouth, Dundee and Hull.
Second, enhancement of the new website, building on its successful launch in March 2012, will add
further functionality to encourage users not only to explore, but to share what they find and to contribute their
own insights. A third priority is the establishment of a new group name, Royal Collection Trust, giving greater
prominence to the ways in which visitors and customers contribute to the Trust’s charitable activities. Royal
Collection Trust incorporates the charity, The Royal Collection Trust, and its trading company, Royal
Collection Enterprises Ltd. The development of far-reaching projects at Windsor Castle and Holyroodhouse,
aimed at enriching the experience of a visit and investing in more modern facilities, will constitute a fourth,
substantial body of work in the coming year. Meanwhile, the aim of establishing free reserves for Royal
Collection Trust will be served by further work on seeking new sources of income from a greater diversity of
ANNUAL REPORT
2012
9
sources. Finally, the development of our exceptionally committed and skilful staff will be given further
emphasis, ensuring that everyone has what they need to work to their full potential.
The Trustees met three times during the period under review. Duncan Robinson retired in March 2012 at
the end of his second three-year term. His blend of experience as an art historian, museum director and Master
of Magdalene College, Cambridge, has been invaluable both to the Board of Trustees and in the work of the
Strategic Development Committee. His successor, Dame Rosalind Savill, recently retired as Director of the
Wallace Collection in London after an outstanding career as a curator and scholar in the field of French
decorative arts, especially Sèvres porcelain. Her many distinctions demonstrate a lifelong commitment to
explaining and interpreting art in museums and historic settings, one of the central aims of The Royal
Collection Trust. Dame Rosalind has also joined the Strategic Development Committee, alongside Peter
Troughton and the three non-executive directors of Royal Collection Enterprises Ltd, Fiona Sale, Tom Jenkins
and Edward Griffiths. Mr Troughton has taken on the role of chairman of the Steering Group for the Windsor
Castle Master Plan, on which Tom Jenkins and Sir Neil Cossons have also served. Mr Troughton has continued
to chair the Audit Committee, on which Nigel Turnbull has continued to serve. The Management Board and
staff remain most appreciative of the expert guidance and support that is so vital to our work and so willingly
given by all of those named.
The planning of future publications is undertaken by a committee composed of curatorial and other staff,
our distributors Thames & Hudson, and two external members with valuable experience in the field. For more
than 20 years, from the earliest beginnings of the Trust’s publishing activities, including the establishment of
Royal Collection Publications as an independent imprint, we have had the benefit of constant encouragement
and advice from David Campbell, publisher of Everyman’s Library and Chairman of Scala Publishers. Following
his retirement from the Committee in 2011, it is appropriate to record here the appreciation of staff and other
partners in our publishing work. We are very fortunate that Jonathan Drori, CBE, a former Head of Digital
and Learning Channels in BBC Education, and former Head of Commissioning for BBC Online, has agreed to
join the Committee at a time when traditional print publishing is coming to terms with the new possibilities of
the digital world. Continuing thanks are also due to Mary Butler, formerly Head of Publications at the Victoria
and Albert Museum, who has given most willingly of her time and advice to the Committee for some years.
The work of preparing the Three-Year Plan 2012–15 has resulted in the agreement of some fundamental
statements about the organisation. These include a definition of our Mission, which is based closely on the
wording of the charitable aims of The Royal Collection Trust:
We support The Queen for the benefit of the Nation by ensuring that the Royal Collection
is cared for and presented to the highest standards, and is as visible as possible. We generate
revenues to fund our charitable work. Through research and creative excellence we act as
guides to the Palaces and Collection, promoting enjoyment and understanding by the
broadest possible audience.
The report that follows is divided into sections which cover each of the charitable aims, expressed in these
terms. It is under these headings that Trustees measure the year’s results, with reference to the guidelines on
public benefit prepared by the Charity Commission and the Office of the Scottish Charity Regulator.
The financial information is confined to a summary for the purposes of this report. Full financial statements
are available online (www.royalcollection.org.uk) or from the Registered Office, York House, St James’s Palace,
London SW1A 1BQ.
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ANNUAL REPORT
2012
CUSTODIAL CONTROL
Ensuring that the Royal Collection is subject to proper custodial control
A dedicated Collections Information team of 12 is employed to maintain, update and enhance the content of
the Collections Management System (CMS), adding new records and images and refining and editing data.
This year, 22,000 new records were written and added to the database, bringing the total to 746,000 records.
In addition, more than 35,000 images were uploaded to the system, bringing this total to 218,000. Priority is
now being given to incorporating conservation records previously maintained on separate databases, and to
the accurate assignment of condition rankings in order to inform the prioritisation of conservation treatments.
As part of the current cycle of inventory checks, scheduled to be completed by the end of 2013, on-site
checks were made of parts of Buckingham Palace, the Royal Library at Windsor Castle, Sandringham House
and the California Gardens Store at Windsor Castle. The CMS now has 174 users across the organisation and,
increasingly, in other Departments of the Royal Household, enabling local staff to update movements and
other information in a more timely manner. The CMS underpins many areas of activity, and this year the team
was heavily committed to the preparation of data for the Collection Online, which is fed directly from
the CMS. This is a never-ending as well as a vital task, and one in which curatorial and conservation staff are
also constantly involved.
CONSERVATION
Ensuring that the Collection is maintained and conserved
to the highest possible standards
PA I N T I N G S
The preparation of paintings for exhibitions continues to be the dominant activity. For the new installation
at Kensington Palace, Victoria Revealed, 40 paintings and 13 miniatures received attention. Of these, five
paintings required full conservation treatment, while the remainder received preparatory work. Seventeen
frames required conservation work, which was shared between internal and external studios and overseen by
the Senior Gilding Conservator. All the remaining frames were prepared for loan by the Framing and
Exhibitions Conservator and Technician.
For the King’s Gallery at Kensington Palace, designed for George I in the 1720s by William Kent for the
display of some of the greatest paintings in the Collection, work was completed on Tintoretto’s The Muses
(1578). The removal of darkened varnish and overpaint has allowed the virtuoso brushwork to be appreciated
fully, and the numerous pentimenti, previously suppressed by the overpaint, reveal the evolution
of the composition. The painting will be displayed in the King’s Gallery for the first time in 200 years when it
returns to Kensington at the end of 2012. Five other works were conserved for display elsewhere in the State
Apartments at Kensington.
ANNUAL REPORT
2012
11
The Muses (1578) by Jacopo Tintoretto. Cleaning has revealed subtle alterations (pentimenti)
made by the artist that throw light on the evolution and construction of this epic composition.
Paintings fully conserved for The Northern Renaissance exhibition include Hans Holbein’s Thomas Howard,
Third Duke of Norfolk (c.1538–9), involving the removal of nearly a century of yellowed varnish and overpaint
from the striking green background, and Eleanor of Austria (c.1531–4) by Joos van Cleve, whose delicate and
freehand underdrawing was examined and recorded with infra-red reflectography, using the latest technology
from the British Museum. Jan Mertens’ large oak panel of The Calling of St Matthew (c.1530s) was transformed
by the removal of discoloured varnish and extensive overpaint and, along with eight other panels, was
displayed in a reproduction frame constructed from Baltic oak to a period design and surface finish by the
Conservation framing team. The cleaning and painstaking removal of overpaint from the entire background
and foreground of Holbein’s portrait of Hans of Antwerp (after 1532) has revealed a painting of high quality.
Details of a hitherto unrecorded key lying on the desk were uncovered, and the removal of overpaint from the
seal and letter has provided new and vital clues to the sitter’s identity. This remarkable portrait will be
included in the London showing of The Northern Renaissance: Dürer to Holbein exhibition in November 2012.
D E C O R AT I V E A RT S
A total of 540 works of art – including furniture, ceramics, clocks, metalwork, arms, armour and picture frames
– were conserved in the Royal Collection workshops and the two horological workshops. Many of these
required a variety of treatments: for example, the large musical automaton clock by John Smith of Pittenweem,
presented to the Duke of York and Lady Elizabeth Bowes Lyon on the occasion of their marriage in 1923, required
work to the paintwork of the dial and automaton figures, the gilding of the case and the mechanical movement.
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ANNUAL REPORT
2012
Right: The Calling of St Matthew
(c.1530s), by Jan Mertens.
The crisp brushwork of this
superbly detailed painting has
been revealed through the
removal of varnish and overpaint
in preparation for the London
showing of The Northern
Renaissance: Dürer to Holbein,
in November 2012, when the
painting will be shown in a
Baltic oak frame of period design
made specially for the exhibition
(below).
Right: Horological staff assemble the musical
automaton clock made by John Smith of
Pittenweem (1770–1816) and presented to the Duke
and Duchess of York (later King George VI and
Queen Elizabeth The Queen Mother) upon their
marriage in 1923.
ANNUAL REPORT
2012
13
The original gilt-bronze mounts on this pair of encoignures or corner cupboards of c.1770, made by the French cabinet-maker Joseph Baumhauer,
were found on a pair of English late nineteenth-century mahogany versions. Following conservation of both pairs of corner cupboards, the original
mounts have now been restored to the correct cabinets.
Furniture conservation work included a late eighteenth-century French lacquer commode by Joseph
Baumhauer, from the King’s Drawing Room at Windsor Castle, and its two corner cabinets. Concurrent
treatment of two late nineteenth-century replicas of the corner cabinets, by the London firm of Johnstone and
Norman, revealed that the most prominent of the gilt-bronze mounts of Joseph’s original cabinets had been
exchanged for new copies, while the eighteenth-century mounts had been employed on the Victorian cabinets.
This exchange has now been reversed. An English rosewood breakfront cabinet, decorated with elaborate
engraved brass inlay, was fully conserved as part of a research project on a little-known group of cabinets
probably ordered for Queen Charlotte. In the gilding workshop, 17 picture frames were treated. Giltwood
furniture projects included two early eighteenth-century carved and gilded tables and two chairs from a set
made for the Prince of Wales at Carlton House, probably by François Hervé. A further 183 pieces of furniture
were treated in the Master of the Household’s ‘C’ Branch workshops at Windsor Castle.
Conservation of arms, armour and metals included work on the seventeenth-century cannon from the
covered stairs of the Round Tower, Windsor Castle, the study and treatment of sporting guns at Windsor
formerly belonging to Prince Albert and George IV, and the cleaning and conservation of pieces of Fabergé for
the Buckingham Palace Summer Opening exhibition. Several suits of armour on the Grand Staircase and
at high level in St George’s Hall at Windsor were examined in detail for the forthcoming catalogue raisonné.
Work also continued in connection with the catalogue of Chinese and Japanese works of art, including the
cleaning and repair of some 330 ceramic items in readiness for photography.
Major external projects included the treatment of 16 cannon from the parapet of the Round Tower and
two from the East Terrace, and the conservation of 265 pieces of copper from the Great Kitchen, all at
Windsor. Work began on the first of two French eighteenth-century tapestries from the Gobelins Amours des
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ANNUAL REPORT
2012
Dieux series from the Ministers’ Staircase at Buckingham Palace. Conservation progressed at the Palace of
Holyroodhouse on a Flemish seventeenth-century tapestry, The Lion Hunt, as well as on the seventeenthcentury crewel-work hangings from Mary, Queen of Scots’ Bedchamber.
W O R K S O N PA P E R
Works on paper in the Royal Collection include manuscripts, documents, maps and books, as well as fans,
prints and photographs, and drawings, pastels, prints and watercolours. In total, 2,154 items were treated by
the staff of the Paper Conservation Studio, assisted by a number of volunteers for book refurbishment, and a
further 127 volumes were re-bound by specialist contractors.
The year’s most challenging task was the conservation of John James Audubon’s magnificent Birds of
America series (1827–38), published in four volumes and containing 435 plates. Because Audubon chose
to depict his subjects – including the pelican and flamingo – at life-size, the plates were printed on
double-elephant paper (approximately 100 × 67 cm), one of the largest sizes of handmade paper ever
produced. The project entailed many adaptations of usual working methods and the invention of new
methods, as the books were taken apart, cleaned, repaired and reinstated with a new flexible sewing structure
to reduce the risk of future damage to the plates. Cleaning and conservation work on Volume II was completed
in time for its display at Buckingham Palace for the President of the United States in May 2011.
A volume of J.J. Audubon’s Birds of America being prepared for display at Buckingham Palace
during the State Visit of the President of the United States in May 2011.
ANNUAL REPORT
2012
15
Albrecht Dürer’s woodcut of the triumphal procession of the Emperor Maximilian I, published in 1522, was one of the biggest prints of its day
and needed careful mounting for display in The Northern Renaissance: Dürer to Holbein at The Queen’s Gallery, Edinburgh.
Another exceptionally large work, Albrecht Dürer’s huge woodcut The Great Triumphal Cart (1522),
consisting of eight conjoined sheets, required conservation, mounting and framing for The Northern
Renaissance exhibition. More than two metres in length, this posthumous tribute to the Holy Roman Emperor
Maximilian I proved to be a highlight of the exhibition. Another challenge, because of the inherent delicacy
of the medium, was the conservation of the charming pastel self-portrait by Rosalba Carriera, prepared for the
Treasures from The Queen’s Palaces exhibition at The Queen’s Gallery, Edinburgh.
P R E V E N T I V E C O N S E R VA T I O N
The funding of a new member of the Master of the Household’s Department, the Collections Care Steward,
has brought a fresh focus to the development of professional craft skills in housekeeping and object handling,
and to the regulation of the environment in the official residences. The Master’s staff routinely work alongside
Royal Collection conservators, and it is intended that a comparable approach will eventually be extended to
all of the principal residences.
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ANNUAL REPORT
2012
ACCESS AND PRESENTATION
… through research and creative excellence we act as guides to the Palaces and
Collection, ensuring that they are presented and interpreted to the highest standard
to promote enjoyment and understanding by the broadest possible audience …
EXHIBITIONS
A total of 12 exhibitions took place at The Queen’s Galleries, the Drawings Gallery at Windsor and in five
other locations around the country during the year under review. The contribution of exhibitions towards the
Trust’s aims can be felt in numerous areas: they are a means of highlighting particular aspects of the Collection
and offer a framework for programmes of events, and they provide a significant focus for the development of
research and curatorial expertise. This year’s programme, presenting old master paintings, prints and drawings
of the Northern schools, the earliest portrait photographs and photographs of the Antarctic, combined with
celebratory displays to mark royal anniversaries, was sufficiently varied in its range to attract interest from
many different quarters. Attendance at The Queen’s Galleries was consequently high, and increasing numbers
are taking advantage of the 1-Year Pass to return repeatedly to the same exhibition or its successors.
Exhibitions outside the royal palaces, such as those held this year in Bowness-on-Windermere, Barnard Castle,
Exeter and Birmingham, continue to be highly effective means of extending access to the Royal Collection
within the United Kingdom.
Prince Philip:
Celebrating Ninety Years
141 exhibits, including books, photographs,
documents, paintings, drawings
and watercolours
Drawings Gallery, Windsor Castle
12 February 2011 – 22 January 2012
The many hundreds of thousands of visitors to this
exhibition of photographs, memorabilia, paintings
and personal possessions illustrating the life of
HRH The Duke of Edinburgh included those
attending the special Thanksgiving Service and
Reception held at Windsor Castle in June 2011.
The display – curated by Jane Roberts and Rhian
Wong – reflected Prince Philip’s many interests,
from polo and carriage driving to painting and
design, and his extensive work as patron or
president of some 800 organisations, including the
Worldwide Fund for Nature and The Duke of
Edinburgh’s Award Scheme.
