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THE TRUST Annual Report 201 0–2011 AIMS OF THE ROYAL COLLECTION TRUST

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

• the Royal Collection (being the works of art held by The Queen in right of and held in trust for her successors and for the nation) is subject to proper custodial control and that the works of art remain available to future generations; • the Royal Collection is maintained and conserved to the highest possible standards and that visitors can view the Collection in the best possible condition; • as much of the Royal Collection as possible can be seen by members of the public; • the Royal Collection is presented and interpreted so as to enhance public appreciation and understanding; • access to the Royal Collection is broadened and increased (subject to capacity constraints) to ensure that as many people as possible are able to view the Collection; • appropriate acquisitions are made when resources become available, to enhance the Collection and displays of exhibits for the public.

When reviewing future activities, the Trustees ensure that these aims continue to be met and are in line with the Charity Commission’s General Guidance on public benefit. This report looks at the achievements of the previous 12 months and considers the success of each key activity and how it has helped enhance the benefit to the nation.

FRONT COVER : Carl Haag (182 0–1915), Morning in the Highlands: the Royal Family ascending Lochnagar , 1853 (detail). A present from Prince Albert to Queen , the painting was included in the exhibition Victoria & Albert: Art & Love , at The Queen’s Gallery, Buckingham , from March to December 2010.

BACK COVER : Princess Elizabeth, by Marcus Adams (1875–1959), taken on 15 December 1936, four days after the proclamation of the Princess’s father, the , as King George VI. The photograph was included in the exhibition Marcus Adams: Royal Photographer at Windsor and Holyroodhouse.

FRONTISPIECE : Jan van der Heyden (1637 –1712), A Country House on the Vliet near Delft , c.1660 (detail). The painting was included in the exhibition Dutch Landscapes at The Queen’s Galleries in and Edinburgh. THE ROYAL COLLECTION TRUST

Annual Report for the year ended 31 March 2011

www.royalcollection.org.uk

Company limited by guarantee, registered number 2713536 Registered Charity number 1016972 Scottish Charity number SC 039772 TRUSTEES OF THE ROYAL COLLECTION TRUST

Chairman of the Trustees HRH The Prince of Wales, KG, KT, GCB, OM, AK, QSO, ADC

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Deputy Chairman The Earl Peel, GCVO

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Trustees Lady Shaw-Stewart (to 31 March 2011) The Duke of Buccleuch and Queensberry, KBE, DL (from 31 March 2011) Mr Duncan Robinson, CBE, DL Mr Peter Troughton The Rt Hon. Christopher Geidt, CVO, OBE Sir Alan Reid, KCVO

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Director of the Royal Collection Jonathan Marsden, LVO, FSA CONTENTS

Chairman’s Foreword 5 Report of the Director of the Royal Collection 7 Custodial Control 11 Conservation 13 Paintings 13 Decorative Arts 14 Works on Paper 14 Preventive Conservation 16 Access and Presentation 17 17 The State Rooms 17 The Queen’s Gallery 18 The 19 Windsor 20 The State Apartments and Precincts 20 The Drawings Gallery 20 Special Visits and Research Enquiries 20 Palace of Holyroodhouse 21 The State Apartments and Precincts 21 The Queen’s Gallery 23 Historic Royal 24 Travelling Exhibitions 24 Loans 24 Interpretation 26 Learning 26 Publishing 30 New Media 33 Accessions and Acquisitions 34 Trading Activities 36 Retail 36 Picture Library 37 Financial Overview 38 Summarised Financial Statements 40 Exhibitions and Loans 43 Royal Collection Exhibitions 43 Loans 43 Staff of the Royal Collection 48 External Appointments 48 Staff Numbers 48 Staff Training and Development 49 Staff List 50

• More than 400 works of art conserved • 9 exhibitions staged • 80 public lectures given by staff • 8 books published • 2.1 million visitors to Buckingham Palace, , the Palace of Holyroodhouse, the Royal Mews and The Queen’s Galleries • 105,000 complimentary or 1-Year Pass visitors • 94 loans to 41 exhibitions in the UK and 13 other countries • 5 awards for publications and visitor services

6ANNUAL R EPORT 2011 REPORT OF THE DIRECTOR OF THE ROYAL COLLECTION

Jonathan Marsden

he list of achievements in the year under review provides evidence of sustained progress towards the Tfulfilment of the Royal Collection Trust’s charitable aims. It also demonstrates the effectiveness of the ‘virtuous circle’, whereby the ever wider enjoyment of the Collection can contribute towards its long-term care and preservation. By any measure, 2010–11 was one of the most successful years since the Trust was founded in 1993, and it was the most successful in purely financial terms. This was a very strong year for visitors at all the residences, the Royal Mews and The Queen’s Galleries; despite the overall economic outlook, admissions grew by 8.3 per cent. The achievement of a 17.8 per cent increase in retail sales no doubt reflected last year’s investment in the Middle Ward shop at Windsor, the continuing introduction of imaginative and attractive ranges, and the professionalism of sales staff. The growth in online retail, particularly of the special range introduced to commemorate the wedding of Prince William of Wales and Miss Catherine Middleton, has made a very significant contribution. The annual Summer Opening of the State Rooms at Buckingham Palace attracted a total of 413,000 visitors, the second highest total since the inaugural season of 1993. The special display, The Queen’s Year , gave visitors a thorough insight into the range of Her Majesty’s duties and engagements across the seasons, a pattern that has been consolidated in the course of the reign, but which, as the display made abundantly clear, continues to develop. The success of the display and its accompanying book depended heavily on the willing co-operation of the many colleagues in the Royal Household who work to deliver The Queen’s annual programme, both in the form of advice as members of the project team, and in securing appropriate exhibits to illustrate such activities as the Royal Maundy service, the State Opening of Parliament and Privy Council meetings. Visitors to the Palace made full use of the Garden Café, installed on the West Terrace for the second year. The introduction of Garden Tours as an additional option for group visits to the State Rooms was also very successful. The Victoria & Albert: Art & Love exhibition at The Queen’s Gallery, London, was seen by a total of 185,000 visitors. The daily attendance was second only to the inaugural Royal Treasures exhibition in 2002. Most encouragingly, two-thirds of the visitors surveyed in the first three Life-size statues of (1847), by John Gibson, and Prince Albert (1849), months (March–June 2010) said they were visiting The Queen’s Gallery by Emil Wolff, greeted visitors to the for the first time. This is a sign of our ability to reach beyond the core Victoria & Albert: Art & Love exhibition.

A NNUAL R EPORT 2011 7 audience established for the Gallery over nearly 50 years, and is crucial to the attainment of our charitable aim of ensuring the widest possible enjoyment and appreciation of the Collection. Success in this case seems to have been due to the intrinsic appeal of the relationship between the young Queen Victoria and Prince Albert, and the very extensive media coverage that resulted from this, combined with imaginative marketing and the range of activities undertaken in partnership with such organisations as the , the Victorian Society and the Victoria and Albert Museum. In addition, the 1-Year Pass, enabling the purchaser to return repeatedly following their initial visit, has proved very popular. In an eventful year for exhibitions, Dutch Landscapes , selected and catalogued by Desmond Shawe-Taylor and Jennifer Scott, completed a long and successful run at The Queen’s Gallery, Edinburgh. It transferred to The Queen’s Gallery, London, on 15 April 2011 and will be shown at the Bowes Museum, Barnard Castle, from November 2011. A photographic selection of the pioneering work of Roger Fenton and Julia Margaret Cameron was shown at Aberdeen Art Gallery before transferring to Blackwell, The Arts and Craft House, at Bowness-on-Windermere. The Heart of the Great Alone , which tells the story of the Scott and Shackleton expeditions to the Antarctic through the photographs of Herbert Ponting and Frank Hurley, opened at the Canterbury Museum, Christchurch, New Zealand, shortly before the city was damaged by a substantial earthquake in September 2010. The exhibition re-opened as soon as was practical and was seen by almost 20,000 visitors. The curators Sophie Gordon and Emma Stuart, and the explorer David Hempleman-Adams, co-authors of the accompanying book, took part in events at the Museum during the period of the exhibition. A week before the planned closing date in February, a further, more serious earthquake occurred. The Canterbury Museum withstood the shock far better than any other historic building in the city, and the exhibition returned to the UK unscathed after a delay of only six weeks. It will be shown at The Queen’s Gallery, Buckingham Palace, from October 2011. The publication of catalogues raisonnés of the Collection is an essential and perpetual task. Although more than 50 titles have appeared over the past century, many areas remain as yet unpublished. Vanessa Remington’s two-volume catalogue of Victorian Miniatures , which appeared in November 2010, is to be celebrated not only as a substantial achievement in its own right, completed in a remarkably short time and to the highest standards of scholarship, but also as it completes the publication of the entire collection of some 2,646 miniatures, ranging in date from 1526 to 1901. Such catalogues require a further vital ingredient, in addition to scholarship, dedication and expertise in design and photography. Without the generous financial support of KPMG, Sir Harry Djanogly, the Basil Sir William Charles Ross (1794–1860), Prince Ernst Samuel Trust and the Michael Bishop Foundation, there would be no and Prince Edward of Leiningen with Islay and a macaw , possibility of publishing the Collection to such a high standard. watercolour on ivory, 1839. This vibrant and colourful miniature of Queen Victoria’s step-nephews was Looking to the future, the next three years will be amongst our included in the exhibition Victoria & Albert: Art & Love busiest yet, and none more so than 2012, with the celebration of the at The Queen’s Gallery, London, and in Vanessa Remington’s catalogue, Victorian Miniatures in the Diamond Jubilee of Her Majesty The Queen, in the same year that Collection of Her Majesty The Queen . London will host the Olympics. The approval of a rolling Three-Year

8ANNUAL R EPORT 2011 Plan for 2011–14 by our Trustees in December 2010 has set a course for significant developments in all areas over this period. The Plan is informed by the findings of a survey commissioned last summer from Ipsos MORI, to measure current levels of awareness of the Royal Collection and of the royal residences as places to visit. The survey provided high approval ratings from a peer review of Royal Collection activities, but results from a survey of 2,000 UK respondents showed that there was still much work to be done to raise levels of awareness. Staff in all sections took part in the preparation of the Three-Year Plan, and all sections have a part to play in the The Three-Year Plan has four achievement of its key objectives (see right). Progress towards Paramount Objectives: the first of these has included the appointment of two part- time, temporary curators, one for a forthcoming exhibition and • to replenish and restore curatorial another for a significant media project. expertise; Other major projects for the next two years include the • to identify and develop income streams development of a new and more interactive website and a for the Royal Collection Trust that are Master Plan for the visitor experience at Windsor Castle. It is independent of international tourism; also intended that solutions should be found to the long- to raise levels of awareness of the standing challenge of the conservation of the Royal • Mausoleum at and its presentation to a wider Collection, and participation in its public. Work has begun on a definitive book about this activities, among UK citizens; remarkable yet little-known building. • to establish a target level of free The current Royal Collection website was launched in reserves sufficient to sustain charitable 2005 and has developed in numerous directions while activity during periods of lower trading continuing to attract positive responses. Yet the internet performance. demands of its participants not only continuous improvement but also periodic renewal. A project team has been working for some time on the procurement of an entirely new Royal Collection site, to be launched at the end of 2011. The e-Gallery, currently presenting more than 8,000 works of art, will be incorporated as The Royal Collection Online, and it is hoped that it will present 100,000 works of art by the end of 2012. In addition to the basic curatorial information, the online collection will eventually include images, film and conservation details, and users will be able to contribute their own observations and knowledge. The site will also highlight locations beyond the royal palaces where works from the Collection can be seen, and will draw attention to works with specific local connections or associations. As the first stage of this redevelopment, an entirely new online shop (www.royalcollection.org.uk/shop) was successfully launched in April 2011. It offers a greatly enhanced range of merchandise and more effective fulfilment, building on the experience of the strong demand for the Royal Wedding commemorative range during the first quarter of 2011. The long-standing need to provide visitors to Windsor Castle with refreshments, on the model of the successful cafés recently introduced at Holyroodhouse and Buckingham Palace, has prompted a study of the entire experience of visiting the Castle. This is being led by the architectural consultants Feilden Clegg Bradley Studios, who will report to Trustees at the end of 2011. The study is directed by a steering group and its early phases have involved widespread consultation. It is expected to recommend improvements to

