DOCSLIB.ORG

The Royal Collection Trust

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Royal Collection Trust THE ROYAL COLLECTION TRUST Annual Report for the year ended 31 March 2005 Company limited by guarantee, registered number 2713536 Registered Charity number 1016972 TRUSTEES OF THE ROYAL COLLECTION TRUST Chairman of the Trustees HRH The Prince of Wales, KG, KT, GCB, OM, AK, QSO, ADC ϳ••ϳ Deputy Chairman The Lord Luce, GCVO, PC, DL ϳ••ϳ Trustees The Hon. Mrs Marten, OBE, DL (until 17 March 2005) Sir Eric Anderson, KT, FRSE Sir John Guinness, CB Lady Shaw-Stewart (from 17 March 2005) The Rt Hon. Sir Robin Janvrin, KCB, KCVO Mr Alan Reid ϳ••ϳ Secretary Sir Hugh Roberts, KCVO, FSA CONTENTS Chairman’s Foreword 5 Report of the Director of the Royal Collection 6 Custodial Control 9 Conservation 10 Pictures 10 Works of Art 11 Royal Library and Print Room 13 Royal Photograph Collection 14 Royal Archives 15 Access and Presentation 16 Buckingham Palace 16 The Queen’s Gallery 18 The Royal Mews 19 Windsor Castle 19 The Drawings Gallery 20 Special Visits and Research Enquiries 20 Palace of Holyroodhouse 22 The Queen’s Gallery 22 Loans from the Royal Collection 23 Interpretation 25 Education 25 Publishing 30 e-Gallery 31 Accessions and Acquisitions 32 Trading Activities 35 Financial Overview 38 Summarised Financial Statements 40 Appendices Exhibitions and Loans 43 Staff of the Royal Collection 47 External Appointments 47 Staff Numbers 47 Staff Training 48 Staff List 50 John Singer Sargent (1856–1925), Lady Elizabeth Bowes-Lyon: profile portrait, 1923. Sargent’s charcoal drawing provided a striking cover image for Watercolours and Drawings from the Collection of Queen Elizabeth The Queen Mother, the catalogue of the exhibition on display at the Palace of Holyroodhouse from March to September 2005. In the face of yet another testing year for tourism, it is most encouraging to be able to report positive results for the Royal Collection Trust on a number of fronts, not least that it has been possible to increase expenditure on conservation, that the restructuring of the Trust last year has produced a more substantial increase in revenue from VAT cultural exemption and Gift Aid than anticipated and that bank borrowings have reduced in line with plan. This has been achieved in a year which has seen a slower than expected revival in overseas tourism and the continuing strength of sterling against the dollar. I am also glad to be able to record that the joint initiative with the National Trust to develop a new Collections Management System for both organisations is proceeding well and should be in place next year. As well as improving custodial control, this will enable greater advantage to be taken of the wealth of information now stored on the Royal Collection’s existing database. At the same time the pioneering multimedia e-Gallery, which was introduced to The Queen’s Galleries in London and Edinburgh three years ago, has now been included on the Royal Collection’s website, thereby bringing some of the most important objects in the Collection to a much wider audience. Further useful progress has also been made in the provision of educational projects and activities for children and families. I look forward to seeing further developments in these areas over the next few years. Among the changes in the year I should mention the departure, in March, of Mary Anna Marten after six years’ service as a Trustee and, in June, of Christopher Lloyd as Surveyor of Pictures, a post he has held with distinction for eighteen years. I thank them both most warmly for their contribution to the Trust and welcome their successors, Lucinda Shaw-Stewart as a Trustee and Desmond Shawe-Taylor as Surveyor of Pictures. I should also add my thanks to all present staff for their continuing hard work, resourcefulness and commitment throughout a very challenging year. REPORT OF THE DIRECTOR OF THE ROYAL COLLECTION Sir Hugh Roberts ast year I reported that the Royal Collection Trust had experienced its most financially difficult year L to date. While this year has been, if possible, even more challenging for the Trust, it is heartening to be able to report that the financial out-turn has been better than last year, that expenditure on curatorial activities has been increased, and that a further substantial repayment of bank borrowings – slightly ahead of target – has been made. Much of this benefit has come about as a result of the commercially adroit decision taken by the Trustees to restructure the Trust in order to take advantage of VAT cultural exemption as well as of Gift Aid. With help from these two sources, the results are considerably better than might otherwise have been expected; furthermore, they have been achieved in the face of a slower than expected revival in overseas tourism – particularly from the United States – and the continued strength of sterling against the dollar. Despite