ANNUAL REPORT 2016−2017 ROYA L COLLECTION TRUST ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2017

www.royalcollection.org.uk AIMS OF THE TRUST TRUSTEES OF THE ROYAL COLLECTION TRUST

In fulfilling The Trust’s objectives, the Trustees’ aims are to ensure that: Chairman HRH The

~ the Royal Collection (being the works of ~ the Royal Collection is presented and Deputy Chairman held by The Queen in right of interpreted so as to enhance public The Earl Peel and held in trust for her successors and for the appreciation and understanding; nation) is subject to proper custodial control Trustees and that the works of art remain available ~ access to the Royal Collection is broadened Mr Marc Bolland (from 1 April 2017) to future generations; and increased (subject to capacity constraints) The Duke of Buccleuch and Queensberry to ensure that as many people as possible are The Rt Hon. Sir Christopher Geidt ~ the Royal Collection is maintained and able to view the Collection; The Hon. James Leigh-Pemberton conserved to the highest possible standards Sir Alan Reid and that visitors can view the Collection ~ appropriate acquisitions are made when Dame Rosalind Savill in the best possible condition; resources become available, to enhance the Collection and displays of exhibits ~ as much of the Royal Collection as possible for the public. can be seen by members of the public;

When reviewing future plans, 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.

The Royal Collection Trust is a company limited by guarantee registered in and Wales (2713536) and a charity registered in England and Wales (1016972) and in Scotland (SC039772). Registered office: House, St James’s , SW1A 1BQ. CONTENTS

CHAIRMAN’S FOREWORD 7

REPORT OF THE DIRECTOR, ROYAL COLLECTION TRUST 9

CUSTODIAL CONTROL 15

CONSERVATION 17 Decorative 18 Prints and Drawings 20 Books, Manuscripts and Archives 21 Paintings 22

PRESENTATION AND PARTICIPATION 25 Exhibitions 25 Visiting the 37 ~ 38 ~ The 38 ~ 38 ~ 42 ~ Palace of Holyroodhouse 43 46 Loans 49

INTERPRETATION 51 Learning 51 Publishing 53

ACQUISITIONS 57

RETAIL 59

STAFF 61 External Appointments, Publications and Lectures 62 Staff List 65

APPENDICES 71 ~ 2.8 million visitors to the Palaces and Galleries * Loans to Exhibitions 71 Financial Overview 74 ~ 57,850 schoolchildren visited the Palaces and Galleries Summarised Financial Statements 76 ~ 252 loans made to 48 exhibitions in the UK and ten other countries ~ Over 300,000 visitors to four travelling exhibitions around the UK ~ 1,918 conservation treatments ~ More than 257,000 records of works of art online

*The total is 4.8 million when those who saw parts of the Royal Collection at the Historic Royal Palaces (excluding the ) and (English Heritage) are added.

REPORT OF THE DIRECTOR, ROYAL COLLECTION TRUST

JONATHAN MARSDEN

After nearly 25 years of The Royal Collection Trust’s over the past 12 months we published 4,100 printed existence, I am surprised how often I am still asked pages of primary data on the Collection, with an ‘Can anyone see the Royal Collection?’ The fact is that equivalent output online. over the past quarter of a century, at a conservative As in previous years, the Trustees agreed six estimate, there have been around 100 million visits to Strategic Priorities for 2016–17, focusing on areas the official residences of Her Majesty The Queen and of activity that offered the greatest opportunities the Historic Royal Palaces, where most of the finest to support The Trust’s charitable aims. works in the Royal Collection can be enjoyed. Visitor The first of these remains the task of making the numbers have grown year on year, culminating in Collection far better known by the people of the UK. record attendance in 2016–17. The Royal Collection is a national asset, without The role of The Queen’s Galleries in London parallel in its holdings of works of art that reflect the and is to bring together works from the history of these islands. It is encouraging that an Collection normally displayed at locations around the UK and to show them in new contexts. One of the revelations of the exhibition Portrait of the Artist at The Queen’s Gallery, Buckingham Palace, was that the story of the status of artists from the to the present day could be told entirely through works of great quality from one collection. ‘Is there a catalogue of the Royal Collection?’ is an equally familiar question. The answer is ‘There are many’. These catalogues are the foundation of all we do in presenting and interpreting the Collection as widely and in as many ways as possible. The great task of publishing scholarly catalogues began almost 100 years ago, and to date 63 titles have been produced. As the result of a determined focus on this activity, 2016–17 stands out as a year of exceptional achievements. Excluding exhibition catalogues,

OPPOSITE One of a pair of 18th-century vases presented to Queen in 1897, from the new catalogue raisonné Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen.

RIGHT A Self-Portrait, c.1675–80, by Giovanni Lorenzo Bernini, from the exhibition Portrait of the Artist at The Queen’s Gallery, Buckingham Palace.

REPORT OF THE DIRECTOR 9 the Age of Enlightenment. This major international the key design and consultation stages. The first collaboration between Royal Collection Trust, lead construction project in the Windsor programme, academic partner King’s College London and a conservation workshop for furniture and armour international participants, including primary US in the Home Park, is due to be fully operational by partners the Omohundro Institute of Early American February 2018. This new building will free space History & Culture and William & Mary, Williamsburg, within the Castle for other elements of Future has generated enormous interest in the scholarly Programme. During the year we have also reviewed world on both sides of the Atlantic. the display and presentation of the Royal Collection The digitisation of the Georgian Papers is one of at Windsor, with the intention of offering visitors several projects made possible by the steady expansion a choice of three themed routes through the State of our fundraising activities, the purpose of which Apartments by the completion of Future is to provide significant additional revenues that Programme in 2019. are independent of fluctuations in visitor income. In March 2017 we announced our plans for a Over the past year our small Development team new physic garden at the Palace of Holyroodhouse has generated support for the publishing programme, to mark the origins of scientific gardening in Scotland. The Queen’s Bindery Apprenticeship Scheme and the Learning Centres that are being developed at Windsor Castle and the Palace of Holyroodhouse OPPOSITE The Shipbuilder and his Wife, 1633, by van Rijn, was as part of Future Programme. loaned to the Ferens Art Gallery for Hull’s year as UK City of Culture 2017. The ambitious series of projects collectively known BELOW The essay in which George III declared ‘America is Lost!’ was made as Future Programme has now progressed through available online in January 2017 as part of the Georgian Papers Programme.

increase in UK visitors contributed to record of Ireland, , President Michael D Higgins said, attendances this year, undoubtedly assisted by the ‘Leonardo was a firm believer in the power of the magnificent exhibitions Fashioning a Reign: 90 Years of image as an instrument of knowledge. Humanity Style from The Queen’s Wardrobe at the three Palaces. needs such visionary artists; it needs such immensely The continued expansion of our events programme powerful creativity, to give wings to the imagination.’ has brought about a significant rise in repeat visits The impact and reception of each of these exhibitions using the popular 1-Year Pass, which enables visitors in every locality, measured through visitor feedback to return throughout the year free of charge. and surveys, helps us shape future initiatives. Over the past 12 months our regional exhibition Digital technology can be a powerful tool in programme has brought highlights of the Collection promoting greater understanding and enjoyment to locations in England, Scotland, Wales, Northern of the Royal Collection. Many of our early printed Ireland and the Irish . Splendours of the Collection catalogues can now be consulted on our Subcontinent: A Prince’s Tour of 1875–6, part of website, where the original catalogue entries can be a wider project to shed more light on non-European compared with their contemporary equivalents in works of art in the Collection, began its own tour as ‘The Royal Collection Online’ (now numbering over part of the 2017 UK-India Year of Culture, and the 257,000 records). Themed online Collection Trails, first of five annual Masterpieces in Focus loans to the from ‘’ to ‘Timekeeping’, enable visitors Ferens Art Gallery marked Hull’s year as UK City of to explore objects in the Collection in new ways. Culture 2017. Since 2002, the travelling exhibitions The Georgian Papers Programme went live in of drawings by have been seen January 2017, making available in digital form the by nearly a million people in 20 towns and cities. primary source material in the and Inaugurating the exhibition at the the Royal Library for the study of British history in

10 REPORT OF THE DIRECTOR REPORT OF THE DIRECTOR 11 The Palace was the first home of the Royal Botanic genuine interest in developing and coaching the Garden Edinburgh, and we will be working closely students who had passed through his care at different with colleagues there on the creation and future stages in their careers. He will be very much missed. management of the garden. Meanwhile, work began Royal Collection Studies will continue, and we are on the Abbey Strand buildings just outside the Palace delighted that The Attingham Trust has appointed gates ahead of the conversion of the ground and first Rebecca Lyons, a specialist in the history of collecting, floors into the Palace’s new Learning Centre. to direct the 2017 programme. The assessment of the condition of the Collection, The Attingham Trust is one of numerous so large, diverse and dispersed so widely in a range of bodies with whom we have continuing and fruitful settings and environments, continues to be a priority. partnerships. The Royal Collection is presented with The inclusion of objects in forthcoming exhibitions great creativity and skill by Historic Royal Palaces and publications is a valid reason to prioritise staff at , , conservation treatment, but the long-term aim is the Banqueting House, and Hillsborough to ensure that the condition of all significant works Castle. The expert resources of Historic Environment is equally considered. The focus over the past few Scotland are invaluable to the maintenance and years on the promotion of our work in caring for and interpretation of the Palace of Holyroodhouse. conserving the Collection has resulted in the creation The Trustees met three times during the year, of more than 30 online films of conservation projects, in addition to the three meetings of the Strategic and the public response to the first Meet the Experts Development Committee, at which they join conservation day at Windsor Castle in February 2017 with members of the Management Board and was overwhelmingly positive. Non-Executive Directors of Royal Collection In early November 2016 we learnt of the sudden Enterprises Ltd to develop strategy and monitor death of Giles Waterfield. Giles had directed our performance. Peter Troughton has continued to annual summer school, Royal Collection Studies, attend Trustee meetings in a reporting capacity for The Attingham Trust since its inception in 1996. as Chairman of the Future Programme Board. activities, Her Majesty The Queen has appointed Dallapiccola Foundation; Sir Harry Djanogly CBE; Tributes from hundreds of alumni across the world The Trustee Board has remained relatively small an additional Trustee, Marc Bolland, to serve from KPMG; The Leathersellers’ Company Charitable have testified to the learning, gentle wit and kindness since the formation of The Trust in 1993. Recognising 1 April 2017. Mr Bolland’s exceptional business Fund; Suzy and John Lewis; Bernard C Middleton MBE; of this multitalented man, who always displayed the growth in the scale and range of The Trust’s experience, especially in the retail sector, will be Momart Ltd; Genevieve Muinzer and Nicholas Segal; enormously valuable when he assumes the role of Annie Norman; Christopher and Sophie North; Chairman of Royal Collection Enterprises Ltd on The Printing Charity; The Queen Elizabeth the retirement of Sir Alan Reid in January 2018. Scholarship Trust; The Sackler Trust; Allen and The commitment and active participation of our Lorena Sangines-Krause; Mr Adrian Sassoon Trustees are greatly appreciated, along with the and Mr Edmund Burke; Richard Schlagman; continuing involvement of external and Non-Executive Johnny and Sarah Van Haeften; The Worshipful members of sub-committees: Rupert Barclay (Audit Company of Stationers and Newspaper Makers; Committee), June Lawlor and Tony Johnstone-Burt Sir Hugh and Lady Stevenson; Ian Stoutzker CBE (Strategic Development Committee), and Jonathan and Mrs Stoutzker; James Swartz; and the Drori and Mary Butler (New Titles Committee). Garfield Weston Foundation. The work of Royal Collection Trust has been greatly assisted during the year by the generosity of members of our Publishing Supporters Scheme OPPOSITE Artist’s impression of the new physic garden at the Palace of Holyroodhouse. The design is inspired by the 17th-century physic garden and by other donors and supporters, including the that was once within the Palace grounds. The year-round planting will include following: The Antiquarian Booksellers’ Association; both indigenous and exotic medicinal plants that would have been grown in the 17th century, such as birthwort, feverfew and scurvy grass. The Michael Bishop Foundation; Colin Bowles Ltd; Christie’s; The City & Guilds of London Institute; ABOVE As part of Future Programme developments at Windsor Castle, George IV’s Inner Hall will be reinstated, linking the visitor entrance on The Clothworkers’ Company; Luigi and Laura the North Terrace to the State Entrance.

12 REPORT OF THE DIRECTOR REPORT OF THE DIRECTOR 13 CUSTODIAL CONTROL

~ 61,156 object records and 41,378 images added to the Collections Management System ~ 139,935 objects checked

The Royal Collection is one of the largest and most widely distributed art collections in the world. Royal Collection Trust staff are responsible for maintaining accurate records of the Collection at 15 current and former royal residences and more than 100 loan locations worldwide. The data collected forms the basis of object records on ‘The Royal Collection Online’. During the year staff checked the condition of all glass and chinaware in the State Pantries at Buckingham Palace. They also completed the survey and photography of the contents of Queen Mary’s Dolls’ House and checked the arms and armour displayed in Windsor Castle’s Grand Vestibule. In 2016 research was undertaken to enhance the records of Dorothy Wilding’s photographs of the Royal Family from the 1930s to the late 1960s. Wilding’s images of King George VI and Her Majesty The Queen taken on their accession to the throne in 1936 and 1952 respectively were used on postage stamps and for the official portraits that were sent to government offices, High Commissions and British Embassies worldwide. As a result of this work, a number of previously unattributed photographs were confirmed as by Wilding for the first time. Surveys of long-term loans were carried out at The Commonwealth Secretariat, ; Handel House Museum; (IWM); The Rifles Territorial and Volunteer Trust; and Spencer House (all in London); Ascot Racecourse; City Hall, Dublin; M Shed, Bristol; Parliament Buildings, Stormont, ; , ; and The Royal School, . The rolling programme of inventory and condition checks this year focused on locations managed by Historic Royal Palaces.

OPPOSITE This portrait of The Queen by Dorothy Wilding was taken during Her Majesty’s first official photographic sitting, just 20 days after her accession.

RIGHT Details of etched and gilded pieces of armour that were condition checked as part of the continuing survey of the Royal Collection.

CUSTODIAL CONTROL 15 CONSERVATION

~ 505 decorative arts items conserved ~ 546 prints and drawings conserved or mounted ~ 623 books conserved ~ 244 paintings conserved

Work on the long-term care of the Collection has Windsor Castle. Through film footage, live been promoted in a variety of ways this year, including demonstrations and conversations with conservators, online films and special events. visitors could learn about the range of techniques The conservation section of the Royal Collection employed in maintaining the Collection, from the Trust website has been relaunched, with new content newest digital technologies to practices that have showing the processes that underpin all aspects of remained unchanged for centuries. preserving the Collection. New videos of conservation in action, including the cleaning of silver and the care of Chinese and Japanese works of art, were added to OPPOSITE Arabella Peaver conserves Self-Portrait in the Artist’s Studio Painting ‘The Death of Nelson’, c.1805–7, by Samuel Drummond, for the exhibition the popular series of conservation films. Portrait of the Artist. In February 2017, conservation staff from across BELOW Rachael Smith shows visitors the techniques used in the conservation the Royal Household took part in an open day at of drawings at the first Meet the Experts conservation day at Windsor Castle.