A NNUAL R EPORT 2011 9 n o s d i v a D e k i M : h p a r g o t o h P the circulation within the State Apartments, opportunities for flexibility and choice within a visit, and improvements to the quality of the environment. Meanwhile, a strategy for interpreting this most complex of sites is being developed by staff, working closely with the consultants. The growth in the range and complexity of the activities of the Royal Collection Trust and its trading subsidiary Royal Collection Enterprises since 1993 has brought with it a degree of inconsistency in presentation and representation. This has prompted a review of the organisation’s identity, so that our aims, objectives and achievements can be communicated with greater clarity. The study is expected to bear fruit during 2011 –12, especially on the new website. During the coming year, paid internships in each of the three main curatorial and conservation sections (Paintings, Decorative Arts and Works on Paper) and one in marketing will be advertised and awarded. These will enable the best among those starting out in their careers to obtain valuable working experience. Existing, shorter-term annual placements, with students from Leicester University, the City & Guilds of London Art School and Camberwell College of Arts will continue. The Trustees of the Royal Collection Trust met on four Detail from a set of seventeenth-century crewelwork hangings at the Palace of occasions during the period under review. Lady Shaw-Stewart Holyroodhouse, conserved during 2010. retired in March 2011 on completion of two terms of three years. Her conscientious and supportive involvement in all aspects of the work of the Trust, not least her attendance of the ten-day Royal Collection Studies summer school in 2009, has been as valuable as her particular interest in the Palace of Holyroodhouse. It is very satisfactory that the qualifications of her successor, the Duke of Buccleuch and Queensberry, include many years of experience of the historic environment in Scotland. The Strategic Development Committee – a joint committee of the Royal Collection Management Board, two Trustees (Duncan Robinson and Peter Troughton) and the three non-executive directors of Royal Collection Enterprises Ltd (Fiona Sale, Tom Jenkins and Edward Griffiths) – met on three occasions. Peter Troughton continued to serve as Chairman of the Audit Committee, to which Nigel Turnbull has also once again devoted his time and expertise. The gratitude of the Management Board and the entire staff for the continuing guidance and support of all those named remains undiminished. As in previous years, this report describes the activities of the Royal Collection under six headings, which refer to the six charitable aims listed on the inside front cover. It is under these headings that the Trustees measure the year’s results, with particular reference to the guidelines on public benefit prepared by the Charity Commission and the Office of the Scottish Charity Regulator. The financial information is confined to a summary, but the full financial statements are available online (www.royalcollection.org.uk) or from the Registered Office, York House, St James’s Palace, London SW1A 1BQ.

10 A NNUAL R EPORT 2011 CUSTODIAL CONTROL To ensure that the Royal Collection is subject to proper custodial control and that the works of art remain available to future generations.

As anticipated in last year’s report, the Collections Management System has enabled the programme of on-site checking to proceed more efficiently. More than 100,000 items were checked in situ during the year. The main check took place at Buckingham Palace, with some 20,000 items in more than 1,000 locations. Progress with checking and updating the system with movements of works of art was matched by the expansion of the user group to 163 (130 in 2009–10). was checked in a joint exercise with colleagues from . The entire contents of Queen Mary’s Dolls’ House at Windsor Castle have now been added to the system, comprising everything from original miniature works of art and literature to the miniature regalia in the strong room and the mousetrap in the kitchen. More than 8,600 new records were added to the database, bringing the total to 723,965 records. Progress was slightly slower this year than last (when more than 10,000 records were added), owing to the concentration of staff resources on on-site checking. The majority of the additions were photographs, including the Marcus Adams negative collection, Queen Elizabeth The Queen Mother’s collection, Queen Mary’s albums and historic inventory negatives. More than 40,000 images were uploaded to the system during the year, bringing the total to 182,750.

Work in progress to add the contents of Queen Mary’s Dolls’ House to the Collections Management System.

A NNUAL R EPORT 2011 11 12 A NNUAL R EPORT 2011 CONSERVATION To ensure that the Royal Collection is maintained and conserved to the highest possible standards, and that visitors can view the Collection in the best possible condition.

PAINTINGS

The work of the paintings conservation studio was determined very largely by the exhibition programme, involving 85 paintings. Eighteen were prepared for external loan and 33 for Treasures from the Royal Collection at The Queen’s Gallery, London. Five paintings, by , Joos van Cleve, Mertens and (after) Gerard David, received full treatments in the studio in preparation for the Northern : Dürer to Holbein exhibition opening at The Queen’s Gallery, Edinburgh, in June 2011. Four paintings underwent full treatment in external studios, including one ( The Misers , illustrated here) for the Northern Renaissance exhibition. Scientific analysis in preparation for the Northern Renaissance exhibition included complete infra-red mosaics of 14 paintings. Seven panels were examined by dendrochronology. The Portrait of François II when Young , by François Clouet, was found to be painted on an oak panel from the same tree as that of another painting in a private collection. The portrait of Eleanora of Austria by Joos van Cleve was found to be on French oak, providing physical evidence to support the general acceptance that the portrait was executed in . Infra-red examination also revealed hidden under-drawing on Holbein’s panel of Sir Henry and Eleanora of Austria by Joos van Cleve.

Follower of Marinus van Reymerswaele (c.1490/95 –c.1567), The Misers , 1548–51. This striking painting has not been on display for some time, due to the heavily discoloured varnish and darkened patches of overpaint (right). Cleaning in preparation for the Northern Renaissance exhibition at The Queen’s Gallery, Edinburgh (17 June 2011 – 15 January 2012), has revealed the clarity and vibrancy of the colours and subtle details previously concealed by the varnish (opposite). The painting was found to be in fine condition, with no significant losses and only a minor split in the oak panel, which still retains its original thickness.

A NNUAL R EPORT 2011 13 DECORATIVE ARTS

At and the two horological workshops, a total of 191 works of art were conserved, including arms, armour, furniture, clocks, ceramics, metalwork and picture frames. The year’s work featured a number of complex objects combining different materials, such as tortoiseshell, metal inlay, lacquer and painted and gilded surfaces. The conservation of two seventeenth-century Japanese lacquer cabinets from Windsor Castle was completed after almost a year. They have traditionally stood on early eighteenth-century English carved gesso side tables, one of which (illustrated opposite) has been fully conserved. Other gilding projects include one of a set of four pedestals with storks, based on an ancient model, supplied by Tatham, & Sanders for in 1811. Thirty-five giltwood picture frames were conserved during the year, many in anticipation of the Northern Renaissance exhibition. Preparatory work was undertaken in support of forthcoming catalogues of the Collection. For the catalogue of Chinese and Japanese Works of Art, conservation and cleaning work has proceeded in tandem with photography campaigns at Holyroodhouse and Hampton Court (including pieces from ). Work has also continued on the catalogue of Arms and Armour. The Armourer has benefited from a new, purpose-built arms storage and study room at Windsor, with greatly improved facilities. At Hampton Court Palace, the three-year joint project, funded by Historic Royal Palaces, to conserve and document the display of arms installed for William III in 1699 in the King’s Guard Chamber was completed in August 2010. A total of 2,860 objects have been treated, and the opportunity was taken to record them fully for the Collections Management System. At the Palace of Holyroodhouse, work continued on tapestries: the Flemish seventeenth-century tapestry The Triumph of Mars was fully conserved by Margaret Maran and reinstated on the Great Stair. Work has commenced on The Lion Hunt , one of a series of Flemish seventeenth-century panels on the life of Alexander the Great woven from cartoons by Jacob Jordaens. Further progress was made on the set of seventeenth-century crewelwork bed hangings (illustrated on page 10). The Master of the Household’s ‘C’ Branch workshops, based at Windsor, concentrate on the practical furnishing of the occupied residences. More than 200 treatments were completed, including giltwood furniture from the Blue Drawing Room, Buckingham Palace, a joint project with the Marlborough House conservators. During the year, craftsmen from both sections spent periods of time working alongside their colleagues in the other workshop. This has proved a very effective means of building skills, knowledge and efficiency.

WORKS ON PAPER

In addition to the ongoing programme of book conservation, 153 works on paper were treated in the paper conservation studio, including Old Master drawings, watercolours, prints, pastels, maps and architectural plans. Of these, 51 items were treated for Royal Collection exhibitions, including 26 for The Northern Renaissance . Twenty-eight plans of the Royal Mausoleum at Frogmore were conserved by four students from the BA Conservation course at Camberwell College of Arts, during their annual two-week placement .

14 A NNUAL R EPORT 2011 Conservation of an early eighteenth-century carved and gilded gesso table at Windsor Castle, used for at least 200 years to support a Japanese lacquer cabinet in the State Apartments, has revealed the exceptional quality of the work. In the upper photograph a later gilding scheme (left) and its preparatory layers are removed to reveal the original surface (right). The border at the lower edge of the tabletop was not covered by the cabinet and became heavily discoloured (upper photograph, lower left). The lower photograph shows the tabletop following treatment.

A NNUAL R EPORT 2011 15 Among the major projects completed in the bindery at Windsor was the conservation and rebinding of Specimens of Persian calligraphy and Indian miniatures (160 0–1800), prior to the volume’s loan to the exhibition The Art of Courtly Lucknow , at Los Angeles from December 2010 to February 2011.

A total of 37 photographs were conserved and 105 mounted, all for Royal Collection exhibitions, including Marcus Adams: Royal Photographer and Prince Philip: Celebrating Ninety Years . Six were mounted for the forthcoming London showing of The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography . A Preservation Assessment Survey of the collections was conducted. The results will be analysed by the Preservation Advisory Centre and will inform future conservation policy. Conservation projects included 34 Victorian folders, a series of essays by King George III and a series of bills for Frederick, Prince of Wales. Around 40 other individual documents were conserved and re-housed, and several hundred were sleeved. The bindings of around 50 important printed works (including several ornithological volumes by John Gould) were repaired and conserved by external binders. A further 1,035 books were refurbished with the help of two long-term volunteers, augmented during a concentrated three-week project in August by four additional volunteers.

PREVENTIVE CONSERVATION

The day-to-day care of works of art of all kinds in the occupied palaces presents challenges beyond those that arise in purpose-built museums. The existing arrangements for close collaboration with the Master of the Household’s Department in maintaining best practices for handling and movement will shortly be strengthened by the introduction of a new post to provide ongoing specialist advice and training throughout the palaces. Continuing improvements at the California Gardens Store included the provision of additional mobile shelving for photographs and manuscripts and the enhancement of climate controls. Plans were drawn up for the re-shelving of the Cold Store (for photographs and negatives) in Middle Ward, Windsor Castle. Advice was sought from museum specialists on suitable storage materials and cabinets for coins and medals.

16 A NNUAL R EPORT 2011 ACCESS AND PRESENTATION To ensure that as much of the Royal Collection as possible can be seen by members of the public, and that access to the Collection is broadened and increased (subject to capacity constraints) to ensure that as many people as possible are able to view the Collection.

BUCKINGHAM PALACE

The State Rooms

The State Rooms were open to the public for 67 days, from 27 July to 1 October 2010 (2009: 67 days), attracting 413,000 paying visitors (2009: 369,000). A special display, The Queen’s Year , was mounted in the Ball Supper Room, charting the seasonal cycle of The Queen’s duties by means of 102 objects, including dresses, jewellery, official gifts and uniforms, imaginatively designed by George Carter and installed by the Exhibitions team. Film extracts showed the high points of royal ceremonial, from The Queen’s Birthday Parade and Garter Day in June to the annual service of commemoration in and the State Opening of Parliament in the autumn. Buckingham Palace was voted Best Attraction for Group Visits: Short Visit at the Group Travel Awards 2010, and Best UK Attraction for Group Visits at the Group Leisure Awards 2010. Both awards are based on votes from the group travel industry. ABOVE AND BELOW : The Queen’s Year Private tours of both the State Rooms and the Garden at display at Buckingham Palace.

Buckingham Palace took place outside the main Summer Opening BELOW LEFT : Garden tours were period. Some 1,060 visitors booked on to a private tour of the State added to the range of options open to Buckingham Palace visitors. Rooms, and 5,491 enjoyed a group tour of the Garden.