HRH The Duke of Edinburgh (1986) by David Poole, painted
while the artist was President of the Royal Society of Portrait Painters
(1983–91) and given (with two other portraits of Prince Philip) by
the President and Members of the Society to The Queen on her
sixtieth birthday in 1986.
ANNUAL REPORT
2012
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Dutch Landscapes
42 paintings
The Queen’s Gallery, Buckingham Palace
15 April – 9 October 2011
(137,450 visitors, in conjunction
with Treasures; see below)
The Bowes Museum, Barnard Castle,
County Durham
12 November 2011 – 11 March 2012
(18,283 visitors)
This selection of Dutch landscape paintings,
made by Desmond Shawe-Taylor and Jennifer
Evening Landscape with Figures and Sheep by Aelbert Cuyp (c.1650–59) depicts an idealised
landscape suggestive of the egalitarian ideals of the newly formed Dutch Republic.
Scott and previously shown at The Queen’s
Gallery, Edinburgh, brought together 42 paintings by artists of the calibre of Aelbert Cuyp,
Nicolaes Berchem, Jacob van Ruisdael and Meyndert Hobbema. The exhibition explored the ways in which
these leading artists of the Dutch Golden Age celebrated the growth and prosperity of the newly formed Dutch
Republic, independent since 1648 after a bitter war with its former Spanish rulers. At the same time, they were
responding to the changing landscapes of the northern Netherlands that resulted from large-scale land
reclamation projects, finding moral, political and spiritual meanings in the human ingenuity that transformed
marshland and sandy wastes into productive land.
A didactic display of 16 Dutch seventeenth-century drawings in the Millar Learning Room, and an
innovative online feature on linear perspective, allowed visitors to explore some of the compositional
techniques used by the artists featured in the exhibition.
From London, the exhibition moved on to the Bowes Museum, Barnard Castle, where it was enhanced by
a selection of prints and drawings by the Dutch painter Karel du Jardin, from the Bowes Museum’s own
collection, that had never before been on public display.
Treasures: Mythology and Regency
240 exhibits, including paintings, miniatures, prints and drawings,
books, furniture, arms and armour and decorative art
15 April – 9 October 2011
(137,450 visitors)
While Dutch Landscapes was showing in the Chambers Gallery, the remaining spaces in The Queen’s Gallery
were devoted to an extensive selection of works of all kinds arranged in two sections. Although following
earlier such displays in presenting a broad overview of the Royal Collection, these installations broke new
ground in focusing on specific themes. In the Pennethorne Gallery and its two cabinet rooms, the inspiration
that European artists drew from Greek and Roman myths was explored by combining versions of the same story
in different media from different times. Claude’s Coast scene with the Rape of Europa (1667) could thus be
compared with a mid-eighteenth-century French bronze sculptural clock inspired by the same story.
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For the Treasures: Mythology and Regency display
in The Queen’s Gallery, Buckingham Palace, the
woodcut The Fall of Giants (1647) by Bartolomeo
Coriolano was shown beside the drawing by Guido
Reni (c.1638; far left) on which it depends.
Elsewhere, Sebastiano Ricci’s painting Aurora and Tithonus (c.1705) was hung above P.-P. Thomire’s Apollo
Clock (1800–1810; see page 7), with its gilt-bronze figures of the sun god driving his chariot across the arc of
heaven, and flanked by two pedestals made originally for Versailles, with gilt-bronze mounts emblematic
of the gods of the sun and moon, Apollo and Diana.
In the Nash Gallery, the bicentenary of the Regency of George, Prince of Wales in 1811 was
commemorated in a display of outstanding works acquired by the Prince Regent, including Dutch old masters,
notably Rembrandt’s Shipbuilder and his Wife (1633), French and English furniture, porcelain and bronzes,
complemented by a group of watercolour views of interiors of Carlton House, in which some of the exhibited
works could be seen. Both displays included volumes from the Royal Library and proved well adapted for
gallery talks and lectures by curators, conservators and members of the Learning team.
The Northern Renaissance:
Dürer to Holbein
110 exhibits, including paintings, watercolours,
drawings, books, prints, miniatures, manuscripts
and bronze sculpture
The Queen’s Gallery, Edinburgh
17 June 2011 – 15 January 2012
(36,556 visitors)
Curated by Kate Heard and Lucy Whitaker, this
exhibition of more than 100 works by such artists
as Albrecht Dürer, Lucas Cranach the Elder and
Hans Holbein the Younger set the exceptional
examples of these artists’ works in the Royal
Albrecht Dürer, St Anthony (engraving, 1519).
Collection within a wider context, embracing the
art of their contemporaries in Flanders, France
and England. It opened with an extensive selection of Dürer’s prints, while Holbein’s portraiture was strongly
represented in both oil and chalk. The works on display revealed the originality and imagination with which
these artists depicted themes at the core of the Christian faith, but equally excelled in the emerging arts
of portraiture, the depiction of mythological themes and landscape painting. The exhibition also explored
the ways in which artists embraced the new technologies of the day, including the printing press, invented
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2012
19
in Germany around 1450, which allowed texts, ideas and images to be circulated in large numbers for
the first time.
Taking advantage of a concurrent display, Dürer’s Fame, at the National Gallery of Scotland, Royal
Collection curators and British and European colleagues spoke at a study day on Northern Renaissance art
held in conjunction with the National Galleries. The Northern Renaissance will be shown in expanded form at
The Queen’s Gallery, Buckingham Palace, from 2 November 2012 to 14 April 2013.
The Heart of the Great Alone: Scott,
Shackleton and Antarctic Photography
141 exhibits, including photographs, books, watercolours,
sculpture, medals and textiles
21 October 2011 – 15 April 2012
(67,450 visitors)
Following successful showings at The Queen’s Gallery,
Edinburgh, and at the Canterbury Museum, Christchurch,
New Zealand, this compelling visual record of Captain
Scott’s ill-fated Terra Nova expedition to the South Pole,
and of Ernest Shackleton’s subsequent attempt to cross
the continent of Antarctica via the South Pole, coincided
with the national and international commemorations of
the centenary of the tragic culmination of Scott’s
expedition in March 1912. The exhibition – curated by
Sophie Gordon and Emma Stuart – brought these heroic
journeys vividly to life through a large selection of
photographs by Herbert Ponting and Frank Hurley. These
Herbert Ponting’s photograph of Captain Scott’s expedition ship, the Terra Nova,
was taken at Cape Evans, close to the expedition hut, on 16 January 1911.
The next day, Scott and four companions reached the South Pole.
poignant images, originally presented to King George V,
were supplemented by flags, medals and sculpture, books,
drawings and watercolours.
An extensive learning programme accompanied the
exhibition, with public lectures and gallery talks (including a gallery tour with British Sign Language
interpretation) and two evenings with the explorer David Hempleman-Adams, who contributed to the
exhibition catalogue and supported the exhibition throughout its tour.
The Queen: 60 Photographs for 60 Years
60 photographs
Drawings Gallery, Windsor Castle
4 February – 28 October 2012
This exhibition celebrates The Queen’s 60 years as Sovereign, from the accession in February 1952 through
to more recent events, such as the 2009 Royal Variety Performance in Blackpool. Illustrating official occasions
of Her Majesty’s reign, as well as more informal family gatherings, the majority of the photographs in the
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Photographed by John Shelley, The Queen and
The Duke of Edinburgh are carried aloft in dug-out
canoes festooned with garlands and flowers,
during their visit to Tuvalu on 26 October 1982.
exhibition – curated by Lisa Heighway –
were taken by leading press photographers
and were generously presented by the
photographers or agencies concerned,
specifically for the display. The exhibition
will transfer to The Queen’s Gallery,
Edinburgh, where it will be on view from
16 November 2012 to 24 February 2013.
Treasures from The Queen’s Palaces
153 exhibits, including paintings, drawings, furniture, ceramics,
jewellery, metalwork, sculpture and arms and armour
The Queen’s Gallery, Edinburgh
16 March – 4 November 2012
To mark the Diamond Jubilee, the Curator Deborah Clarke has
selected outstanding works illustrating the entire breadth of the
Royal Collection, from eight royal residences and covering more than
five centuries. Many of the works are being shown in Scotland for the
first time. They include such well-known masterpieces as
Rembrandt’s portrait of Agatha Bas (1641) – in which the sitter seems
almost to step out of the frame thanks to Rembrandt’s illusionistic
skill – and the self-portrait etching by Lucian Freud, which the artist
presented to The Queen on his appointment to the Order of Merit in
1993. Paintings by Lorenzo Lotto, Peter Paul Rubens, Frans Hals and
Anthony van Dyck, drawings by Leonardo da Vinci, Michelangelo
and Raphael, and objects such as the jewel-encrusted Mosaic Egg by
Fabergé and a pre-Columbian gold crown from Ecuador, contribute to
an exhibition that offers many surprises while being fully
representative of the range and quality of the Royal Collection.
Two selections (curated by Lauren Porter) of Treasures from the
Royal Library, including drawings by Leonardo da Vinci and Holbein,
were displayed alongside the themed exhibitions in the Drawings
Gallery, Windsor Castle (12 February – 25 August 2011; 26 August
2011 – 22 January 2012).
Presented to Queen Victoria in 1862 by the President of
the Republic of Ecuador, Gabriel García Moreno (1821–75),
this gold crown was excavated in 1854 in the Cuenca region
of the Ecuadorian highlands; it dates from around AD 1400
and was probably made by the Cañari people, in a region
that was not conquered by empire-building Inca invaders
until the mid-fifteenth century.
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2012
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Travelling Exhibitions
Roger Fenton and Julia Margaret Cameron:
Early British Photographs from the Royal
Collection
22 photographs
The Arts and Crafts House, Blackwell, Bownesson-Windermere, 31 January – 27 April 2011
Royal Albert Memorial Museum, Exeter
16 December 2011 – 1 April 2012
This group of some of the finest portraits and
documentary images taken by the pioneer photographers
Roger Fenton and Julia Margaret Cameron, curated by
Sophie Gordon and previously shown at Aberdeen Art
Gallery, was displayed at The Arts and Crafts House,
Blackwell, alongside local material relating to the
development of photography in the Lake District. The
exhibition then travelled to Exeter, where it marked
the reopening of the Royal Albert Memorial Museum
Julia Margaret Cameron’s photograph of 1868 depicts Clinton Parry (1840–83),
whose better-known brother, Hubert, composed ‘Jerusalem’.
after a major redevelopment campaign.
Ten Drawings by Leonardo da Vinci:
A Diamond Jubilee Celebration
10 drawings
Birmingham Museum and Art Gallery
13 January – 25 March 2012
(74,863 visitors)
Bristol Museum and Art Gallery
31 March – 10 June 2012
Tour continues to Belfast, Dundee and Hull
June 2012 – January 2013
The fifth touring exhibition of ten drawings from the
Print Room at Windsor Castle has been selected by
Martin Clayton to embrace almost every aspect of
Leonardo’s artistic and scientific interests. Two studies
for Leonardo’s lost masterpiece, Leda and the Swan
(a head of Leda and a study of plants), are accompanied
by works connected with anatomy, civil engineering,
military equipment, an equestrian monument, apocalyptic
The Head of Leda (c.1504–6), in pen and ink over black chalk by Leonardo da
Vinci, a study for the head of Leda in the lost painting of Leda and the Swan.
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2012
scenes and a study of old age. A full account of this tour
will appear in next year’s report, but its value as a means
of bringing the Royal Collection to the attention of the widest possible audience
in the United Kingdom was demonstrated in the opening stage at Birmingham
Museum and Art Gallery, where the exhibition attracted the largest overall
numbers ever recorded for an exhibition at the museum. Advance work in
preparation for the tour has involved our curatorial, learning, press, marketing and
exhibitions teams in visits to each venue, to talk with representatives of arts
organisations, teachers, media and many others with a potential interest in the
I feel incredibly privileged to
be here. When I was a little
boy I tried to copy these
drawings … Getting this
collection is fantastic, it’s a
great coup for the city.
exhibition. This has resulted in a lively programme of educational visits, lectures
and workshops, including practical drawing activities designed to encourage students
to explore Leonardo da Vinci’s techniques.
Occasional Displays
A team led by Jane Roberts arranged and installed six special temporary
displays during the year. At Buckingham Palace, displays of material from
the Royal Collection and Royal Archives were installed in the State Rooms
for the State Visits of the President of the United States in May 2011 and
the President of the Republic of Turkey in November, and for The Queen’s
receptions for those involved in Exploration and Adventure (December 2011),
and to mark the bicentenary of the birth of Charles Dickens (February 2012).
At Windsor Castle, displays for The Queen’s guests included one for those
attending the luncheon for members of the Order of Merit in April 2011.
Examples of some of the items chosen for display on each of these
occasions can be seen on the ‘Gallery’ of the British Monarchy website
(www.royal.gov.uk/ImagesandBroadcasts/ Galleries/Overview.aspx).
Portraits, manuscripts and early editions of his novels formed part of the display mounted for the reception
hosted by The Queen to mark the bicentenary of the birth of Charles Dickens in February 2012.
Brian Travers, saxophonist
with the band UB40, visiting
Ten Drawings by Leonardo da
Vinci at Birmingham Museum
and Art Gallery in January
2012
The wedding dress of The Duchess of Cambridge was the focal point of a display for the Summer Opening
of Buckingham Palace celebrating the role of British design in the wedding festivities.
V I S I T I N G T H E PA L A C E S
Buckingham Palace
The nineteenth annual Summer Opening of the State Rooms took place between 23 July and 3 October 2011.
In the course of these 73 days (2010: 67 days), an unprecedented 605,022 visitors attended (2010: 413,000).
Taking into account those who took advantage of the 1-Year Pass to return within a year of their first visit,
the overall number was 626,678. Most encouragingly, UK visitors accounted for 57 per cent of the total
(2010: 43 per cent).
The attendance figures were no doubt heavily influenced by public interest in the wedding of The Duke
and Duchess of Cambridge, which took place on Friday 29 April 2011 at Westminster Abbey. Thanks to
the generosity of The Duchess of Cambridge and the willing co-operation of Sarah Burton and her
team at Alexander McQueen, it was possible in a very short space of time to mount a special display in the
Ballroom, The Royal Wedding Dress: A Story of Great British Design. The dress itself took pride of place in
the Ballroom, displayed in conjunction with the bride’s earrings and shoes, and the Cartier ‘halo’ tiara, which
Photography in The Queen’s Galleries
Visitors to The Queen’s Galleries in London and Edinburgh are now permitted to take
their own photographs. It has been found that, with careful management, this need not
inhibit the enjoyment of others. This brings the Galleries into line with most museum
collections and will serve to raise the profile both of the Collection and of the Galleries
through the circulation of digital images. A prohibition on photography remains within
The Queen’s official residences themselves.
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2012
had been lent by The Queen for the wedding day. The spectacular tiered wedding cake by Fiona Cairns,
appearing like a rare example of the traditional courtly art of sugar sculpture, complemented the elaborate
plasterwork, marble fireplaces and biscuit porcelain on display in the State Dining Room.
In the Ball Supper Room, a special exhibition, Royal Fabergé, featured more than 100 works by the Russian
court goldsmith and jeweller, Peter Carl Fabergé. The exhibition documented the contributions of six
successive generations of the Royal Family to the finest collection of Fabergé in the world, unparalleled in size,
range or quality. The innovative display presented the works – including Imperial eggs, clocks and automata,
picture frames, snuff bottles, cigarette cases and decorative miniatures – in groups according to their date of
acquisition. The scene was enlivened by short films shot in high definition to allow closer exploration of the
intricacies of these exquisite objects. The widely praised display was devised to ensure steady, continuous
movement through the space, allowing visitors to view the works equally well from either side. Both the
wedding dress display and the Fabergé exhibition were curated by Caroline de Guitaut, whose book
Royal Fabergé was published to coincide with the Summer Opening.