CONSERVATION 17 DECORATIVE ARTS

Significant progress has been made on the treatment three-volume catalogue raisonné Chinese and Japanese of oriental lacquer and giltwood frames and furniture. Works of Art in the Collection of Her Majesty The Queen, The latter is a particular strength of the Royal published in November 2016. Three of the four Collection, and a project is underway to survey the ornamental gilt-metal mounts that were added when condition of hundreds of pieces across the Palaces, the vases were in a French collection were missing. with small-scale preventive treatments undertaken Conservators scanned the surviving example to in situ where practicable. create a pattern using 3D printing, which was then In January 2017, the famous roll-top desk by the used to cast the three mounts in gilt metal in the great French cabinetmaker Jean-Henri Riesener in traditional way. the White Drawing Room at Buckingham Palace was Other projects undertaken this year include examined and scanned by the Riesener Research Project the preparation of works of European silver for the team. This collaborative venture seeks to document forthcoming catalogue raisonné and of the gifts Riesener’s furniture in the Royal Collection, the Wallace presented to Albert Edward, Prince of Wales during Collection, London, and the Rothschild Collections his tour of India in 1875–6 for the exhibition at Waddesdon Manor, Aylesbury, and to understand Splendours of the Subcontinent. the changes made to the pieces over time. The scanning revealed that a sunken secret compartment, previously thought to have been an original part of the desk, OPPOSITE Conservation Intern Alicia Beardsall re-gilds one of a set of chairs designed for the Saloon at the , , in preparation for its was probably added in the 19th century. long-term loan to the Pavilion. A pair of 18th-century Chinese vases was among BELOW Shaun Turner takes apart the roll-top desk by Jean-Henri Riesener in hundreds of works conserved for inclusion in the preparation for scanning in the White Drawing Room at Buckingham Palace.

18 CONSERVATION PRINTS AND DRAWINGS BOOKS, MANUSCRIPTS AND ARCHIVES

In preparation for the exhibition & the birds and rippling water to give a sense of spontaneity In June 2016 Her Majesty The Queen launched Over the past two years, approximately 30,000 Art of Venice at The Queen’s Gallery, Buckingham to his work. The Queen’s Bindery Apprenticeship Scheme, an papers dating from the Georgian period have been Palace, infrared reflectance imaging was used on Conservation work began on the treatment of a initiative aimed at perpetuating the rare skills involved surveyed and repaired in preparation for their Canaletto’s drawings in the Royal Collection for large group of South Asian paintings and manuscripts in hand bookbinding. Six apprentices will learn a broad publication on the Royal Collection Trust website the first time, revealing details largely invisible to in preparation for a forthcoming exhibition at range of techniques, including fine leather binding, in January 2017. This involved stabilising areas of the naked eye. Infrared rays pass through the ink The Queen’s Gallery, Buckingham Palace. Conservators edge-gilding and gold finishing, and gain work experience weakness or loss and humidifying distorted areas, on the drawings’ surface, detecting only the carbon from the Chester Beatty Library, Dublin, The Morgan in the Royal Bindery at Windsor Castle and external before reintegrating the papers back into their contained in the chalk or pencil used for underdrawing. Library & Museum, New York, and The J. Paul Getty workshops. City & Guilds qualifications will be awarded relevant volumes. Similar work has been undertaken The preliminary pencil marks give a remarkable Museum, Los Angeles, visited in December 2016 to at the end of the five-year training programme. for the digitisation of the papers of William Augustus, insight into Canaletto’s working methods. In Venice: discuss treatment options and share information about In a new project launched this year, conservators Duke of Cumberland and the exiled Stuarts. The central stretch of the Grand Canal, the artist South Asian manuscript material. Works conserved to and curators will examine and document the condition Over 400,000 pages have already been scanned planned the details of the buildings that line the date include a series of exquisite Indian paintings of the of all the books printed between 1450 and 1501 in the and digitised, ready for online publication at canal with meticulous accuracy, marking out chimneys, Bhagavata Purana, one of Hinduism’s great histories. Royal Library. Known as incunabula, these are among the end of 2017. façades and windows. He employed a ruler to extend the Library’s most notable holdings and include the the lines into the water so that they could be used Ruralia Commoda, Henry VIII’s copy of the first to draw the buildings’ reflections. These pencil lines gardening manual, and the Mainz Psalter, one of formed a guide for the artist before he drew freehand BELOW Venice: The central stretch of the Grand Canal, c.1734, by Canaletto. only ten known copies of the second book printed Infrared reflectance imaging revealed that the artist carefully planned his BELOW Matthew Stockl, one of two apprentices to join The Queen’s Bindery over the top in ink, adding elements such as clouds, works in pencil before using ink. by the system of movable metal type. Apprenticeship Scheme, in the Royal Bindery at Windsor Castle.

20 CONSERVATION CONSERVATION 21 PAINTINGS

The main focus for the paintings conservators this – the artist’s self-portrait. ‘Vanitas’ paintings, year was the examination and preparation of works which were popular in the during the for display in forthcoming Royal Collection Trust 17th century, conveyed messages about the misguided exhibitions, including a large group of Venetian pursuit of transient earthly pleasures. This example paintings for Canaletto & the Art of Venice, and around by Roestraten shows a number of objects displayed 50 paintings for Charles II: Art & Power. Another on a chest – coins and a silver pocket-watch on a silk 58 paintings, including works by Holbein, Rubens, ribbon suggesting the coveting of worldly possessions, Van Dyck and Mantegna, were prepared for the a suspended glass sphere signifying the fragility of life forthcoming exhibition in 2018 on Charles I’s art and a human skull that reminds the viewer of the collection at the , London, inevitability of death. With the removal of layers of in partnership with Royal Collection Trust. discoloured varnish, conservators found a tiny image The conservation of paintings for Portrait of the Artist of the artist at his easel painted as a reflection on the at The Queen’s Gallery, Buckingham Palace, resulted glass sphere. Roestraten clearly enjoyed challenging in some notable discoveries. X-ray images of a self- the viewer to discover a concealed element in his portrait by an unknown North Italian artist revealed work, as reflected self-portraits have been identified an earlier portrait of a woman beneath the paint layers, in at least nine of his still-life paintings. probably painted some 50 years before the self-portrait. Cleaning also uncovered a small crucifix lying on the artist’s painting table. OPPOSITE A Vanitas, c.1666 –1700, by Pieter Gerritsz van Roestraten. Conservation revealed a previously hidden self-portrait in the glass sphere. While conserving A Vanitas by Pieter Gerritsz van Roestraten in preparation for the same exhibition, BELOW Portrait of an Artist, c.1590–1620, by an unknown North Italian artist (left). X-rays of the painting revealed an earlier portrait of a woman beneath conservators uncovered a new element to the picture the paint layers (right).

22 CONSERVATION PRESENTATION AND PARTICIPATION

EXHIBITIONS

Nine Royal Collection Trust exhibitions were staged Scottish Artists 1750–1900: at The Queen’s Galleries in London and Edinburgh, From Caledonia to the Continent and at Windsor Castle, the Palace of Holyroodhouse 18 March – 2 October 2016 and Buckingham Palace, including three to mark Her Majesty The Queen’s 90th birthday. Maria Merian’s Butterflies 15 April – 9 October 2016 The Queen’s curators are, in my estimation, some of the most skilled and creative around. The Queen’s Gallery, Buckingham Palace WALDEMAR JANUSZCZAK, THE SUNDAY TIMES (118,311 visitors to both exhibitions)

Curated by Deborah Clarke and Vanessa Remington, OPPOSITE Visitors to the Palaces and The Queen’s Galleries enjoyed Scottish Artists 1750–1900: From Caledonia to the a varied programme of lectures, gallery talks, art workshops, and family and access events. Continent told the story of the emergence of a distinctive Scottish school of art and the long-standing BELOW The exhibition Maria Merian’s Butterflies brought some of the finest images of the natural world to The Queen’s Gallery, Buckingham Palace. association of Scottish artists with the Monarchy.

PRESENTATION AND PARTICIPATION 25 Following its display in Edinburgh, the exhibition was Biodiversity, Natural History Museum, London. Students Portrait of the Artist national poetry organisation Apples and Snakes, adapted for the London showing with the addition of from Ravensbourne College, London, created a digital Kieron Rennie and Amina Jama performed four The Queen’s Gallery, Buckingham Palace two important works by Sir David Wilkie, including animation of Merian’s drawings for the Millar Learning specially commissioned works inspired by Portrait of 4 November 2016 – 17 April 2017 (44,902 visitors) the large First Council of , the first Room at The Queen’s Gallery. the Artist. winner explored painting commissioned by the Queen in 1838. A British Sign Language tour of the exhibition This exhibition explored the emerging image of the themes of identity, the role of the artist and self- The events programme included an ‘in conversation’ was led by Deaf presenter John Wilson. Through creative genius, from the 15th century to the present portraiture at an ‘in conversation’ event with Anna event with Scottish artist and broadcaster Lachlan a collaboration with family-support organisations day, through more than 150 works. Curated by Anna Reynolds, and the artist Edward Ofosu led an iPad Goudie, who explored the ways in which artists from Ambitious About Autism and The ClementJames Reynolds, Lucy Peter and Martin Clayton, it included portrait workshop inspired by the self-portrait by Scotland have been influenced by their native landscapes Centre, the first Quiet Morning was held at both artists’ self-portraits and portraits of artists by David Hockney in the exhibition. and continental travels. The Queen’s Gallery, allowing visitors on the their friends and admirers, among them the only The exhibition will open at the Vancouver Art Maria Merian’s Butterflies recounted the autism spectrum or with disabilities to enjoy the reliable surviving likeness of Leonardo da Vinci by his Gallery in October 2017 as part of the celebrations for extraordinary life of the intrepid German artist and exhibition in a calm and relaxed atmosphere. pupil Francesco Melzi. Portrait of the Artist also examined the 150th anniversary of the Canadian Confederation. entomologist whose pioneering scientific investigations Maria Merian’s Butterflies subsequently travelled to the changing status of the artist in society, the artist’s and artistic talents brought the wonders of South America Edinburgh, where it opened at The Queen’s Gallery, working environment and the cult of the artist. Royal Collection exhibitions, and their to Europe at the beginning of the 18th century. Palace of Holyroodhouse, on 17 March 2017. The exhibition attracted widespread media catalogues, invariably set the standard Curated by Kate Heard, the exhibition included coverage, including a discussion on BBC Radio 4’s for other institutions to follow. Fittingly, 50 illustrations by Merian and her workshop, some of The butterfly is a crucial presence in art, and Woman’s Hour between Anna Reynolds and this is one of the best. the finest images of the natural world ever produced. in unveiling for us the astonishing career of ’s art critic Jonathan Jones about BENDOR GROSVENOR, FINANCIAL TIMES The entomologist and broadcaster Dr George Maria Sibylla Merian…The Queen’s Gallery the artist , whose Self-Portrait McGavin contributed his expertise and enthusiasm to has added something valuable to a pictorial as the Allegory of Painting (La Pittura) was among the exhibition publication, multimedia tour and events tradition that was already full of wonders. the highlights of the exhibition. ABOVE programme, which also included a reading by Jen Hadfield WALDEMAR JANUSZCZAK, THE SUNDAY TIMES Twenty-two community groups visited the Anna Reynolds and Grayson Perry at an ‘in conversation’ event at The Queen’s Gallery, Buckingham Palace. of her poem inspired by Merian’s painting of the lanternfly exhibition, including women’s empowerment groups, and a creative course with artist Cath Hodsman, in arts-engagement charities and homelessness support OVERLEAF Cimabue’s Madonna Carried in Procession, 1853–5, by ABOVE Young visitors to the exhibition Maria Merian’s Butterflies explore the Frederic Leighton, is installed in the Portrait of the Artist exhibition partnership with the Angela Marmont Centre for UK world of insects with the entomologist and TV presenter Dr George McGavin. groups. At a poetry event, in collaboration with the at The Queen’s Gallery, Buckingham Palace.

26 PRESENTATION AND PARTICIPATION PRESENTATION AND PARTICIPATION 27

Masters of the Everyday: Three local community groups took part in guided Painting Paradise: The Art of the Garden Shakespeare in the Royal Library Dutch Artists in the Age of Vermeer tours, discussions and still-life watercolour workshops The Queen’s Gallery, Palace of Holyroodhouse Drawings Gallery, Windsor Castle inspired by the works of art on display, as part of a new The Queen’s Gallery, Palace of Holyroodhouse 5 August 2016 – 26 February 2017 (38,073 visitors) 13 February – 11 December 2016 community inclusion programme. 4 March – 24 July 2016 (37,693 visitors) Curated by Vanessa Remington and Sally Goodsir, Curated by Elizabeth Clark Ashby and commemorating Curated by Desmond Shawe-Taylor and Quentin This latest exhibition of ‘genre paintings’ and first shown in London, the exhibition celebrated the 400th anniversary of the playwright’s death, Buvelot, Chief Curator at the Mauritshuis in , is a ravishing and humorous snapshot of over 600 years of garden art in the Royal Collection, Shakespeare in the Royal Library looked at the influence the exhibition brought together 29 outstanding Dutch the ‘everyday’ in the Dutch Golden Age, from jewel-like manuscript illustrations of Islamic of Elizabeth I and James I on Shakespeare’s works and genre paintings by some of the finest artists of the a masterclass in unabashed technical gardens to epic royal landscapes. The exhibition the links Shakespeare made with Windsor through his 17th and 18th centuries. Highlights included Johannes painterly proficiency. highlights included examples of the first true botanical comedy The Merry Wives of Windsor. Among the many Vermeer’s enigmatic portrait Lady at the Virginals with SARAH URWIN JONES, THE HERALD drawings produced by Leonardo da Vinci, and treasures from the Royal Library in the display was a a Gentleman and ’s The Young Mother, Franciabigio’s Portrait of Jacopo Cennini, the first Second Folio belonging to Charles I and annotated by which had belonged to Charles II but was taken to named gardener to appear in art. the King while he was imprisoned at Windsor Castle. the Netherlands by William III, and was generously Accompanying events included a study day Part of the nationwide Shakespeare400 programme, loaned by the Mauritshuis. in collaboration with the Royal Botanic Garden the exhibition was accompanied by a programme A full programme of events at The Queen’s Gallery, Edinburgh and the Royal College of Physicians of of events, including a lecture by the distinguished Palace of Holyroodhouse, encompassed short talks, Edinburgh, and a ‘Late’ event as part of a partnership Shakespeare scholar Professor Richard Dutton and creative-writing classes and artist-led school workshops with Edinburgh Art Festival. British Sign Language a performance of Elizabethan music by students from exploring the characters and objects in the paintings. events were held at The Queen’s Gallery, Palace the Royal College of Music. In a year of anniversary A drawing session run by artist Damian Callan gave of Holyroodhouse, for the first time. celebrations, Shakespeare in the Royal Library was ABOVE A teaching session in the Masters of the Everyday: Dutch Artists in the visitors an opportunity to use a camera obscura, a tool Age of Vermeer exhibition at The Queen’s Gallery, Palace of Holyroodhouse. among The Art Newspaper’s international must-see that Vermeer and his contemporaries reputedly employed, Shakespeare exhibitions. OPPOSITE Visitors in the exhibition Painting Paradise: The Art of the Garden to create a series of drawings inspired by the exhibition. at The Queen’s Gallery, Palace of Holyroodhouse.