A NNUAL R EPORT 2011 17 The Queen’s Gallery

The Gallery enjoyed one of its busiest years since opening in May 2002. The exhibition Victoria & Albert: Art & Love , featuring 402 works of art of all kinds, attracted a daily average of over 700 visitors during its long run, with a final total of 185,000 visitors. It opened on 19 March 2010 and closed, following an extension of one month, on 5 December 2010. A notable feature of the exhibition was the unprecedented range of events planned and delivered by the Learning team. The introduction of early morning views for groups, including colleagues from museum and heritage organisations, undoubtedly helped to raise awareness of the Gallery and its programmes. Evening tours were also very well subscribed, and, in all, 130 group visits were made. The Gallery staff are to be commended for their commitment under these conditions, which often entailed very long working days. The Gallery closed to the public on 5 December for a planned refurbishment period, prompted by the need, outstanding from the original building project, to replace defective marble skirtings and facings in the main spaces, the Pennethorne and Nash Galleries. The opportunity was taken to replace the wall hangings and re-finish the stone and wood floors, to adjust the glazing configuration of the cabinet rooms, to introduce a new lighting-control system and to re-decorate throughout. The work was completed in time for the installation of the next two exhibitions, Dutch Landscapes and Treasures from the Royal Collection , which both opened on 15 April 2011. The Education Room leading from the main landing has been re-named the Millar Learning Room, in memory of the founding Director of the Royal Collection, Sir (1923–2007), who was associated with The Queen’s Gallery since its creation in 1962. The naming also honours the contribution of Sir Oliver’s wife, Delia Millar (1931–2004), particularly in the cataloguing of the Victorian drawings and watercolours in the Royal Collection. From 15 April 2011, visitors to The Queen’s Gallery have been able to take their own photographs within the Gallery. This enables works from the Collection to be circulated and enjoyed more widely. The atmosphere and excellent viewing conditions of the Gallery are highly valued by regular visitors and it is essential that the opportunity to take photographs should not inhibit the enjoyment of others.

18 A NNUAL R EPORT 2011 LEFT : The exhibition Victoria & Albert: Art & Love at The Queen’s Gallery, London.

RIGHT : Refurbishment work in The Queen’s Gallery, January–March 2011.

BELOW : Opening throughout the year for the first time enabled visitors to see the Royal Mews at work, and with a full complement of carriages and horses in the stalls.

If successful, the experiment will be repeated at The Queen’s Gallery, Edinburgh. The prohibition of photography within The Queen’s official residences will remain in place.

The Royal Mews

For the first time, the Royal Mews was open to the public throughout the winter period, thanks to the kind co-operation of the Crown Equerry and his staff. Whereas during the Summer Opening period the level of official activity in the Mews is low, winter visitors are able to see carriage processions forming up and a full complement of horses in the stalls. a r e r b i L l e w a P : h p a r g o t o h P

A NNUAL R EPORT 2011 19 WINDSOR CASTLE

The State Apartments and Precincts

A total of 1,047,000 paying visitors were admitted to the Castle (an increase of 6 per cent on the previous year, and 12 per cent on 2008–9). During the Christmas period, the table in the State Dining Room was laid with pieces from a Minton service made for Queen Victoria, together with its biscuit sculptures, lately seen in the Victoria & Albert exhibition at The Queen’s Gallery, London. During the year, guided tours of the medieval Great Kitchen were extended to individual visitors and have proved highly popular. Items from the Royal Library and Royal Archives were displayed for The Queen’s guests on two occasions in April 2010, and for The Prince of Wales’s guests in June 2010. A display of Islamic manuscripts was mounted for a reception in April 2010 to launch Bloomsbury Qatar Foundation Publishing. The Librarian mounted a display in the Green Drawing Room on the occasion of the A certificate presented to the of the Emir of Qatar and Sheikha Mozah in October on New Year’s Day 1957, included in the exhibition Prince Philip: Celebrating Ninety Years (to 22 January 2010. A selection of the works from this display was 2012). The Duke of Edinburgh became the first posted on the British Monarchy website. member of the Royal Family to cross the Antarctic Circle, and was thus entitled to join the ‘Order of the Red Nose’. His Royal Highness contributed to The Drawings Gallery both the design and the production of the certificate, which was made on board HMY Britannia . In addition to changing displays of Old Master drawings, two exhibitions focused on members of the current Royal Family: Marcus Adams: Royal Photographer featured photographs by Adams of the young Princesses Elizabeth and Margaret Rose and their parents, King George VI and Queen Elizabeth, while Prince Philip: Celebrating Ninety Years (continuing to 22 January 2012) charts the Duke of Edinburgh’s life and career. The majority of the 141 exhibits, including photographs, books, sculpture, drawings, paintings, archival material, n o d coins, medals and insignia, are from Prince Philip’s own n o L , y collection. A third display, The Last Post , featured r e l l a

G material relating to the two First World War veterans d n a l t r who died in 2009, Henry Allingham and Harry Patch. o P y s e t r u o c ; o Special Visits and Research Enquiries g a e S d r a w More than 320 individuals visited the Upper Library, d E f o

e either as part of visiting groups or for independent t a t s E research purposes. The 15 visiting groups included e h T

© members of the Council of The Prince’s Charities, the

20 A NNUAL R EPORT 2011 Committee for The Queen’s Gold Medal for Poetry, members of the International Map Collectors Society, Patrons of the Royal Academy, paper conservators from the British Museum, staff from library, supporters of the Norfolk branch of The Art Fund and prize-winners in the Windsor Festival Schools’ competition. The Print Room received visits from 180 individual researchers, and groups from Reading University, the Courtauld Institute, the Courtauld Neapolitan Roving Seminar and The Prince’s Drawing School. The photograph collection was visited by groups of students from the Sotheby’s Institute of Art MA course in Photography and from De Montfort University’s MA course in Photography History and Practice. The archivists dealt with 1,258 postal, telephone and e-mail enquiries, of which 350 were genealogical, 734 general and 174 were for information required by the Royal Household. Sixty researchers visited the Royal Archives, carrying out 273 research days.

PALACE OF HOLYROODHOUSE n o i t a i c o s s A s s e r P © : h p a r g o t o h P

HM The Queen and Pope Benedict XVI on the occasion of the Papal Visit to the Palace of Holyroodhouse on 16 September 2010. The Pope is looking at the royal gift, a set of facsimiles of the Holbein drawings in the Royal Collection, in a presentation box created in the bindery at Windsor.

The State Apartments and Precincts

The Palace of Holyroodhouse received 230,000 visitors and a further 43,000 visited The Queen’s Gallery. Further improvements were made to the furnishing and decoration of the State Apartments. A contemporary bronze portrait bust of Catherine de’ Medici by Germain Pilon, c.1583, was installed in the historic apartments, alongside the full-length portrait of her daughter-in-law, Mary, Queen of Scots. Students at Buckinghamshire New University conserved a pair of late seventeenth-century ‘sleeping chairs’, including replacing the crimson silk velvet covers. The chairs are now displayed in the King’s Closet. Guided tours of Holyrood Abbey, one of the most important medieval buildings in Scotland, were

A NNUAL R EPORT 2011 21 22 A NNUAL R EPORT 2011 introduced as part of the visitor experience from April to October. Developed by the Palace wardens, these have proved a popular innovation.

The Queen’s Gallery

Dutch Landscapes , an exhibition of 42 works from the Royal Collection’s rich holdings of Dutch Golden Age painting, opened at The Queen’s Gallery on 30 April 2010. The fine detail and meticulous finish of Dutch pictures appealed to British taste, and 34 of the works in the exhibition were acquired by the future George IV between 1809 and 1820. The exhibition closed on 9 January 2011, with a final total of 33,983 visitors, an average of 135 per day. It was followed by an extended selection of photographs by Marcus Adams, whose images of the Royal Family, especially those of the young Princesses Elizabeth and Margaret Rose, had already captivated visitors to Windsor. The total number of visitors at both venues was 890,385.

ABOVE : The Passage Boat (1650s), by Aelbert Cuyp (162 0–91), demonstrates the skill of Dutch Golden Age artists in endowing everyday scenes with a transcendental quality through the depiction of sea mist and sunlit sky.

LEFT : Bronze portrait bust of Catherine de’ Medici ( c.1583), mother-in-law of Mary, Queen of Scots, by the French Renaissance sculptor, Germain Pilon ( c.1537 –90), newly installed in the historic apartments at Holyroodhouse.

A NNUAL R EPORT 2011 23 HISTORIC ROYAL PALACES

More than 3 million visitors to the sites managed by Historic Royal Palaces were able to see works from the Royal Collection at Hampton Court, Kensington, Kew and the . At the end of a lengthy conservation and redecoration programme at Queen Charlotte’s Cottage, Kew, all the original prints have now been re-hung in the Print Room. The display of paintings in The Queen’s Presence Chamber at Hampton Court Palace was upgraded with the addition of John Michael Wright’s portrait of Charles II in his coronation regalia, which has been hung above the throne dais. The hang was completed by Daniel Mytens, Charles I and Henrietta Maria , and Hendrick Cornelisz. Vroom, The Return of the Fleet with Charles I when Prince of Wales in 1623 . The Private Apartments of William III on the ground floor, meanwhile, have been re-hung with works that appear in his inventories. Curatorial and conservation staff worked in various ways in support of plans for the re-presentation of Kensington Palace and the Crown Jewels in the Tower of London, both planned for completion in 2012 by Historic Royal Palaces.

TRAVELLING EXHIBITIONS

A new exhibition entitled Roger Fenton and Julia Margaret Cameron: Early British Photographs from the Royal Collection was shown at Aberdeen Art Gallery from mid-June to late August 2010, and at Blackwell, The Arts & Crafts House, Bowness-on-Windermere, from late January to late April 2011, where it was seen by a total of 7,583 people. The exhibition will be shown in later in 2011. The Heart of the Great Alone was exhibited at the Canterbury Museum in Christchurch, New Zealand, from August 2010 to February 2011, prior to a final showing at The Queen’s Gallery, London, from October 2011 to April 2012. In New Zealand, the Royal Collection items were displayed within the context of the important Antarctic collection in Christchurch. The exhibition attracted more than 19,000 visitors.

LOANS

Works from the Royal Collection were included in 41 exhibitions in the UK and 13 other countries. Highlights included the loan of four paintings to the exhibition Venice: and his Rivals at the National Gallery, London, and five portraits by Sir , including three full-lengths from the at Windsor, to the exhibition at the National Portrait Gallery, Thomas Lawrence: Regency Power and Brilliance . Fourteen drawings were lent to the major exhibition on Michelangelo at the Albertina, Vienna, and three by Raphael were included in the exhibition at the Victoria and Albert Museum that reunited four of Raphael’s Sistine tapestries (lent by the Vatican to mark the Papal Visit to the UK) with the seven surviving tapestry cartoons, which remain on long-term loan from the Royal Collection to the Museum. Two manuscript copies of the Shahnameh (The Book of Kings) were lent to the exhibition Epic of the Persian Kings at the Fitzwilliam Museum, Cambridge, and two Indian manuscripts were lent to the Los Angeles County Museum of Art for ’s Fabled City: The Art of Courtly Lucknow , prior to a second showing in Paris in 2011.

24 A NNUAL R EPORT 2011 ABOVE : Following the exhibition Victoria & Albert: Art & Love , Franz Xaver Winterhalter’s painting Florinda (1852), given by Queen Victoria to Prince Albert on his birthday, 26 August 1852, was returned to its original setting in The Queen’s Sitting Room at , Isle of Wight, after an absence of more than one hundred years.

LEFT : The painting can be seen on the left in this photograph of The Queen’s Sitting Room, taken by Jabez Hughes in 1875.

A NNUAL R EPORT 2011 25 INTERPRETATION To ensure that the Collection is presented and interpreted so as to enhance public appreciation and understanding.

LEARNING

Educational activities were re-focused this year with the development of a three-year Strategy for Learning, setting out specific provision for four key audience groups – schools, adult learners, families and people with access requirements – and plans for interpretation, learning spaces and learning online.

Schools

On-site taught programmes for school pupils have focused on primary school children, largely for reasons of capacity. A special ‘Schools Week’ in October 2010 provided exclusive use of The Queen’s Gallery, London, for 342 primary school pupils and their teachers. A trial web-based learning resource on Queen Victoria and Prince Albert, prepared by the Royal Archives, was successfully launched on the British Monarchy website.