these adverse circumstances – common to almost all organisations dependent on tourism – good progress has nevertheless been made in pursuing the principal aims of the Trust. The new Collections Management System, which is being developed in collaboration with the National Trust, is now at an advanced stage and should be in place in 2006. Among many other advantages, the new system will bring substantially greater sophistication to the custodial control of the Collection and to the management of conservation records. In the meantime, useful new material has been added to the existing database and records have been continuously improved and updated. Excellent conservation work has been undertaken throughout the Royal Collection during the year. While this activity is inevitably something of a Forth Bridge, with a collection so large and varied, real and substantial progress has indeed been made in the in-house paintings, works of art and paper conservation studios, as is recorded in detail in the pages that follow. On the access, interpretation and presentation fronts, the position is also reassuringly positive. While to a large extent outside our direct control – or that of any organisation – visitor numbers overall have been only a small percentage down on last year, and notably good media coverage has been achieved for Royal Collection exhibitions and displays in London, Windsor and Edinburgh throughout the year. While such coverage does not of itself translate into increased visitor numbers, the praise given to such exhibitions as – for example – George III & Queen Charlotte: Patronage, Collecting and Court Taste, Enchanting the Eye: Dutch Paintings of the Golden Age and Watercolours and Drawings from the Collection of Queen Elizabeth The Queen Mother indicates a high level of critical appreciation, while the results from market research (see page 25) indicate a high level of visitor enjoyment. In turn, these indicators reflect well on the efforts of all curatorial sections to widen access to less familiar parts of the Collection, endeavours that are now enhanced and supported by the inclusion of the Collection’s pioneering e-Gallery on the redesigned Royal Collection website. Looking ahead, the centrepiece of the Summer Opening of Buckingham Palace in 2005 (30 July–27 September) will be the ‘White Wardrobe’ designed for Queen Elizabeth The Queen Mother by Norman Hartnell and immortalised in Cecil Beaton’s famous series of photographs. The theme of the 6ANNUAL R EPORT 2005 John Bratby (1928–92), Venezia, 1983. This drawing was given to Queen Elizabeth The Queen Mother by the artist following her first visit to Venice in 1984. A NNUAL R EPORT 2005 7 exhibition will be the State Visit to France made by King George VI and Queen Elizabeth in July 1938. Jewellery worn by Queen Elizabeth with Hartnell’s creations, and gifts presented to the King and Queen by President and Madame Lebrun on behalf of the people of France, will be included in the display. There will also be a display in the Ball Room to commemorate the 60th Anniversary of VE/VJ Day. In The Queen’s Gallery at Buckingham Palace, Enchanting the Eye will be succeeded in November 2005 by Canaletto in Venice, a selection of Venetian drawings and paintings by that city’s most celebrated and popular topographical artist. Opening at Holyroodhouse in December 2005 will be Unfolding Pictures: Fans in the Royal Collection, the first exhibition to be devoted to one of the most important and historic collections of fans to have survived in original ownership. Of the many initiatives undertaken in the course of the year, the progress made by the education section at all sites stands out. With modest resources, striking advances have been made in the provision of educational projects and activities for schoolchildren and families, and in the widening of adult education through the introduction of study days and seminars linked to exhibitions. The staff of the Royal Collection have, as ever, been ably supported in their varied activities by the non-executive members of the Board of Royal Collection Enterprises, Mrs Frances Mossman and Mrs Joanna Oswin; by advice and guidance from the Trustees and from the newly co-opted member of the Audit Committee, Mr Nigel Turnbull; and by the generous assistance of colleagues throughout the Royal Household. The coming year sees the retirement of Christopher Lloyd, Surveyor of The Queen’s Pictures, after eighteen years’ distinguished service and a substantial and varied contribution to the work of the Royal Collection, culminating in his exhibition Enchanting the Eye, for which he wrote the well-received and deservedly popular catalogue. This year’s Annual Report, which charts the achievements of the Trust in detail in the following pages, has been rearranged to reflect progress in the year measured against the five primary aims established when the Trust was set up in 1993.