For the first time during the 2011 season, interpretive panels were installed in the Picture Gallery, giving
visitors key information on the most significant paintings, including the artist’s name, painting title and dates,
and a short account of themes and genres.
Throughout the Summer Opening period, Private Evening Tours were offered at the end of the day.
These tours also took place at Easter 2011 and during January 2012, the only other times in the year when
Buckingham Palace was not fully in use as an official residence.
Above: Audio tours and interpretive panels in the Picture Gallery give
information to Buckingham Palace visitors on significant paintings and
key themes. Right: The Royal Fabergé display.
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2012
25
The Royal Mews
The Royal Mews was open to the public for 94 days
(2010–11: 106 days), including (for the second
successive year) the winter months. Interest in the
horses and carriages of the Royal Mews remained as
strong as ever, no doubt also stimulated by the Royal
Tours of the Royal Mews provide an insight into major state ceremonies.
Wedding, with a total of 271,253 people making a
visit. Between April and October, visitors are able to
take a guided tour and learn how the Mews serves The Queen in the performance of her official duties and
prepares for major state and ceremonial occasions. During the remainder of the year, Royal Mews staff give an
insight into how the Mews operates through a pre-recorded audio tour.
Windsor Castle
Windsor Castle was open throughout the year, with the usual occasional exceptions at times when the Castle
was in use for investitures or other official events. A total of 1.15 million visitors were received during the year
(a 10 per cent increase on 2010–11), continuing an upward trend since 2008.
During August and September 2011, a new ‘Conquer the Tower’ guided tour was offered in addition to
the main visit to the precincts and State Rooms. The panoramic views, a reward for the exacting climb to the
top of the Round Tower, help to demonstrate the strategic importance of Windsor to the Norman invaders who
founded the Castle in the 1070s. Around 10,000 people took advantage of this new experience, which will
be repeated in future years as one of an increasing range of additional opportunities to discover new aspects of
the historic and contemporary life of the Castle.
A special display of portraits by William Dobson was hung in the King’s Drawing Room as part of the
Dobson Art Trail, an extended exhibition across more than 20 separate museums and other sites, curated by the
critic and broadcaster Waldemar Januszczak.
In December, the State Dining Room and Octagon Dining Room were transformed by displays that
evoked the Christmas traditions of Queen Victoria and Prince Albert. The State Dining Room table was
decked for a Christmas feast, while in the adjoining Octagon Dining Room, several Christmas gift tables were
Enjoying the views from the top of the Round Tower as part
of Windsor Castle’s new ‘Conquer the Tower’ guided tour.
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2012
A ‘pilot café’ was installed in the Undercroft as part of
a plan to improve the visitor experience at Windsor.
The special installation at Windsor Castle evoking Queen Victoria and Prince Albert’s Christmas displays.
arranged with works of art presented to one another by Queen Victoria and Prince Albert. At the centre of
the room, the gilt-bronze neo-Gothic chandelier was replaced by a candle-lit Christmas tree, hung in the
manner that Prince Albert introduced to the State Rooms.
Although market research ratings for enjoyment, value for money, knowledge and helpfulness of staff are
consistently good, aspects of the visit to Windsor Castle have been identified as capable of improvement.
At the beginning of last year, a Steering Group chaired by Trustee Peter Troughton appointed the architectural
firm of Feilden Clegg Bradley Studios to undertake a Master Plan. Their report was completed in December
2011 and submitted to Trustees, together with proposals for the external environment of the Castle by
The Landscape Agency. Two ‘thinking days’ were held, at which invited guests from the worlds of tourism and
heritage, the arts and education, together with representatives of local communities, discussed possible
improvements with Royal Household staff. As a contribution to the study, a ‘pilot’ café was installed in
Edward III’s Great Undercroft between October 2011 and April 2012. The temporary café was very well
received by visitors and provided valuable experience in the running of such an operation in the Castle.
The Master Plan has focused attention on the need for improvements to the initial reception and
orientation of visitors and to the circulation on the ground floor of the State Apartments. The possibility of
reinstating the fundamental north–south axis that has underpinned the Castle’s architectural development
since the late seventeenth century is also under consideration. Improvements to the display and visibility of
works of art, greater flexibility and choice for the visitor, the upgrading of essential facilities, and better
provision for educational activities will all form part of a major project, which it is hoped can be substantially
completed over the next three years.
Free access for serving military personnel
Members of the armed forces are welcome to visit the palaces and galleries without charge. From
April 2011, this scheme was extended to family members: a complimentary family ticket now
gives admission for up to two adults and three children (under 17), and during the year under
review just over 8,000 tickets were issued under this initiative.
ANNUAL REPORT
2012
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Group Travel Awards
Groups account for around half the overall number of visitors at Windsor Castle
and 24 per cent at other sites. We are therefore very pleased that Buckingham
Palace has been awarded ‘Best Attraction for Group Visits: Long Visit’ in the
2012 Group Travel Awards, as voted by readers of Group Travel Organiser
magazine. Windsor Castle was shortlisted for ‘Best Attraction for Group Visits:
Short Visit’. Susanna Mann and Rhiannon Marsh collected the award on behalf
of Royal Collection Trust at a ceremony held in London on 15 June 2012.
The Royal Library and the Print Room received just over 1,000 visitors during the year. These included
individuals carrying out original research and groups of students, as well as participants in Royal Collection
Studies, those attending the symposium on Italian Culture at the Tudor Court and the study day on the theme
‘Monarchs and their books’, in conjunction with the British Library’s exhibition Royal Manuscripts: The Genius
of Illumination, along with the Windsor Festival Schools’ Competition prize-winners, and members of the
Antiquarian Horological Society. In addition, there were visits by groups of students from the Courtauld
Institute, Reading University and The Prince’s Drawing School. Among the visitors who came to study the
photograph collection were MA students from the History of Photography programme at Sotheby’s Institute,
MA students from the History of Photography programme at De Montfort University, Leicester, and Windsor
Castle staff and community groups.
The Palace of Holyroodhouse received 267,000 visitors during the year, an increase of 14 per cent on the
previous year (234,000); and a further 53,000 people visited The Queen’s Gallery (up 23.5 per cent from
43,000 in 2010–11).
Following the recent success of tours of Holyrood Abbey, guided tours of the Palace garden were
successfully added to the range of options open to visitors. The new tour provides insights into the origins and
surrounding remains of the medieval Abbey, the
spectacular landscape, and the use of the garden for
The Queen’s Garden Parties and the competitions of
the Royal Company of Archers.
As the first step towards the possible
development of additional facilities for visitors to
the Palace, a comprehensive archaeological study
was made of the range of buildings in Abbey Strand.
A comprehensive archaeological study has established
that the two houses on Abbey Strand, located at the foot
of Canongate and just outside the precincts of the Palace of
Holyroodhouse, are among the oldest secular buildings
to survive in Edinburgh. The study will inform plans for
the future use of the buildings.
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In addition to the physical record, the study drew on primary and secondary sources to document the history
of the buildings, which, though much altered, contain parts of the earliest houses still standing in Edinburgh.
The Abbey Strand buildings have served many uses, including tea rooms, public houses and accommodation
for debtors seeking sanctuary (an arrangement that endured until the 1880s). During 2012, a Master Plan
process will explore ways of reincorporating the buildings in conjunction with The Queen’s Gallery and the café.
H I S T O R I C R O Y A L PA L A C E S
Hampton Court Palace, Kensington Palace, Kew Palace and Queen Charlotte’s Cottage, and the
Tower of London, managed separately by Historic Royal Palaces, are additional places where substantial
parts of the Royal Collection are on permanent view. Combined visitor numbers to all the Historic
Royal Palaces grew during the past year, to a total of 3.41 million.
Projects to mark the Diamond Jubilee have
involved close collaboration between Royal Collection
Trust and Historic Royal Palaces staff. Kensington
Palace was reopened by The Queen on 15 March 2012,
following a three-year project to re-connect the Palace
with Kensington Gardens and the Round Pond, to
increase access and provide better facilities and
interpretation. Visitors can now choose between four
designated routes through the Palace. The first of these,
Victoria Revealed, incorporates a total of 214 works from
the Royal Collection, of which the majority are being
shown for the first time at Kensington.
More than 40 works have been included in the
exhibition at Hampton Court, The Wild, the Beautiful and
the Damned, which focuses on two series of paintings, the
‘Windsor Beauties’, painted around 1663 by Sir Peter
Lely, and the ‘Hampton Court Beauties’ by Sir Godfrey
Kneller, painted around 1690.
The spectacular new display of the Crown Jewels at
the Tower of London, inaugurated by The Princess
Royal on 29 March 2012, involved Royal Collection
curators and conservators, photographic, press and
publishing staff during the course of a two-year project.
Diana de Vere, Duchess of St Albans (1691) by Sir Godfrey Kneller.
Forming part of a series of full-length portraits painted for Mary II,
known as the ‘Hampton Court Beauties’, this painting is one of more
than 40 works from the Royal Collection included in the Historic
Royal Palaces exhibition at Hampton Court, The Wild, the Beautiful
and the Damned, about the ladies of the Stuart Court (1660–1714).
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The chain ferry at Vaprio d’Adda
(c.1511–13) by Leonardo da
Vinci, reproduced at life-size.
From the exhibition Ten Drawings
by Leonardo da Vinci: A Diamond
Jubilee Celebration, this tiny
bird’s-eye view shows the swirling
currents of the River Adda and
the rocky wooded landscape
near the Villa Melzi, the family
home of one of Leonardo’s pupils
outside Milan, where the artist
stayed during 1512–13.
LOANS
One of the most ambitious and successful exhibitions ever mounted at the National Gallery in London,
Leonardo da Vinci: Painter at the Court of Milan (9 November 2011 – 5 February 2012), was seen by 323,897
visitors, and featured 33 drawings from the Royal Collection. This was by far the largest loan, making up
nearly half the works by Leonardo in the exhibition. The drawings were displayed in close relation to the
paintings that Leonardo created while court painter to Duke Lodovico Sforza in Milan in the late 1480s
and 1490s. Drawings such as Leonardo’s A man tricked by Gypsies (Five character studies, c.1493) enabled
visitors to study his mastery of draughtsmanship and his skill in the delineation of human character.
Royal Collection Trust played an active role in the exhibition in a curatorial and scholarly capacity:
Martin Clayton recorded all the audio-guide commentaries on the drawings. He also appeared in the
half-hour film made by the National Gallery to accompany the exhibition, speaking in the Print Room of
the Royal Library to Luke Syson, the show’s curator. He was interviewed by Mariella Frostrup for the Sky
Arts ‘Leonardo Live’ broadcast on the opening night, spoke on ‘Leonardo’s drawings’, in conversation
with the artist Michael Craig-Martin at a National Gallery discussion event, and chaired a second such
event, this time on Leonardo’s anatomical studies. In addition, Alan Donnithorne spoke at another
conference at the National Gallery on Leonardo’s Technical Practice.
The exhibition Prinz Albert – Ein Bild von einem Mann, held to mark the 150th anniversary of the
death of the Prince Consort, in the Veste Coburg, ancestral home of Prince Albert’s family, the dukes of
Saxe-Coburg, included 21 loans from the Royal Collection. Also reflecting Prince Albert’s life and
achievements was the exhibition under the patronage of The Prince of Wales, held in Bonn from
November 2011 to April 2012, which featured 16 Royal Collection loans. The exhibition shed light on
the continental roots of the Victoria and Albert Museum and the influence of Prince Albert, who was a
graduate of the University of Bonn.
One of the most celebrated of all paintings in the Collection, Johannes Vermeer’s The Music Lesson
(c.1662–5), was included with two further Royal Collection paintings by other artists in the popular
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Three outstanding sixteenth-century bronze busts by the Italian sculptor
Leone Leoni have been placed on loan in the Medieval and Renaissance
Galleries at the Victoria and Albert Museum; they portray the Habsburg
Emperor Charles V, his son, Philip II of Spain, and the Duke of Alba.
exhibition Vermeer’s Women: Secrets and Silence at
the Fitzwilliam Museum, Cambridge. A strong
selection of works by the eighteenth-century
German painter Johan Zoffany was lent to the
exhibition Johan Zoffany RA: Society Observed, shown
first at the Yale Center for British Art, New Haven.
For the London showing (Royal Academy of Arts),
the loan was augmented by a further group of major
works by the artist. A group of four early Italian drawings was lent to The Renaissance Portrait from Donatello
to Bellini, shown in Berlin and New York. Important Middle Eastern manuscripts were lent to exhibitions
in Paris, Zurich, New York, Los Angeles and Houston. Lucian Freud’s portrait of Her Majesty The Queen
was included in the special travelling exhibition The Queen: Art and Image, organised by the National
Portrait Gallery and shown in Edinburgh, Belfast and Cardiff, in anticipation of the Diamond Jubilee.
Three outstanding sixteenth-century bronze busts by the Italian sculptor Leone Leoni were placed
on display in the Medieval and Renaissance Galleries at the Victoria and Albert Museum in September
2011 for two years. The busts of Emperor Charles V, King Philip II of Spain and the Duke of Alba are
shown alongside medals and a plaquette by the same sculptor, as well as the ‘Plus Oultra Cabinet’, which
bears the emblems and motto of Charles V. The display has been supported by educational events and
links to the Royal Collection Trust website.
A new long-term loan has been agreed with the Palace of Westminster, where Queen Anne in
the House of Lords (1708–14), by the Flemish artist Peter Tillemans, has been partnered with another
Tillemans work, The House of Commons in Session
(1709–14), from the Palace of Westminster’s own
art collection.
A ceremonial adze and a model war canoe
were placed on loan for a period of five years as
part of a new exhibition about the Te Arawa Tribe
at the Museum of Art and History, Rotorua,
New Zealand. Both items were official gifts from
the Te Arawa people to the Duke and Duchess
of Cornwall and York (later King George V and
Queen Mary), at the Maori Welcome at Rotorua
in 1901.
Given to the Duke and Duchess of Cornwall and York in 1901,
this model of a waka, or ceremonial war canoe, has been lent to
Rotorua’s Museum of Art and History for an exhibition on the
Te Arawa people of New Zealand.
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Washington DC, National Gallery of Art
Gabriel Metsu 1629–1667
17 April – 24 July 2011
Painting by Gabriel Metsu
Paris, Musée du Louvre
Rembrandt et la figure du Christ
21 April – 18 July 2011
Painting by Rembrandt van Rijn
Rotorua, Museum of Art and History
Lent to the Musée National des Arts Asiatiques – Guimet, in Paris,
this is an elaborate example of a traditional dhal (shield) made in
Lucknow in the first half of the nineteenth century and presented to
Albert Edward, Prince of Wales, during his visit to India in the winter
of 1875–6. Although most shields of this form are made of hide, this
example is of silver gilt, decorated with champlevé enamels depicting
animals and birds, while the tear-shaped ornaments and crescent
motif are all set with diamonds.