Each of the three palaces now has a partner school, ABOVE : Primary school pupils in the Victoria & Albert enabling Royal Collection staff and teachers to work exhibition at The Queen’s Gallery, Buckingham Palace, in October 2010. together in planning activities and jointly developing BELOW : Six new audio tours for adults and families learning resources. were introduced. Innovations included the use of commissioned music recordings on the Victoria & Albert: Adults Art & Love audio guide and external speakers on the Dutch Landscapes tour. For the Victoria & Albert guide, Activities in support of the Victoria & Albert: Art & Love Howard Shelley and Hilary Macnamara made a recording of music by Mendelssohn on Queen Victoria’s 1856 exhibition included 36 gallery talks by curators, a Erard piano. The recording can be heard at conservation day, a concert, a guided walk, ‘An evening www.royalcollection.org.uk/microsites/vandahl. with Victoria and Albert’, a study day on Victoria and Albert and architecture organised at The Queen’s Gallery by the Victorian Society, and two public study days held in the Sainsbury Theatre at the National Gallery. Approximately 3,000 people took part in these events. The adult programme for the Edinburgh showing of the Dutch Landscapes exhibition included a study day at the National Gallery of Scotland and a varied lecture series, featuring a curator, a conservator and a contemporary landscape painter.

26 A NNUAL R EPORT 2011 At Windsor Castle, a new programme of short courses for adults was launched with an event based on Queen Mary’s Dolls’ House. Lucinda Lambton gave an expert and engaging lecture, which was followed by a private view of the Dolls’ House. The event was sold out. Work is in hand to develop a fuller adult learning programme at Windsor. The fifteenth annual summer school, Royal Collection Studies, organised by the Attingham Trust, took place in early September. Based at in , 28 delegates from Russia, Hungary, Belgium, Germany, the UK, Poland, Estonia, Denmark, France, the USA, New Zealand and China completed the course, with much of the teaching and guiding provided by Royal Collection staff.

Families

The provision of learning activities for families visiting exhibitions was extended, with a programme of activities during half-term, exploring portraits of kings and queens and encouraging visits to the Marcus Adams exhibition at the Drawings Gallery, Windsor Castle. The initial responses have been encouraging and formal evaluation is planned.

Special Access

Provision for visitors aims to ensure that equivalent opportunities to enjoy the Collection are available to all. New developments have included a hand-held, sign-language video tour of the State Rooms at Buckingham Palace, and touch tours at The Queen’s Gallery, London, for blind and partially sighted visitors.

Lectures and Talks given by Staff

Claire Chorley gave a paper entitled ‘Done by Holbein, on a Crackt Board’ about Holbein’s Hans of , at the conference jointly organised by the National Portrait Gallery and The Courtauld Institute in December 2010. She also gave a talk on Holbein’s technique and miniatures at The Dragon School, Oxford.

Nicola Christie gave an evening lecture at The Queen’s Gallery, Edinburgh, entitled ‘Dutch Landscapes: conservation and exhibitions’.

Beth Clackett spoke on Queen Mary’s Dolls’ House at the Kensington Dollshouse Festival, May 2010, and at Ightham Mote, Kent.

Deborah Clarke gave a number of talks in the Dutch Landscapes exhibition at The Queen’s Gallery, Edinburgh.

Martin Clayton lectured on ‘Caravaggio, Annibale Carracci, and life drawing in Rome’ at the conference Art Schools: Invention, Invective and Radical Possibilities , at University College London, and on ‘Raphael’s drawings for the tapestry cartoons’ at a study day at the Victoria and Albert Museum. He spoke on Leonardo’s anatomical drawings in the BBC Two programme The Story of Science , broadcast in May 2011.

Jacky Colliss Harvey spoke at the 14th National Museum Publishing Seminar in Washington, DC and at the Association for Cultural Enterprises Annual Conference in Cardiff, on creating a children’s publishing programme.

A NNUAL R EPORT 2011 27 Alan Donnithorne gave a short presentation on pastels in the Royal Collection at the Expert Meeting on the Conservation of Pastels at the Rijksmuseum, .

Sophie Gordon presented a paper entitled ‘“So bright a jewel of the crown”: Queen Victoria, India and the Orient’ at the National Gallery, for the Victoria & Albert study days. She lectured on Roger Fenton and Julia Margaret Cameron and gave three public gallery talks at Blackwell, The Arts & Crafts House, Bowness-on-Windermere. She gave two lectures and four gallery talks on The Heart of the Great Alone at the Canterbury Museum, Christchurch, New Zealand.

Kate Heard gave a talk on ‘Sketches of rooms by the first artists: picturing the royal residences’ at the ‘Albert and Victoria at home’ Learning event. She spoke at The Queen’s Gallery, London, on ‘The Queen and Macbeth’ and ‘Queen Victoria: the artist and her tutor’, and gave a British Sign Language interpreted talk.

Lisa Heighway gave several talks on Marcus Adams in connection with the exhibitions at Windsor and Edinburgh.

Kathryn Jones lectured on ‘Prince Albert and the mass production of art’ for the National Gallery study days on Victoria and Albert, on ‘Prince Albert and Elkingtons’ to the Silver Society, on ‘Gold boxes in the Royal Collection’ at the Wallace Collection, and on ‘Queen Mary’s Dolls’ House’ to the Annual Symposium of the Furniture History Society. She also spoke (with Stephen Patterson) to the Jewellery History Society on the personal jewellery and insignia of Queen Victoria and Prince Albert.

Susanna Mann spoke on the promotion of group tourism at the launch in Brussels of the new Groups Charter for European Cities by the Chair of the European Parliament’s Committee on Transport and Tourism. She also gave a presentation on group tourism at the Arts Marketing Association’s Cultural Symposium at Tate Modern in London.

Jonathan Marsden lectured on ‘Victoria & Albert: Art & Love’ at the Summerleaze Gallery, Wiltshire, at the Victoria and Albert Museum, for the Windsor Festival and for The Art Fund in Jersey and York; on ‘Who was Ludwig Grüner?’ for the Victorian Society study day at The Queen’s Gallery, London ; and on ‘Mr Brown and Mr Green: Ludwig Grüner and Emil Braun in the service of Prince Albert’ for the National Gallery study days. He spoke on ‘The Royal Collection on show’ for The Art Fund in Liverpool.

Simon Metcalf lectured on ‘Royal Arms and Armour: preserving historic displays and a new display at The Queen’s Gallery’ at the Wallace Collection study day New Approaches to Arms and Armour Collections in London , and on ‘Arms and Armour in the Royal Collection: study, conservation and display methods’ at the ICON (Institute of Conservation) conference Metals in Focus .

Stephen Patterson spoke (with Kathryn Jones) to the Jewellery History Society on the personal jewellery and insignia of Queen Victoria and Prince Albert.

Lauren Porter gave a number of talks on the Old Master drawings displays in the Drawings Gallery, Windsor Castle.

Jemima Rellie spoke on ‘Presenting the Royal Collection in the twenty-first century’ for Royal Collection Studies.

Vanessa Remington lectured on ‘Queen Victoria, Prince Albert and their relations with artists’ at the

28 A NNUAL R EPORT 2011 study day at the National Gallery. She gave the Royal Oak Foundation lecture to the Victorian Society, Forbes Galleries, New York, on ‘Victoria & Albert: Art & Love’. She spoke on ‘Victorian miniatures in the Royal Collection’ at Christie’s, London, and at the Winter Antiques Fair, The Armory, New York. She led a workshop on ‘Queen Victoria and the nineteenth-century portrait miniature’ at the North American Victorian Studies Association Conference, Montreal, Victorian Scale and Perspective .

Anna Reynolds gave several lectures on ‘Victoria & Albert: Art & Love’ at The Queen’s Gallery, London.

Jane Roberts lectured on ‘Sandby views of Windsor’ at the Royal Academy and on ‘George III and Windsor Great Park’ at Cumberland Lodge.

Jennifer Scott gave talks on ‘Victoria & Albert: Art & Love’ at The Queen’s Gallery, London, on ‘Dutch Landscapes’ at The Queen’s Gallery, Edinburgh, and on Caravaggio, Sassetta, Verrocchio, Ruisdael and Cuyp at the National Gallery, London. She lectured on ‘Looking at landscapes’ at The Queen’s Gallery, Edinburgh, and on ‘The Royal Portrait: Image and Impact’ for The Art Fund in London, St Paul’s Girls’ School, Hammersmith, the National Portrait Gallery, London, Warwick University, as well as for staff at The Queen’s Gallery, London, and at Windsor Castle. She gave a joint lecture on royal portraiture with David Starkey at The Queen’s Gallery, London. She also lectured on ‘Royal portraits: formal or informal?’ at the Wallace Collection, on ‘The royal portrait: Holbein to Beaton’ at the Victoria and Albert Museum, on ‘Royal portraiture: the female face’ at Lucy Cavendish College, Cambridge, and on ‘Royal portraits and literature’ at the Bath Literature Festival.

Desmond Shawe-Taylor lectured on ‘Royalty and religion’ at Southwell Minster, on ‘Canaletto and the English’ at the Little Missenden Festival, on ‘The curator and the object’ at Sotheby’s Institute, on ‘The paintings in Windsor Castle’ at the Kenton Theatre in Henley-on-Thames, twice on ‘Vermeer’s Music Lesson ’ at Dulwich Picture Gallery, on ‘Caravaggio and his impact’ at the Historic Royal Palaces study day, and on ‘Dutch landscape painting’ at the National Gallery of Scotland study day. He also spoke at a joint lecture given by Jennifer Scott and David Starkey on royal portraiture at The Queen’s Gallery, London.

Emma Stuart gave two lectures and a presentation on the Royal Library and the Heart of the Great Alone exhibition, and five gallery talks on the exhibition in Christchurch, New Zealand, towards the end of its display there. She also gave a lecture on the Royal Library to the Friends of Ludlow Library.

Stephen Weber gave a talk on ‘Prince Arthur and the Duke of Wellington’ during the exhibition Victoria & Albert: Art & Love .

David Wheeler spoke to the French Porcelain Society on ‘Discoveries during the catalogue raisonné project’ .

Lucy Whitaker spoke about Royal Collection frames, ‘From to Prince Albert – reframing the Royal Collection’, at the National Trust and Waddesdon Manor conference on European Frames 1700–1900 . She spoke about ‘Prince Albert and frames for his early paintings’ at the National Gallery and Royal Collection study day, and on ‘Victoria & Albert: Art & Love’ at the National Gallery, London. She gave several talks about the exhibition Victoria & Albert: Art & Love in The Queen’s Gallery, London. She gave a paper, ‘Is it Pietro Bembo in Bellini’s portrait?’, at the conference on Pietro Bembo and the Arts (Pietro Bembo e le Arti ), organised by the Centro Internazionale di Studi di Architettura Andrea Palladio and held at the Accademia Galileiana, Padua.

A NNUAL R EPORT 2011 29 The Queen’s Dolls’ House by Lucinda Lambton. The Dutch edition of Fabergé’s Animals by Caroline de Guitaut.

PUBLISHING

Eight new titles were published this year: • Victorian Miniatures in the Collection of Her Majesty The Queen , by Vanessa Remington • Dutch Landscapes , edited by Desmond Shawe-Taylor • Marcus Adams: Royal Photographer , by Lisa Heighway • Roger Fenton and Julia Margaret Cameron: Early British Photographs from the Royal Collection , by Sophie Gordon • Fabergé’s Animals: A Royal Farm in Miniature , by Caroline de Guitaut • The Queen’s Dolls’ House , by Lucinda Lambton • The Queen’s Year: A Souvenir Album , by David Oakey • The Royal Portrait: Image and Impact , by Jennifer Scott.

Work proceeded on the catalogues of Arms and Armour and Chinese and Japanese Works of Art, and substantial progress was made towards the re-publication of Oliver Millar’s catalogues of the Tudor, Stuart and Georgian pictures, first published in 1963 and 1969. The publishing programme balances the paramount need for scholarly publication of the Royal Collection’s holdings, with a commitment to more popular and commercial titles. For the Victoria & Albert

30 A NNUAL R EPORT 2011 exhibition, the combination of a conventional catalogue, to which 14 curators contributed, and an illustrated companion book, Passionate Patrons , at a lower price, proved a complete success. Sales of the catalogue reached 848 copies on-site and 1,508 in the trade. The smaller book was the most commercially successful title during 2010, selling 11,309 copies on-site and 789 in the trade. The Royal Collection remains firmly commited to book publishing, with numerous titles currently in preparation. At the same time, the ever-increasing potential of digital publishing is being assessed for certain parts of the Collection, such as maps, where it offers distinct advantages over the printed page.

The following additional publications by staff of the Royal Collection appeared during the year:

Sophie Gordon: ‘A sacred interest: the role of photography in the “City of Mourning”’, in S. Markel (ed.), India’s Fabled City: The Art of Courtly Lucknow , Los Angeles, 2010.