Load more

Recommended publications
  • National Dimensions
    ONS NATIONAL DIM NATIONAL DIMENNATIONAL DIMENSIONS NAL DIMENSIONS DIMENSIONS NATIO This report was researched and written by AEA Consulting: Magnus von Wistinghausen Keith Morgan Katharine Housden This report sets out the collaborative work undertaken by the UK’s nationally funded museums, libraries and archives with other organisations across the UK, and assesses their impact on cultural provision across the nation. It focuses on the activities in recent years of members of the National Museum Directors’ Conference (NMDC), and is largely based on discussions with these institutions and selected partner organisations, as well as on a series of discussion days hosted by the NMDC in different regional centres in July 2003. It does not make specific reference to collaborative work between NMDC organisations themselves, and focuses on activities and initiatives that have taken place in the last few years. For the sake of simplicity the term ‘national museum’ is used throughout the report to describe all NMDC member organisations, notwithstanding the fact that these also include libraries and archives. In this report the term ‘national’ is used to denote institutions established by Act of Parliament as custodians of public collections that belong to the nation. It is acknowledged that the NMDC does not include all museums and other collecting institutions which carry the term ‘national’ as part of their name. Specific reference to their activities is not contained in this report. Published in the United Kingdom by the National Museum Directors'
    [Show full text]
  • Catalogue of the Earl Marshal's Papers at Arundel
    CONTENTS CONTENTS v FOREWORD by Sir Anthony Wagner, K.C.V.O., Garter King of Arms vii PREFACE ix LIST OF REFERENCES xi NUMERICAL KEY xiii COURT OF CHIVALRY Dated Cases 1 Undated Cases 26 Extracts from, or copies of, records relating to the Court; miscellaneous records concerning the Court or its officers 40 EARL MARSHAL Office and Jurisdiction 41 Precedence 48 Deputies 50 Dispute between Thomas, 8th Duke of Norfolk and Henry, Earl of Berkshire, 1719-1725/6 52 Secretaries and Clerks 54 COLLEGE OF ARMS General Administration 55 Commissions, appointments, promotions, suspensions, and deaths of Officers of Arms; applications for appointments as Officers of Arms; lists of Officers; miscellanea relating to Officers of Arms 62 Office of Garter King of Arms 69 Officers of Arms Extraordinary 74 Behaviour of Officers of Arms 75 Insignia and dress 81 Fees 83 Irregularities contrary to the rules of honour and arms 88 ACCESSIONS AND CORONATIONS Coronation of King James II 90 Coronation of King George III 90 Coronation of King George IV 90 Coronation of Queen Victoria 90 Coronation of King Edward VII and Queen Alexandra 90 Accession and Coronation of King George V and Queen Mary 96 Royal Accession and Coronation Oaths 97 Court of Claims 99 FUNERALS General 102 King George II 102 Augusta, Dowager Princess of Wales 102 King George III 102 King William IV 102 William Ewart Gladstone 103 Queen Victoria 103 King Edward VII 104 CEREMONIAL Precedence 106 Court Ceremonial; regulations; appointments; foreign titles and decorations 107 Opening of Parliament
    [Show full text]
  • The Court Post Office
    The Court Post Office BRITISH STAMPS Her Majesty is on record as having referred to the Royal Family as ‘The Firm’ and, like any successful business, it has to process large quantities of incoming and outgoing mail. In early 2012, the authors were given the opportunity of visiting Buckingham Palace to interview The Court Postmaster, David Baxter, and this article is the result of that visit. It also contains information gleaned from a previous visit made in 2004 in instances where there have been no changes to the arrangements in place. The Court Post Office: Part One By Glenn H Morgan and John Holman Detailed arrangements about the Court Post cancellations by hand. up full-time residency in Kensington Palace. were first published inRoyal Household Mail The role of Court Postmaster involves Their outgoing mail envelopes are cancelled in 1992 (Ref. 1). This was later updated for managing all employees, plus the incoming with the Buckingham Palace franking the period 1990-2004 in ‘The Court Post and outgoing mail for and from the Royal machine when at their London office, which Office’ series of five articles (Ref 2). This Family members and their Households, much can be readily identified when separated from present article serves to introduce the subject as it would have done in the first Elizabethan the contents due to the use of a ‘W’ (William) and to record current postal and certifying era. Until recently there was a Deputy Court or a ‘C’ (Catherine) on the envelope flap. markings used on mail in all the Royal offices Postmaster, but the role became vacant and is The Duke also still uses envelopes with a and residences.