30 PRESENTATION AND PARTICIPATION PRESENTATION AND PARTICIPATION 31 The Last of the Tide: At Home in Holland: Vermeer Portraits of D-Day Veterans and his Contemporaries from the British Royal Collection The Black Watch Castle and Museum, Perth 4 June – 6 November 2016 Mauritshuis, The Hague 29 September 2016 – 5 February 2017 Following its showings at The Queen’s Gallery, Buckingham Palace, and at the Palace of Holyroodhouse, As the final stage of the exhibition curated by this exhibition travelled to the Black Watch Castle Desmond Shawe-Taylor and Quentin Buvelot, and Museum in Perth. Commissioned by The Duke 22 paintings by and his and Duchess of Rothesay, the portraits pay tribute to contemporaries went on show in The Hague, the extraordinary men who took part in the D-Day following their display at The Queen’s Galleries in landings on 6 June 1944. The exhibition was staged London and Edinburgh. The works complemented in collaboration with the Royal Drawing School and the Mauritshuis’s own outstanding collection of included works by artists associated with the School, Dutch masterpieces, including Vermeer’s Girl with among them James Lloyd, Ishbel Myerscough, a Pearl Earring and The Goldfinch by Carel Fabritius. Stuart Pearson Wright and . Royal Collection Trust’s partnership with the Mauritshuis and the loan of five paintings by Jan Steen from the Royal Collection provided the

OPPOSITE Visitors to the exhibition Leonardo da Vinci: Ten Drawings from opportunity to collaborate on a scholarly research the Royal Collection at the Castle Museum & Art Gallery. project. The work undertaken will provide valuable

BELOW The Duchess of Cambridge and Dr Emilie Gordenker, Director clues to the dating of Steen’s paintings, the source of the Mauritshuis, in the exhibition At Home in Holland: Vermeer and his of his materials and the changes in his technique Contemporaries from the British Royal Collection during Her Royal Highness’s official visit to The Hague in October 2016. over time. TRAVELLING EXHIBITIONS

Leonardo da Vinci: Ten Drawings have now seen one or more of these exhibitions from the Royal Collection at 20 venues across the UK and Ireland. The Dublin showing was inaugurated by the Laing Art Gallery, Newcastle President of Ireland, Michael D Higgins, while 13 February – 24 April 2016 the Swansea stage coincided with the re-opening National Gallery of Ireland, Dublin of the refurbished Glynn Vivian Art Gallery. 4 May – 17 July 2016 In Nottingham, students from the University Museum & Art Gallery of Nottingham’s Art History department devised 30 July – 9 October 2016 a contextual introductory space and provided Glynn Vivian Art Gallery, Swansea talks and blogs about the exhibition. 15 October 2016 – 8 January 2017

Throughout 2016, ten of the finest drawings by These works belong to the history of humanity Leonardo da Vinci in the Royal Collection were and they are rightly being preserved and shared shown at venues in Newcastle, Dublin, Nottingham for all our benefit. and Swansea, reaching an audience of 189,200 people. VISITOR TO THE EXHIBITION, NOTTINGHAM Curated by Martin Clayton, the exhibition explored the extraordinary scope of the artist’s interests, from painting and to anatomy, botany, engineering, zoology and mapmaking. This was the fifth travelling exhibition of Leonardo drawings from the Royal Collection since 2002, and a total of 972,000 people

32 PRESENTATION AND PARTICIPATION PRESENTATION AND PARTICIPATION 33 Queen Victoria in Paris Splendours of the Subcontinent: A Prince’s Tour of India 1875–6 Compton Verney Art Gallery, Warwickshire 15 October – 11 December 2016 Cartwright Hall Art Gallery, Royal Museum, Exeter 11 March – 18 June 2017 17 December 2016 – 23 April 2017 In October 1875, the Prince of Wales set off on a Curated by Rosie Razzall, this exhibition presented four-month tour of the Indian Subcontinent, visiting 44 watercolours of Queen Victoria’s historic State Visit over 21 localities, which today encompass India, to Paris in August 1855, the first time a reigning British Sri Lanka, and . Developed in monarch had visited the French capital in over four collaboration with Cartwright Hall Art Gallery, centuries. The visit celebrated the alliance between Bradford, and New Walk Museum and Art Gallery, and Britain against in the Crimean War, as well Leicester, the exhibition tells the story of this grand as a remarkable personal friendship that had developed tour through some of the finest Indian treasures from between the Queen and the Emperor Napoleon III. the Royal Collection that were presented to the Prince The exhibition will travel to The Wilson: Cheltenham during his visit. Curated by Caroline de Guitaut and Art Gallery & Museum in June 2017 and The Bowes Kajal Meghani, the exhibition will travel to Leicester Museum, Barnard Castle, in March 2018. in July 2017 before opening at The Queen’s Gallery, Palace of Holyroodhouse, in December 2017.

ABOVE A young visitor enjoys the exhibition Splendours of the Subcontinent: A Prince’s Tour of India 1875–6 at Cartwright Hall Art Gallery, Bradford.

OPPOSITE Central Courtyard with the Staircase of Honour at the Hôtel de Ville, 23 August 1855, by Max Vautier, from the travelling exhibition Queen Victoria in Paris.

34 PRESENTATION AND PARTICIPATION VISITING THE PALACES

~ A record 2.8 million people visited the official residences of Her Majesty The Queen ~ Buckingham Palace welcomed 576,995 visitors, the second best-attended Summer Opening ~ Windsor Castle welcomed 1,432,260 visitors, the second highest recorded figure ~ The Palace of Holyroodhouse welcomed 392,260 visitors, the best annual attendance on record

Visitors to the Palaces in 2016 enjoyed three very costumes worn by the young Princess Elizabeth special exhibitions celebrating Her Majesty’s 90th for wartime family pantomimes at the Castle. birthday. Fashioning a Reign: 90 Years of Style from Her Majesty’s support of British couture and The Queen’s Wardrobe, the largest display of millinery was highlighted through important pieces The Queen’s dresses ever mounted, opened at the created for a world stage by renowned designers, Palace of Holyroodhouse for Her Majesty’s birthday including Sir , Sir Hardy Amies on 21 April, at the Summer Opening of Buckingham and Ian Thomas. A number of leading British fashion Palace in July and at Windsor Castle in September. designers visited the exhibition at Buckingham Palace The three exhibitions, curated by Caroline de at an event organised with the British Fashion Council. Guitaut, charted significant events in The Queen’s life and the nation’s history through outfits designed for The exhibitions were awarded Best British Cultural these occasions from childhood to the present day. Experience at the 2016 Walpole British Luxury Awards. More than 130 outfits were on display across the three Palaces, with a different selection of evening gowns and elegant day ensembles at each. Her Majesty’s wedding and Coronation dresses were exhibited together for the OPPOSITE Fashioning a Reign: 90 Years of Style from The Queen’s Wardrobe was shown in the magnificent Semi-State Rooms at Windsor Castle. first time at Buckingham Palace, while at the Palace of Holyroodhouse the use of tartan in royal dress was BELOW Caroline de Guitaut prepares the ensemble worn by The Queen at in 2016 for display in Fashioning a Reign: 90 Years of explored. At Windsor the exhibition included Style from The Queen’s Wardrobe in the State Rooms at Buckingham Palace.

PRESENTATION AND PARTICIPATION 37 Buckingham Palace The Royal Mews More than 55,000 visitors enjoyed activities in the Families have been visiting the Royal Mews in Family Pavilion in 2016, including the opportunity increasing numbers to enjoy Family Saturdays and to stand on a re-creation of the famous Buckingham special events, such as The Big Draw and Children’s Palace balcony. The celebrated illustrator Sir Quentin Art Week, during the school holidays. School visits Blake created a new drawing of the Big Friendly Giant have also grown significantly with the increased (the BFG) for Royal Collection Trust, to mark the capacity of the Learning Rooms. release of the eponymous feature film, in which the BFG appears at The Queen’s window at Buckingham Palace. The work was reproduced outside the Pavilion, Clarence House where children could sit on the BFG’s outstretched Clarence House, the of hand. Sir Quentin said, ‘Since I first illustrated Roald TRH The Prince of Wales and The Duchess Dahl’s classic book in 1982, I have seen the BFG in of Cornwall, welcomed 11,980 visitors on various shapes and sizes … however, this is the very guided tours during its month-long opening. first time I have actually seen him life size.’ To celebrate The Queen’s 90th birthday, a Family Festival was held in August 2016 at The Queen’s Gallery, the Royal Mews and the State Rooms, Buckingham OPPOSITE The life-size illustration of the Big Friendly Giant was created specially for the Family Pavilion at Buckingham Palace by Sir Quentin Blake. Palace, offering art, drama and dance workshops, family tours and storytelling sessions. BELOW Young visitors to the Royal Mews take part in Buckingham Palace’s Family Festival in celebration of The Queen’s 90th birthday. A range of new initiatives helped around 300 visitors from community and access groups enjoy the OVERLEAF At the Summer Opening of Buckingham Palace, the Ballroom was filled with outfits worn by Her Majesty on State occasions and State Rooms and the Fashioning a Reign exhibition. official visits around the world.

38 PRESENTATION AND PARTICIPATION

Windsor Castle decorations at the Castle were accompanied by an extensive events programme throughout December. A Very Royal Birthday Party in June 2016 was the Performances from local school choirs, the Windsor most ambitious Family Festival held at Windsor Castle and Eton Living Advent Calendar, evening tours of to date. Over 1,900 family visitors enjoyed live music, the State Apartments, a Festive Weekend of carol roving entertainers, storytelling and opportunities singing, drop-in workshops and a pop-up pantomime to meet Military Knights and serving soldiers. in the helped attract record As part of the programme marking the 400th visitor numbers. anniversary of Shakespeare’s death, performances of As part of the nationwide Disabled Access Day the playwright’s works were staged at the Castle during event in March 2017, held over three days for the first the summer. The ’s Men presented time, visitors with disabilities enjoyed free admission a lively re-telling of Much Ado About Nothing in the and could join British Sign Language and verbal magnificent surroundings of the Waterloo Chamber, descriptive tours of the Castle Precincts and and a series of six open-air performances of St George’s Chapel. In June 2016, Windsor Castle A Midsummer Night’s Dream in the Castle’s Moat was awarded the Autism Friendly Award by Garden by the Watch Your Head theatre company The National Autistic Society, becoming one of combined action, music and audience participation the first cultural-heritage sites in the UK to be to create a fully immersive experience. recognised for its provision for autistic visitors. The Fashioning a Reign: 90 Years of Style from The Queen’s Wardrobe exhibition and Christmas

Palace of Holyroodhouse Throughout the Christmas season, which generated the best visitor numbers to date, the Palace was floodlit On 21 April 2016, Her Majesty’s 90th birthday, the and the State Apartments decorated with designs exhibition Fashioning a Reign: 90 Years of Style from inspired by the Palace’s magnificent plasterwork The Queen’s Wardrobe opened at the Palace alongside ceilings. The table in the Royal Dining Room was a re-presentation of the insignia of the Order of the laid for a festive feast with pieces from a silver service Thistle, the highest order of chivalry in Scotland. presented by Sir Alexander Grant to King The Scottish State Coach, normally housed in the and Queen Mary in 1935 to mark their Silver Jubilee. Royal Mews at Buckingham Palace, was part of the During the Christmas period, a British Sign Language Royal Edinburgh Military Tattoo at tour of the Palace of Holyroodhouse was offered in throughout the month of August. During the day collaboration with the British Deaf Association. the coach could be seen by visitors on the Palace’s In March 2017, visitors with disabilities enjoyed Forecourt, along with the Windsor Grey horses free admission, amplified tours and object-handling that pulled it up the Royal Mile every night. sessions as part of Disabled Access Day weekend. The family programme was further expanded, including the introduction of a Family Garden Party. For older children, events linked to Scottish archaeology and The Big Draw were held OPPOSITE Visitors to Windsor Castle enjoy a performance of Shakespeare’s Much Ado About Nothing in the Waterloo Chamber. throughout the year, in addition to the Family Festival of storytelling, arts and crafts, ABOVE The Scottish State Coach with Windsor Grey horses on the Forecourt of the Palace of Holyroodhouse. and, for the first time, a ceilidh. A concert for under-fives,Recitals for Wrigglers, combined OVERLEAF A series of open-air performances of William Shakespeare’s A Midsummer Night’s Dream was staged at Windsor Castle to mark classical music with stories and sensory play. the 400th anniversary of the playwright’s death.

42 PRESENTATION AND PARTICIPATION PRESENTATION AND PARTICIPATION 43

HISTORIC ROYAL PALACES

Items from the Royal Collection form the majority 13 miniatures and two drawings by Hans Holbein of the works of art on display at Hampton Court the Younger from the Royal Collection. Palace, Kensington Palace, the Banqueting House, Work to support the re-presentation of Her Majesty and Kew Palace, which are The Queen’s official residence in Northern Ireland, managed by Historic Royal Palaces. In 2016–17 Hillsborough Castle, continued this year, with 21 royal these Palaces also enjoyed a record year, receiving portraits and paintings, and some 150 decorative more than 1.6 million visitors. objects from the Collection joining the displays. The display of paintings from the Royal Collection Refurbishment of the Entrance Hall is now complete, in the Cumberland Art Gallery at Hampton Court and a further 62 paintings have been conserved for Palace was refreshed in March 2017 with the introduction display in the State Apartments next year. of 12 scenes from the life of Cupid and Psyche painted The fourth annual seminar for curators and on copper by the Italian artist Luca Giordano. A large conservators from Historic Royal Palaces and Royal canvas by Jan Steen, A Village Revel, joined the works Collection Trust was held at Windsor Castle. Around in the Withdrawing Room. 120 staff from both organisations discussed topics such In the autumn of 2016, Historic Royal Palaces as forthcoming exhibitions and publications, and recent undertook the second stage of a three-stage conservation projects. The event continues to be an refurbishment project in the King’s State Apartments excellent opportunity to share expertise and ensure at Kensington Palace. As part of this initiative, four that activities and projects are well co-ordinated. paintings from the Royal Collection were newly hung in the King’s Drawing Room, including the recently conserved painting The Penitent Magdalen by Carlo Dolci. The project also encompassed a re-presentation OPPOSITE AND BELOW , c.1664 –70, by , and A Bacchanal, c.1665, by Giulio Carpioni, are among the group of paintings of Queen Caroline’s closet, including the display of from the Royal Collection on display at Hillsborough Castle.