Te Arawa Tribe Display
May 2011 – August 2016
Ceremonial adze
War canoe
Zurich, Museum Rietberg,
and New York, Metropolitan Museum of Art
Der Weg des Meisters – Die Grossen Künstler Indiens,
1100–1900
Loans to Exhibitions
(listed by date of opening)
Wonder of the Age: Master Painters of India,
1100–1900
1 May – 21 August 2011
York, Fairfax House
Gilding the Lily. The Flower: Inspiring Design
in Georgian Decorative Arts
1 April – 31 July 2011
28 September 2011 – 8 January 2012
Four pages from the Padshahnama
Manuscript
Watercolour by Shaik Mansur
Cabinet
Pair of porcelain flower vases
London, Mall Galleries
Porcelain flute
Annual Exhibition of the Royal Society
Porcelain mug
of Portrait Painters
Sèvres vase
5–20 May 2011
Chelsea dish
Drawing by Geoffrey Hayzer
Watercolour by Charlotte, Princess Royal
Bristol Museum and Art Gallery
Watercolour by Princess Elizabeth
M Shed
Two watercolours by Maria Sibylla Merian
June 2011 – June 2016
Watercolour by George Dionysius Ehret
Silver model of the Dunbar and Ruston
Paris, Musée National des Arts Asiatiques –
steam navvy engine
Guimet
Los Angeles County Museum of Art,
Une cour royale en Inde:
and Houston, Museum of Fine Arts
Lucknow (XVIIIème–XIXème siècle
Gifts of the Sultan: The Arts of Giving at
6 April – 11 July 2011
the Islamic Courts
Shield
5 June – 5 September 2011
Two manuscripts
23 October 2011 – 16 January 2012
Watercolour by Egron Lundgren
Six pages from the Padshahnama
Two manuscripts
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Prangins, Musée National Suisse,
Madrid, Museo Nacional del Prado
and Zurich, Musée National Suisse
Roma: Naturaleza e Ideal (Paisajes 1600–1650)
Breguet
5 July – 25 September 2011
Drawing by Nicolas Poussin
Two drawings by Domenichino
Clock by Breguet
London, National Gallery
Northamptonshire, Boughton House,
Devotion by Design: Italian Altarpieces before 1500
and London, Handel House Museum
6 July – 2 October 2011
The Music Party: Paintings, Drawings and
Painting by Benozzo Gozzoli
Prints by the Laroons
Painting by Workshop of Fra Angelico
7 September – 27 November 2011
Painting by Marcellus Laroon
Dresden, Deutsches Hygiene-Museum,
and Brno, Moravian Gallery
Images of the Mind
Suffolk, Gainsborough’s House
23 July – 30 October 2011
Diana and Actaeon Revealed
9 December 2011 – 18 March 2012
Three drawings by Leonardo da Vinci
Painting by Thomas Gainsborough
Berlin, Bode-Museum,
York Art Gallery
and New York, Metropolitan Museum of Art
William Etty: Art and Controversy
Gesichter der Renaissance
25 June 2011 – 22 January 2012
The Renaissance Portrait from Donatello to Bellini
Painting by William Etty
25 August – 20 November 2011
Edinburgh, Royal Scottish Academy,
Belfast, Ulster Museum,
and Cardiff, National Museum Wales
The Queen: Art and Image
19 December 2011 – 18 March 2012
Drawing attributed to Fra Angelico
Drawing by an unidentified Florentine artist
Drawing by Domenico Ghirlandaio
Drawing by Leonardo da Vinci
London, Victoria and Albert Museum
4 February – 29 April 2012
Two-year gallery installation in the Medieval
Painting by Lucian Freud
and Renaissance Galleries
Sheffield, Millennium Galleries,
and London, Tate Britain
September 2011 – September 2013
Three bronze busts by Leone Leoni
John Martin: Apocalypse
Coburg, Kunstsammlungen der Veste Coburg
Prinz Albert – Ein Bild von einem Mann
9 September – 6 November 2011
Painting by John Martin
London, Dulwich Picture Gallery
Cy Twombly and Nicolas Poussin: Arcadian Painters
Drawing by Nicolas Poussin
Marble bust by Emil Wolff
Etching tools
Orange blossom parure
Bronze by Christian Daniel Rauch
Pair of Sèvres vases
Bracelet by William Essex
Statuette by Elkington & Co., Edward Corbould,
William Theed
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33
Miniature by Sir William Ross
Painting by Franz Xaver Winterhalter
Daguerreotype by William Kilburn
Watercolour by William Wyld
Watercolour by James Roberts
Watercolour by William Leighton Leitch
Drawing by Prince Albert
Watercolour by Carl Haag
Album of photographs by William Bambridge,
Frances Sally Day, J.J.E. Mayall, Camille Silvy
Watercolour by Edward Corbould
Watercolour by Albert Jenkins Humbert
Watercolour by Sir George Gilbert Scott
Watercolour by George H. Thomas
Antwerp, Rubenshuis
Palazzo Rubens. De meester als architect
Zoffany’s skill in depicting the varying textures of lace, satin, velvet
gilding and pearls are evident in this portrait of George III’s consort,
Queen Charlotte (1771), one of the highlights of the Johan Zoffany
exhibition shown at the Yale Center for British Art in New Haven
and the Royal Academy of Arts in London in 2011–12.
10 September – 11 December 2011
Drawing by Michelangelo Buonarroti
Paris, Grand Palais
Vienna, Kunsthistorisches Museum
Des jouets et des hommes
Wintermärchen
Two dolls by Jumeau
Two paintings by Sir Peter Paul Rubens
Doll’s glove box and gloves by Alexandrine and
Painting by Paul Delaroche
Hermès
Doll’s trunk by Innovation
Model Aston Martin car
Model Citroën/Daimler car
Model Citroën car
Cambridge, Fitzwilliam Museum
Vermeer’s Women: Secrets and Silence
Painting by Johannes Vermeer
First Actresses: Nell Gwyn to Sarah Siddons
Painting by John Hoppner
Perth, Western Australia Museum
Extraordinary Stories
25 October 2011 – 5 February 2012
Maori Hei-tiki
Painting by Jan Steen
New Haven, Yale Center for British Art,
Painting by Pieter de Hooch
and London, Royal Academy of Arts
Norwich Castle Museum and Art Gallery,
and Sheffield, Millennium Galleries
Family Matters: The Family in British Art
2 February – 29 April 2012
Painting by Johan Zoffany
Painting by Sir Peter Lely
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London, National Portrait Gallery
ANNUAL REPORT
2012
Johan Zoffany RA: Society Observed
27 October 2011 – 12 February 2012
10 March – 10 June 2012
Three paintings and one drawing by Johan Zoffany
(New Haven)
Seven paintings and two drawings by Johan Zoffany
(London)
Three porcelain groups (London)
Doncaster Museum and Art Gallery
London, Tate Britain
The King’s Own Yorkshire Light Infantry
Rubens and Britain
30 October 2011 – 30 October 2012
21 November 2011 – 6 May 2012
Regimental brooch
Two paintings by Sir Peter Paul Rubens
Edinburgh, Scottish National Portrait Gallery
Greenwich, The Fan Museum
Lavery and the Great War at Sea
Alexandre: Fan Maker to the Courts of Europe
1 November 2011 – 14 October 2012
22 November 2011 – 26 February 2012
Painting by Sir John Lavery
Two fans
Bouquet holder
Leonardo da Vinci: Painter at the Court of Milan
Exeter, Royal Albert Memorial Museum
The Road to Rome: Artists and Travellers
33 drawings by Leonardo da Vinci
on the Grand Tour
London, British Library
Royal Manuscripts: The Genius of Illumination
16 December 2011 – 6 May 2012
Two paintings by Canaletto
11 November 2011 – 11 March 2012
Munich, Neue Pinakothek
Painting by British School, sixteenth century
George Stubbs
Painting by Flemish School, sixteenth century
26 January – 6 May 2012
Turin, Le Scuderie Juvarriane della Reggia
Two paintings by George Stubbs
di Venaria Reale
London, The Design Museum
Leonardo da Vinci. Il Genio. Il Mito
Designs of the Year 2012
8 February – 4 July 2012
Three drawings by Leonardo da Vinci
Lace placement by Alexander McQueen
Drawing attributed to Francesco Melzi
Brighton Pavilion
Bonn, Kunst- und Ausstellungshalle der
Charlotte, The Forgotten Princess
Bundesrepublik Deutschland
10 March – 11 September 2012
Art and Design for All: The Victoria and
Dress worn by Princess Charlotte
Albert Museum
18 November 2011 – 15 April 2012
Silk dress worn by Queen Victoria
Prince Albert’s Full Dress Uniform of
the Grenadier Guards
Turner Inspired: In the Light of Claude
14 March – 5 June 2012
Painting by Claude Gellée (‘Le Lorrain’)
Bust by William Theed
London, Victoria and Albert Museum
Bronze by Sir Joseph Edgar Boehm
British Design 1948–2012:
Solon Ware vase
Innovation in the Modern Age
The Albert Tazza
31 March – 12 August 2012
Silver-gilt and enamel casket containing an address
Investiture crown by Louis Osman
Two paintings by Franz Xaver Winterhalter
Brooch by Andrew Grima
Painting by Heinrich von Angeli
Painting by David Roberts
Four watercolours by James Roberts
Watercolour by Nikolaus Christian Hohe
Warwickshire, Compton Verney
The Image of a King
31 March – 16 September 2012
Painting by Sir Anthony van Dyck
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2012
35
INTERPRETATION
… as guides to the Palaces and Collection, we ensure that they are presented and
interpreted to the highest standard to promote enjoyment and understanding by the
broadest possible audience …
LEARNING
As in previous years, tailored learning programmes were developed for exhibitions at The Queen’s Galleries
and elsewhere. The public events comprised study days, lectures, ‘Perfect Partners’ gallery talks (short talks
comparing two or more works), ‘Meet the Curator’ evenings, family activities and events specially designed for
visitors with access requirements. The schools programmes included teacher training days and workshops,
such as drawing and creative writing sessions. Increasingly, the reach of these learning programmes is extended
by providing access online. Public events are now regularly filmed and recorded and made available on the
website: an example was the lecture by Professor Timothy Brook of the University of British Columbia on ships
as emblems of political and economic power in seventeenth-century Dutch art, held in connection with the
Dutch Landscapes exhibition.
Events take place on most days in The Queen’s Galleries, involving many hundreds of learners over
the year. Among this year’s highlights were the practical photography workshops and a creative writing
session in conjunction with The Heart of the
Great Alone exhibition. A weekend ‘Introduction to
Printmaking’ course was held in connection with
The Northern Renaissance exhibition in Edinburgh,
and Lucy Whitaker’s talks on ‘Dürer to Holbein’
featured in the Edinburgh Art Festival.
As part of BBC Radio 4’s The Art of Monarchy
project, a productive new collaboration with BBC
Online resulted in a range of learning resources,
linked to BBC Schools programmes for Key Stages 1,
2 and 3. These include lesson plans and worksheets
about Henry VIII, Elizabeth I, Mary, Queen of Scots,
Queen Victoria and Queen Elizabeth II on the
BBC’s ‘Famous People’ and ‘Primary History’
websites. A new relationship has been established
The ‘binaural’ installation in the Millar Learning Room evoked the destruction
of Shackleton’s ship Endurance as experienced by her crew.
with the London Grid for Learning, resulting in a
new digital resource on the daily work of the Royal
Mews at Buckingham Palace. Featuring historic
photographs, archive materials, an interactive timeline and interviews with Mews staff, this is being promoted
to the 2,500 schools in the London area who are members of the Grid.
Additional electronic resources for younger visitors have been developed in-house. The Tudor and Stuart
portraits in the Royal Collection have been used as the basis for resources for teachers and students of art and
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School pupils learn about royal ceremony and costume, while young visitors make the most of the activities on offer in the Family Rooms.
design in secondary schools. Interactive games were created for the Dutch Landscapes and The Heart of the Great
Alone exhibitions, while children studying history can now investigate attack and defence at Windsor Castle
in medieval times.
New learning resources are also available on demand for families visiting the palaces and galleries, and
these have been well received. Family Activity Bags and family trails are available freely for self-guided visits.
At weekends and during school holidays, a range of creative activities are on offer in the Family Rooms.
WORKSHOPS AND COURSES
The sixteenth annual session of Royal Collection Studies, organised by the Attingham Trust, took place in
London, Windsor and Hampton Court. Membership was typically international, with 20 participants from
Australia, Canada, China, Denmark, France, Germany, Italy, the Netherlands, Russia, Sweden and the United
States, and 12 who were based in the United Kingdom. Nearly 500 scholars have now taken part in this
programme, for which the majority of the teaching and guiding is undertaken by Royal Collection Trust
curatorial staff, ably supported by colleagues at Historic Royal Palaces. With a combination of lectures, guided
visits to the palaces and conservation studios, the ten-day course provides a thorough introduction to the
Royal Collection, its settings and history, and has been the catalyst for further advanced study, exhibitions and
collaboration in many areas. Among the innovations this year was a discussion on the challenges of presenting
the Collection to visitors at Windsor Castle.
A two-day symposium on Italian Culture at the Tudor Court was organised by Lucy Whitaker, with
Dr Charlotte Bolland and Professor Kate Lowe of Queen Mary, University of London, in October 2011.
The event opened at The Queen’s Gallery, Buckingham Palace, with subsequent visits to the Royal Library at
Windsor Castle and to Hampton Court Palace, where the terracotta roundels supplied for Cardinal Wolsey in
the early 1520s by Giovanni da Maiano have recently been the focus of research co-ordinated by curators at
Historic Royal Palaces. Twenty-one academics and curators from the United Kingdom, Europe and North
America, with specialisations ranging from textiles and painting to music and armour, took part in the symposium.
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Left: Participants in a symposium on
Italian Culture at the Tudor Court visit
Hampton Court Palace to
see the newly restored terracotta
roundels made for Cardinal Wolsey
by Giovanni da Maiano.
Below left: The study day devoted to
two of the best-known works of the
Tudor period, The Embarkation of
Henry VIII at Dover and The Field
of Cloth of Gold.
A study day was held at Windsor Paintings Conservation Studio on 21 December 2011 with the aim of
examining two important sixteenth-century paintings: The Embarkation of Henry VIII at Dover and The Field of
Cloth of Gold (both usually on display at Hampton Court Palace). A group of art historians, naval historians,
costume experts and conservators considered the works side by side, and were shown the results of recent
infra-red reflectography in order to address issues of authorship and date. After a full day of lively discussion
it was agreed that both paintings were most likely to have been painted in the 1540s (20 years later than the
historical events that they depict), that they were created by two distinct artistic workshops and that they were
probably commissioned directly by Henry VIII.
On 8 March 2012, a workshop was held at The Queen’s Gallery, Buckingham Palace, in preparation for
a forthcoming exhibition on costume in early portraiture, to be held in 2013. The evening brought together
34 guests working in the fields of fashion education and contemporary design. Presentations about the
exhibition were followed by a wide-ranging discussion, generating valuable ideas about the interests of
different audience groups and the potential for collaborations with the fashion departments of the major
London art schools, London Fashion Week and the Royal School of Needlework.
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L E C T U R E S B Y S TA F F
Robert Ball gave a lecture on ‘Buckingham Palace and royal clocks’ to the St Albans and District Model
Engineering Society.
Rufus Bird spoke at the AGM of the Furniture History Society about ongoing conservation and research work
on a British brass-inlaid side cabinet and related works in the Royal Collection.
Wolf Burchard lectured on ‘The royal residences of George I and George II in London and Hanover’ at the
Royal Overseas League, London, and on ‘The Grande Galerie at the Louvre and shifting values in
seventeenth-century French royal patronage’ for the Society for Court Studies.