    [Show full text]
  • The Wallace Collection — Rubens Reuniting the Great Landscapes
    XT H E W ALLACE COLLECTION RUBENS: REUNITING THE GREAT LANDSCAPES • Rubens’s two great landscape paintings reunited for the first time in 200 years • First chance to see the National Gallery painting after extensive conservation work • Major collaboration between the National Gallery and the Wallace Collection 3 June - 15 August 2021 #ReunitingRubens In partnership with VISITFLANDERS This year, the Wallace Collection will reunite two great masterpieces of Rubens’s late landscape painting: A View of Het Steen in the Early Morning and The Rainbow Landscape. Thanks to an exceptional loan from the National Gallery, this is the first time in two hundred years that these works, long considered to be companion pieces, will be seen together. This m ajor collaboration between the Wallace Collection and the National Gallery was initiated with the Wallace Collection’s inaugural loan in 2019 of Titian’s Perseus and Andromeda, enabling the National Gallery to complete Titian’s Poesie cycle for the first time in 400 years for their exhibition Titian: Love, Desire, Death. The National Gallery is now making an equally unprecedented reciprocal loan to the Wallace Collection, lending this work for the first time, which will reunite Rubens’s famous and very rare companion pair of landscape paintings for the first time in 200 years. This exhibition is also the first opportunity for audiences to see the National Gallery painting newly cleaned and conserved, as throughout 2020 it has been the focus of a major conservation project specifically in preparation for this reunion. The pendant pair can be admired in new historically appropriate, matching frames, also created especially for this exhibition.
    [Show full text]
  • Civil Ceremonies Weddings &
    WEDDINGS & CIVIL CEREMONIES Dulwich Picture Gallery Dulwich Picture Gallery, situated at the heart of Dulwich Village, offers an exclusive setting for your special day. Founded in 1811, the unique building - designed by Sir John Soane - was the first purpose-built public art Gallery in the world. Displaying one of the finest collections of Old Masters in the world, your guests will be surrounded by some of the greatest names in Baroque painting, such as Rembrandt, Rubens, Canaletto, Murillo and Veronese. This prestigious venue with both indoor and outdoor options, offers flexible event spaces for your civil ceremony, drinks reception, wedding breakfast and dancing. Talk to us about your bespoke requirements or look at our ceremony packages and list of approved suppliers at the back of this brochure. Dulwich Picture Gallery is one of Britain’s most valued artistic and architectural treasures. All money generated through venue hire goes towards the conservation and care of the gallery and the development of our leading education and exhibition programmes. Contact the events team for more information: [email protected] Soane Gallery Sir John Soane’s design for Dulwich Picture Gallery has inspired gallery architecture world- wide. This suite of eight perfectly proportioned rooms interlink to form a stunning enfilade. Famous for its rich red walls and natural lighting, the Old Master paintings are densely hung to recall the Gallery’s Victorian splendour. Choose the Soane Gallery for your wedding breakfast or a drinks reception. The Soane Gallery is also licenced for civil ceremonies upon special agreement at 6pm Tuesday- Saturday, or throughout the day on a Monday when the Gallery is closed to the public.
    [Show full text]
  • The Holistic Portrait Peter Michael Hornung, Editor
    88 THE HOLISTIC PORTRAIT By Peter Michael Hornung, Editor and Art Critic at “Politiken” Like other artists in our chaotically picture rich modern age, the painter Ralph Heimans also owes a professional debt to the art that preceded his own work his- torically. However, though he may have turned to it, asked it questions and drawn inspiration from it, he has never copied it. On the other hand, though, his personal standpoint as an artist is a result of the inspiration he drew from it. No one can create anything lasting and valuable without swearing some sort of oath to history, and any artist, even the most rebellious and experimental (or the opposite), must inscribe his or her work in a development, in which he or she serves as a link between past and future: between what went before and maybe influenced them, and what will come after and perhaps be coloured by them. This applies particularly to any artist who has chosen portrait painting as his or her sphere. In this field, the models extend far back in history. The need to be portrayed has existed for as long as there has been people with power and influ- ence: people who wished to be notably present, not only in their age, but also for posterity. Portraits are like memories. With the right degree of likeness they pos- sess the special capacity to make absent people present. Consideration for this likeness is also the reason why people still allow themselves to be painted, model- led, photographed, sketched etc. Heimans’ success as an artist in this historic genre lies not only in the fact that his paintings present a ‘likeness’, as it is referred to in the profession: in other words, that there is a clear and visible correspondence between the character appearing in the painting and the person who was the reason for that painting, and whom the painting must either remind us of or introduce us to.