46 PRESENTATION AND PARTICIPATION LOANS

~ 252 loans were made to 48 exhibitions in the UK and ten other countries

Loans to institutions across the UK and further afield 4,000 prints and photographs of every work regarded this year have served to support the commitment to in the mid-19th century as being by or after broadening public access to the Royal Collection. and his circle. In October 2016, a five-year loans partnership An equestrian statuette of Louis XV travelled to the between Royal Collection Trust and the Ferens Art Musée du , Paris, in September 2016 for the first Gallery in Hull was announced. Masterpieces in Focus exhibition dedicated to the sculptor Edme Bouchardon. from the Royal Collection will see a single work of The bronze, by Louis-Claude Vassé, is a reduction art from the Collection travel to Hull each year. of Bouchardon’s colossal statue that was destroyed The inaugural loan of Rembrandt van Rijn’s in Paris during the . The Shipbuilder and his Wife in April 2017 marked Royal Museums completed the Hull’s year as UK City of Culture. comprehensive refurbishment of the Queen’s House A major loan of over 90 works from the Royal in October 2016. Six paintings from the Royal Collection Collection, encompassing paintings, works on paper were lent to the new display, including Orazio and decorative arts, supported Enlightened Princesses: Gentileschi’s Joseph and Potiphar’s wife, which was Caroline, Augusta, Charlotte, and the Shaping of the displayed in this former royal residence in 1635. Modern World, an exhibition organised by the Yale A full list of loans made from the Royal Collection Center for British Art in collaboration with Historic over the past year can be found on pages 71–73. Royal Palaces. The exhibition, which opened in New Haven in February 2017, explored the roles played by , Augusta of OPPOSITE ‘The Music Party’: Frederick, Prince of Wales with his Three Eldest Saxe-Gotha and Charlotte of Mecklenberg-Strelitz Sisters, 1733, by Philippe Mercier, is among more than 90 works of art from in the promotion of the arts and sciences in Britain the Royal Collection that have been loaned to the exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World. over the course of the 18th century. It will open at Kensington Palace in June 2017. BELOW Detail of Raphael’s red-chalk study The Massacre of the Innocents, c.1510. The drawing was loaned to the Whitworth in Manchester for the Thanks to the enthusiastic patronage of Queen Victoria exhibition Marcantonio Raimondi and Raphael. and Prince Albert, the Royal Collection holds the world’s most extensive group of portraits by , six of which were loaned to the Museum of Fine Arts, Houston, in April 2016. High Society: The Portraits of Franz X. Winterhalter was the first exhibition devoted to the artist’s work for 25 years and the first time that these portraits from the Collection had been displayed in the . In September 2016, 14 prints and drawings were lent to the Whitworth in Manchester for an exhibition exploring the relationship between the Renaissance master Raphael and his collaborator, the printmaker Marcantonio Raimondi. The loan included three important drawings by Raphael that were used as the basis for Marcantonio’s prints and two folios of prints from the Prince Consort’s Raphael Collection. Begun by Prince Albert in 1853, the collection comprises over

PRESENTATION AND PARTICIPATION 49 INTERPRETATION

LEARNING

Across the Palaces and The Queen’s Galleries: ~ 57,850 school pupils made visits ~ 5,505 adults attended learning events ~ 45,725 visitors took part in family activities ~ 1,545 visitors attended access events

This year, nationwide events such as National Poetry the Monarch’s constitutional duties and The Queen’s Day and celebrations surrounding Her Majesty’s 90th role as Head of the Commonwealth. birthday helped to introduce more schoolchildren As part of Roche Court Education Trust’s across the UK and further afield to the Royal ARTiculation programme, which gives young people Collection and Palaces. In June 2016, Discovery a forum in which to express their ideas about art, Education television channel, which provides schools pupils from three local secondary schools visited with digital content and virtual experiences, broadcast live from Windsor Castle to a worldwide audience OPPOSITE A tea party at Windsor Castle in celebration of The Queen’s of schoolchildren. The programme celebrated 90th birthday was broadcast live by Discovery Education to schoolchildren The Queen’s birthday with a tea party in the Castle’s around the world.

Quadrangle for 100 schoolchildren, dressed in outfits BELOW Simon Metcalf talks about the armour of Duke Julius of representing different decades of Her Majesty’s Brunswick-Wolfenbüttel, c.1563, to pupils from The Windsor Boys’ School and Altwood Church of England School, Maidenhead, who visited the life, and explored the themes of British values, Castle as part of the ARTiculation programme.

INTERPRETATION 51 PUBLISHING

~ Eight new titles published ~ More than 30,000 papers digitised as part of the Georgian Papers Programme ~ The Birthday Crown nominated for the Association for Cultural Enterprises’ Best Children’s Publication ~ Foreign rights sold for seven titles covering five territories, including and

Publishing, whether in print or digital format, remains The exhibition Portrait of the Artist at The Queen’s a primary means of extending understanding and Gallery, Buckingham Palace, was accompanied by enjoyment of the Royal Collection. The three-volume a catalogue by Anna Reynolds, Lucy Peter and catalogue raisonné Chinese and Japanese Works of Art in Martin Clayton, published in November 2016. the Collection of Her Majesty The Queen by John Ayers was Splendours of the Subcontinent: A Prince’s Tour of India published in November 2016. In addition, the long-term 1875–6 by Kajal Meghani was published in March 2017 project to publish the Paper Museum of Cassiano dal to accompany the travelling exhibition in Bradford, Pozzo took a significant step towards completion, with Leicester and Edinburgh. the publication of three more titles in six volumes, A facsimile of the Sobieski Hours, a Gothic bringing the total to 16 parts in 27 volumes. illuminated manuscript in the Royal Library, was The 90th birthday of Her Majesty The Queen published by Quaternio Verlag Luzern in February was marked by the publication in April 2016 of 2017. The facsimile is accompanied by a companion The Birthday Crown, a children’s book written by Davide Cali, with illustrations by Kate Slater created BELOW Three new titles in the Paper Museum of using a three-dimensional collage technique. series were published this year.

Windsor Castle in October 2016. The children The Learning programme also aims to engage adult researched objects from the Royal Collection, helped visitors, deepening their understanding of the Royal by Royal Collection Trust curators and conservators, Collection and Palaces through a variety of events and and presented their responses to the works of art. courses, such as those on the themes of Chinoiserie in The Palace of Holyroodhouse enjoyed an increase Buckingham Palace and the Royal Pavilion, Brighton. of 35 per cent in school visits this year. During Gaelic In November 2016, a study day at Windsor Castle Schools Week in April 2016, the Palace welcomed marked the forthcoming anniversary of the restoration its first group of Gaelic-speaking schoolchildren. of the State Apartments following the fire of 1992. On National Poetry Day in October 2016, school In 2016 the annual Royal Collection Studies course, creative-writing sessions on the theme of ‘messages’ run by The Attingham Trust, celebrated its 21st year. were run with poet Ken Cockburn in partnership Thirty international curators and art specialists with the Scottish Poetry Library. attended the ten-day residential course, which In June 2016 Royal Collection Trust hosted the gives a comprehensive introduction to the annual Burnet News Club Awards at The Queen’s Royal Collection and Palaces, and includes visits to Gallery, Buckingham Palace, for the third year in a row. St James’s Palace, House, Hampton Court Conceived by The Economist Educational Foundation, Palace, the Banqueting House and a number of the Club works with schools to give young people the conservation studios. skills and opportunities to have their say on current affairs. Later in the year, the Gallery held an event in collaboration with London Grid for Learning to develop teachers’ skills and confidence in ABOVE A study day held at Windsor Castle was part of the extensive events programme for the exhibitions Fashioning a Reign: 90 Years of Style incorporating art across the curriculum. from The Queen’s Wardrobe across the three Palaces.

52 INTERPRETATION INTERPRETATION 53 volume written by Dr Jenny Stratford of the University of London, with an introduction by Lady Roberts, Librarian Emerita, and a foreword by HRH The Prince of Wales. The Georgian Papers Programme will digitise the holdings of papers relating to George III, George IV and William IV, among others, in the Royal Archives and the Royal Library and make them available to the public through a portal on Royal Collection Trust’s website, alongside a wealth of contextual materials. The first selection of material was published in January 2017, and the documentary, George III – The Genius of the Mad King, was broadcast on BBC Two to mark this significant milestone. By 2020, the portal will provide access to 350,000 documents from the Georgian period, 85 per cent of which have never previously been published. Developments to ‘The Royal Collection Online’ this year have included new Collection Trails on themes such as Fabergé, European arms and armour, and the furnishings of Windsor Castle. A number of previously out-of-print Royal Collection Trust catalogues are also now available online.

It is no exaggeration to say that the volumes produced by the project are consistently among the most beautiful books that it is my privilege to see as a result of work that the Academy has helped to fund.

DR KEN EMOND, HEAD OF RESEARCH AWARDS, BRITISH ACADEMY, ON THE PAPER MUSEUM OF CASSIANO DAL POZZO PROJECT

OPPOSITE A tree with a gilt creeper, hardstone blooms and amber gourds in an enamelled basin, c.1750–1800, from the catalogue raisonné Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen.

RIGHT Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, Splendours of the Subcontinent: A Prince’s Tour of India 1875–6 and Portrait of the Artist were among the eight titles published this year.

INTERPRETATION 55 ACQUISITIONS

Additions to the Royal Collection come as official was purchased. The work, which dates gifts to Her Majesty The Queen, as acquisitions made from 1948, complements the portraits of the King in to enhance the Collection and its display to the naval and army uniforms already in the Collection. public, and as bequests and donations. Notable additions to the photograph collection A major gift to The Royal Collection Trust was over the past year include three works by Hugo Rittson the generous bequest by the late Jane, Lady Abdy Thomas, who was commissioned to photograph of Franz Xaver Winterhalter’s portrait of Princess The Queen and members of the Royal Household on Alexandra of Saxe-Altenburg, later Grand Duchess the occasion of the 60th anniversary of Her Majesty’s Alexandra Iosifovna of Russia, a great-grandmother Colonelcy of The Royal Scots Dragoon Guards in of The . The bequest also included 2013. Portraits of HRH The Duke of Cambridge a Sèvres porcelain guéridon, or circular table, from and HRH The Duchess of Cornwall by the same the Anichkov Palace, St Petersburg, and the original photographer were also added to the Collection. gilt-metal frame for a miniature of a previous Lady Abdy In each image the subject stands against a black that was painted for George IV when Prince Regent backdrop, and a series of mirrors is used to make and is in the Royal Collection. the sitter appear four times. A Dutch mahogany cabinet that once belonged to Queen Charlotte, consort of George III, was re-acquired in December 2016. Thought to date from the late 18th OPPOSITE Portrait of Grand Duchess Alexandra Iosifovna of Russia (1830–1911), 1859, by Franz Xaver Winterhalter, was part of a major bequest by the late century, the cabinet originally stood in the Green Pavilion Jane, Lady Abdy. at and was sold in 1843. It is likely that BELOW King George VI (1895–1952) in RAF Uniform, c.1948, by Edward Seago, it once contained a pendulum clock with a musical was acquired for the Collection in September 2016. component, as the hinged backboards would have given easy access to the internal workings, and the pierced frieze on the front would allow sound to escape. A framed mezzotint of George Heriot, jeweller to James VI of Scotland, was purchased in May 2016. The print had been presented by George IV to the jeweller John Bridge in July 1821 in gratitude for his assistance in fitting the Imperial Crown in advance of the monarch’s coronation. A manuscript had been found behind the backing paper of the mezzotint in which Bridge recounts the process of fitting the King’s crown, recalls the King’s desire that the jeweller should attend the coronation ceremony and describes the ceremony itself. A portrait study by Queen Victoria of a female servant was purchased for the Collection in January 2017. The painting, signed and dated 18 July 1851, passed from the Queen’s daughter, Princess Alice, through her descendants to her great-grandson Ludwig, Prince of Hesse and Rhine, before being sold in 1961. In September 2016 a painting by Edward Seago of King George VI in the uniform of a Marshal of the

ACQUISITIONS 57 RETAIL

~ Record retail sales totalling £19,034,000 ~ Record catering sales at the Summer Opening of Buckingham Palace and the Palace of Holyroodhouse ~ Spend per visitor increased by 13 per cent

This year royal events and anniversaries drove the selling chinaware inspired by the historic most successful retail performance to date, with services on display nearby. New ice-cream sales points record sales on site and through the online shop. at Buckingham Palace and Windsor Castle proved The occasion of Her Majesty The Queen’s 90th hugely popular with visitors during the summer birthday provided the opportunity to create a new months, leading to a 300 per cent increase in sales. range of commemorative china. The design of the Royal Collection Trust’s online retail presence has range, which is hand-crafted in Stoke-on-Trent, shown encouraging growth, with subscribers to the incorporates the Royal Arms, and several items are Shop e-Newsletter increasing by over 115 per cent. edged with an oeil-de-perdrix or partridge-eye pattern, The launch of an Instagram account and introduction inspired by the decoration of Sèvres porcelain in of Wi-Fi in several of the London shops have given the Royal Collection. greater insight into the interests of customers and In June 2016, a new range of pet accessories went on the opportunity to interact with them in new ways. sale, including leather collars and leads, and bandanas and coats made in the Hunting Stewart tartan, the livery worn at the Palace of Holyroodhouse. OPPOSITE The range of commemorative china marking This year a number of new sales points were The Queen’s 90th birthday. created at the Palaces. Of particular note was the one BELOW A new range of pet accessories included this smart introduced in the China Museum at Windsor Castle, Hunting Stewart tartan dog coat.