Claire Chorley: a video of Claire’s 2010 lecture ‘“Done by Holbin … upon a crackt board”: a case study of
Hans Holbein’s portrait of Hans of Antwerp’ was published online on the National Portrait Gallery’s website
(www.npg.org.uk/research/programmes/making-art-in-tudor-britain).
Deborah Clarke gave a number of lectures on the Palace of Holyroodhouse, including ‘Holyroodhouse and its
history as a royal residence’ at Duff House for the Friends of Duff House, and a talk in the ‘Perfect Partners’
series to accompany the exhibition Marcus Adams: Royal Photographer at The Queen’s Gallery, Edinburgh.
Martin Clayton took part in several live events connected to the Leonardo da Vinci exhibition at the
National Gallery, London (see page 30), and gave a number of talks in association with the travelling
exhibition Ten Drawings by Leonardo da Vinci, including ‘Leonardo through his drawings’ for The Art Fund, in
Birmingham, and at Bristol Museum and Art Gallery; and ‘Leonardo’s anatomical studies’ at Birmingham
Museum and Art Gallery. He spoke on ‘Leonardo’s “St Jerome” in the light of his anatomical studies’ at the
conference on Leonardo: Painting as Philosophy at the Warburg Institute, London.
Paul Cradock spoke to the North London Branch of the British Horological Institute on ‘Clocks in the Royal
Collection’.
Steven Davidson gave lectures on ‘The clocks of Windsor Castle’ to St Albans Antiquarian and Architectural
Society, the Probus Club, in Windsor, Watford Museum, The Antiquarian Horological Society of America, at
Windsor Castle, and the Antiquarian Horological Society Midlands Branch, at Warwick University.
Alan Donnithorne gave a gallery talk in the ‘Perfect Partners’ series during The Heart of the Great Alone
exhibition. At the conference on Leonardo’s Technical Practice: Paintings, Drawings and Influence, at the National
Gallery, London, he gave a paper on ‘The “faded” metalpoint drawings of Leonardo da Vinci in the Royal
Collection’, with Joanna Russell of the British Museum.
Sophie Gordon spoke on ‘The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography’ for
the Windsor Festival, and subsequently at the Summerleaze Gallery, Wiltshire, and for the Historical
Association, Isle of Wight; on ‘Victoria and Albert: a passion for photography’ at the Royal Albert Memorial
Museum, Exeter; on ‘The Heart of the Great Alone: Captain Scott and Herbert Ponting’ at National Museum
Wales, Cardiff; and at a two-day conference at St Andrew’s University on Polar Visual Culture on ‘At the ends
of the earth: polar images and royal collecting’. Sophie also recorded a website lecture on Herbert Ponting’s
use of colour for the Royal Channel on YouTube (www.youtube.com/user/TheRoyalChannel).
Caroline de Guitaut gave lectures on ‘Fabergé in the Royal Collection’ at the Royal Fabergé study day at
The Queen’s Gallery, London, at Stowe School and at Hillwood Museum, Washington DC, where she gave
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the inaugural lecture in the Frederick J. Fisher lecture series. She also gave seven talks on the Royal Fabergé
and The Royal Wedding Dress exhibitions at Buckingham Palace, including a British Sign Language group visit.
Kate Heard presented a paper on ‘Dürer’s drawings of the Virgin and Child’ at the joint Royal Collection
Trust/National Gallery of Scotland study day on ‘Dürer, Holbein and the Art of the Northern Renaissance’.
She gave a public talk on ‘Drawing in the Northern Renaissance’ at a ‘Meet the Curators’ event, and
‘Perfect Partners’ talks in both of The Queen’s Galleries on the Prince Regent’s acquisition of Rembrandt’s
Shipbuilder and his Wife, Dürer’s Pupila Augusta (c.1498) and St Anthony (1519), and on Edward Wilson’s
watercolours. She also gave papers on ‘“A hand, or eye by Hilliard drawne, is worth an history, by a worse
painter made”: portraiture and power in the early modern period’ at The Prince’s Teaching Institute
conference in Harrogate, and on ‘Vestments in the Yorkist Age’ at the Harlaxton Medieval Symposium on
The Yorkist Age.
Jonathan Marsden lectured on ‘“Portrait as Trophy”: three Imperial busts by Leone Leoni’ at the Victoria and
Albert Museum, on ‘The mystery of the Medici bust’ at Holyroodhouse, on ‘The Royal Collection’ at
Benenden School, and on ‘The Royal Collection on show’ at Dulwich Picture Gallery.
Lauren Porter gave a ‘Perfect Partners’ talk on ‘Avercamp and the landscape’ at The Queen’s Gallery, London;
the talk was later recorded and released on the British Monarchy’s Facebook page and YouTube channel as
‘A game of kolf on the ice’ (www.royalcollection.org.uk/exhibitions/dutch-landscapes/a-game-of-kolf-on-theice) and ‘A sleigh accident on the ice’ (www.royalcollection.org.uk/exhibitions/dutch-landscapes/a-sleighaccident-on-the-ice).
Anna Reynolds gave a paper on ‘Costume at court: exhibition and research’ at the inaugural conference for
the Association of Dress Historians on the new research on costume in paintings in the Royal Collection.
Jane Roberts spoke on ‘Monarchs and their books’ during the showing of the British Library’s exhibition
Royal Manuscripts: The Genius of Illumination.
Jennifer Scott gave ‘Perfect Partner’ talks on ‘Dutch Landscapes’ and ‘Treasures: Mythology and Regency’ at
The Queen’s Gallery, London, and on Marcus Adams at The Queen’s Gallery, Edinburgh; she gave talks at the
National Gallery, London, on Anthony van Dyck and on Juan de Valdes Leal. She lectured on ‘The king in a
kilt: royal portraiture in context’ at the Palace of Holyroodhouse, Edinburgh; on ‘The royal image’ for the Royal
Collection Studies course; and on ‘The Royal Portrait: Image and Impact’ at five venues: National Museum
Wales, Cardiff, Hampton Court, Wellington College, Dulwich Picture Gallery and the Grosvenor Museum,
Chester (for The Art Fund). She lectured on ‘Tudor royal portraits’ at the Birkbeck Alumni History of Art
Society, and on ‘Cecil Beaton and royal portraiture’ at the Cecil Beaton study day at the Victoria and Albert
Museum. She delivered lectures on ‘Dutch Landscapes’ at the Bowes Museum, County Durham; on ‘Cows,
dunes and windmills: decoding the Dutch landscape’ at The Queen’s Gallery, London; on ‘Ruisdael, Cuyp and
the expressive landscape’ at the Wallace Collection’s Dutch landscapes study day; and on ‘Vermeer’s virginals
to Cuyp’s cows: Dutch paintings in context’ at Bath Literature Festival.
Desmond Shawe-Taylor lectured on ‘George IV and the heroic portrait’ at the conference The Portrait and the
Country House organised by the Centre for Eighteenth Century Studies, University of York; on ‘Paintings from
the Royal Collection’ at a study day at Kensington Palace; and on ‘Van Dyck and Charles I’ for The Art Fund
at the Society of Antiquaries, London. He also spoke about ‘Traditions of landscape painting’ as part of the
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Wallace Collection’s study day ‘Masters of Dutch painting: landscapes and seascapes’, and on ‘George III’s
Music Lesson: Dutch genre painting in the Royal Collection’ at the Fitzwilliam Museum, Cambridge.
Lucy Whitaker gave a paper entitled ‘The repetition of motifs in the work of Maso Finiguerra, Antonio
Pollaiuolo and their collaborators’ at the conference From Pattern to Nature in Italian Renaissance Drawing:
Pisanello to Leonardo at the Istituto Universitario Olandese di Storia dell’Arte, Florence. She organised and
spoke at the symposium on Italian Culture at the Tudor Court held at The Queen’s Gallery, Buckingham Palace,
Windsor Castle and Hampton Court, organised jointly with Queen Mary, University of London. She also gave
several talks and lectures based on The Northern Renaissance exhibition at The Queen’s Gallery, Edinburgh.
One of these – ‘Jan Gossaert’s “poetical subjects with nude figures” and the bringing of Rome to Antwerp’ –
was given at the joint study day organised by Royal Collection Trust and the National Gallery of Scotland on
‘Dürer, Holbein and the art of the Northern Renaissance’, in connection with The Northern Renaissance
exhibition at The Queen’s Gallery, Edinburgh, and Dürer’s Fame, showing simultaneously at the National
Gallery of Scotland.
PUBLISHING
The
C row n
J e we l s
A N N A K E AY
Seven new titles were published during the year:
• The Northern Renaissance: Dürer to Holbein, by Kate Heard
and Lucy Whitaker
• Royal Fabergé, by Caroline de Guitaut
• Ten Drawings by Leonardo da Vinci, by Martin Clayton
• Queen Elizabeth II: A Diamond Jubilee Souvenir Album, by Jane Roberts
• The Crown Jewels, by Anna Keay
• Does The Queen Wear Her Crown in Bed?, by Marion McAuley
• Will There Be Knights and Dragons?, by Marion McAuley
and Leah Kharibian.
The Crown Jewels was the first book to be published jointly with an external publisher, Thames & Hudson, and in
partnership with Historic Royal Palaces. This authoritative and beautifully illustrated volume filled a major gap by
providing an affordable and scholarly account of the Crown Jewels and their history, drawing on the fundamental
work of Claude Blair and others published in the scholarly catalogue of 1998. The new book was published in
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41
advance of the Diamond Jubilee and in support of the re-presentation of the Crown Jewels in a magnificent
new setting within the Tower of London. Three different editions of the book were published. As well as the
hardback edition and a souvenir guide for visitors to the Tower, a specially bound limited edition was produced
that incorporated a three-metre fold-out panorama of Queen Victoria’s Coronation Procession in Westminster Abbey
on 28 June 1838, a faithful reproduction of a contemporary hand-coloured lithograph by Joseph Robins, held in the
Royal Library at Windsor Castle.
The publication of two new guides to Buckingham Palace and Windsor
Castle for younger visitors also broke new ground. Does The Queen Wear Her
Does The Queen Wear
Her Crown in Bed?
A Children’s Book about Buckingham Palace
Crown in Bed?, by Marion McAuley, with illustrations by Katy Sleight, answers
this and other questions most often asked by children about the Palace and
The Queen. The Windsor Castle guide, Will There Be Knights and Dragons?,
by Marion McAuley and Leah Kharibian, with illustrations by Katy Sleight,
follows a knight and two children as they explore the oldest and largest castle
in the world in search of the knight’s missing pet dragon. The preparation of
both titles involved local schools, and both have proved very successful,
providing a model for further children’s guides.
A new series of official guidebooks to the palaces was commissioned for the
Diamond Jubilee year, responding to the changing needs of visitors for a
souvenir of their visit. The new guidebooks are packed with high-quality colour
illustrations, room plans and authoritative text written by Royal Collection
Written by Marion McAuley
Illustrated by Katy Sleight
Trust staff. The Diamond Jubilee Souvenir Album is a revised and extended
edition of a very successful existing title, and will also be published in German.
Reflecting the popularity of the touring Diamond Jubilee exhibition, the
inexpensive catalogue Ten Drawings by Leonardo da Vinci has sold very strongly,
and The Heart of the Great Alone, by David Hempleman-Adams, Sophie
Gordon and Emma Stuart, sold out at the end of the London showing of the
exhibition.
Much ongoing work is concerned with major scholarly publications, such
as the forthcoming catalogues raisonnés of Chinese and Japanese works of art
and European Arms and Armour, and the revised editions of Oliver Millar’s
catalogues of British paintings and the catalogue of the Dutch pictures by
Christopher White. Plans were finalised this year for a definitive history of
Windsor Castle, replacing the work of Sir William St John Hope, published as
long ago as 1913. Importantly, the new book, edited by Steven Brindle and
incorporating the latest archaeological and historical research, will be both
authoritative and appealing to the general reader. At the same time, a history
of the Royal Mausoleum at Frogmore is being prepared by Michael Hall,
drawing on a very complete and fully illustrated building record.
Twelve papers from the study days held at the National Gallery, London, in 2010, in connection with the
exhibition at The Queen’s Gallery, London, Victoria & Albert: Art & Love, have been published electronically,
edited by Susanna Avery-Quash. The first Royal Collection Trust publication in this form, it is available via both
the Royal Collection Trust and the National Gallery websites.
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Publications by Staff
The following additional publications appeared during the year:
Wolf Burchard: ‘St James’s Palace: George II and Queen Caroline’s principal London residence’, The Court
Historian, 16(2) (2011); ‘Illusion and involvement: the lost baroque architecture of St George’s Hall at
Windsor Castle’, Immediations, 2(4) (2011).
Martin Clayton: two entries for The Northern Renaissance: Dürer to Holbein exhibition catalogue.
Sophie Gordon: ‘The web of royalty’, BBC History Magazine, February 2012.
Caroline de Guitaut: two catalogue entries in J. Bryant (ed.), Art and Design for All: The Victoria and Albert
Museum, V&A Publishing (2012).
Kate Heard: ‘“Such stuff as dreams are made on”: textiles and the medieval chantry’, Journal of the British
Archaeological Association, 164 (2011); ‘“Cheap and commercial”? Ecclesiastical embroidery and mass
production in late medieval England’, in M. Tomasi, L’art multiplié. Production de masse, en série, pour le marché
dans les arts entre Moyen Âge et Renaissance, Viella (2011); introductory material and 42 entries for The Northern
Renaissance: Dürer to Holbein exhibition catalogue; two catalogue entries in J. Bryant (ed.), Art and Design for
All: The Victoria and Albert Museum, V&A Publishing (2012).
Lisa Heighway: ‘Royal view’, NADFAS Review, winter (2011).
Kathryn Jones: ‘Prince Albert and Elkingtons’, Silver Studies, The Journal of the Silver Society, 27 (2011);
‘Celebrating jubilees: gifts in the Royal Collection’, BADA Handbook (2012/13); ‘“To wed high art with
mechanical skill”: Prince Albert and the industry of art’, Victoria & Albert: Art & Love. A Symposium
(www.royalcollection.org.uk/exhibitions/victoria-albert-art-love/symposium); three catalogue entries in
J. Bryant (ed.), Art and Design for All: The Victoria and Albert Museum, V&A Publishing (2012).
Jonathan Marsden: ‘Mr Green and Mr Brown: Ludwig Grüner and Emil Braun in the service of Prince Albert’,
Victoria & Albert: Art & Love. A Symposium (www.royalcollection.org.uk/exhibitions/victoria-albert-artlove/symposium); one entry for The Northern Renaissance: Dürer to Holbein exhibition catalogue; two catalogue
entries in J. Bryant (ed.), Art and Design for All: The Victoria and Albert Museum, V&A Publishing (2012).
Vanessa Remington: ‘Queen Victoria, Prince Albert and their relations with artists’, Victoria & Albert: Art &
Love. A Symposium (www.royalcollection.org.uk/exhibitions/victoria-albert-art-love/symposium); seven entries
for The Northern Renaissance: Dürer to Holbein exhibition catalogue.
Anna Reynolds: four catalogue entries in J. Bryant (ed.), Art and Design for All: The Victoria and Albert Museum,
V&A Publishing (2012).
Jane Roberts: ‘The Lodge and the development of the Great Park’, in S. Robinson (ed.), Glorious Seclusion:
Cumberland Lodge and Windsor Great Park in the Life of the Nation, Phillimore (2011).