Jane Roberts: ‘George III and Queen Charlotte at Windsor’, in N. Saul and T. Tatton-Brown (eds), St George’s Chapel, Windsor. History and Heritage , Wimborne Minster, 2010.

Desmond Shawe-Taylor: ‘The art of music’, Apollo , March 2011.

Publishing awards

Leonardo da Vinci: the Mechanics of Man was judged Exhibition Catalogue of the Year at the annual British Book Design and Production Awards. Victoria & Albert: Art & Love was shortlisted in the same category. French Porcelain in the Collection of Her Majesty The Queen was named Book of the Year in the Apollo magazine awards 2010.

Flora: The Aztec Herbal , the latest title in the series, was shortlisted for the annual award of the American Council on Botanical and Horticultural Libraries for outstanding literature in botany and horticulture.

Sir Geoffrey de Bellaigue (left) was presented with the Apollo Book of the Year Award by Oscar Humphries, Apollo magazine’s editor, at a gala reception held at Bonhams on 25 November 2010, for his catalogue of French Porcelain in the Collection of Her Majesty The Queen . e n i z a g a m o l l o p A © ; g n a t e L a l e a h c i M : h p a r g o t o h P

A NNUAL R EPORT 2011 31 Podcasts

The range of topics covered in Royal Collection podcasts since their introduction in 2009 has continued to expand. All remain accessible via the Royal Collection website or iTunes. Dutch Landscapes www.royalcollection.org.uk/default.asp?action=article&ID=940 French Porcelain for English Palaces www.royalcollection.org.uk/default.asp?action=article&ID=753&KeyWords=podcasts Henry VIII 500th anniversary www.royalcollection.org.uk/default.asp?action=article&ID=754 Holyrood Abbey www.royalcollection.org.uk/default.asp?action=article&ID=839 Marcus Adams www.royalcollection.org.uk/default.asp?action=article&ID=879 Queen & Commonwealth: The Royal Tour www.royalcollection.org.uk/default.asp?action=article&ID=753&KeyWords=podcasts Queen Mary’s Dolls’ House www.royalcollection.org.uk/default.asp?action=article&ID=879 Roger Fenton and Julia Margaret Cameron www.royalcollection.org.uk/default.asp?action=article&ID=814 Royal dining www.royalcollection.org.uk/default.asp?action=article&ID=940 Royal portraiture www.royalcollection.org.uk/default.asp?action=article&ID=879 The Conversation Piece www.royalcollection.org.uk/default.asp?action=article&ID=754 The Duke of Edinburgh at 90 www.royalcollection.org.uk/default.asp?action=article&ID=940 The Heart of the Great Alone www.royalcollection.org.uk/default.asp?action=article&ID=754 The Music Lesson by Vermeer www.royalcollection.org.uk/default.asp?action=article&ID=753&KeyWords=podcasts The Picture Gallery at Buckingham Palace www.royalcollection.org.uk/default.asp?action=article&ID=753&KeyWords=podcasts The Queen’s Garden Parties www.royalcollection.org.uk/default.asp?action=article&ID=839 The Queen’s Year www.royalcollection.org.uk/default.asp?action=article&ID=839 The role of the www.royalcollection.org.uk/default.asp?action=article&ID=839 Victoria & Albert: Art & Love (behind the scenes) www.royalcollection.org.uk/default.asp?action=article&ID=790 Victoria & Albert: Art & Love (including P.D. James interview) www.royalcollection.org.uk/default.asp?action=article&ID=814

32 A NNUAL R EPORT 2011 NEW MEDIA

Digital access to the Royal Collection continued to increase, and there are now more than 8,600 items from the Collection available online. More than 1,000 paintings and miniatures were added this year. During the past year, online versions of the following exhibitions were added to the website and were available on-site through touch-screen kiosks: • Dutch Landscapes • Marcus Adams: Royal Photographer • The Queen’s Year • Roger Fenton and Julia Margaret Cameron • The Last Post (with audio material supplied by the Poet Laureate) • Prince Philip: Celebrating Ninety Years .

The following microsites were created: • Hans Holbein in the Royal Collection • The Drawings of in the Royal Collection • Queen Mary’s Dolls’ House • Victorian Miniatures in the Collection of Her Majesty The Queen • The Raphael Cartoons .

Additional material associated with HRH The Duke of Edinburgh’s visit to Antarctica in 1956–7 was added to the Heart of the Great Alone exhibition microsite, to coincide with the exhibition’s presentation in Christchurch, New Zealand. Kiosks were installed at Osborne House for the duration of the Victoria & Albert: Art & Love exhibition at The Queen’s Gallery in London. Work has started on a new initiative to increase the number of items online to more than 100,000 by the end of 2012. This will remain a preoccupation for all curatorial staff and the Collections Information team throughout the coming year. The first of a series of mobile phone apps was launched to mark the wedding of Prince William of Wales and Miss Catherine Middleton. The increasing use of social media, including Twitter and Facebook, via the British Monarchy website (www.royal.gov.uk) is proving highly effective in the promotion of exhibitions and publications, and increasing the number of visits to the Royal Collection site. Examples include the posting of images from the Victoria & New microsites have been created this Albert: Art & Love , Marcus Adams and Prince Philip exhibitions on Flickr, and of year that enable website users to explore a debate on royal portraiture by David Starkey and Jennifer Scott on The Royal hundreds of pages of information about recent exhibitions and works in the Channel on YouTube, where it was watched by almost 5,000 people in the Royal Collection. first week.

A NNUAL R EPORT 2011 33 ACCESSIONS AND ACQUISITIONS To ensure that appropriate acquisitions are made when resources become available, to enhance the Collection and displays of exhibits for the public.

Some 60 books and several sets of coins, medals and banknotes were received as gifts. These included a facsimile of the ninth-century Lorsch Gospels, presented to The Queen by Pope Benedict XVI during his State Visit; two copies (one in English and one in Arabic) of a children’s book by Mohammed Ali, Victory over Abu Derya , with matching bindings by Ian Butterworth, presented by the Bloomsbury Qatar Foundation; the works of Hans Christian Andersen with illustrations by Queen Margrethe of Denmark; a copy of the Charter of the United Nations, presented by the Secretary General, Ban Ki-moon, when The Queen addressed the UN in New York in July 2010; and several books presented during the Royal Tour of Canada. Eight further portrait drawings of members of the Order of Merit, commissioned by The Queen, were added to the Collection in the course of the year: Professor Lord May by Elizabeth Blackadder; Lord Rees by Susan Crawford; The Rt Revd Lord Eames by Carol Graham; Baroness Boothroyd by Geoffrey Hayzer; Sir Timothy Berners-Lee by Sheldon Hutchinson; Professor Sir Michael Howard by Jennifer McRae; Jean Chrétien by Bernard Poulin; and Sir David Attenborough by Jonathan Yeo (opposite). In April 2010, The Queen acquired a watercolour of The Virgin Reading by Princess Mary, Duchess of Gloucester. This was copied by Princess Mary (daughter of George III) from a painting of the Holy Family by Garofalo. That painting had been acquired by Princess Mary’s grandfather, Frederick, Prince of Wales, and is still in the Royal Collection. The copy was reputedly painted as a birthday present for Mary’s niece, Princess Charlotte of Wales, daughter of George IV. A watercolour of the interior of St Raphael’s, Kingston upon Thames, on the occasion of the wedding of Louis Philippe Albert d’Orléans, comte de Paris, and Marie Isabelle d’Orléans, on 30 May 1864, was presented in memory of Sir Oliver and Lady Millar by their family. Two inkjet prints by Stephen Raw, setting poems by Carol Ann Duffy, Poet Laureate, were presented by the artist. Dr Noble Frankland presented papers concerning his biographies of Prince Henry, , and Prince Arthur, Duke of Connaught, to the Royal Archives; other accessions included the papers of Lord Stamfordham, 1827–1931 (gift of The Hon. Edward Adeane); papers of Princess Marie Louise concerning Queen Mary’s Dolls’ House, 1921–5 (purchase); and letters between Tsar Alexander II and his daughter, Marie, Duchess of Edinburgh, 1849–1901 (gift of Romana Golicz).

Jonathan Yeo, Sir David Attenborough, 2011. This was one of eight drawings added to the sequence of portraits of members of the Order of Merit during 2010 –11. Sir David was appointed to the Order in 2005. This portrait was included in a display at Windsor Castle at the time of The Queen’s luncheon for members of the Order of Merit, on 19 April 2011.

34 A NNUAL R EPORT 2011 A NNUAL R EPORT 2011 35 Made in Stoke-on-Trent, the Royal Wedding bone china range was produced to commemorate the marriage of Prince William of Wales and Miss Catherine Middleton on 29 April 2011.

TRADING ACTIVITIES

RETAIL

Retail activities enjoyed an exceptionally good year, with a substantial increase in sales through the online shop and wholesale business, as well as our on-site retail shops. The excellent performance was undoubtedly helped by worldwide interest in the Royal Wedding range. Following the announcement of the engagement of Prince William of Wales and Miss Catherine Middleton in late November 2010, the retail, press and marketing teams worked together to ensure the commemorative china was launched and available in the shops in time for Christmas. Sales of the bone china range, which is made in Stoke-on- Trent, were £1,047,000 to 31 March 2011. The final figures showed a sales growth of 17.8 per cent on visitor figures of 4.1 per cent. All sites contributed to this strong year-on-year performance, but Windsor was of specific note, enjoying the benefits of the major shop refit in 2010. The Buckingham Palace Road shop also showed very good growth. The margin continued to improve, from 59.5 per cent last year to 62.0 per cent this year, thanks to strong china sales and very little discount activity. This performance may not be so easy to maintain in the future, in view of the higher VAT rate and increasing costs.

36 A NNUAL R EPORT 2011 PICTURE LIBRARY

The Picture Library section makes available the work of our three full-time specialist photographers. During the year, 4,000 new images were added to the Library. At the same time 10,000 existing transparencies were digitised for use on the web or in publications, and 27,085 images were transferred from the Picture Library server to the newly implemented Digital Asset Management system (DAM). More than 180,000 images are now stored in the DAM. The Bridgeman Art Library was appointed to represent the Royal Collection in the licensing of selected images. The main sources of income for the Picture Library were the sale of reproduction rights for publications and facility fees for television programmes. The Picture Library also contributed to a number of filming projects during the year, including: • Blue Peter , BBC One • The Story of British Sculpture , BBC Four • The Seven Ages of Britain , BBC One • The Genius of British Art , Channel 4.

John Gascoigne with a Bay Horse , 1791, by George Stubbs (1724–1806). This painting appeared in black and white in the catalogue of Later Georgian Pictures published by the founding Director of the Royal Collection, Sir Oliver Millar (1923–2007), in 1969. As part of a project to re-publish Sir Oliver’s pioneering catalogue and its companion volume, Tudor, Stuart and Early Georgian Pictures (1963), Stubbs’s painting has now been photographed in colour for the first time, along with 534 further paintings.

A NNUAL R EPORT 2011 37 FINANCIAL OVERVIEW

Incoming Resources

The summarised financial statements set out on pages 41–2 indicate that the Royal Collection increased its incoming resources by £7,364,000 (21.4 per cent), from £34,421,000 in 2009–10 to £41,785,000 in 2010–11. This was achieved through an increase in visitor numbers of 86,000 (4.1 per cent), from 2,074,000 to 2,160,000, increases in admission charges and retail spend per visitor, and a VAT refund of £3,806,000 from HMRC in relation to previous years. The growth in admissions income of £1,939,000 (8.3 per cent), from £23,307,000 to £25,246,000, is therefore attributable to increased visitor numbers and higher admission charges. Income from retail, catering and photographic services increased by £1,749,000 (16.9 per cent), from £10,344,000 to £12,093,000. This increase was generated in part by the sale of Royal Wedding merchandise, but was also influenced by the growth in visitor numbers, increased spend per visitor and an increase in off-site retail sales.

Charitable Expenditure

Expenditure on charitable activities increased by £1,387,000 (6.1 per cent), from £22,634,000 in 2009–10 to £24,021,000 in 2010–11. The main component of charitable expenditure is staff costs, which rose by £71,000 (0.8 per cent), from £9,302,000 to £9,373,000. Expenditure on access to the Royal Collection increased by £1,910,000 (13.5 per cent), from £14,113,000 to £16,023,000, of which £907,000 relates to increased facilities management charges from the Royal Household Property section, arising from the VAT refund.