RETAIL 59 STAFF

In September 2016 Royal Collection Trust, as part Newham Workplace helps unemployed individuals of the wider Royal Household, was re-accredited by across London to find work. Investors in People following a review lasting several For the second year running, two trainees are months. The assessor was particularly pleased to see undertaking a year-long placement with Royal Collection the strong focus placed on employee wellbeing, for Trust as part of the Strengthening Our Common Life which the Royal Household was given a Health and (SOCL) scheme, which aims to increase diversity in the Wellbeing Good Practice Award. Over the coming UK’s heritage-sector workforce. This year the trainees months, managers will discuss the recommended areas are based with the Collections Information Management of future focus with their teams to identify how the section and at the end of their placement they will experience of working for the organisation can further achieve a Diploma in Cultural Heritage. improve, and an Internal Communications Working Royal Collection Trust’s programme of student Group has been formed to ensure communication at placements and paid internships once again provided all levels within Royal Collection Trust is as effective opportunities for those in the early stages of their career as possible. to build skills and develop professional contacts. Over Professional development has continued to be a the past year, five interns worked with conservators and priority over the past 12 months. Nine members of staff curators in the Decorative Arts, Books and Manuscripts, are working towards a level-three certificate in First Prints and Drawings, and Paintings sections. Line Management with the Chartered Management Institute or a level-five qualification with the Institute of Leadership and Management. A group of four staff OPPOSITE A Summer Retail Assistant helps a young visitor to Buckingham participated in the Royal Household’s Emerging Palace to choose a cuddly corgi. Leaders Programme, which recognises employees BELOW Sophie Croft, on a student placement with the Decorative Arts team, who have leadership potential, aspiration and a works on one of four Chinese pagodas usually displayed in Buckingham Palace. commitment to contributing at a more strategic level, and helps them to develop their leadership skills. New academic and technical research sabbaticals will allow senior curators and conservators to step back from their day-to-day role and research an area of the Royal Collection, expand their knowledge or develop their technical skills within partner organisations. Two curators have been awarded sabbaticals for 2017. Martin Clayton, Head of Prints and Drawings, will use the time to prepare a major travelling exhibition of works from the Royal Collection, while Caroline de Guitaut, Senior Curator of Decorative Arts, will continue her work on a definitive catalogue of the Fabergé works in the Collection. As part of an ongoing commitment to attract as broad a range of candidates as possible, Royal Collection Trust is working with Newham Workplace on the recruitment of front-of-house staff for the 2017 Summer Opening of Buckingham Palace.

STAFF 61 Roberta Giubilini LECTURES BY STAFF ‘The Stuart and Cumberland Digitisation Project at Windsor Rufus Bird EXTERNAL APPOINTMENTS, Castle’ (co-author with Puneeta Sharma), in the Archives and ‘Battling the Agents of Decay: The Custodial and Curatorial Records Association’s ARC Magazine, pp. 30–1 (June 2016) PUBLICATIONS AND LECTURES care of The Royal Collection’ at the Sotheby’s Institute of Art, Kate Heard London Maria Merian’s Butterflies (Royal Collection Trust, London, 2016) ‘Furnishing the Royal Palaces’ at the Chalke Valley History EXTERNAL APPOINTMENTS Desmond Shawe-Taylor ‘Still “verais, popres e beaus”? English ecclesiastical embroidery Festival, Broad Chalke Vice-President, National Association of Decorative from the Wars of the Roses to the Early Reformation’, in ‘Objects of Fashion and Seduction: Mounted Asian Porcelains Rufus Bird & Fine Arts Societies (NADFAS) MA Michael (ed.), The Age of Opus Anglicanum, pp. 132–45 and Lacquers’ at The Frick Collection, New York Trustee of The Great Steward of Scotland’s Trust Trustee of The Holburne Museum, Bath (Brepols, Turnhout, 2016) ‘Disrupting Cathay: Gilt Bronze Mounted Asian Porcelains in Trustee of the Thirlestane Castle Trust Trustee of Compton Verney Collection Settlement ‘Ecclesiastical Embroidery in England from 1350 to the the Royal Collection’ at the Metropolitan Museum of Art, Council Member of the Furniture History Society Trustee of Old Royal Naval College, Greenwich Reformation’, in Clare Browne, Glyn Davies and MA Michael, New York Martin Clayton Trustee of the Chantrey Bequest English Medieval Embroidery. Opus Anglicanum, pp. 77–89 ‘New Discoveries of Chinese and Japanese Works of Art in the Member of the Ente Raccolta Vinciana Member of the Board of Directors of The Burlington (Yale University Press in association with the Victoria and Collection of Her Majesty The Queen’ at the annual Sir Michael Member of the External Assessment Board, Magazine Publications Ltd Albert Museum, London and New Haven, 2016) Butler Memorial Lecture, Oriental Ceramic Society of London; Royal Drawing School Member of the Advisory Council, Hamilton Kerr Institute Art Fund, Dorset; the Family Copies Lecture 2017, London; Member of the Editorial Advisory Boad, Kathryn Jones the Asia Society, Hong Kong, in association with the Oriental Shaun Turner Rassegna di Studi e Notizie ‘Napoleonic Silver in the Royal Collection’, in Silver Studies, Ceramic Society of Hong Kong; and the Min Chiu Society, Tutor/Lecturer in Picture Frame-making, Decorative Surfaces, The Journal of the Silver Society, 32, pp. 57–64 (2015) Hong Kong Paul Cradock Cabinetmaking/Woodwork and Furniture Restoration/ ‘The German Princesses as British Patrons’ (co-author with Trustee of the National Benevolent Society of Watch Conservation for Hammersmith and Fulham Adult Learning Wolf Burchard) and ‘Adorning the Cabinet’ in J Marschner, Katy Blessley and Clock Makers and Skills Service, Macbeth Centre with D Bindman and L Ford (eds), in Enlightened Princesses, ‘Observations on Rudolf Swoboda’s Painting Technique’ Member of the Church of England Church Clocks Care Committee Tutor/Lecturer at London Metropolitan University, Cass Short Caroline, Augusta, Charlotte, and the Shaping of the Modern (with Nele Bordt) for the British Association of Paintings Courses in Conservation and Restoration of Furniture and World, pp. 108–31 and pp. 184–8 (Yale University Press, Conservator Restorers (BAPCR) at A Changing Art: Caroline de Guitaut Wooden Artefacts Nineteenth-Century Painting Practice and Conservation Trustee of the Royal School of Needlework London and New Haven, 2017) at the , London Member of the Editorial Advisory Board of The Journal Oliver Urquhart Irvine Kajal Meghani of Dress History Member of the Spoliation Advisory Panel Splendours of the Subcontinent: A Prince’s Tour of India 1875–6 Nele Bordt Trustee of the Windsor Festival Society Ltd ‘Observations on Rudolf Swoboda’s Painting Technique’ Kate Heard (Royal Collection Trust, London, 2017) (with Katy Blessley) for the British Association of Paintings Deputy Editor of the Journal of the History of Collections Sophy Wills Niko Munz Conservator Restorers (BAPCR) at A Changing Art: Member of the Opus Anglicanum Advisory Committee, Member of the advisory panel for the Metalwork Conservation Contributions to Portrait of the Artist (Royal Collection Trust, Nineteenth-Century Painting Practice and Conservation Victoria and Albert Museum course, West Dean College London, 2016) at the Wallace Collection, London Assessor for the William MB Berger Prize for Bridget Wright British Art History, 2016 Alessandro Nasini Irene Campden Honorary Editor of the Friends of St George’s and Member of UK Print Curators’ Forum Contributions to Portrait of the Artist (Royal Collection Trust, ‘Conservation/Restoration of two volumes for “Shakespeare Descendants of the Knights of the Garter Annual Review London, 2016) in the Royal Library” exhibition’ at the Annual Conference Beth Jones of British Association of Paper Historians, Member of the UK Registrars Group PUBLICATIONS BY STAFF Lucy Peter Portrait of the Artist (co-author with Anna Reynolds and Elizabeth Clark Ashby Kathryn Jones Martin Clayton Martin Clayton) (Royal Collection Trust, London, 2016) ‘Shakespeare in the Royal Library’ as part of the Open Palace Member of the Committee of the Silver Society Portrait of the Artist (co-author with Anna Reynolds and Programme, Windsor Castle (until December 2016) Lucy Peter) (Royal Collection Trust, London, 2016) Rosie Razzall ‘Shakespeare in the Royal Library: an exhibition at Windsor Member of the Research and Publications Committee ‘A later chalk drawing by Giulio Romano’, in Artibus et Historiae, Queen Victoria in Paris: Watercolours from the Royal Collection Castle’ at Discovery Centre of the Silver Society XXXVII, pp. 37–41 (2016) (Compton Verney, 2016) Member of the Antique Plate Committee Deborah Clarke ‘Leonardo’s anatomical studies and his artistic practice, and Anna Reynolds proposals for the St Jerome’, in Leonardo da Vinci. Metodi e ‘Royal Collectors of Scottish Art’ at An Evening of Scottish Art, Jonathan Marsden ‘Visual Sources: The Renaissance (1450–1650)’, in Susan tecniche per la costruzione della conoscenza, pp. 177–84 (2016) Mall Galleries, London Member of Council, The Attingham Trust Vincent (ed.), A Cultural History of Fashion and Dress, ‘Deanna Petherbridge and the Art of the Past’, in Deanna ‘The Palace of Holyroodhouse: The Material Culture of the Selection Panel Member, Plowden Medal (RWHA) (Bloomsbury, London, 2016) Petherbridge. Drawing and Dialogue (the Whitworth, Royal Residence’ and ‘The Palace of Holyroodhouse: Survival, Trustee of City & Guilds of London Portrait of the Artist (co-author with Lucy Peter and Martin Manchester, 2016) Interpretation and Engagement’ for Treasure Houses of Scotland, Trustee of Historic Royal Palaces Clayton) (Royal Collection Trust, London, 2016) Glasgow University/Smithsonian Summer School Trustee of Royal Yacht Britannia Trust Carly Collier Puneeta Sharma ‘The Palace of Holyroodhouse: 500 years as a Royal Residence’ ‘Discovering Ancient and Modern Primitives: The Travel Simon Metcalf ‘The Stuart and Cumberland Digitisation Project at for the International Surgical Group Annual Symposium Journals of Maria Callcott’ (co-author with Caroline Palmer), Member of the Editorial Board of Arms & Armour, Windsor Castle’ (co-author with Roberta Giubilini), ‘The Last of the Tide: Portraits of D-Day Veterans’ at Walpole Society, LXXVIII (2016) the Journal of the in the Archives and Records Association’s ARC Magazine, The Black Watch Castle and Museum, Perth ‘Maria Callcott, Queen Victoria and the “primitives”’, pp. 30–1 (June 2016) Kate Owen Visual Resources online (September 2016) Martin Clayton ‘Paper, Pigments & Pearls: Conserving a collection of Member of the Council for the Harleian Society ‘Leonardo’s anatomical studies’ at the Royal Scots Club, Edinburgh Julie Crocker Indian miniature paintings at the Chester Beatty Library’, Editor of the Antiquaries Journal ‘Leonardo through his drawings’ at the Laing Art Gallery, Newcastle; ‘The Royal Archives at Windsor Castle: Into the 21st Century’ in The Quarterly, Journal of the British Association of Paper Nottingham Castle Museum & Art Gallery; O’Connell House, Jemima Rellie in Yvonne Bos-Rops, Marijke Bruggeman, Gustaff Janssens Historians, no. 101, pp. 37–41 (January 2017) Dublin; and the Glynn Vivian Art Gallery, Swansea Trustee of Nominet Trust (eds), Vorstelijk koninklijk keizerlijk: Archieven van vorstenhuizen Desmond Shawe-Taylor ‘Ten Drawings by Leonardo’ at the National Gallery of Ireland, Dublin Trustee of the Wallace Collection in Europa (Stichting Archiefpublicaties, Arnhem, 2016) ‘Sporting Art in the Royal Collection’, The British Sporting ‘The Windsor Leonardos 1519–2019’ at Leonardo in Britain: Art Trust, Essay no. 69 (autumn 2016) Collections and reception at The National Gallery, London