    [Show full text]
  • Base Document
    SCHEDULE 6: List of retirement home developments sorted by reference to the Fairhold group company that owns the freehold Development Address 1. Theowal Limited Court Royal 1/30 (Excl No 13) TN4 8HT 1/30 Court Royal Eridge Road Tunbridge Wells Kent TN4 8HT 2. Fairhold Properties No.6 Limited Pegasus Court 1/25 LE16 7AP 1/25 Pegasus Court Leicester Road Market Harborough LE16 7AP Franklin Way 101/295 (odd) CR0 4UR Kelvin Gardens Croydon Surrey CR0 4UR 3. Fairhold Properties No.7 Limited Minster Court 1/20 WS13 6AB 1/20 Minster Court Bird Street Lichfield Staffordshire WS13 6AB 4. Fairhold Properties No.8 Limited Pegasus Court 1/43 OX12 9GZ 1/43 Pegasus Court Mill Street Wantage OX12 9GZ 5. Fairhold Mercury Limited Oxford Court 1/63 FY8 4EB 1/63 Oxford Court Oxford Road Lytham St Annes FY8 4EB Croft House 1/33 FY6 7AH 1/33 Croft House Grosvenor Road Poulton le Fylde FY6 7AH LON20771083/8 156186-0001 Development Address Lowry Court 2/38 SK14 6TG 2/38 Lowry Court Rushycroft Mottram-in-Longendale SK14 6TG 59/103 (excl) Chalet Estate NW7 4DL 59/103 Chalet Estate Hammers Lane Mill Hill NW7 4DL 6. Blackhouse Investment Properties Ltd. 128 Chalet Estate NW7 4DL 128 Chalet Estate Hammers Lane Mill Hill NW7 4DL 129 Chalet Estate NW7 4DL 129 Chalet Estate Hammers Lane Mill Hill NW7 4DL 7. Fairhold Homes Limited 1/15 Bucklers Mews SO41 8JL 1/15 Bucklers Mews Anchorage Way Lymington Hampshire SO41 8JL 2/62 Glendale CT20 1SH 2/62 Glendale The Bale Folkestone Kent CT20 1SH 1/45 London Court OX3 7SL 1/45 London Court London Road Headlington Oxfordshire
    [Show full text]
  • Grosvenor Prints Catalogue for July 2007
    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue for July 2007 Item 4 The Arts 3. Veduta Indiana. 1. Zacherias. A.Basoli inv e dip. G.Sandri dis. L. e F. Basoli inc. MA Bonaroti Inve. Piroli f. [n.d., c.1810.] Engraving [Italy, 1821.] Sepia aquatint with line. 295 x 390mm, in brown ink, 370 x 260mm. 14½ x 10¼". £130 11¾ x 15¼". £160 The Old Testament Prophet Zechariah, after the fresco The exterior of an Indian fort. One of three designs by by Michelangelo (1475 - 1564) on the ceiling of the Antonio Basoli for the 1813 production of Gioja's Sistine Chapel. ballet, 'Riti Indiani', published in Basoli's 'Collezione di Engraved by Tommaso Piroli (1752 - 1824) in Rome, varie scene teatrali', 1821. probably from a folio of Michelangelo's designs. Stock: 11607 Stock: 11684 4. Drury Lane Christmas Pantomime. 2. [Man tuning a lute while a woman leafs Hop O' My Thumb. through a song book; three other figures.] [n.d., c.1911?] Ink and watrecolour. Sheet 360 x Wateaux P. N Parr f.(?) [n.d., c.1750.] Etching, 90 x 250mm, 14 x 10". £240 100mm. 3½ x 4". Slightly foxed. £75 A painted playbill for a pantomime version of 'Le Petit A familiar theme of figures playing music and singing Poucet', a fairy tale by Charles Perrault (1628-1703). after Antoine Watteau (1684 - 1721). It appears that There were productions at Drury Lane in 1864, 1892 & Nathaniel Parr (1739 - 1751; active), the London 1911.