Jennifer Scott: introductory material and 22 entries for The Northern Renaissance: Dürer to Holbein exhibition
catalogue.
Desmond Shawe-Taylor: review of Johan Zoffany 1733–1810 by Mary Webster, Country Life, 27 July 2011;
‘Our Island Story’, a preview of BBC Radio 4’s The Art of Monarchy, The Spectator, 11 February 2012.
ANNUAL REPORT
2012
43
Rachael Smith: ‘The conservation of 830 oil paintings on paper by Marianne North’, Journal of the Institute of
Conservation, 34(2) (2011) (with Tanya Millard, Emma Le Cornu, Eleanor Hasler, Helen Cowdy, Rebecca
Chisholm and Eleanor King).
Emma Stuart: nine entries for The Northern Renaissancee: Dürer to Holbein exhibition catalogue.
Lucy Whitaker: ‘“Preparing a handsome picture frame to pattern chosen by HRH The Prince”: Prince Albert
frames his collection’, Victoria & Albert: Art & Love. A Symposium (www.royalcollection.org.uk/exhibitions/
victoria-albert-art-love/symposium); introductory material and 16 entries for The Northern Renaissance:
Dürer to Holbein exhibition catalogue.
NEW MEDIA
Following almost a year of sustained hard work by staff in numerous sections, the first stage in the development
of the new website (www.royalcollection.org.uk) went live on 22 March 2012.
The new site presents the Royal Collection in greater quantity and detail, and provides easily navigable
and informative introductions to each of the official royal residences and exhibitions. New features include
‘What to see and do’ for each location, and information to help plan and follow up a visit; a ‘What’s on’ listing
of all events, from exhibitions and lectures to family activities; and content created for specific audiences,
including the travel trade and the media.
There are sections for school teachers and pupils that can be used to support classroom work and to make
the best use of a visit; for families and adult learners; and for visitors with access needs. Some of these resources
are linked to the core curriculum, while others explore more general topics – such as the use of perspective in
art or the development of photography – or provide trail material for exploring the gardens of Buckingham
Palace or the historic buildings of Windsor Castle.
Throughout the coming years, new content and functionality will continue to be added to the site. This
is especially true of the Collection Online, which gives access to an extensive database on works of art of all
kinds. The first page of the ‘Collection’ section gives a flavour of the 135,000 works of art that can currently
be explored, from a photograph of Emmanuel Louis Cartigny, the last survivor of the Battle of Trafalgar, taken
by Henry Ellis around 1891, to ‘A catte’, an embroidered panel depicting a ginger cat with a mouse on a
chequered floor, bearing the cipher of Mary, Queen of Scots, most of whose embroideries were made between
1569 and 1584, when she was held captive in England by the Earl of Shrewsbury.
The ‘Collection’ section also includes a new series of Conservation case studies, showing, for example, the
work recently completed on the rebinding of Audubon’s Birds of America (see page 15), and the work of cleaning
and repairing the gilded and painted case of the Erard piano purchased by Queen Victoria and Prince Albert
in 1856 for their music-making at Buckingham Palace.
In pursuit of the same aim, the Royal Collection is now represented in the Google Art Project, to which
152 images of works by 126 different artists have been made available. The Art Project is an online archive of
some 30,000 works of art from the world’s leading galleries and museums, in the form of high-resolution images
that can be enlarged and studied in more detail than is often possible in front of the original work. It is hoped
that the selected works will become much better known as a result of our participation, and that visitors to
the Art Project will follow links to the much larger selection of works on the Royal Collection Trust site.
44
ANNUAL REPORT
2012
The Changing the Guard app was
launched in March 2012. Designed for use
on smart phones, the app is packed with
information to help spectators at the
ceremony understand the pageantry they
are witnessing. The app includes a video
introduction, a timetable of events, a guide
to each of the five Guards regiments that
take part, and an interactive map showing
the Guards’ route and the main points of interest during the ceremony. The app was made with the support of
the Household Division and a proportion of the sales income will be donated to regimental charities.
ANNUAL REPORT
2012
45
Fiona Bruce presented BBC One’s three-part series The Queen’s Palaces in September 2011, while Will Gompertz’s eight-part series
on The Art of Monarchy was broadcast on BBC Radio 4 in February and March 2012.
R OYA L C O L L E C T I O N T R U S T I N T H E M E D I A
This has been an exceptional year for media coverage of the work of Royal Collection Trust, marked by two
major BBC series. The Queen’s Palaces, a three-part documentary presented by Fiona Bruce, exploring the
architecture and history of Buckingham Palace, Windsor Castle and the Palace of Holyroodhouse, was shown
on BBC One in September 2011, attracting an average of 3.81 million viewers per episode. The Art of
Monarchy, an eight-part series presented by BBC Arts Editor Will Gompertz on Radio 4, was broadcast on
Saturday mornings in February and March 2012 to mark the Diamond Jubilee, reaching an average of
1.12 million listeners. Each programme examined works in the Royal Collection that shed light on aspects of
royal history, under such overall themes as Faith, Magnificence, People and Progress. Royal Collection curators
featured prominently in both series, alongside other academics and commentators, and the curators
contributed a series of posts on related subjects to the Radio 4 and 4 Extra Blog (www.royalcollection.org.uk/
plus/the-art-of-monarchy).
Royal Collection Trust has participated in a number of other media projects during the year, among them
Channel 4’s three-part series Elegance and Decadence: The Age of the Regency, presented by Lucy Worsley.
In February 2012, the Radio 4 travel programme Excess Baggage, hosted by John McCarthy, was recorded before
a live audience during The Heart of the Great Alone exhibition at The Queen’s Gallery, Buckingham Palace.
The programme included discussions about Antarctica with the explorer David Hempleman-Adams
and his daughter Amelia (at the age of 16, the youngest person ever to ski to the South Pole), Antarctic
expert Meredith Hooper and Frozen Planet cameraman Doug Allan. Sophie Gordon (curator of the
exhibition) subsequently recorded a questionand-answer discussion on the photographs for a
podcast on the BBC History Magazine website
(www.historyextra.com/podcast-page: the podcast
for 19 January 2012). Sophie also appeared in a
BBC Radio 4 series presented by Sara Wheeler,
To Strive and Seek, marking the centenary of Scott’s
expedition to the South Pole.
Polar exploration was the theme of the BBC Radio 4 travel
programme, Excess Baggage, recorded in The Queen’s Gallery,
Buckingham Palace, to coincide with The Heart of the Great Alone
exhibition in February 2012.
46
ANNUAL REPORT
2012
ACQUISITIONS
Ensuring that appropriate acquisitions are made when
resources become available, to enhance the Collection
and displays of exhibits for the public
Five works of art were purchased at the sale of the contents of
Old Battersea House, the London home of the Forbes family, held in
Edinburgh in November 2011: the oil paintings Sketch for the State
Portrait of King George VI (1941), by Sir Gerald Kelly, and Tyrolese
Woman and Child (1850–60), by Queen Victoria and Prince Albert
after Philipp von Foltz; and three works on paper by Queen Victoria’s
daughters, Victoria (the Princess Royal) and Louise: an early
watercolour, The Good Knight Bayard (1856), a portrait drawing of
Tyrolese Woman and Child (1850–60), painted by Queen Victoria
and Prince Albert, after a work by the German historical painter
Philipp von Foltz, purchased in November 2011.
Princess Helena in 1863 by the Princess Royal (Empress Frederick of
Germany), and a watercolour, Maidenhood (1869), by Princess Louise,
a present to the Queen on her fiftieth birthday in 1869.
A set of the 12 official London 2012 Olympic and Paralympic
Games posters – by Fiona Banner, Michael Craig-Martin, Martin Creed,
Tracey Emin, Anthea Hamilton, Howard Hodgkin, Gary Hume, Sarah
Morris, Chris Ofili, Bridget Riley, Bob and Roberta Smith and Rachel
Whiteread – was presented by the publisher, Counter Editions.
Notable acquisitions of photographs this year included a group
of 19 portraits of members of the Royal Family presented by Geoffrey
Sawyer, assistant to the photographer Cecil Beaton; a set of some
50 prints documenting Princess Anne’s visit to Kenya in 1972 for
Blue Peter, presented by BBC Archives; ‘Portrait of The Queen and
The Duke of Edinburgh’, by Thomas Struth, commissioned by the
National Portrait Gallery for The Queen’s Diamond Jubilee; and
The 12 posters designed by leading British artists for the London
2012 Olympic and Paralympic Games.
the official Diamond Jubilee portraits by John Swannell.
Some 50 books and several sets of coins and medals were received as gifts. These included a facsimile
(produced by Vermillion Design of Dublin) of a late sixteenth-century Irish language primer (attributed to
Christopher Nugent, Baron Delvin), presented to The Queen by Mary McAleese, President of Ireland, on the
occasion of the State Visit to Ireland in May 2011; and a 3D book entitled Eceabat, presented (in a musical
box, along with a pair of 3D glasses, and a bullet casing from the Gallipoli campaign) by the President of Turkey
on the occasion of the State Visit in November 2011. ‘Mr Dickens and the actors: a script for the performance
at the Guildhall in London on the themed Dickens day, 14 February 2012’ was presented to The Queen by
Sir Derek Jacobi on behalf of the Royal Theatrical Fund, to celebrate Dickens’ bicentenary. The Royal Mint
presented coins struck in 2011 to commemorate the ninetieth birthday of HRH The Duke of Edinburgh and
the marriage of The Duke and Duchess of Cambridge, along with several coins in the Olympic series.
The Canadian Directorate of Honours and Recognition presented a full set of specimens of Canadian medals
and decorations in current use.
ANNUAL REPORT
2012
47
TRADING ACTIVITIES
R E TA I L
Retail activities enjoyed an extremely successful year, continuing to benefit from the effects of the
celebrations surrounding the marriage of The Duke and Duchess of Cambridge. More than 190,000 items
of wedding-related merchandise were sold during the year, at a value of almost £4 million; the majority
consisted of commemorative china designed and manufactured in Stoke-on-Trent. Demand for products
from this range was so great that a decision had to be taken to reduce wholesale activity and concentrate
on selling through our own shops and online shop. The online shop has achieved a notable increase in
sales following its redesign and relaunch, providing a strong platform for growth in off-site business
in the future.
The range of merchandise designed to commemorate the Diamond Jubilee of Her Majesty
The Queen was launched on 10 October 2011, resulting in sales of 60,000 units by 31 March 2012.
Limited-edition china has proved especially popular.
All 11 shops performed well, achieving a 46 per cent increase in sales on the previous year. Initiatives
to promote tax-free sales and home delivery have proved increasingly popular, and additional training
in this specialist area is now given to all staff. While all sites contributed to the strong performance,
Windsor Castle and the Buckingham Palace Road shop showed particularly good growth, the latter
benefiting from the crowds that gathered during the Royal Wedding weekend. The Royal Mews shop at
Buckingham Palace was refurbished in February 2012, in preparation for further sales growth in the
busy year ahead.
Limited-edition china designed to commemorate the Diamond Jubilee of Her Majesty The Queen.
48
ANNUAL REPORT
2012
PICTURE LIBR ARY
The four full-time specialist photographers are
constantly adding new images to the Picture
Library, which are then available for a wide variety
of internal research and publishing projects and
for sale to external publishers and broadcasters.
During the year, more than 100,000 digital
records were added to the Digital Asset
Management system (DAM), a database of new
photographs and scanned material. Since the
DAM was implemented in January 2011, this
resource has grown to more than 256,000 records.
One of the photographers has been working
full-time on historic photographs for the
Collection Online. The digitisation of microfilm
and microfiche images has also started, and those
covering the published catalogues of drawings and
George III’s collection of military maps, together
with those recording works by Hollar and
Raphael, have been prioritised for scanning.
External demand for pictorial material has
remained strong, and the Picture Library has dealt
with requests from all over the world, for both TV
and print, in connection with the Royal Wedding.
The agreement reached last year with the
Bridgeman Art Library to market selected images
This photograph by Anwar Hussein, showing The Queen
at Aberdeen Airport on her way to Balmoral on 22 June 1974,
featured in the exhibition The Queen: 60 Photographs for
60 Years at Windsor Castle.
has resulted in additional revenue, as has the
licensing of images for books, calendars and merchandise in connection with the National Gallery’s
Leonardo exhibition. Further income was earned from sales of images to the Florence-based art publisher
Giunti Editore for their Leonardo Project, consisting of facsimile reproductions of all the surviving
drawings of Leonardo da Vinci. The licensing of images to the Metropolitan Museum of Art, New York,
has enabled the Museum to create a range of merchandise based on works by Leonardo da Vinci and
Fabergé.
Among the film and television projects that made use of Picture Library material during the year
were the BBC productions Diamond Queen, Of Hearts and Minds and To the Manor Reborn; the broadcast
‘Leonardo Live’, made for the National Gallery; a forthcoming documentary for Channel 4 about
Queen Victoria; and the film Sherlock Holmes: A Game of Shadows.
ANNUAL REPORT
2012
49
FINANCIAL OVERVIEW
Incoming Resources
The summarised financial statements set out on pages 52–4 indicate that Royal Collection Trust
increased its incoming resources by £8,487,000 (20.3 per cent), from £41,785,000 in 2010–11
to £50,272,000 in 2011–12. The growth in admissions income of £6,569,000 (26 per cent), from
£25,246,000 to £31,815,000, is attributable to an increase in visitor numbers of 436,000 (20.2 per cent),
from 2,160,000 to 2,596,000, and higher admission charges.
Income from retail, catering and photographic services increased by £5,600,000 (46.3 per cent), from
£12,093,000 to £17,693,000. This increase was generated largely by the sale of Royal Wedding
merchandise in the first half of the year and Diamond Jubilee merchandise in the second half of the year,
but was also influenced by the growth in visitor numbers, increased spend per visitor and an increase in
off-site retail sales.
Charitable Expenditure
Expenditure on charitable activities increased by £2,636,000 (11 per cent), from £24,021,000 in 2010–11
to £26,657,000 in 2011–12. Expenditure on access to the Royal Collection increased by £1,619,000
(10.1 per cent); exhibitions and displays increased by £480,000 (22.3 per cent); and conservation
increased by £386,000 (25.1 per cent).
Net Incoming Resources and Cash Flow
Net incoming resources, before recognising the pension scheme actuarial loss of £1,200,000 (2010–11:
a gain of £500,000), amounted to £10,437,000 (2010–11: £7,422,000). The net cash inflow of
£12,063,000 has resulted in net cash balances of £14,660,000 at 31 March 2012 (2010–11: £2,597,000).
Funds and Reserves
Royal Collection Trust has total Funds and Reserves of £29,979,000 at 31 March 2012 (2010–11:
£20,742,000). After allocating funds that are restricted or are represented by fixed assets, the Trustees
have designated funds of £700,000 relating to the pension scheme and £7,500,000 towards the
development of Windsor Castle visitor facilities, leaving £3,394,000 of free reserves (2010–11: £nil).