62 STAFF STAFF 63 ‘Leonardo and the Antique’ at O’Connell House, University Philippa Räder as at 31 March 2017 of Notre Dame, Dublin ‘Apprenticeship Scheme in the Royal Bindery’ at the Historic Royal STAFF LIST ‘Leonardo the Scientist’ at Nottingham Science Festival, Palaces/Royal Collection Trust annual seminar at Windsor Castle *Member of Royal Collection Metadata Creators Hall, Nottingham ‘The Queen’s Bindery Apprenticeship Scheme’ at the Society of Paintings Royal Library and Royal Trust’s Management Board Archives (Georgian Papers Project) ‘Drawings by Ambrogio Figino at Windsor’ at the Milanese Bookbinders Education & Training Seminar, Cirencester Senior Curator of Paintings (Charlie MacDermot-Roe, Roberta Giubilini Draughtsmanship Conference, Clare College, Cambridge Demonstration of gold-foil blocking at the Society of Bookbinders (Head of Research) The Librarian and Head of HR, Operations, for Rachael Krier Education and Training Seminar, Cirencester Lucy Whitaker Assistant Keeper of Siân Cooksey the Royal Household, also ‘Rebinding Audubon’s The Birds of America in the Royal Collection’ The Queen’s Archives Archives Assistants ‘The Royal Portraits by Dorothy Wilding’ at the Understanding sits on the Board). Senior Curators of Paintings to the Society of Bookbinders East Anglia Region, Linton Oliver Urquhart Irvine Lynnette Beech British Portraits seminar at the National Portrait Gallery, London Vanessa Remington Colin Parrish Rosie Razzall DIRECTORATE Anna Reynolds Office and Facilities Manager Sally Goodsir ‘Queen Victoria, Napoleon III and the events of 1855’ at Charlotte Wilcockson Head of the Royal Bindery ‘William Thomas Oldrieve of the Office of Works’ at the Society Director Senior Curator, Compton Verney Art Gallery and Royal Albert Memorial Philippa Räder of Architectural Historians of Great Britain Annual Symposium Jonathan Marsden* Palace of Holyroodhouse Administrative Assistants Museum & Art Gallery, Exeter Talk for the Understanding British Portraits portrait collection Deborah Clarke Keren Fisher Senior Book Executive Assistant to study day at Weston Park Anna Reynolds Annie Harrison Conservator-Restorer the Director Assistant Curator of Paintings Talk at the Understanding British Portraits seminar at the ‘Portrait of the Artist’ at The Summerleaze Gallery, East Knoyle; Irene Campden Dee Vianna Lucy Peter Bibliographer National Portrait Gallery, London Museum for the York & East Yorkshire Art Fund; Bridget Wright Senior Archives Conservator and the Friends of Bristol Art Gallery, Bristol Finance Director Exhibition Assistant Curator Sophie Gordon Megan Gent ‘Fashion and Art: From Van Dyck to Sargent’ at The Bowes Keith Harrison* Nikolai Munz Senior Curator of Books ‘Roger Fenton’s Orientalist Suite [with portraits of the ‘other’ Museum, Barnard Castle and Manuscripts Apprentice Bookbinders in the Crimea]’ at Pictorial Effect: Photography and Art in Britain PA to the Finance Director Curatorial Intern (Paintings) Lectures on the subject of curating exhibitions at Sotheby’s Emma Stuart Eleanor Lanham 1835–1910 at the Paul Mellon Centre, London Jennifer Lathwell Hazel Vidler Institute of Art and Christie’s Education, London Matthew Stockl Curator of Books Caroline de Guitaut Talks on the British Monarchy and Greek myths at Fairlawn Office and Facilities Manager Head of Paintings and Manuscripts Imaging Technician ‘Royal Diamonds’ at Goldsmiths’ Fair, Goldsmiths’ Hall, London Primary School, Lewisham Lisa Webster Conservation Elizabeth Clark Ashby Peter Bogle ‘Fashioning a Reign: 90 Years of Style from The Queen’s Nicola Christie Puneeta Sharma Future Programme Director (maternity leave) Wardrobe’ as part of the British Fashion Council London ‘Consolidation Techniques used during the conservation of a Tot Brill* Paintings Conservators Prints and Drawings Fashion Weekend, , London Assistant Curator, Islamic collection of Indian miniature paintings on paper at the Chester Karen Ashworth Future Programme and South Asian Collections Head of Prints and Drawings Beatty Library’ at the Manuscripts in the Making: Art & Science Claire Chorley Emily Hannam Co-ordinator Emily Hannam Martin Clayton conference at the Adelaide Izat ‘Mughal Albums in the Royal Library’ for the India Art Circle Caroline Greenidge at SOAS, University of London Recreating the Medieval Palette pigment workshop: An overview Arabella Peaver Curatorial Intern Senior Curator of the study trip to Monefiascone, , funded by The Zibby Future Programme Assistant Rosanna de Sancha (Books and Manuscripts) of Prints and Drawings Kate Heard Garnett Travel Fellowship’ at , London Charlotte Brainwood Tabitha Teuma Emma Thompson Dr Kate Heard ‘“A Most Profitable and Intelligent Study”: George IV as a ‘The Ferrar papers and print project’ at the Ferrar Conference Future Programme Loans and Displays Collections Acquisition Assistant to the Curators Collector of Prints’ at Print Collecting in the 18th Century: at Magdalene College, Cambridge English Print Collectors and Collections of English Prints study Accountant Conservator and Description Officer of the day at the Fitzwilliam Museum, Cambridge Desmond Shawe-Taylor Mathi Manimaran Katy Blessley (maternity leave) Andrew Brown Rhian Wong ‘ and George III’ for the Rothschild Foundation Claire Shepherd (maternity Head of Development Cataloguer Curator of Prints Kathryn Jones at Spencer House, London cover) Edward Davies David Baker and Drawings ‘Royal Cabinets of Curiosity: Collecting for the Wunderkammer ‘Salon painting’ for the Edgar Wind Society for , Paintings Condition Rosie Razzall in Britain’ at Christie’s, London University of Oxford Development Manager Archives Manager Survey Team Leader Chloe Cundy Bill Stockting Curator of Works on Paper Jonathan Marsden Bill Stockting Stephanie Carlton Lauren Porter ‘The Royal Collection on Show’ at the National Gallery of Ireland, ‘Records in Contexts – Conceptual Model (RiC-CM) for Development Assistant Archivist (Access) Paintings Condition Dublin, and The Literary and Philosophical Society of Newcastle the International Council on Archives Experts Group Christine Taylor Julie Crocker Assistant Curator Survey Conservator on Archival Description at the International Council on of Prints and Drawings Simon Metcalf Receptionist and Events Nele Bordt Archivist Archives Congress, Dr Carly Collier ‘A new catalogue from Royal Collection Trust – Arms & Armour Assistant (Volunteers Manager) Paintings Condition in the Collection of Her Majesty The Queen – European Nicola Turner Inman Rajwant Kaur Singh Allison Derrett Collection Online Survey Frame Technician Armour by A V B Norman and I Eaves’ for the Arms & Armour ‘An Introduction to The Royal Collection’ at St Mary’s School, Project Assistant Records Officer Nick Kingswell Archivist (Digital) Society at the Tower of London Shaftesbury (Prints and Drawings) Amelie von Pistohlkors Laura Hobbs ‘Royal Collection Catalogue Raisonnés: Building on Experience Registrar (Pictures) and Sileas Wood Oliver Urquhart Irvine in the Approach to Cataloguing Eastern Arms and Armour’ Conservation Studio Archivist (Metadata) ‘Inside the mind of George III’ at the National Press Club, FINE ART Dal Pozzo Project at the All Depends Upon the Brave: Recent Research into Museum Co-ordinator Dr Jane Mycock Washington D.C. AND LIBRARY Co-ordinator Collections of Ottoman, Middle Eastern and Asian Arms and Katelyn Reeves George lll Project Rea Alexandratos Armour conference at the Wallace Collection, London Richard Williams Surveyor of Head of Display Manager and Curator, ‘Vermeer and the Illusion of Reality’ at the Courtauld Institute The Queen’s Pictures Curatorial Intern Stephen Patterson and Framing of Pictures Historical Papers Projects of Art, London Desmond Shawe-Taylor* (Prints and Drawings) Talks on the Royal Collection to Newcastle University Museums Michael Field Dr Oliver Walton Natalie Zimmer Studies undergraduates and at the Deutsch-Britische Sileas Wood Framing and Exhibitions Gesellschaft München e.v., ‘John Brand: Antiquarian’ at Print Collecting in the 18th Century: Head of Paper Conservation Technician ‘ and the Order of the Garter’ at the Xth European English Print Collectors and Collections of English Prints study Clara de la Peña Mc Tigue Sonja Leggewie Conference of Phaleristic Societies in day at the Fitzwilliam Museum, Cambridge

64 STAFF STAFF 65 Exhibitions and Exhibition Assistant Curators Collection Online Content Editor Learning Officer – E-commerce Front of House Retail Assistants Maintenance Conservator Dr Olivia Fryman Project Assistants Rosie Bick Schools and Families Assistant Manager Denise Allen Buckingham Palace David Westwood Kajal Meghani Lucy Andia (Windsor Castle) Virginia Forrest Sara Aller Publishing Assistant Rachel Peat Simone Torry Retail Manager Gemma Buckner Drawings Conservator Curatorial Intern David Tibbs E-commerce Assistant Morayo Idowu Edward Butler Rachael Smith (Decorative Arts) Learning Co-ordinator Catherine Loraine COLLECTIONS Academic Publishing Ross Chamberlain Michael Shrive (Windsor Castle) Deputy Retail Manager Assistant Drawings INFORMATION Assistant Retail Operations Jane Davies Gemma Sharpe Mark Randall Conservators Senior Decorative MANAGEMENT Polly Atkinson Administrator Julia Edmunds Puneeta Sharma Arts Conservator Learning Manager Jacqueline Bowden Assistant Retail Managers Yvonne Edwards Head of Collections Kate Stone David Wheeler Collection Online (Palace of Holyroodhouse) Stuart Cullen Emilia Garvey Information Management Senior Merchandiser Alison Campbell (maternity leave) Beatriz Ramirez Julia Godsell Assistant Conservator Senior Furniture Conservator Stephen Patterson Content Manager Lei Song Rosie Palmer (maternity cover) Sam Leahy (Framed Prints Shaun Turner Andrew Davis Retail Team Leader Collections Information Assistant Merchandiser Gemma Lee-McCart and Drawings) Family and Access Lynn Lifely Furniture Conservators Data Manager Collection Online Assistant – China and Glass Aileen Lewis Emma Turner Programme Co-ordinator Will Miller Paul Carter Gemma Brock Sophie Bate Retail Administrator Jane McKenzie (Palace of Holyroodhouse) General and Jane Wallis Lianne Royall Leigh MacNab Inventory Clerk Neepa Patel Assistant Merchandiser Workshop Assistant Learning Julie Purvis Senior Gilding Conservator (Windsor Castle) Katherine Fitch Senior Retail Assistants Martin Gray Adult Programme Sian Riddington Stephen Sheasby Alexandra Campbell-Ricketts Head of Learning Gillian Burke Co-ordinator Merchandising Assistant Maria Nuria Romero-Jose Hannah Lake Diana Rakhimova Photographs Gilding Conservators Inventory Clerk (Palace of Holyroodhouse) Edward Braybrooke Russell Stevens Perry Bruce-Mitford (Buckingham Palace) Learning Co-ordinator Ann McCluskey Retail and Display Assistant Kathleen Temple Head of Photographs Product Development Gary Gronnestad Tamsin Douglas Nadia Holland Kevin Dimmock Faye Wichelow Dr Sophie Gordon Assistant Tim Ritson Photographic Services Tamara Wightman Long-term Loans and Access and Inclusion Susannah Addy Retail Assistants Curators of Photographs Huai Fiona Yan Decorative Arts Acquisitions Assistant Manager Head of Photographic Jennifer Birch Lisa Heighway Customer Service and Victoriya Zozulya Conservation Intern Beth Jones Jenny Rogers (maternity cover) Services Emanuele Bonanno Helen Trompeteler Administration Assistant (Gilding) Amy Stocker (maternity leave) Shruti Patel Africa Calzon Palace of Holyroodhouse Senior Collections Emily Hill Assitant Curator Alicia Beardsall Antonio Cucuzza Information Assistant Assistant Learning Curator Picture Library Manager Retail and of Photographs Jun Dai Armourer (Paintings) (Buckingham Palace) Karen Lawson Warehouse Admissions Manager Alessandro Nasini Pascal Deneve Simon Metcalf Alexandra Buck Dr Alexandra Drayton Shirley Duke Picture Library Assistant Warehouse Manager Joshua Edery Collection Online Project Armour Conservator Collections Information Learning Manager Agata Rutkowska Emma Nagorski Nuno Fernandes Assistant Retail and Assistant (Photographs) (Fixed Term) Assistants (Buckingham Palace) Rute Gomes Admissions Managers Louise Pearson Digital Imager Warehouse Stock Supervisor Alison Guppy Allan Chin Will Graham Tehetna Grala Claire Anderson Daniel Partridge James Hoyle Collection Online Assistant Siân Cooksey Khushpreet Gulshan Frances Jackson Senior Metalwork Family Learning (20th-century Photographs) Elizabeth Garnett Senior Photographers Warehouse Supervisor Joseph Hatch Conservator Co-ordinator Retail and Admissions Catlin Langford Bettina Gierke Stephen Chapman Robert Kedge Kate Horan Sophy Wills (Buckingham Palace) Supervisor Paul Stonell Eva Zielinska-Millar Yvonne Howard Miriam Baez (maternity cover) Warehouse Fulfilment Janet Stirling DECORATIVE ARTS Conservation Administrator Vivian Lau Collections Information Aleksandra Zaczek-Gbiorczyk Photographer Supervisor Fiona Norbury Anna Lloyd Retail and Admissions Surveyor of Data Assistant (maternity leave) Tung Tsin Lam Elizabeth Houghton Anh Luong Assistants The Queen’s Works of Art Senior Horological Hannah Walton Learning Curator Delivery Fulfilment and Claire McDougall Justeen Baxter Jonathan Marsden* Conservator RETAIL Catalogue Raisonné Assistant (Windsor Castle) Administration Assistant Silvana Mariconda Jennie Crossley (Buckingham Palace) Deputy Surveyor of Melanie Wilson Dr Richard Williams Retail Director Linda Wroth Fiona Moore Kathryn Field Paul Cradock The Queen’s Works of Art Nuala McGourty* Lyudmyla Ostapenko Margaret-Ann Fletcher Learning Manager Delivery Fulfilment Operator Rufus Bird* Horological Conservator CONTENT AND Anne Rice Alison Gove (Windsor Castle) Head of Design – Retail Rossana Earles (Windsor Castle) AUDIENCES Katherine Smith Darya Gnidash Assistant to the Penny Russell Katrina Munro Steven Davidson Delivery Fulfilment Patricia Sweetland Darren Deputy Surveyor of Director of Content Learning Officer – Operations Head of Retail Operations Assistants Michie Wake John Kelly The Queen’s Works of Art Horological Conservator and Audiences (Windsor Castle) Jacqueline Clarke Yvonne Deluca Richard Winstone Paul Lambert Nicola Turner Inman Tjeerd Bakker Jemima Rellie* Catherine Martin Matthew Whitehouse Stephen Wong Natalie Lyons Production Controller Senior Curators of Superintendent of the Ewa Przemyska Publishing Learning Officers Ian Grant Warehouse Windsor Castle Decorative Arts Royal Collection Yu Wang (Windsor Castle) Operatives/Drivers Caroline de Guitaut (Hampton Court Palace) Publisher Senior Buyer Retail Manager Lesley Hockin Clive Aylen Kathryn Jones Christopher Stevens Jacky Colliss Harvey Victoria Emmerson Hanna Cross Joanne Lonsdale Derek Foster Assistant Curator of Custodian of the Academic Publisher Buying Assistant Kevin Lane Assistant Retail Managers Family Programme Decorative Arts California Gardens Store Kate Owen Burnaby-Davies Mark Tiplady Susan Asbery Co-ordinator Sally Goodsir (Windsor Castle) Rachel Eaton Content Manager (Windsor Castle) Head of E-commerce Russell Adams Amber Tidey Elizabeth Silverton Emma Head Jessica McGarry