Net Incoming Resources and Cash Flow

The Trust’s net incoming resources, before recognising the pension scheme actuarial gain of £500,000, amounted to £7,422,000 (2009–10: £1,908,000). After making a payment of £1,980,000 to eliminate the pension scheme deficit, the net cash inflow of £6,782,000 has resulted in net cash balances of £2,597,000 at 31 March 2011 (2009–10: net borrowings £4,185,000).

Funds and Reserves

The Trust has total Funds and Reserves of £20,742,000 at 31 March 2011 (2010: £12,820,000). After allocating funds that are restricted or are represented by fixed assets, the Trustees have designated funds of £1,400,000 relating to the pension scheme, £500,000 towards the development of Windsor Castle visitor facilities and £100,000 of free reserves. There were no free reserves at 31 March 2010.

38 A NNUAL R EPORT 2011 INCOME AND ADMISSION NUMBERS FOR THE YEAR

Admission numbers 2010 –11 2009 –10 2010 –11 2009 –10 £000 £000 000 000 Windsor Castle and – admissions 12,325 11,191 1,073 1,014 – shop sales 2,687 2,336 Buckingham Palace Summer Opening – admissions 6,608 6,122 422 402 – shop sales 2,207 2,113 The Queen’s Gallery – admissions 1,358 1,279 174 175 – shop sales 2,495 2,175 The Royal Mews – admissions 1,234 936 196 164 – shop sales 913 798 – admissions 114 165 12 19 – shop sales 44 77 Palace of Holyroodhouse – admissions 2,383 2,405 283 300 – shop sales 796 780 Other retail income (including cafés) 2,808 1,869 Publishing 263 461 Photographic services 143 196 Gift Aid 1,224 1,209 Other income 4,183 309 41,785 34,421 2,160 2,074

FIVE-YEAR COMPARISON

2006 –7 2007 –8 2008 –9 2009 –10 2010 –11 £000 £000 £000 £000 £000 Admissions income (including Gift Aid) 19,814 20,379 21,348 23,307 25,246 Retail sales 8,701 8,542 9,023 9,936 11,705 Charitable expenditure 18,959 20,045 21,179 22,634 24,021 Net incoming resources (before actuarial gai n/(loss) recognised in pension scheme ) 2,234 1,519 802 1,908 7,422 Capital expenditure 621 1,412 688 647 1,159 Visitor Performance Indicators Visitor numbers (000) 2,054 1,986 1,993 2,074 2,160 Admissions income per visitor £9.65 £10.26 £10.71 £11.24 £11.69 Retail spend per visitor (on-site only) £3.82 £3.91 £4.13 £4.30 £4.59

A NNUAL R EPORT 2011 39 SUMMARISED FINANCIAL STATEMENTS

INDEPENDENT AUDITORS’ STATEMENT TO THE ROYAL COLLECTION TRUST (‘THE CHARITY’)

We have examined the summarised financial statements of the Royal Collection Trust for the year ended 31 March 2011 which comprise the Summary Consolidated Statement of Financial Activities and the Summary Consolidated Balance Sheet set out on pages 41–2. The summarised financial statements are non-statutory accounts prepared for the purpose of inclusion in the Annual Report.

This statement is made, on terms that have been agreed with the charity, solely to the charity, in order to meet the requirements of Accounting and Reporting by Charities: Statement of Recommended Practice (revised 2005). Our work has been undertaken so that we might state to the charity those matters we have agreed to state to it in such a statement and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charity for our work, for this statement, or for the opinions we have formed.

Respective Responsibilities of Trustees and Auditors

The Board of Trustees has accepted responsibility for the preparation of the summarised financial statements. Our responsibility is to report to the charity our opinion on the consistency of the summarised financial statements on pages 41–2 in the Annual Report with the full statutory Annual Financial Statements.

We also read the other information contained within the Annual Report and consider the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the summarised financial statements.

Basis of Opinion

We conducted our work having regard to Bulletin 2008/3 The auditor’s statement on the summary financial statement in the issued by the Auditing Practices Board. Our report on the charity’s full statutory Annual Financial Statements describes the basis of our audit opinion on those financial statements.

Opinion

In our opinion, the summarised financial statements set out on pages 41–2 are consistent with the full statutory Annual Financial Statements for the year ended 31 March 2011. We have not considered the effects of any events between the date on which we signed our report on the full statutory Annual Financial Statements (28 June 2011) and the date of this statement.

M.G. Fallon for and on behalf of KPMG LLP Chartered Accountants 8 Salisbury Square, London EC4Y 8BB

40 A NNUAL R EPORT 2011 SUMMARY CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES for the year ended 31 March 2011

2011 2010 £000 £000 INCOMING RESOURCES

Incoming resources from generated funds: Retail, catering and photographic services 12,093 10,344 Investment income 44 6 12,137 10,350

Incoming resources from charitable activities: Access 25,078 23,152 Presentation and interpretation 431 616 25,509 23,768 Other incoming resources: Other income 4,139 303

Total incoming resources 41,785 34,421

RESOURCES EXPENDED

Cost of generating funds: Retail, catering and photographic services 9,832 9,100

Charitable activities: Access 16,023 14,113 Presentation and interpretation 3,559 3,852 Exhibitions 2,151 2,451 Conservation 1,538 1,425 Custodial control 750 793 24,021 22,634

Governance costs 130 122

Other resources expended: Donation 480 357 Pensions finance charge (100) 300 380 657

Total resources expended 34,363 32,513

Net incomin g resources 7,422 1,908 Actuarial gai n recognised in pension scheme 500 800 Net movement in funds 7,922 2,708

Fund balances at 1 April 2010 12,820 10,112 Fund balances at 31 March 2011 20,742 12,820

A NNUAL R EPORT 2011 41 SUMMARY CONSOLIDATED BALANCE SHEET as at 31 March 2011 2011 2010 £000 £000 Fixed assets Tangible assets 18,683 19,249

Current assets Stock and work in progress 2,710 1,949 Debtors 1,282 1,045 Cash at bank and in hand 5,597 280 9,589 3,274

Creditors: amounts falling due within one year (5,930) (5,403)

Net current assets/(liabilities) 3,659 (2,129)

Total assets less current liabilities 22,342 17,120

Creditors: amounts falling due after more than one year (3,000) (3,000)

Net assets excluding pension asset/(liability) 19,342 14,120

Pension asset/(liability) 1,400 (1,300) Net assets including pension asset/(liability) 20,742 12,820

Income funds Restricted 442 481 Unrestricted 18,900 13,639

19,342 14,120

Pension reserve 1,400 (1,300)

Total funds 20,742 12,820

These are not statutory accounts, but a summary of information relating to both the Statement of Financial Activities and the Balance Sheet. They may not contain sufficient information to allow for a full understanding of the financial affairs of the charity. For further information, the full annual statutory accounts, the Auditors’ report on those accounts and the Trustees’ Annual Report should be consulted. Copies of these can be obtained from the Director of the Royal Collection, York House, St James’s Palace, London SW1A 1BQ.

The statutory Annual Financial Statements were approved on 28 June 2011 and have been delivered to the Charity Commission and the Registrar of Companies. The accounts have been audited by a qualified auditor, KPMG LLP, who gave an audit opinion which was unqualified and did not include a statement required under section 498 (2) and (3) of the Companies Act 2006.

The summary financial statements of the Royal Collection Trust were approved by the Trustees on 28 June 2011 and were signed on their behalf by:

Mr Peter Troughton Trustee Sir Alan Reid Trustee

42 A NNUAL R EPORT 2011 EXHIBITIONS AND LOANS

ROYAL COLLECTION 141 exhibits (photographs, books, sculpture, EXHIBITIONS drawings, paintings, archival material, personal jewellery, coins, medals and insignia) The Queen’s Gallery, Buckingham Palace TOURING EXHIBITIONS Victoria & Albert: Art & Love 19 March – 5 December 2010 Vancouver Art Gallery 402 exhibits (paintings, furniture, sculpture, Leonardo da Vinci: The Mechanics of Man ceramics, drawings, watercolours, book, 6 February – 2 May 2010 manuscripts, jewellery, dress, textiles, arms 18 drawings by Leonardo da Vinci and armour and insignia) Aberdeen Art Gallery, and Bowness-on-Windermere, Blackwell, Buckingham Palace Summer Opening The Arts & Crafts House The Queen’s Year Roger Fenton and Julia Margaret Cameron: 27 July – 1 October 2010 Early British Photographs from the Royal Collection 102 exhibits (dresses, gifts, uniforms, insignia, 12 June – 21 August 2010 silver-gilt and ceremonial objects) 31 January – 27 April 2011 22 photographs by Roger Fenton and The Queen’s Gallery, Julia Margaret Cameron Palace of Holyroodhouse New Zealand, Canterbury Museum, Dutch Landscapes Christchurch 30 April 2010 – 9 January 2011 The Heart of the Great Alone: Scott, Shackleton 42 paintings and Antarctic Photography 21 August 2010 – 27 February 2011 Marcus Adams: Royal Photographer 87 photographs, 1 album, 13 books, 3 flags, 25 February – 5 June 2011 2 drawings, 2 documents, 2 medals and 1 bust 144 exhibits (photographs, commemorative china, archival material and stamps) LOANS The Drawings Gallery, Windsor Castle (listed by date of opening) Marcus Adams: Royal Photographer London, Tower of London 24 April 2010 – 6 February 2011 Fit for a King 93 exhibits (photographs, commemorative china, 1 April 2010 – 31 March 2011 archival material and stamps) 2 swords Treasures from the Royal Library Berlin, Ephraim-Palais 24 April – 2 November 2010 – 6 February 2011 Zauber der Zerbrechlichkeit. Meisterwerke Two selections, of 15 and 12 drawings and europäischer Porzellankunst watercolours respectively (the second selection 9 May – 29 August 2010 included The Last Post display) Tureen and stand from the Naples Porcelain Etruscan Service Prince Philip: Celebrating Ninety Years Ice pail and cover from the Naples Porcelain 12 February 2011 – 22 January 2012 Etruscan Service

A NNUAL R EPORT 2011 43 Vienna, Museum of Ethnology, London, Chancery House and Bern, Historical Museum The Classical Ideal: English Silver 1760–1840 James Cook and the Exploration of the Pacific 3–25 June 2010 10 May – 13 September 2010 Silver-gilt tea urn by Thomas Heming 7 October 2010 – 13 February 2011 Silver-gilt tureen by John Wakelin and A Maori Hei-tiki William Taylor A pair of sauceboats by John Wakelin and London, William Taylor The Defeat of the Spanish Armada Silver-gilt candelabrum 1 June – 30 September 2010 Silver-gilt candelabrum by John Bridge 1 painting by Hartlepool Art Gallery Cambridge, Polar Museum, Fighting Ships Scott Polar Research Institute 19 June – 29 August 2010 Inuit Art: Masterworks from the Arctic 1 painting by Dominic Serres the Elder 2 June – 10 September 2010 1 wall hanging by Jessie Oonark Madrid, Museo Thyssen-Bornemisza Ghirlandaio y el Renacimiento en Florencia 22 June – 10 October 2010 1 drawing by Domenico Ghirlandaio

44 A NNUAL R EPORT 2011 Museum Paris, Musée du Louvre Medieval Treasures: Art Treasures from East Anglia Musées de papier. L’antiquité en livre 1600–1800 18 July 2010 – 30 January 2011 22 September 2010 – 3 January 2011 The Clare Reliquary 4 drawings from the Paper Museum of Cassiano dal Pozzo Paretz, Schloss und Schlossremise Luise. Die Kleider der Königin Florence, Palazzo Strozzi 31 July – 31 October 2010 Bronzino 1 painting by Peter Edward Ströhling 24 September 2010 – 30 January 2011 1 painting by Agnolo Bronzino Dublin, National Gallery of Ireland, and Amsterdam, Rijksmuseum Antwerp, Diamantmuseum Gabriel Metsu: Rediscovered Master of Voor Eer en Glorie. Napoleon en de juwelen the Dutch Golden Age van het Keizerrijk 4 September – 5 December 2010 30 September – 31 December 2010 16 December 2010 – 21 March 2011 A sword and baldrick by Nicolas-Noël Boutet 1 painting by Gabriel Metsu 1 Italian finger ring

London, Victoria and Albert Museum Norwich Castle Museum and Art Gallery Raphael: Cartoons and Tapestries The Art of Faith: 2000 Years of Art and Belief from the Sistine Chapel in Norfolk 8 September – 24 October 2010 2 October 2010 – 23 January 2011 3 drawings by Raphael 1 drawing by Franz Xaver Winterhalter

West Sussex, Horsham Museum New York, Metropolitan Museum of Art, Forgotten Views of Georgian Sussex: and London, National Gallery The Drawings of John Claude Nattes Jan Gossaert’s Renaissance 9 September – 9 October 2010 5 October 2010 – 9 January 2011 1 album and 3 drawings by John Claude Nattes 1 painting by Jan Gossaert 23 February – 30 May 2011 Florence, Museo Nazionale del Bargello 2 paintings by Jan Gossaert I grandi bronzi del Battistero. Rustici e Leonardo 10 September 2010 – 10 January 2011 Vienna, Albertina Museum 2 drawings by Leonardo da Vinci Michelangelo als Zeichner 8 October 2010 – 9 January 2011 Cambridge, Fitzwilliam Museum 10 drawings by Michelangelo Epic of the Persian Kings: The Art of Ferdowsi’s 2 drawings by Giulio Clovio Shahnameh 1 drawing by Sebastiano del Piombo 11 September 2010 – 9 January 2011 1 drawing by Giulio Romano 2 manuscripts

Archers shooting at a herm (c.1530) was one of ten drawings by Michelangelo (1475–1564) loaned to the Albertina Museum, Vienna, for its exhibition, Michelangelo als Zeichner (‘Michelangelo as Illustrator’), held between 8 October 2010 and 9 January 2011.