    [Show full text]
  • Victoria Albert &Art & Love Public and Private Aspects of a Royal Sculpture Collection
    Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson The mid-nineteenth century saw sculpture spectacularly brought out of the closet by an educated and cosmopolitan elite for the public’s improvement – and, incidentally, also of course for its entertainment. From the 1850s it began to be hard for private collectors to keep up with the displays available at international exhibitions. This was something that came about partly through the agency of Prince Albert, and after the closure of the Great Exhibition by far the largest collection of sculpture ever seen in this country was assembled at Sydenham by the Crystal Palace Company, admittedly consisting mostly of plaster casts.1 The burning down of the Sydenham Crystal Palace in 1936 and the dispersal of several important early Victorian sculpture collections have left Victoria and Albert’s collection of contemporary sculpture to enjoy unchallenged pre-eminence.
    [Show full text]
  • Of European Sculpture and Decorative Arts at the Detroit Institute of Arts
    Recent acquisitions (2007–15) of European sculpture and decorative arts at the Detroit Institute of Arts NINE YEARS HAVE passed since the third Supplement of Despite some moments of uncertainty, research has con- acquisitions of European sculpture and decorative arts at the tinued and some of the acquisitions in this Supplement were Detroit Institute of Arts (DIA) was published in this Maga- presented in scholarly articles. Since 2006 we have acquired zine (June 2007; the first was in June 1988; the second in June nearly forty works of European sculpture and decorative arts 2000). The intervening period, 2007–15, coincides with the spanning the fifteenth to the early twentieth centuries. This past eight years of continuing support of Graham W.J. Beal, fourth supplement includes a selection of the most important our recently retired museum director, and the appointment objects, chosen to illustrate a rich variety of works produced in October 2015 of Salvador Salort-Pons, formerly head of over six centuries and representing a wide range of media. the European Art Department and Elizabeth and Allan This Supplement also celebrates the impending thirtieth Shelden Curator of European Paintings, as the DIA’s anniversary of the founding of the Visiting Committee for eleventh director. This period has seen considerable activity European Sculpture and Decorative Arts (VCESDA), estab- in terms of publications, exhibitions and acquisitions, as well lished in 1987 to promote educational programmes and the as the Museum’s complete renovation, reinstallation and collecting of European works of art for the Museum, as well reopening in 2007. Most importantly, we find ourselves on a as the tenures of its fourth chair, Elizabeth DuMouchelle secure financial footing for the first time in decades.
    [Show full text]
  • Drawing After the Antique at the British Museum
    Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding.
    [Show full text]
  • Over 900 Years of History – a Brief History
    Amberley Castle Over 900 Years of History in Brief Amberley Castle c1380 The land where Amberley Castle stands was gifted to Bishop Wilfrid in 683 AD by Caedwalla, King of Wessex. In the Domesday Book it was recorded Amberley had 17 villagers and 25 smallholders at this time. The land then became the property of the Bishop of Chichester. The current buildings have their origins in a timber-framed hunting lodge built by Bishop Luffa of Chichester in 1103. Bishop Luffa also had the parish church built next door. In 1140, the timber-framed building was knocked down by Bishop Seffrid I, to make way for a more elaborate stone hall. The first building here was the small hall and its Norman entrance can still be seen in reception the entrance to the Great Room. In approximately 1200, Bishop Seffrid II had the East Wing built. A larger Great Hall and other domestic improvements were added by Bishop John of Langton during his time at Chichester between 1305 and 1337. It was at this time it became known as “Bishop of Chichester’s Summer Palace”. When Bishop Reede took the throne at Chichester, he had the Great Hall knocked down and built a grander one! In 1377, Bishop Reede applied to King Richard II for permission to crenellate the grounds and add the gatehouse and Oubliette – to ward off pirates! Many believe it was more to show off! Permission was granted for this on 10th December 1377, and during 1377 and 1382 the work took place. The crenellations, battlements and a portcullis transformed it into a fortified manor house.
    [Show full text]