66 STAFF STAFF 67 COMMUNICATIONS Ticketing and Sales Exhibitions Project Alexander Keyes Ticket Sales Assistants Jane Bowditch Adrian McBreen Palace of Holyroodhouse AND BUSINESS Co-ordinators Mandy Komlosy Fateha Ali Danitza Bowers Agnieszka Maciejewska Head of Ticketing and Sales Superintendent and DEVELOPMENT Cameron Crawley Fiona Kuznetsova Maria Rosa Angelino Donald Bradley Anne Meyer Mark Fisher-Wight Head of Visitor Services Samantha Johnson Stephen Kyte Christian Bearman Dee Bull Michelle Oke Director of Communications Gwen Hamilton Quality Standards Manager Rose Lampard Marian Challis Jennifer Butt Siobhan O’Mahoney and Business Development Graphic Designer Carol Merrett Magdalena Lewandowska Harriet Frankl Rosemary Christie Giulia Ovidi Visitor Services Manager Frances Dunkels* Sam Harris Beatrice Limbert Linda Gould Agata Ciesielska Glynys Page Joanne Butcher Ticketing and Sales Assistant Alan Lion Carla Griffiths Novlette Clarke Jennifer Panesar Marketing Manager (Contact Centre) Visitor Services Visitor Operations Assistant Bridget Little Sadie Irwin Jacqueline Clemson Lauren Patrick Helen Gabriel Brian Coutts Head of Marketing Buckingham Palace Katherine Low Alexander Larby Ellen Compton-Williams Keir Pattison Susanna Mann Ticketing and Sales Assistant Megan Maisey Mark Lines Michael Cook Elania Pieragostini Financial Administrator Visitor Services Manager Manager (Admissions) Philip Mansfield Melissa Moran Sheila Cook Edward Pink Shona Cowe Digital Marketing Manager Natasha Nardell Courtney-Thérèse Lenoir Daniela Pitis Andrea Palmer Alexander Davidson Nicholas Preston Kathryn Nutt Assistant Visitor Senior Visitor Services Tara Preston Sophia Panayioyou Anne Devlin Hannah Pryce Ticketing and Sales Assistant Services Managers Digital Marketing Officer Project Co-ordinator Dr Shalini Punjani Kimberley Peck Leonardo Di Pinto Mikhail Radyshevtsev Manager (Travel Trade) Bartosz Bruzda Laura Holborow Stephanie Howard Charlotte Regan Paul Prentis John Driscoll Arturo Ramirez Anna Robinson Magdalena Kasprzyk Debbie Richards Jessica Tarling Charlotte Dunn Ian Read Trade Sales and Special Events and Pilar Aran Molina Administration and Rebecca Rimmer Shannon Thorncroft Bethan Edwards Josephine Redfern Marketing Manager Operations Administrator Kirsty Roger Staffing Co-ordinator Charles Romer-Ormiston Juliette Wardlow Zoe Flack Bernadette Reid Vanessa Almond Amanda Jacobs Cherelle Nightingill Valerie Ross Enya de Wolf Douglas Frame Yanet Rivera Pardo Wardens (maternity leave) Staff Operations Helen St Clair Martin Richard Fry Jenny Robinson Fareed Badr Iain Terry (maternity cover) Learning Bookings Assistant Visitor Co-ordinator Meredith Seabrook Clelia Furlan Edwin Rodbard-Brown Lucia Baker Co-ordinator Services Managers Sales and Marketing Callum Banks Jessica Sorrie Barry Gould Gary Russell Catriona Bellis Kimberley Mackenzie Mark Ayling Co-ordinator Rosalind Spencer Thierry Gourillon Martin Ryan Andrew Visitor Operations Assistant Claude-Sabine Bikoro Dawn Hammond-Quaye Senior Ticket Sales and May Tatel-Scott Sarah Gray Hardev Shergill Almudena Cachaza Amina Elhadri Tess Kemp Information Assistant Pamela Tebbs Nancy Green Antonella Sherlock Rosie Croker Marketing Manager Steven Lovegrove Audrey Lawrence Assistant Visitor Steve Trotter Sarah Gunton Ben Sherratt Alex Ferreira Annie Duffield Philip Ryan Services Managers Leslie Van Ruyskensvelde Philip Hall Lauren Forge Ticket Sales and Charlotte Smith Marketing Assistant Millie Atterbury Keith Waye Colette Halliday Lee Smith Doreen Gillon Information Assistants Philip Woods LucyAnn Gray Jacqueline Williamson Visitor Services Supervisors John Hampton Neal Smith Lara Gonzalez Garcia Scott Bowman Alexandra Little Marcelle Dovell Amanda Harrod Laurel Speirs Martin Hughes Business Development and Kevin Bhundoo Windsor Castle Divya Patel Carla Fulford Stevie Heywood Sarah Spencer Helen Jackson Communications Manager Alia Fatimi Susan Piggott Head of Visitor Services Philip Howarth-Jarratt Susan Hiscock Syari Sureshlal Chris Lenathen (Palace of Holyroodhouse) Paul Hodge Abigail Kirkwood Peter Wilkinson Lorna Holliday Aileen Sutherland Carol Leslie Turpie Rebecca Hill Ellen McCann Wardens Rita Horner Karen Swaley Edward Lipscomb Heather Marsh Katie Andrews Visitor Services Manager Wardens Jill Horsnell Monica Tandy Lesley McGlinchey Press Beatrice Meecham Janis Aunon Janet Cole Colin Adams Sylvia James Christopher Tilly Adriana Matos Dannyaal Nurgat Laura Aznar Janet Adams Head of Media Relations Special Events and Melanie Jernigan David Uppington Keith Mullins-MacIntyre Justin Spencer Marie Barenskie Nadia Ahmed Sarah Davis Administration Manager Diana Jolley Csilla Vajda James Oswald Joel Sport Adam Basch Colin Ailes Alison O’Neill Fiona Jones Luis Vidal Malpartida Maria Perez Lopez Senior Communications Mackenzie Warner Elspeth Bayley Clare Alderson Hannah King Anna Wallas Ian Reilly Manager Jennifer Wright Claire Beard Admissions Manager Susan Ashby Lorna Lacey Kin Yip Wan Hariette Riddell Rachel Woollen Cassandra Bending Alison Warren Carole Aviss Gary Langford Robert Webster Kirsty Ross VISITOR Rosa Blackburn Laura Baggioli Media Manager Assistant Admissions Margot Law Susan Wells Carol Schreuder EXPERIENCE Emily Bradley Gloor Marcus Barton Stephanie Cliffe Manager Rachel Lawton Paul Westcott-Bradbury Rachel Skilling Lucy Burns Charlotte Berry Visitor Experience Director Fraser Gillham Jessica Lehane Joseph Wood Jamie Sutherland Press Officer Michael Burns Karyn Bird Kerry François Christopher Leversha David Woodall David Thomson Sophie Lawrenson Janet Burrell Financial Administrator David Birrell Helen Lincoln Peter Woodall Sharon Thomson Assistant to the Visitor Ursula Claxton Roger Freeman Patrizia Bizzo Assistant Press Officer Joshua Lovell Mark Wright Samantha Walker Experience Director Anna Da Silva Geoffrey Bonehill Katie Buckhalter Staff Co-ordinator Lucie Lucas Evelina Zavataro Janet Whellans Cheryl Barnes Lynne Denham Gillian Bonette-Wade Christopher Thomas Peter Whyte Joanne Evans Online Infrastructure Exhibitions Lutjen Franziska Visitor Operations Head of Online Infrastructure Susanna Geary Administrators Head of Exhibitions Andrew Westwood Chris Grigsby Monika Bone Theresa-Mary Morton Caroline Gudge Sarah Entwistle Ticketing Infrastructure Officer Senior Exhibitions Jessica Herbert Helena Holden Christopher Hallworth Project Co-ordinators Sarah Howgill Ticket Sales Supervisors Web and Digital Hannah Belcher Louise Hunter Lauren Beldom Projects Assistant Roxanna Gilhooley Jolanta Jagiello Sabrina Cocchiara Azam Parkar Rachel Kelly

68 STAFF STAFF 69 APPENDICES

LOANS TO EXHIBITIONS (listed by date of opening)

London, Kew Palace Amsterdam, Rijksmuseum Educating the Georgians: the passions Adriaen van de Velde. Meester van het Hollandse landschap of the princesses of Kew 24 June – 25 September 2016 24 March – 30 September 2016 Three paintings by Adriaen van de Velde Two paintings by Peter Edward Stroehling Painting by British School Bath, The Holburne Museum Queen Charlotte’s notebook Stubbs and the Wild Etching by Charlotte, 25 June – 2 October 2016 Snuff-box set with a miniature by Henry Bone Painting by Enamel miniature by Joseph Lee Pencil-case by Alexander Strachan Zurich, Landesmuseum Zürich Paper-knife by Alexander Strachan Europa in der Renaissance. Metamorphosen 1400–1600 1 August – 27 November 2016 Paris, Musée de l’Armée Three drawings by Leonardo da Vinci Napoléon à Sainte-Hélène. La conquête de la mémoire 6 April – 24 July 2016 London, Painting by Hippolyte Paul Delaroche Shadow puppet theatre from , , and Houston, The Museum of Fine Arts 8 September 2016 – 29 January 2017 High Society: The Portraits of Franz X. Winterhalter Three Javanese shadow puppets 16 April – 14 August 2016 Six paintings by Franz Xaver Winterhalter Haarlem, Teylers Museum Jan Weissenbruch Texas, Kimbell , Fort Worth 10 September 2016 – 8 January 2017 The Brothers Le Nain: Painters of Seventeenth- Two paintings by Jan Weissenbruch Century France 22 May – 11 September 2016 Paris, Musée du Louvre Painting by the Brothers Le Nain Bouchardon (1698–1762) Une idée du beau 14 September – 5 December 2016 London, Bronze of Louis XV by Louis-Claude Vassé Winifred Knights (1899–1947) 8 June – 18 September 2016 Ferrara, Palazzo dei Diamanti Drawing by Arnold Henry Mason Orlando furioso 500 anni 24 September 2016 – 29 January 2017 Ottawa, Musée des beaux-arts du Drawing by Leonardo da Vinci Elisabeth Louise Vigée Le Brun 10 June – 11 September 2016 France, Palais de Compiègne Painting by Elisabeth Vigée Le Brun Winterhalter, Portraits de cour, entre faste et élégance 30 September 2016 – 15 January 2017 , Museo Thyssen-Bornemisza Five paintings by Franz Xaver Winterhalter and the Painters of the North 21 June – 18 September 2016 Manchester, the Whitworth Painting by Caravaggio Marcantonio Raimondi and Raphael 30 September 2016 – 29 May 2017 London, The National Gallery Engraving by Enea Vico Painters’ Paintings: From Freud to Van Dyck Nine engravings by or after Marcantonio Raimondi 23 June – 4 September 2016 Three drawings by Raphael Painting by Sir Photograph after a drawing attributed to Raphael

APPENDICES 71 Washington D.C., National Gallery of Art Williamsburg, American Revolution Museum London, Victoria and Albert Museum Centre dish and urn with cover by Josiah Wedgwood Drawings for Paintings in the Age of Rembrandt Gallery display Lockwood Kipling: Arts and Crafts in the Punjab and London Tea cup and saucer by Worcester Porcelain Company 4 October 2016 – 2 January 2017 19 October 2016 – 19 October 2017 14 January – 2 April 2017 Milk jug and sugar bowl with cover by Worcester Porcelain Three drawings by Hendrick Avercamp Flintlock rifle Four paintings by Rudolf Swoboda Company Drawing attributed to Henry William Brewer and TSC Crowther Saucer by Flight, Barr & Barr San Francisco, Legion of Honor Museum Leuven, Museum of Leuven Two watercolours by Joseph Nash Miniature agate bust The Brothers Le Nain: Painters of 17th-Century France In Search of Utopia Watercolour by James Roberts Satinwood cabinet 8 October 2016 – 29 January 2017 20 October 2016 – 17 January 2017 Pair of fire dogs French pendant with cameos Painting by the Brothers Le Nain Painting by Quinten Massys Two brass standing lamps Two English cameos French cameo Amsterdam, Tassenmuseum Hendrikje Bath, The Holburne Museum Basel, Antikenmuseum Basel und Sammlung Ludwig Two Italian cameos Royal Bags Silver: Light and Shade Happy Arabia? Myth and Reality in the Land of the 8 October 2016 – 26 February 2017 22 October 2016 – 22 January 2017 Queen of Sheba Paris, Fondation Custodia, Collection Frits Lugt Queen Victoria’s lace bag Shield by Philip Rundell 18 January – 2 July 2017 Du dessin au tableau au siècle de Rembrandt Purse in the shape of a frog Tureen by Paul Storr Bronze head from the Yemen 4 February – 7 May 2017 Gold-mounted leather purse Goblet by Paul Storr Three drawings by Hendrick Avercamp New Haven, Yale Center for British Art London, The Queen’s House, Greenwich London, Britain Enlightened Princesses: Caroline, Augusta, Charlotte, Bath, Fashion Museum The Queen’s House 400th Anniversary Exhibition Paul Nash and the Shaping of the Modern World Lace in Fashion 11 October 2016 – 11 October 2017 26 October 2017 – 5 March 2017 2 February – 30 April 2017 4 February 2017 – 1 January 2018 Two paintings by Painting by Paul Nash Painting by Joseph Highmore Evening dress by Sir Norman Hartnell Painting by Daniel Mytens Painting by Thomas Hudson Painting by Sir Limerick, Limerick County Museum Painting by Charles Jervas Dublin, The National Gallery of Ireland Painting by Paul van Somer Gallery display Painting by Beyond Caravaggio Painting by Adriaen van Stalbemt 1 November 2016 – 6 January 2017 Painting by Philip Mercier 11 February – 14 May 2017 Irish tricolour flag Painting by John Opie Painting by Trophime Bigot London, Gallery, SOAS, Painting by Johan Jacob Schalch Painting by Caravaggio University of London London, Painting by Johann Zoffany Academics, Agents and Activists: A History of the Emma Hamilton: Seduction and Celebrity Twenty-one portrait miniatures Paris, Musée du Louvre School of Oriental and African Studies 1916–2016 3 November 2016 – 17 April 2017 Etching by George Bickham after Sir James Thornhill Vermeer et les maîtres de la peinture de genre 12 October – 17 December 2016 Two etchings by James Gillray Two etchings by Charlotte, Princess Royal 22 February – 22 May 2017 Photograph album Stipple engraving by George Keating Etching with aquatint by J. Merigot after Matthew Cotes Wyatt Painting by Jan Steen Two engravings and etchings by Tommaso Piroli Engraving with etching by William Wynne after Allan Ramsay Painting by London, Dulwich Picture Gallery Hand-coloured etching by Thomas Rowlandson Drawing by Prince Edward Augustus, Duke of York Adriaen van de Velde: Dutch Master of Landscape Drawing by George III London, 12 October 2016 – 15 January 2017 , Gallerie d’Italia Two drawings by RYA Suzuki Dinghy Show 2017 Three paintings by Adriaen van de Velde Bellotto e Canaletto. Lo stupore la luce Three watercolours by Mark Catesby 4–5 March 2017 25 November 2016 – 5 March 2017 Watercolour by Georg Dionysius Ehret Flying Fifteen keelboat London, The National Gallery Three paintings by Canaletto Four watercolours by Charles Wild Beyond Caravaggio Drawing attributed to Bernardo Bellotto Mezzotint by Thomas Burke Cambridge, The Fitzwilliam Museum 12 October 2016 – 15 January 2017 Three drawings by Canaletto Three mezzotints by John Faber Junior Madonnas and Miracles: The Holy Home Painting by Trophime Bigot Mezzotint by Jean Simon after William Kent in Renaissance Italy Painting by Giovanni Battista Caracciolo Paris, Musée des Arts décoratifs Nine volumes of botanical tables by the Earl of Bute 7 March – 4 June 2017 Painting by Caravaggio Tenue correcte exigée: quand le vêtement fait scandale Catalogue of the Royal Library of Queen Charlotte Painting by Marco d’Oggiono 1 December 2016 – 23 April 2017 Manuscript transcribed by Queen Charlotte Paris, Musée de l’Armée Painting attributed to Jacob van Doort Printed book by John Hill London, The National Gallery Guerres Secrètes Painting by Jacob Huysmans Princess Augusta’s baby slippers & Sebastiano 12 October 2016 – 29 January 2017 Pair of Chinese porcelain beakers 15 March – 25 June 2017 TE Lawrence’s rifle Dagenham, Valence House Museum Wooden relief by Prince William Augustus, Duke of Cumberland Drawing by Giulio Clovio Hardy Amies Pair of candle vases by Matthew Boulton Drawing by Michelangelo Buonarroti Wiesbaden, Museum Wiesbaden 3 December 2016 – 25 February 2017 Oval platter and tureen with cover by Chelsea Porcelain Factory Two drawings by Sebastiano Del Piombo Erben: Barock in Neapel The Queen’s Silver Jubilee ensemble Silver medal by John Croker 14 October 2016 – 12 February 2017 Needlework pocket-book by Queen Charlotte Lens, Musée du Louvre-Lens Fifteen drawings by Domenichino London, Kensington Palace Porcelain figure group by Derby Porcelain Works Le Mystère Le Nain Display in the King’s State Apartments Bust by Giovanni Battista Guelfi 22 March – 26 June 2017 Norwich, Sainsbury Centre for Visual Arts 21 December 2016 – 21 June 2017 Silver-gilt cup and cover attributed to Paul de Lamerie Painting by the Brothers Le Nain Fiji: Art & Life in the Pacific Thirteen miniatures Two busts by John Michael Rysbrack 15 October 2016 – 12 February 2017 Two drawings by Hans Holbein the Younger Silver-gilt chalice by Thomas Heming Tabua Pair of candlesticks by Thomas Heming