A NNUAL R EPORT 2011 45 Venice: The Grand Canal with Santa Maria della Salute, towards the Bacino , 1744, by Canaletto (1697–1768), was among four Royal Collection paintings that featured in the exhibition, Venice: Canaletto and his Rivals , at the National Gallery, London, between 13 October 2010 and 16 January 2011.

Cincinnati Art Museum Washington, DC, National Gallery of Art Wedded Perfection: Two Centuries of Wedding Gowns The Pre-Raphaelite Lens: British Photography 9 October 2010 – 30 January 2011 and Painting 1845–1875 1 miniature by John Haslem 31 October 2010 – 30 January 2011 4 photographs by Roger Fenton London, National Gallery, and Washington, DC, National Gallery of Art London, Imperial War Museum Venice: Canaletto and his Rivals Extraordinary Heroes 13 October 2010 – 16 January 2011 12 November 2010 – November 2020 4 paintings by Canaletto An artillery shell 20 February – 30 May 2011 2 paintings by Canaletto Berlin, Deutsches Historisches Museum Begas – Monumente für das Kaiserreich London, National Portrait Gallery, 26 November 2010 – 6 March 2011 and New Haven, Center for British Art Marble bust by Begas Thomas Lawrence: Regency Power and Brilliance 21 October 2010 – 23 January 2011 Los Angeles County Museum of Art 5 paintings by Sir Thomas Lawrence India’s Fabled City: The Art of Courtly Lucknow 24 February – 5 May 2011 12 December 2010 – 27 February 2011 1 painting by Sir Thomas Lawrence 2 manuscripts 1 watercolour by Egron Lundgren

46 A NNUAL R EPORT 2011 Rome, Palazzo Farnese Aachen, Suermondt-Ludwig-Museum Palazzo Farnese, Dalle Collezioni Rinascimentali ad Leonardo des Nordens: Joos van Cleve Ambasciata di Francia 17 March – 26 June 2011 16 December 2010 – 27 April 2011 1 painting by Marco d’Oggiono 3 drawings by Annibale Carracci Milan, Castello Sforzesco , L’ultimo Michelangelo Dress for Excess 24 March – 19 June 2011 5 February 2011 – 5 February 2012 2 drawings by Michelangelo 1 painting by Sir William Beechey 1 drawing after Michelangelo

London, Tate Britain Watercolour 16 February – 21 August 2011 2 watercolours by Alexander Marshal 1 watercolour by Mark Catesby 2 miniatures by Nicholas Hilliard

Rome, Scuderie del Quirinale Lorenzo Lotto 25 February – 12 June 2011 1 painting by Lorenzo Lotto

London, Dulwich Picture Gallery Presiding Genius – A Year of Masterpieces 1 March – 31 March 2011 1 painting by Johannes Vermeer

Newcastle, Laing Art Gallery John Martin 5 March – 5 June 2011 1 painting by John Martin

Madrid, Museo Thyssen-Bornemisza Heroines 8 March – 5 June 2011 1 painting by Artemisia Gentileschi

Paris, Grand Palais Nature et idéal: le paysage à Rome 1600–1650 8 March – 6 June 2011 1 drawing by 2 drawings by Domenichino

London, Wallace Collection White marble half-figure bust of Kaiser Wilhelm II, 1890, Esprit et Vérité: Watteau and His Circle by Reinhold Begas (1831–1911), included in the exhibition 12 March – 5 June 2011 Begas – Monumente für das Kaiserreich (‘Begas – Monuments 1 painting by Godfried Schalken of the Empire’) at the Deutsches Historisches Museum, 1 painting by Jean-Baptiste Greuze Berlin, between 26 November 2010 and 6 March 2011.

A NNUAL R EPORT 2011 47 STAFF OF THE ROYAL COLLECTION

EXTERNAL APPOINTMENTS Advisory Board and the Consultative Committee of the Walpole Society; Governor of the British Institute of Florence. Julia Bagguley: Member of the Lucy Cavendish College Fine Arts Committee; Honorary Secretary of Jennifer Scott: Trustee of the Living Paintings Trust. The Prince’s Teaching Institute. Desmond Shawe-Taylor: Trustee of the Samuel Robert Ball: Member of the Executive Committee, Courtauld Trust; Member of the Advisory Council, National Benevolent Society of Watch and Clock Hamilton Kerr Institute; Vice President, NADFAS. Makers; Vice Chairman of the Council, British Watch Shaun Turner: Tutor/Lecturer in Woodwork/ and Clock Makers Guild; Trustee, British Horological Cabinet-making, Picture Frame-making and Furniture Institute Museum Trust. Restoration for Hammersmith and Fulham Adult Stephen Chapman: Member of the Committee of the Education, Macbeth Centre. Association of Historical and Fine Art Photography. David Wheeler: External Examiner for the MA Martin Clayton: Member of the Ente Raccolta in Conservation of Historic Objects, University of Vinciana. Lincoln; member of the Conservation Advisory Panel, the Wallace Collection. Jacky Colliss Harvey: Trustee of the Association for Cultural Enterprises. Bridget Wright: Honorary Editor of the Annual Report of the Society of the Friends of St George’s Paul Cradock: Member of the Executive Committee, and Descendants of the Knights of the Garter. National Benevolent Society of Watch and Clock Makers; Secretary, British Watch and Clock Makers’ Guild. Alan Donnithorne: Visiting Professor at Camberwell STAFF NUMBERS College of Arts (University of the Arts London). (2009–10 numbers in brackets) Frances Dunkels: Member of the British Tourism Development Committee, VisitBritain. The Paintings section had 7 (7) full-time and 10 (9) part-time staff. Kate Heard: Deputy Editor, Journal of the History of Collections ; member of the UK Print Curators’ Forum. The Decorative Arts section had 13 (12) full-time and 3 (4) part-time staff. In addition, their work was Kathryn Jones: Member of the Committee, and of supported by 3 Horological Conservators, who are the Research and Publications Committee of the Silver funded by the Royal Household Property section, Society; Member of the Antique Plate Committee. and aided by the services of 0 (1) intern. Jonathan Marsden: Trustee of Historic Royal Palaces, The Royal Library (which includes the Print Room, The Art Fund, Royal Yacht Britannia Trust, Household Photographs and Paper Conservation sections, the Cavalry Museum Trust, City & Guilds of London Art Exhibitions section, the Curator at the Palace of School; Hon. Editorial Secretary, Furniture History Holyroodhouse and the Dal Pozzo Project Co-ordinator Society; Member of Council, Attingham Trust. and Research Assistant) had 20 (21) permanent full-time Simon Metcalf: Member of the Conservation Committee, staff, 4 (4) permanent part-time staff and 4 (1) staff on Church of Church Buildings Council. fixed-term contracts. Their work was aided by the services of 5 (5) long-term volunteers in the Royal Library and Jemima Rellie: Member of the International Print Room, 1 (2) student on a three-month placement Programming Committee, Museums and the Web. in the Print Room and 4 (4) paper conservation students Jane Roberts: Member of the Ente Raccolta Vinciana, on a two-week placement from Camberwell College of the Editorial Advisory Board of the Master Drawings Arts (University of the Arts London). An additional Association, the Council of Management of the 4 (5) volunteers assisted with the refurbishment of Windsor Festival, the Chatsworth House Conservation books in the Royal Library during August.

48 A NNUAL R EPORT 2011 The Collections Information section had 12 (13) Central Departments had the following full-time full-time and 2 (2) part-time members of staff. equivalents: Visitor Services staff , which includes wardens, retail Retail 20 (19) and visitor management, had the following full-time Public Relations and Marketing 8 (7) equivalents: Publishing 3 (3) Windsor Castle 147 (146) Learning 6 (6) (Their work was aided by the services Buckingham Palace and Clarence House 120 (118) of 2 (1) volunteers.) Palace of Holyroodhouse 45 (48) Photographic Services 8 (8) Ticket Sales and Information 38 (36) Administration 2 (2) Finance, IT and Personnel services are provided by the Royal Household under a shared services arrangement.

STAFF TRAINING AND DEVELOPMENT

In the spring of 2010, the Royal Collection Department took part in the accreditation of the Royal Household by the Investors in People scheme. This award recognises the work that has been undertaken at all levels to ensure that all staff are aware of the nature and value of their contribution to the objectives of the Royal Collection Trust and those of the Royal Household, and are given every opportunity to develop to their potential. It also provides a framework for further improvement. During 2011, a structured management development programme will provide existing and potential leaders in the Department with the means to become more effective in leading their specialised teams towards the achievement of the Trust’s charitable aims. Members of the Department undertook training in the following areas provided by the Royal Household: Health and Safety Awareness; the Information Systems Learning Pathway; Public Speaking; Equality and Diversity; and Managing Absence. External courses attended covered a range of specialised subjects, including identifying prints; investigating, dating and documenting garments; the study and conservation of state beds; British portraiture; and the identification of historic photographic processes. Nine members of Visitor Services staff were Members of the Visitor Services team at Windsor Castle awarded Vocational Qualifications in Heritage Care, were awarded Vocational Qualifications in Heritage Care, Visitor Services and Retail Skills this year. Visitor Services and Retail Skills. Emma Featherstone achieved a Level 3 award in assessing Vocational Qualifications. Development opportunities in various forms continue to be found for senior managers. Kerry Bishop took part in a short course at the Disney Institute in Florida on Disney’s Approach to Quality Service, and Stephen Patterson spent a week in Moscow studying Imperial Russian and Soviet insignia, as a guest of the Kremlin Palace Museum, Moscow. Roderick Lane visited the monastery of Deir-al-Sourian, Egypt, to advise on conservation, at the invitation of the Levantine Foundation.