50
ANNUAL REPORT
2012
INCOME AND ADMISSION NUMBERS FOR THE YEAR
Admission numbers
2011– 12
2010–11
2011–12
2010–11
£000
£000
000
000
Windsor Castle and Frogmore House
– admissions
– shop sales
14,044
3,314
12,325
2,687
1,182
1,073
Buckingham Palace Summer Opening
– admissions
– shop sales
10,040
3,874
6,608
2,207
613
422
The Queen’s Gallery
– admissions
– shop sales
1,431
3,331
1,358
2,495
196
174
The Royal Mews
– admissions
– shop sales
1,707
1,233
1,234
913
271
196
127
51
114
44
13
12
– admissions
– shop sales
2,862
1,055
2,383
796
321
283
Other retail income (including cafés)
4,593
2,808
Publishing
262
263
Photographic services
242
143
1,604
1,224
502
4,183
50,272
41,785
2,596
2,160
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
2007– 8
2008– 9
2009– 10
2010– 11
2011– 12
£000
£000
£000
£000
£000
20,379
21,348
23,307
25,246
31,815
8,542
9,023
9,936
11,705
17,068
20,045
21,179
22,634
24,021
26,657
Net incoming resources (before actuarial
gain/(loss) recognised in pension scheme)
1,519
802
1,908
7,422
10,437
Capital expenditure
1,412
688
647
1,159
902
Visitor Performance Indicators
Visitor numbers (000)
1,986
1,993
2,074
2,160
2,596
£10.26
£10.71
£11.24
£11.69
£12.26
£3.91
£4.13
£4.30
£4.59
£5.40
Admissions income (including Gift Aid)
Retail sales
Charitable expenditure
Admissions income per visitor
Retail spend per visitor (on-site only)
ANNUAL REPORT
2012
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 2012 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 2012. 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 (19 June 2012) 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
2012
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 2012
2012
2011
£000
£000
17,693
12,093
216
44
17,909
12,137
31,626
25,078
452
431
32,078
25,509
285
4,139
50,272
41,785
12,504
9,832
17,642
16,023
INCOMING RESOURCES
Incoming resources from generated funds:
Retail, catering and photographic services
Investment income
Incoming resources from charitable activities:
Access
Presentation and interpretation
Other incoming resources:
Other income
Total incoming resources
RESOURCES EXPENDED
Cost of generating funds:
Retail, catering and photographic services
Charitable activities:
Access
Presentation and interpretation
3,676
3,559
Exhibitions
2,631
2,151
Conservation
1,924
1,538
784
750
26,657
24,021
129
130
Custodial control
Governance costs
Other resources expended:
745
480
(200)
(100)
545
380
39,835
34,363
Net incoming resources
10,437
7,422
Actuarial (loss)/gain recognised in pension scheme
(1,200)
500
9,237
7,922
Fund balances at 1 April 2011
20,742
12,820
Fund balances at 31 March 2012
29,979
20,742
Donation
Pensions finance charge
Total resources expended
Net movement in funds
ANNUAL REPORT
2012
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 2012
2012
2011
£000
£000
17,956
18,683
Fixed assets
Tangible assets
Current assets
Stock and work in progress
3,484
2,710
Debtors
1,804
1,282
Bank deposits
9,000
Cash at bank and in hand
8,660
5,597
22,948
9,589
Creditors: amounts falling due within one year
(8,625)
(5,930)
Net current assets
14,323
3,659
Total assets less current liabilities
32,279
22,342
Creditors: amounts falling due after more than one year
(3,000)
(3,000)
Net assets excluding pension asset
29,279
19,342
700
1,400
29,979
20,742
429
442
17,956
18,683
7,500
217
3,394
–
Pension asset
Net assets
–
Income funds
Restricted
Unrestricted
Designated funds
Fixed assets fund
Windsor Castle visitor facilities
Free reserves
Funds excluding pension reserve
Pension reserve
Total funds
29,279
19,342
700
1,400
29,979
20,742
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 19 June 2012 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 19 June 2012 and were
signed on their behalf by:
Mr Peter Troughton Trustee
54
ANNUAL REPORT
2012
Sir Alan Reid Trustee
STAFF
EXTERNAL APPOINTMENTS
Simon Metcalf: Member of the Conservation
Committee, Church of England Church Buildings
Julia Bagguley: Member of the Lucy Cavendish
Council.
College Fine Arts Committee; Honorary Secretary
David Rankin-Hunt: Norfolk Herald of Arms
of The Prince’s Teaching Institute.
Extraordinary; Deputy Inspector of Regimental
Robert Ball: Member of the Executive Committee
Colours; Deputy Inspector of RAF Badges;
of the National Benevolent Society of Watch and
Genealogist of the Antigua and Barbuda Orders of
Clock Makers; Chairman of the Council, British
Chivalry; Special Adviser (Honours), Government
Watch and Clock Makers Guild; Trustee of the
of Grenada; Trustee of The Guards Museum.
British Horological Institute Museum Trust.
Jane Roberts: Member of the Ente Raccolta
Wolf Burchard: Member of the Committee, Society
Vinciana, the Editorial Advisory Board of the
for Court Studies.
Master Drawings Association; the Council of
Martin Clayton: member of the Ente Raccolta
Management of the Windsor Festival; the
Vinciana.
Chatsworth House Conservation Advisory Board
Jacky Colliss Harvey: Trustee of the Association
for Cultural Enterprises.
Paul Cradock: Member of the Executive Committee
of the National Benevolent Society of Watch and
Clock Makers; Secretary of the British Watch and
Clock Makers’ Guild.
Alan Donnithorne: Visiting Professor at
Camberwell College of Arts (University of the Arts
London).
Kate Heard: Deputy Editor of the Journal of the
History of Collections; member of the UK Print
Curators’ Forum.
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;
Household Cavalry Museum Trust; City & Guilds
of London Art School; Hon. Editorial Secretary,
Furniture History Society; Member of Council,
Attingham Trust.
and the Consultative Committee of the Walpole
Society; Governor of the British Institute of
Florence.
Jennifer Scott: Trustee of the Living Paintings Trust.
Desmond Shawe-Taylor: Trustee of the Samuel
Courtauld Trust; Member of the Advisory Council,
Hamilton Kerr Institute; Vice-President, NADFAS;
Trustee of The Holburne Museum, Bath; Trustee of
Compton Verney Collections Settlement; member,
selection panel for the Sunday Times Watercolour
Competition; assessor, the Berger Prize for British
Art History.
Shaun Turner: Tutor/Lecturer in
Woodwork/Cabinet-making, Picture Frame-making
and Furniture Restoration for Hammersmith and
Fulham Adult Education, Macbeth Centre.
David Wheeler: External Examiner for the MA in
Conservation of Historic Objects, University of
Lincoln; Member of the Conservation Advisory
Panel, the Wallace Collection.
Bridget Wright: Honorary Editor of the Friends of
St George’s and Descendants of the Knights of the Garter
Annual Review.
ANNUAL REPORT
2012
55
S TA F F N U M B E R S
(2010–11 numbers in brackets)
The Collections Information section had 12 (12)
full-time and 3 (2) part-time members of staff.
Their work was aided by 2 (0) volunteers.
The Paintings section had 10 (7) full-time and
Front-of-house staff, which includes Visitor
8 (10) part-time staff. Their work was aided by
Services, Retail and Ticket Sales staff, had the
1 intern on a six-month placement.
following full-time equivalents:
The Decorative Arts section had 16 (16) full-time
Windsor Castle 155 (147)
and 3 (3) part-time staff. Their work was aided by
Buckingham Palace and Clarence House 146 (120)
the Royal Household’s Collections Care Steward
Palace of Holyroodhouse 49 (47)
and 2 interns on six-month placements.
Ticket Sales and Information 40 (38).
The Royal Library (which includes the Print Room,
Central Departments had the following full-time
Photographs and Paper Conservation sections, the
equivalents:
Exhibitions section and the staff of the Dal Pozzo
Retail 23 (20)
Project) had 19 (19) permanent full-time staff, 4 (4)
Public Relations and Marketing 8 (8), with 1 intern
permanent part-time staff and 4 (4) staff on fixed-
Publishing 4 (4)
term contracts. Their work was aided by 5 (5) long-
Learning 6 (6)
term volunteers, 2 interns on six-month placements
Photographic Services 9 (8). Their work was aided
and 4 (4) paper conservation students on a two-
by 2 (0) people on short-term work experience
week placement from Camberwell College of Arts
Administration 3 (2).
(University of the Arts London). An additional
Finance, IT and Personnel services are provided
4 (4) volunteers assisted with the refurbishment of
by the Royal Household under a shared services
books in the Royal Library during August.
arrangement.
The curatorial team is completed by the Curator,
Palace of Holyroodhouse (1), and the Superintendent
of the Royal Collection at Hampton Court (1).
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
Several staff achieved higher academic qualifications during the course of the year. Sophie Gordon was
awarded her PhD by the School of Oriental and African Studies, University of London, for her thesis
‘Monumental visions: architectural photography in India, 1840–1901’. Sarah Thompson was awarded a
distinction for her MA in Arts Policy and Management by Birkbeck, University of London. Will Miller also
achieved a distinction for his MA in Conservation of Furniture and Decorative Arts from Buckinghamshire
New University. David Oakey was awarded an MA with distinction in Decorative Arts and Historic Interiors
by the University of Buckingham, and Katie Holyoak achieved a merit with a distinction in her dissertation
for her MA in History of Art from Birkbeck, University of London.
A number of staff also participated in specialist, externally run courses and conferences covering a range
of subject areas, from the composition and manufacture of early pigments to the history of upholstery. In July,
Jennifer Scott participated in the three-week annual Attingham Summer School, visiting and studying
country houses and their collections across the United Kingdom.
56
ANNUAL REPORT
2012
Staff took advantage of programmes organised throughout the year by the Royal Household Learning and
Development team, in such areas as Time Management, Public Speaking and Project Management.
The Visitor Services teams at each residence took part in half-day workshops based on the Disney Quality
Standard model. The sessions involved defining Royal Collection Trust Quality Standards and using these as
a tool to look with fresh eyes and evaluate the visitor experience at each site. Seventy-four people from the
Retail, Ticket Sales and Wardening teams also took part in team-building events during 2011. Additional
Health and Safety Awareness sessions were programmed in order to redress a backlog in this fundamental area.
Thirty-two people attended the Performance and Development Review for Reviewees workshop, which is
aimed at helping staff to be better prepared for their annual review meeting. In addition, 19 supervisors and
first-line managers and two team leaders took part in leadership development courses, using programmes
validated by the Chartered Management Institute and the Institute of Leadership and Management.
This represented the first step in a move to a more structured approach to leadership development, and further
programmes for the senior leadership team are envisaged during 2012.
A significant move towards the formalisation of internships began in October 2011. Three paid curatorial
internships and three in conservation are now offered twice a year, with each successful candidate in post for
six months. The scheme has already proved very successful, giving candidates invaluable experience, as well
as providing the Department with additional resources and a continually renewed source of new perspectives
and insights on the Collection. Interns are assigned to a mentor with whom they have regular review meetings,
to assess progress towards the learning objectives to be achieved during the course of the internship.
Each intern is also given an individual research project to accomplish. The first curatorial interns –
Kate Ainley-Marr (Paintings), Sarah Fletcher (Books and Manuscripts) and Helen Ritchie (Decorative Arts)
– completed their appointments in March 2012. These posts, which are advertised on the web, are in addition
to an existing internship scheme in Marketing, currently undertaken by Claire Jackson.
Above: Interns benefit from mentoring by curatorial staff; each has a research
assignment to complete during their six months of training. (From left to right)
Kathryn Jones; Helen Ritchie; Lucy Whitaker; Sarah Fletcher; Kate Ainley-Marr;
Emma Stuart.
Right: Participation in the World Skills Exhibition in October 2011 at the ExCel
Arena in London was intended to promote the Royal Household as an inclusive
employer, focusing particularly on areas of specialist craft skills. The many job
seekers (in the age range 17 to 22) who visited the stand learned about qualifying
to work in furniture conservation from Royal Collection specialists, including
Shaun Turner (pictured).
ANNUAL REPORT
2012
57
Warden, Palace of Holyroodhouse, Ross Hannay
Senior Horological Conservator, Robert Ball
Warden, Royal Mews, Buckingham Palace, Shalini Punjani
Project Editor, Publishing, Nina Chang
Learning Co-ordinator, Windsor Castle, Catherine Martin
Assistant Retail Manager, Windsor Castle, Hanna Cross
Paintings Conservator, Tabitha Teuma
Warehouse Manager, Jim Hoyle
These photographs were taken especially for this Annual Report by Andrew Wright, who is studying photography at University College Falmouth, in Cornwall, having first become
intrigued by photography while travelling and working abroad. Interested in documentary work as well as portraiture, Andrew most enjoys photographing people at work.