72 APPENDICES APPENDICES 73 FINANCIAL OVERVIEW INCOME AND ADMISSION NUMBERS FOR THE YEAR Income Admission numbers* Incoming Resources Net Incoming Resources and Cash Flow 2016–17 2015–16 2016–17 2015–16 £000 £000 000 000

The summarised financial statements set out on pages The net result for the year, before taking into account an Windsor Castle and Frogmore House 77–8 indicate that Royal Collection Trust’s total income actuarial adjustment relating to the pension scheme, was ~ admissions 19,082 16,676 1,356 1,277 increased by 19% on prior year to £61,995,000. This a surplus of £6,063,000 (2015–16: £2,001,000). The net ~ shop sales 4,559 3,309 reflects a very successful trading year, both in terms cash inflow of £1,134,000 has resulted in a cash balance of visitor numbers and retail sales, plus a growth in of £39,066,000 at 31 March 2017 (2015–16: £37,932,000). Buckingham Palace donations received. The surplus will be devoted primarily to funding for the ~ admissions 11,032 9,447 556 503 Paying visitor numbers increased by 6.5%, resulting in completion of the Future Programme improvements at ~ shop sales 3,428 2,983 the highest annual figure achieved to date. The Fashioning Windsor Castle and the Palace of Holyroodhouse. The Queen’s Gallery, London a Reign: 90 Years of Style from The Queen’s Wardrobe admissions 1,131 1,451 142 177 exhibition held across the three Palaces had a very Funds and Reserves ~ positive impact. Together with a general increase in the ~ shop sales 4,210 3,673 Royal Collection Trust has total funds and reserves of level of overseas visitors to the UK, this helped to drive The Royal Mews income performance. Retail sales of £19,034,000 were £55,533,000 at 31 March 2017 (2015–16: £49,670,000). ~ admissions 1,505 1,517 214 219 bolstered by the level of visitor numbers, the popularity After allocating funds that are restricted, or represented ~ shop sales 1,147 1,067 of The Queen’s 90th Birthday merchandise range and by fixed assets, the Trustees have designated a fund for the drop in the value of sterling during 2016, which Future Programme. As at 31 March 2017, funds of Clarence House increased the spending power of overseas visitors. £27,120,000 are designated for Future Programme, ~ admissions 132 122 11 11 leaving £9,630,000 of free reserves net of the pension Income from donations in the year totalled ~ shop sales 48 44 £1,753,000. This included funds received in support of scheme deficit of £400,000. The Future Programme Palace of Holyroodhouse Future Programme, The Queen’s Bindery Apprenticeship fund is expected to be spent in full in 2019. admissions 4,261 3,312 380 314 Scheme and our publishing programme. ~ These Summary Financial Statements are extracted ~ shop sales 1,352 1,074 from Royal Collection Trust’s full Financial Statements Charitable Expenditure The Queen’s Gallery, Edinburgh for 2016–17. admissions 313 352 64 55 Expenditure on charitable activities increased by over ~ 10%. This reflected the increased spend on supporting Other retail income (including off-site and cafés) 4,052 3,657 visitor access, on mounting exhibitions and on Publishing 272 307 conservation work on the Collection. Eleven other Photographic services 214 218 exhibitions, in addition to Fashioning a Reign, were Gift Aid 2,046 1,514 mounted during the year. Non-pay expenditure was Other income 2,469 917 less than budgeted, and this helped to contribute towards the overall surplus position. 61,995 52,085 2,723 2,556

FIVE–YEAR COMPARISON 2012–13 2013–14 2014–15 2015–16 2016–17 £000 £000 £000 £000 £000

Admissions income (including Gift Aid) 30,397 33,655 32,558 34,391 39,502 Retail sales (including off-site, excluding cafés) 18,048 17,567 14,231 15,845 19,034 Charitable expenditure 28,173 32,482 32,988 35,893 39,563 Net incoming resources 9,016 8,327 2,571 2,001 6,063 (before actuarial gain/loss recognised in pension scheme) Capital expenditure 630 1,680 1,137 1,019 3,731

Visitor Performance Indicators Visitor numbers (000)* 2,427 2,586 2,520 2,556 2,723 Admissions income per visitor £12.52 £13.01 £12.92 £13.45 £14.51 Retail spend per visitor (excluding off-site and cafés) £6.24 £5.62 £5.02 £5.21 £6.02

*Paying visitors only (includes Learning)

74 APPENDICES APPENDICES 75 SUMMARISED FINANCIAL STATEMENTS SUMMARY CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES for the year ended 31 March 2017

INDEPENDENT STATEMENT OF KPMG LLP INCOMING RESOURCES 2017 2016 £000 £000 TO THE ROYAL COLLECTION TRUST Income and endowments from: Donations and legacies 1,753 182 We have examined the Summarised Financial Statements Summarised Financial Statements from the annual Charitable activities: of The Royal Collection Trust (“the charitable company”) financial statements and does not extend to the annual for the year ended 31 March 2017 set out on pages 77–8 financial statements taken as a whole. ~ Access 39,154 34,087 of the Annual Report for 2016/17. As set out in our audit report on those financial ~ Presentation and interpretation 620 611 This statement is made solely to the charitable statements, that audit report is made solely to the Other trading activities: company on terms that have been agreed with the charitable company’s members, as a body, in accordance ~ Retail, catering and photographic services 19,752 16,469 charitable company. Our work has been undertaken with Chapter 3 of Part 16 of the Companies Act 2006. ~ Licences, commissions and fees 201 328 so that we might state to the charitable company those The audit work has been undertaken so that we might ~ Sponsorship 211 140 matters we have agreed to state to it in such a statement state to the charitable company’s members those matters and for no other purpose. To the fullest extent permitted we are required to state to them in an auditor’s report Investments: by law, we do not accept or assume responsibility to and for no other purpose. To the fullest extent permitted ~ Investment income 274 219 anyone other than the charitable company for our work, by law, we do not accept or assume responsibility to Other 30 49 for this statement, or for the opinions we have formed. anyone other than the charitable company and the charitable company’s members, as a body, for that audit Total 61,995 52,085 Respective responsibilities of Trustees work, for the audit report, or for the opinions we have formed in respect of that audit. and KPMG LLP EXPENDITURE

As explained more fully in the Trustees’ Responsibilities Raising funds: on page 79, the Trustees have accepted responsibility Opinion on Summarised Financial Statements ~ Fundraising 179 84 for extracting the Summarised Financial Statements On the basis of the work performed, in our opinion the ~ Retail, catering and photographic services 15,610 13,570 within the Annual Report for 2016/17 from the full Summarised Financial Statements included in the Annual annual financial statements of the charitable company. Report for 2016/17 have been accurately extracted from Charitable activities: Our responsibility is to report to the charitable the full annual financial statements of the charitable ~ Access 24,392 22,720 company our opinion on the accurate extraction of the company for the year ended 31 March 2017. ~ Presentation and interpretation 7,598 6,374 Summarised Financial Statements within the Annual ~ Exhibitions and displays 3,430 2,990 Report for 2016/17 from the full annual financial ~ Conservation 3,151 2,863 statements of the charitable company. ~ Custodial control 992 946

Basis of Opinion 39,563 35,893 Other: Our examination of the Summarised Financial Lynton Richmond (Senior Statutory Auditors) ~ Donations payable 580 537 Statements consists primarily of agreeing the amounts For and on behalf of KPMG LLP, Statutory Auditor and captions included in the Summarised Financial Chartered Accountants Total 55,932 50,084 Statements to the corresponding items within the full 15 Canada Square, London, E14 5GL annual financial statements of the charitable company Net income (expenditure) 6,063 2,001 for the year ended 31 March 2017. Other recognised gains/(losses): We also read the other information contained in the Actuarial gains/(losses) on defined benefit pension scheme (200) 600 Annual Report for 2016/17 and consider the implications Net movement in funds 5,863 2,601 for our statement if we become aware of any apparent misstatements or material inconsistencies with the Reconciliation of funds: Summarised Financial Statements. Total funds brought forward 49,670 47,069 This engagement is separate from the audit of the Total funds carried forward 55,533 49,670 annual financial statements of the charitable company and the report here relates only to the extraction of the

76 APPENDICES APPENDICES 77 SUMMARY CONSOLIDATED BALANCE SHEET STATEMENT OF TRUSTEES’ RESPONSIBILITIES IN as at 31 March 2017 RELATION TO THE SUMMARISED FINANCIAL STATEMENTS

2017 2016 The Summarised Financial Statements on pages 77–8 The reports of the auditor were: £000 £000 comprise the Consolidated Statement of Financial (i) unqualified; Fixed assets: Activities and Consolidated Balance Sheet of (ii) did not include a reference to any matters to Intangible assets 202 314 The Royal Collection Trust. which the auditor drew attention by way of emphasis Tangible assets 18,172 15,890 The Summarised Financial Statements presented without qualifying their report; and Total fixed assets 18,374 16,204 within the Annual Report 2016/17 do not constitute the (iii) did not contain a statement under section 498 full financial statements of The Royal Collection Trust (2) or (3) of the Companies Act 2006. Current assets: for the financial years ended 31 March 2017 and Goods for donation 225 31 March 2016, but represent extracts from them. The Trustees have accepted responsibility for preparing Stock and work in progress 3,820 3,936 These extracts do not provide as full an understanding the Annual Report 2016/17 and for preparing the Debtors 4,525 2,351 of the financial performance and position of Summarised Financial Statements included therein Bank deposits 38,539 37,302 The Royal Collection Trust as the full annual financial by extracting the Consolidated Statement of Financial Cash at bank and in hand 527 630 statements of The Royal Collection Trust. A copy of Activities and Consolidated Balance Sheet included those full statements can be obtained by writing to the in the Summarised Financial Statements directly Total current assets 47,636 44,219 Development Office, Royal Collection Trust, York House, from The Royal Collection Trust’s full annual St James’s Palace, London SW1A 1BQ or e-mailing financial statements. Liabilities: [email protected]. The Summarised Financial Statements were Creditors: amounts falling due within one year (10,077) (10,653) The financial statements for those years have been reported approved by the Trustees and signed on their behalf Net current assets 37,559 33,566 on by The Royal Collection Trust’s independent auditor. on 27 June 2017.

Net assets excluding pension asset/(liability) 55,933 49,770 Defined benefit pension scheme asset/(liability) (400) (100)

Total net assets 55,533 49,670

The funds of the charity: Restricted income funds: James Leigh-Pemberton Trustee | Sir Alan Reid Trustee ~ Fixed assets 355 368 ~ Cash 409 179

Total restricted funds 764 547

Unrestricted funds: Designated funds: ~ Future Programme 27,120 26,442 General funds: ~ Fixed assets 18,019 15,836 ~ General reserve 10,030 6,945 Pension reserve (400) (100)

Total unrestricted funds 54,769 49,123

Total charity funds 55,533 49,670

78 APPENDICES APPENDICES 79 FRONT COVER The Connoisseurs: Portrait of the Artist with two Dogs, 1865, Unless otherwise stated, all images are by Sir Edwin Landseer, from the exhibition Portrait of the Artist at Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017 The Queen’s Gallery, Buckingham Palace. Royal Collection Trust is grateful for permission to reproduce the items BACK COVER Branch of Pomelo with Green-Banded Urania Moth, 1702–03, listed below: by Maria Sibylla Merian, from the exhibition Maria Merian’s Butterflies at The Queen’s Gallery, Buckingham Palace. Page 6 Simon Broadhead; page 11 Royal Archives / © Her Majesty Queen Elizabeth II 2017; page 12 © JL Gibbons; page 16 © House & Garden, PAGE 4 A Woman at her Toilet, 1663, by Jan Steen, from the exhibition photographer Jake Curtis; page 17 Hayley Madden; page 21 Russell Sach; Masters of the Everyday: Dutch Artists in the Age of Vermeer at pages 27, 28 and 29 James Robinson; pages 30 and 31 David Cheskin; The Queen’s Gallery, Palace of Holyroodhouse. page 32 © Nottingham City Museums & Galleries; page 33 © Patrick van Katwijk/DPA/PA Images; page 34 © Tim Smith Photography; page 36 Sam PAGE 6 A gold crown set with pearls, diamonds and emeralds in the Mellish; page 37 © Lauren Hurley/PA Archive/PA Images; page 38 BFG exhibition Splendours of the Subcontinent: A Prince’s Tour of India 1875–6 illustration © 2016 Quentin Blake; pages 40 and 41 Rupert Frere; page 42 at Cartwright Hall Art Gallery in Bradford. The crown is embroidered Simon Clarke; page 43 David Cheskin; pages 44, 45 and 51 Hayley Madden; with the Prince of Wales’s motto ‘Ich Dien’ (I serve). page 57 © Estate of Edward Seago, represented by Portland Gallery, London; page 80 Hayley Madden. PAGE 70 A Peep at the Train, 1892, by Rudolf Swoboda, was loaned to the Victoria and Albert Museum, London, for the exhibition Royal Collection Trust / Her Majesty Queen Elizabeth II 2017 Lockwood Kipling: Arts and Crafts in the Punjab and London.

PAGE 80 A young visitor is greeted by topiary figures at A Very Royal Birthday Party, the Family Festival held at Windsor Castle to celebrate Her Majesty The Queen’s 90th birthday.