STAFF LIST
as at 31 March 2012
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
Georgina Asplin
Project Curator (BBC Radio 4)
Christopher Maxwell
Exhibition Curatorial Assistant
Wolf Burchard
Senior Paintings Conservator
Nicola Christie
Conservators
Karen Ashworth, MVO
Al Brewer
Claire Chorley
Adelaide Izat
Rosanna de Sancha, MVO
Tabitha Teuma
Gilding Conservators
Perry Bruce-Mitford
Elizabeth Parker
Armourer and Senior Metalwork
Conservator
Simon Metcalf
Senior Horological Conservator
(Buckingham Palace)
Robert Ball, MVO
Horological Conservator
(Buckingham Palace)
Paul Cradock, MVO
Framing and Exhibitions Conservator
Michael Field, MVO
Horological Conservator
(Windsor Castle)
Steven Davidson, MVO
Superintendent of the Royal Collection
(Hampton Court Palace)
Christopher Stevens
Framing and Exhibitions Technician
Stephanie Carlton
THE ROYAL LIBRARY
Custodian of California Gardens Store
(Windsor Castle)
Anthony Barrett, RVM
Paintings Conservation Administrator
Nicola Swash Hardie (maternity leave)
Neil Vaughan (maternity cover)
Librarian and Curator of
the Print Room
The Hon. Lady Roberts, CVO, FSA
Assistant Custodian
Arthur Pottinger
DECORATIVE ARTS
Secretary to the Librarian and
Office Administrator
Margaret Westwood
Records Officer
Amelie Von Pistohlkors
Surveyor of The Queen’s Works of Art
FINANCE
Deputy Surveyor of The Queen’s
Works of Art
Rufus Bird
Finance Director
Michael Stevens, CVO, FCA
Curators of Decorative Arts
Caroline de Guitaut, MVO
Kathryn Jones
PAINTINGS
Surveyor of The Queen’s Pictures
Desmond Shawe-Taylor, LVO
Assistant to the Surveyor of
The Queen’s Pictures
Lucy Peter
Assistant to the Deputy Surveyor
of The Queen’s Works of Art
David Oakey
Senior Furniture Conservator
David Wheeler, MVO
Senior Curator of Paintings
Lucy Whitaker, MVO
Furniture Conservators
Will Miller
Shaun Turner, MVO
Jane Wallis
Curators of Paintings
Vanessa Remington
Anna Reynolds
Jennifer Scott
Senior Gilding Conservator
Stephen Sheasby
Bibliographer
Bridget Wright, LVO
Curator of Books and Manuscripts
Emma Stuart, MVO
Senior Curator of Prints and Drawings
Martin Clayton, MVO, FSA
Curator of Prints and Drawings
Dr Kate Heard, FSA
Assistant to the Curators
of the Print Room
Rhian Wong
Print Room Assistant
Lauren Porter
Dal Pozzo Project Co-ordinator
Panorea Alexandratos
Dal Pozzo Project Research Assistant
Dr Eloisa Dodero
ANNUAL REPORT
2012
59
Dal Pozzo Project Assistant
Sabrina Stevenson
COLLECTIONS INFORMATION
MANAGEMENT
Senior Curator of Photographs
Dr Sophie Gordon
Head of Collections Information
Management
Stephen Patterson, LVO
Curator of Photographs
Lisa Heighway
Head of Paper Conservation
Alan Donnithorne, MVO, FIIC
Head of Book Conservation
Roderick Lane, MVO, RVM
Deputy Head of Book Conservation
Irene Campden, MVO
Exhibitions and Maintenance
Conservator
David Westwood, MVO, RVM
Paper Conservator
Megan Gent, MVO, RVM
Archives Bookbinder
Philippa Räder
Conservation Mounter/Framer
Kathryn Stone
Drawings Conservator
Rachael Smith
General and Workshop Assistant
Martin Gray
Inventory Clerk (Buckingham Palace)
Melanie Wilson
Inventory Clerk (Windsor Castle)
Alexandra Barbour
Senior Collections Information
Assistant (Paintings)
Alexandra Buck
Collections Information Co-ordinator
and Indexer
Paul Carter
Photograph Collection Cataloguer
Emily Green
Raphael Collection Cataloguer
Tatiana Bissolati
Collections Information Assistants
(Works of Art)
Julia Bagguley
Beth Clackett
Collections Information Assistant
(Prints and Drawings)
Allan Chinn
(Photographs)
Paul Stonell
EXHIBITIONS
Head of Exhibitions
Theresa-Mary Morton, LVO
Senior Exhibition Project Co-ordinator
Stephen Weber
Exhibition Project Co-ordinator
Sandra Adler
Exhibition Assistant
Rosemary Razzall
Acting Loans Officer
and Exhibitions Secretary
Roxanna Hackett
(Photographs and Pictures)
Alessandro Nasini
(Books)
Elizabeth Clark
Siân Cooksey
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 Assistant
Elizabeth Simpson
Head of Learning
Lucie Amos
Senior Learning and Access Manager
Amy Stocker
Learning Manager
(Buckingham Palace)
Will Graham
Learning Manager
(Palace of Holyroodhouse)
Alison Campbell
Learning Manager (Windsor Castle)
Penny Russell
Learning Co-ordinator
(Windsor Castle)
Catherine Martin
Head of Photographic Services
Shruti Patel, MVO
Picture Library Supervisor
Karen Lawson
Picture Library Assistants
Daniel Bell
Katie Holyoak
Digital Imager
Daniel Partridge
Senior Photographers
Stephen Chapman, MVO
Eva Zielinska-Millar, MVO
Photographer
Dominic Brown
Collection Online Photographer
Henrietta Clare
60
ANNUAL REPORT
2012
RETAIL
Retail Director
Nuala McGourty, LVO
Head of Design
Katrina Munro, MVO
Production Controller
Ian Grant
COMMUNICATIONS AND
BUSINESS DEVELOPMENT
Technical Support Assistant
Christopher Hallworth
Director of Communications and
Business Development
Frances Dunkels, LVO
Learning Bookings Co-ordinator
Nicola Jones
Administrator to the Director of
Communications and Business
Development
Edward Harris
Senior Buyer
Charlotte Burton
Buyer
Johan Verbruggen
Merchandisers
Nicole Andrews
Lei Song
Retail Operations Manager
Jacqueline Clarke
Retail Operations Administrator
Jacqueline Bowden
Retail Administration Assistant
Kate Kenah
PUBLIC RELATIONS AND
MARKETING
Head of Marketing
Susanna Mann
Sales and Marketing Officer
Rhiannon Marsh
Web and Marketing Assistant
Anna Lucas (maternity leave)
Melanie Rouse (maternity cover)
Media Relations Manager
Alice Ross
Warehouse Manager
Jim Hoyle, RVM
Press and Public Relations Officers
Emma Shaw
Rachel Woollen
Administration Manager
Emma Wood
Press and Public Relations Assistant
Hanae Tsuji
Administrative Assistant
Sheila Clements
Delivery Fulfilment Operator
Rosanna Earles
Delivery Fulfilment Assistants
Yvonne Deluca
Matthew Whitehouse
Linda Wroth
Warehouse Operatives/Drivers
Bernard Barfield
Derek Foster
James Hall
Robert Kedge
TICKET SALES AND
INFORMATION
Head of Ticketing and Sales
Mark Fisher
Senior Ticket Sales and Information
Assistant
Audrey Lawrence
Ticket Sales and Information
Assistants
Genevieve Arblaster-Hulley
Nicola Bentley
Scott Bowman
Luiz Custodio
Faye Grimes
Faye Habgood
Fraser Hamilton
Francesca Williams
Ticket Sales and Information
Assistants – Casual
Matthew Baldwin
Anil Banga
Rina Bhudia
Sarah Blakeburn
Lawrence Coppin
Marquita Cox-Carder
Olivia Davies
Mariam El-Sraidi
Laura Grant
Alexander Grogan
Lee Hiorns
Jake Mead
Jo-Anne Mead
Alan Nicholls
Zachery O’Brien
Lee Preston
Stephanie Retigan
Rosalind Ryder
Chloe Taylor
Abigail Trime
Specialist Sales Supervisor
Janice Galvin, MVO
VISITOR SERVICES
Operations Supervisor
Lucy Allen
Technical Support Supervisor
Gareth Thomas
Staffing and Development
Supervisor
Prakuti Deolia
Director of Visitor Services
Kerry François, MVO
Administrator to the Director
of Visitor Services
Edward Harris
ANNUAL REPORT
2012
61
Buckingham Palace
Visitor Manager
Richard Knowles
Operations Manager
Sarah Thompson
Visitor Operations Administrator
Amanda Jacobs
Staff Co-ordinator
Samuel Faure Ackroyd
Visitor Operations Co-ordinator
Stephanie Howard
Senior Wardens
Clive Bayard
Jon Lopiano
Natasha Nardell
Ioan Waight
Senior Warden – Seasonal
Dorothy Barlow
Warden Supervisors
Ernest Kingston
Charles Nicholls
Duty Manager – Seasonal
Beverley Hemsley
Wardens
Marie Barenskie
Adrian Beckwith
Susan Bolster
Sinead Booth
Janet Burrell
Marilyn Carpenter
Ursula Claxton
Michael Cox
Lara Davenport-Ray
Pamela Eden
Leonard Franklin
Catherine Fyfield
Kate Gazzard
Carolyn Glover
Christopher Grigsby
Louise Halfpenny
Bridget Harris
Martin Harris
William Hodges
Clare Howarth
Louise Hunter
Fiona Kuznetsova
Stephen Kyte
Kathryn Lamontagne
Susan Latimer
62
ANNUAL REPORT
2012
Louise Lavell
Bridget Little
Sophie Mackenzie
Ilenia Martini
Georgia Moult
Kaitlyn Pettengill
Simon Piercy
Dr Shalini Punjani
Kirby Sholette
Rosalind Spencer
Helen St Clair Martin
Steve Trotter
Keith Waye
Stephen Wild
Wardens – Seasonal
Gemma Agravat
Janis Aunon
Eleanor Bagnall
Monica Bennett
Charlotte Brainwood
Lynne Denham
Stephen Denham
Susanna Geary
Anna Jamieson
Elaine LaCoss
Alan Lion
Daniele Middleton
Valerie Ross
Pamela Tebbs
Wardens – Casual
George Banham
Matthew Caro
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
Michael Nash
Anna Thomas
Retail Manager
Andrew Fairmaner (maternity cover)
Virginia Green (maternity leave)
Assistant Retail Managers
Stuart Cullen
Beatriz Ramirez
Mark Randall
Retail Supervisor
Jacqueline Young
Senior Retail Assistant
Diana Rakhimova
Retail and Display Assistant
Kevin Dimmock
Retail Assistants
Douglas Bell
Gillian Burke
Africa Calzon
Stephen Cook
Lynda Craker
Kayleigh Cray
Ami Cullum
Andrew Fay
Khushpreet Gulshan
Jane Hackwood
Aminata Kalokoh
Daniel Kennedy
Vivian Lau
Claire McDougall
Fiona Moore
Juno Rae
Anne Rice
Lianne Royall
Patricia Sweetland
Michie Wake
Amani Waldron-Isioye
Richard Winstone
Retail Assistants – Casual
Penelope Dalziel-Smith
Janet Easto
Helen Le Brun
Margie Nolan
Windsor Castle
Visitor Manager
Christine Taylor, MVO
Operations Manager
Janet Cole
Admissions Manager
John Sugg
Assistant Operations Manager
Alison O’Neill
Financial Administrator
Roger Freeman
Staff Operations Administrator
Emma Featherstone
Visitor Operations Administrator
Helena Holden
Staff Co-ordinator
Christopher Thomas
Assistant Retail Managers
Susan Asbery
Hanna Cross
Retail Supervisor
Kathryn Freeman
Ticket Sales Supervisors
James Ball
Fraser Gillham
Senior Retail Assistant
(Lower Ward Shop)
Anne McGowan, RVM
Senior Ticket Sales Assistant
Shirlee Pouncett
Visitor Services Assistants
Heather Baker
Laura Beldom
David Birrell
Monika Bone
Ceri Brough
Gemma Buckner
Marian Challis
Charlotte Cole
Brian Deenihan
Yvonne Edwards
Sophie Ellis
Sarah Entwistle
Brenda Gardner
Emilia Garvey
Julia Godsell
Linda Gould
Jessica Hardwick
Charlotte Hitchens
Olga Horlock
Gemma Lee
Aileen Lewis
Mark Lines
Joshua Lovell
Leigh Macnab
Jane Mckenzie
Amber Poulson
Julie Purvis
Alexandra Sills
Diane Smith
Kathleen Temple
Faye Wichelow
Huai Fiona Yan
Visitor Services Assistants – Casual
Georgia Bradley
Janet Cary
Nagina Chaudhry
Jessica Goldsmith
Joshua Humby
Louisa Knight
Charlotte Lee
Janet Maxwell
Elena McGregor
Alexander Smith
Marit Stokes
Senior Wardens
Susan Ashby
Claude-Sabine Bikoro
Caroline Sara
Jeffrey Wilson
Deputy Senior Wardens
Peter Critchley
Philip Howarth-Jarratt
Alun Thomas
Carla Weston
Wardens
Colin Adams
Colin Ailes
Sandra Argiolas
Maria Axelson
Mark Ayling
Thomas Mark Aylward-Greenway
Sandra Baker
Marcus Barton
Sophie Bate
Oliver Blumfield
Alexander Bogard
Ellen Bolick
Geoffrey Bonehill
Danitza Bowers
Donald Bradley
Catherine Brailsford
Delia Bull
Michael Campbell
Colin Carter
William Christie
Benjamin Christophers
Jacqueline Clemson
Ellen Compton-Williams
Sheila Cook
Patricia Curtis
Marcelle Dovell
John Driscoll
Adele Fellows
Douglas Frame
Richard Fry
Anthony Golding
Barry Gould
Thomas Gray
Carol Greenhow
Sarah Gunton
Philip Hall
John Hampton
Charles Hartley
Susan Hiscock
Francesca Holley
Lorna Holliday
Rita Horner
Jack Howarth-Jarratt
Christine Hughes
Peter Humphrey
Sylvia James
Patrizia Knight
Gary Langford
Margot Law
Helen Lincoln
Steven Lovegrove
Rita Lyons
Lesley Macaskill
Michael Macaskill
David Mason
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
Lynne Roberts
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
Rebecca Styles
Susan Suchodolska
Aileen Sutherland
Monica Tandy
Carl Taylor
Christopher Tilly
David Uppington
Anna Wallas
Kin Yip Wan
ANNUAL REPORT
2012
63
64
Barry Ward
Robert Webster
Rebecca Welch
Susan Wells
Joseph Wood
David Woodall
Peter Woodall
Derek Woodman
Geoffrey Woodruff
Robert Workman
Mark Wright
Helen Zacks
Evelina Zavataro
Wardens – Casual
Robert Atcheson
Ricardo Bessford
Maurice Bevis
David Buttimer
Leonard Chandler
John Clayton
Peter Cockbain
Geoffrey Cox
Kevin Cronin
Malcolm Davis
Caroline Dewell
John Dexter
Paul Dunham
Brian Dupe
Henry Everist
Francis Franklin
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
Malcolm Potter
Rodney Richardson
Molly Rudge
René Schurtenberger
Roger Taoka-Thompson
Anthony Wise
Patricia Wright
Senior Wardens
Pilar Aran Molina
Brian Coutts
Magdalena Kasprzyk
Mary Mowbray
ANNUAL REPORT
2012
Superintendent
Geoffrey Mackrell, MVO
Deputy Visitor Manager
Kirsty McNiece
Curator
Deborah Clarke
Operations Manager
Joanne Butcher
Wardens
Juan Aguero Benítez
Almundena Cachaza
Callum Casebow
Rosie Croker
Colin Dempster
Ross Hannay
Andrew Hume-Voegeli
Chantal Hume-Voegeli
Elisabeth Ibbotson
Seana Keenahan
Mavis Lasne
Carol Leslie
Edward Lipscomb
Lesley McGlinchey
Brian Morley
Keith Mullins-MacIntyre
Ian Reilly
Harriette Riddell
Yvonne Rollert
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
Gemma Cruickshanks
Catherine Dickson
Doreen Gillon
James Hinks
Moira Hinton
Christian Millar
James Oswald
Carol Schreuder
Paul Steele
Caecilia Teitz
Andrew Young
Retail and Admissions Manager
Shirley Duke
Assistant Retail and
Admissions Managers
Claire Anderson
Andrew Dickson
Retail and Admissions Supervisor
Andrew Grant
Shona Cowe
Jennie Crossley
Janet Ferguson
Alison Gove
Zoë Hayes
Rosemary Hunter
Jennifer Kirk
Paul Lambert
Amanda Mills
Janet Stirling
– Casual
Emily Clarke
Fiona Dempster
Rachel Lammiman
Jonathan Read
Frances Singer
Rebeka Venters
Fiona Wood
Financial Administrator
Elaine Maclean
Unless otherwise stated, all illustrations are © HM Queen Elizabeth II 2012.
Royal Collection Trust is grateful for permission to reproduce the items listed below:
Page 6: (top row, centre) photograph by Pawel Libera;
(second row, left) photograph by Ian Jones; (second row, right) photograph by Andrew Wright;
(third row, left) photograph by Ian Jones; (third row, centre) photograph by Sandy Young
Page 8: photograph by Ian Jones
Page 17: Royal Collection Trust / All Rights Reserved
Page 21: (top) © John Shelley / Rex Features
Page 23: (top) © Birmingham Post
Page 24: photographs by Ian Jones
Page 25: (top and bottom left) photographs by Ian Jones
Page 26: (top) photograph by Ian Jones
Page 28: (bottom) photograph by Peter Stubbs
Page 31: (top) V&A Images / Victoria and Albert Museum, London;
(bottom) Rotorua Museum of Art and History, New Zealand
Page 46: (top) © BBC; (bottom) photograph by Julian Andrews
Page 47: (bottom) courtesy of LOCOG / (from left to right) Anthea Hamilton;
Bob and Roberta Smith; Bridget Riley; Chris Ofili; Gary Hume; Howard Hodgkin; Martin Creed;
Fiona Banner; Michael Craig-Martin; Rachel Whiteread; Sarah Morris; Tracey Emin
Page 49: © Anwar Hussein
Page 58: photographs by Andrew Wright
Royal Collection Trust / © HM Queen Elizabeth II 2012
Designed by Mick Keates Editorial and Project Management by Kate Owen and Alison Tickner
Production by Debbie Wayment Printed and bound by Streamline Press Limited, Leicester
Royal Collection Trust / © HM Queen Elizabeth II 2012
www.royalcollection.org.uk

Annual Report 2004/5 corrected

Transcription

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