A NNUAL R EPORT 2011 49 STAFF LIST as at 31 March 2011

DIRECTORATE Senior Paintings Conservator Armourer and Senior Metalwork Nicola Christie Conservator Director of the Royal Collection Simon Metcalf Jonathan Marsden, LVO, FSA Conservators Karen Ashworth, MVO Senior Horological Conservator Assistant to the Director Al Brewer (Buckingham Palace) Caroline de Guitaut, MVO Claire Chorley Robert Ball, MVO Adelaide Izat Administrator and Assistant Rosanna de Sancha, MVO Horological Conservator to the Surveyors Tabitha Teuma (Buckingham Palace) David Rankin-Hunt, LVO, MBE, TD Paul Cradock, MVO Framing and Exhibitions Conservator Assistant to the Michael Field, MVO Horological Conservator Administrator/Receptionist (Windsor Castle) Georgina Asplin Framing and Exhibitions Technician Steven Davidson Stephanie Carlton Superintendent of the Royal Collection (Hampton Court Palace) Paintings Conservation Administrator THE ROYAL LIBRARY Christopher Stevens Nicola Swash Hardie (maternity leave) Neil Vaughan (maternity cover) Librarian and Curator of Custodian of California Gardens Store the Print Room (Windsor Castle) The Hon. Lady Roberts, CVO, FSA Anthony Barrett, RVM DECORATIVE ARTS Assistant to the Librarian and Assistant Custodian Surveyor of The Queen’s Works of Art Curator of the Print Room Arthur Pottinger Jonathan Marsden, LVO, FSA Rhian Wong (maternity leave)

Deputy Surveyor of The Queen’s Secretary to the Librarian and FINANCE Works of Art Office Administrator Rufus Bird Margaret Westwood Finance Director Michael Stevens, CVO, FCA Curators of Decorative Arts Bibliographer Caroline de Guitaut, MVO Bridget Wright, LVO Kathryn Jones PAINTINGS Curator of Books and Manuscripts Assistant to the Deputy Surveyor Emma Stuart, MVO Surveyor of The Queen’s Pictures of The Queen’s Works of Art Desmond Shawe-Taylor David Oakey Senior Curator of Prints and Drawings Martin Clayton, MVO Assistant to the Surveyor of Senior Furniture Conservator The Queen’s Pictures David Wheeler, MVO Curator of Prints and Drawings Lucy Peter Dr Kate Heard, FSA Furniture Conservators Senior Curator of Paintings William Miller Print Room Assistant Lucy Whitaker, MVO Shaun Turner, MVO Lauren Porter Jane Wallis Curators of Paintings Assistant to the Curators Vanessa Remington Senior Gilding Conservator of the Print Room Anna Reynolds Stephen Sheasby Katherine Bradley Jennifer Scott Gilding Conservators Dal Pozzo Project Co-ordinator Exhibition Curatorial Assistant Peregrine Bruce-Mitford Panorea Alexandratos Wolf Burchard Elizabeth Parker

50 A NNUAL R EPORT 2011 Dal Pozzo Project Research Assistant COLLECTIONS INFORMATION PUBLISHING AND NEW MEDIA Dr Eloisa Dodero MANAGEMENT Director of Publishing and New Media Dal Pozzo Project Assistant Head of Collections Information Jemima Rellie Sabrina Stevenson Management Stephen Patterson, LVO Publisher Senior Curator of Photographs Jacky Colliss Harvey, MVO Sophie Gordon Inventory Clerk (Buckingham Palace) Melanie Wilson (maternity leave) Publishing Assistant Curator of Photographs Nina Chang Lisa Heighway Inventory Clerk (Windsor Castle) Alexandra Barbour Head of Learning Head of Paper Conservation Lucie Amos Alan Donnithorne, MVO, FIIA Senior Collections Information Assistant (Paintings) Senior Learning and Access Manager Head of Book Conservation Alex Buck Amy Watsham Roderick Lane, MVO, RVM Collections Information Assistants Learning Manager Deputy Head of Book Conservation (Decorative Arts) (Buckingham Palace) Irene Campden, MVO Julia Bagguley Karly Allen (maternity leave) Beth Clackett Will Graham (maternity cover) Exhibitions and Maintenance Conservator Collections Information Learning Manager David Westwood, MVO, RVM Co-ordinator and Indexer (Palace of Holyroodhouse) Paul Carter Alison Campbell Paper Conservator Megan Gent, MVO, RVM Collections Information Assistant Learning Manager (Windsor Castle) (Prints and Drawings) Penelope Russell Archives Bookbinder Allan Chinn Philippa Jones Learning Co-ordinator Collections Information Assistant (Windsor Castle) Conservation Mounter/Framer (Photographs) Catherine Martin Kathryn Stone Paul Stonell Head of Photographic Services General and Workshop Assistant Collections Information Assistant Shruti Patel, MVO Martin Gray (Paintings and Photographs) Alessandro Nasini Senior Picture Library Assistant Karen Lawson EXHIBITIONS Collections Information Assistant (Books) Picture Library Assistant Head of Exhibitions Elizabeth Clark Katie Holyoak Theresa-Mary Morton, LVO Collections Information Assistant Digital Imager Senior Exhibition Project Co-ordinator Siân Cooksey Daniel Partridge Stephen Weber Collection Online Assistant Senior Photographers Exhibition Project Co-ordinator Steven Blench Stephen Chapman, MVO Sandra Adler Eva Zielinska-Millar, MVO

Loans Officer (Royal Library) Photographer and Exhibitions Secretary Dominic Brown Sarah Murray

A NNUAL R EPORT 2011 51 RETAIL PUBLIC RELATIONS AND Administrator and Staff Co-ordinator MARKETING Elizabeth Grogan Retail Director Nuala McGourty, LVO Director of Communications and Technical Support Assistant Business Development Christopher Hallworth Head of Design Frances Dunkels, LVO Katrina Munro, MVO Learning Bookings Co-ordinator Administrator to Director of Nicola Jones Production Controller Communications and Business Ian Grant Development Senior Ticket Sales and Information Henry Dawe Assistant Senior Buyer Audrey Lawrence Charlotte Burton Acting Administrator Bruce Davies Ticket Sales and Information Buyer Assistants Johan Verbruggen Business Development Manager Genevieve Arblaster-Hulley Susanna Mann Katherine Bason Project Manager – Retail Systems Scott Bowman Charlotte Carter Press and Public Relations Officers Faye Grimes Emma Shaw Fraser Hamilton Merchandisers Rachel Woollen Lucy Ward Nicole Goodchild Lei Song Sales and Marketing Officer Ticket Sales and Information Rhiannon Marsh Assistants – Casual Retail Operations Manager Matthew Baldwin Jacqueline Clarke Web and Marketing Assistant Anil Banga Anna Lucas Rina Bhudia Retail Operations Administrator Sarah Blakeburn Jacqueline Bowden Press and Public Relations Assistant Rachel Brookes Hanae Tsuji Lawrence Coppin Retail Administration Assistant Marquita Cox-Carder Kate Kenah Website Redevelopment Olivia Davies Project Manager Mariam El-sraidi Warehouse Manager Lydia Weller Laura Grant James Hoyle, RVM Jake Mead Head of Ticketing and Sales Jo-Anne Mead Warehouse Administrator Mark Fisher Jade Nicholls Sheila Clements Zachery O’Brien Contact Centre Manager Lee Preston Assistant Warehouse Administrator Christopher Gilbert Emma Wood Specialist Sales Supervisor VISITOR SERVICES Delivery Fulfilment Operatives Janice Galvin Rosanna Earles Director of Visitor Services Kathleen Gomm Operations Supervisor Kerry Bishop, MVO Matthew Whitehouse Lucy Allen Linda Wroth Administrator to Director Technical Support Supervisor of Visitor Services Warehouse Operatives Gareth Thomas Henry Dawe Bernard Barfield Derek Foster Staffing and Development Acting Administrator James Hall Supervisor Bruce Davies Robert Kedge Prakuti Deolia

Contact Centre Supervisor James Healey

52 A NNUAL R EPORT 2011 Buckingham Palace Lynne Denham Senior Retail Assistant Stephen Denham Gillian Burke (maternity cover) Visitor Manager Leonard Franklin Diana Rakhimova (maternity leave) Richard Knowles Kate Gazzard Susannah Geary Retail Assistants Operations Manager Sarah Goldsmith Douglas Bell Sarah Thompson Sarah Goodall Alyssa Boomgarden Christopher Grigsby Lieselotte Burdof-Cook Visitor Office Administrator Bridget Harris Africa Calzon Amanda Jacobs Elizabeth Ibbotson Linda Craker Claire Jackson Ami Cullum Staff Co-ordinator Dr Stephanie Kirby Kevin Dimmock Samuel Faure Ackroyd Susan Latimer Andrew Fay Louise Lavell Khushpreet Gulshan Visitor Office Assistants Alan Lion Jane Hackwood James Lagden Bridget Little Daniel Kennedy Grace Swanborough Paula Malaney Claire McDougall Martina Melkonian Fiona Moore Senior Wardens Daniele Middleton Craig Pryor Clive Bayard Clive Mills Juno Rae Jon Lopiano Georgia Moult Patricia Sweetland Ioan Waight Kaitlyn Pettengill Michie Wake Valerie Ross Amani Waldron-Isioye Supervising Wardens Benedict Sherry Jackie Young Ernie Kingston Pamela Tebbs Charles Nicholls Steve Trotter Retail Assistants – Casual Sophie Waterman Penny Dalziel-Smith Duty Manager Stephen Wild Janet Easto Beverley Hamsley Helen Hollis Wardens – Casual Margie Nolan Wardens George Banham Marie Barenskie Matthew Caro Elspeth Bayley Bob Castledine Windsor Castle Marilyn Carpenter David Charleston Gisele Deliege Barbara Donne Visitor Manager Pamela Eden Peggy Duffin Christine Taylor Catherine Fyfield Sheila Edgar Carolyn Glover Juan Edwards Operations Manager Louise Halfpenny Christine Erne John Phillips Martin Harris Vernon Goodwin Fiona Kuznetsova John Leeds Admissions Manager Stephen Kyte Margaret Legg Richard Sugg Ilenia Martini Maureen Maron Simon Piercy George Martin Assistant Operations Manager Dr Shalini Punjani Brian McBride Alison O’Neill Keith Waye Michael Nash Anna Thomas Financial Administrator Wardens – Seasonal Roger Freeman Janis Aunon Retail Manager Adrian Beckwith Virginia Green Staff Operations Administrator Susan Bolster Emma Featherstone Sinead Booth Deputy Retail Manager Andrew Fairmaner Visitor Operations Administrator Janet Burrell Helena Holden Ursula Claxton Assistant Retail Managers Michael Cox Stuart Cullen Staff Co-ordinator Lara Davenport Beatriz Ramirez Christopher Thomas Peter Davis Mark Randall Lesley Denham

A NNUAL R EPORT 2011 53 Assistant Retail Managers Senior Wardens David Mason Susan Asbery Susan Ashby Freda Mason Hanna Cross Claude-Sabine Bikoro Anne Meyer Caroline Sara Bina Modi Retail Supervisor Jeffrey Wilson Giulia Ovidi Kathryn Freeman Elizabeth Pantia Deputy Senior Wardens Edward Pink Senior Retail Assistant Peter Critchley Nicholas Preston Anne McGowan, RVM Philip Howarth-Jarratt Arturo Ramirez Alun Thomas Ian Read Senior Ticket Sales Assistant Carla Weston Josephine Redfern Shirlee Pouncett Berni Reid Wardens Lynne Roberts Visitor Services Assistants Colin Adams Edwin Rodbard-Brown Linda Bacon Colin Ailes Charles Rosen James Ball Maria Axelson Carly Rowlinson Lauren Beldom Mark Ayling Martin Ryan Monika Bone Thomas Mark Aylward Greenway Judy Salmon Ceri Brough Sandra Baker Lauren Samet Gemma Buckner Marcus Barton Karen Shirtcliffe Janet Cary Sophie Bate Victor Sidebotham Marian Challis Alexander Bogard Allan Smith Helen Clark Ellen Bolick John Smith Brian Deenihan Geoffrey Bonehill Jean Spratley Yvonne Edwards Donald Bradley Graham Stagg Sarah Entwistle Michael Campbell Susan Suchodolska Brenda Gardner Colin Carter Aileen Sutherland Emilia Garvey Jacqueline Clemson Monica Tandy Fraser Gillham Janet Cole Christopher Tilly Linda Gould Ellen Compton-Williams David Uppington Olga Horlock Sheila Cook Anna Wallas Gemma Lee Bruce Davies Kin Yip Wan Aileen Lewis Marcelle Dovell Barry Ward, RVM Mark Lines Katie Duncombe Robert Webster Jane McKenzie Adele Fellows Rebecca Welch Julie Purvis Richard Fry Susan Wells Alexandra Sills Kate Gazzard Peter Wilkinson Charlotte Slark Anthony Golding Joseph Wood Diane Smith Barry Gould David Woodall Kathleen Temple Carol Greenhow Peter Woodall Faye Wichelow Robert Griffith Derek Woodman Bernadette Woolley Sarah Gunton Geoffrey Woodruff Huai Fiona Yan Philip Hall Leanne Workman Susan Hiscock Robert Workman Visitor Services Assistants – Seasonal Lorna Holliday Mark Wright Georgia Bradley Rita Horner Helen Zacks Charlotte Cole Jack Howarth-Jarratt Jessica Goldsmith Christine Hughes Wardens – Casual Charlotte Lee Peter Humphrey Robert Atcheson Elena McGregor Catherine Ingham Ricardo Bessford Carl Taylor David Kenway Maurice Bevis Patrizia Knight David Buttimer Visitor Services Assistants – Casual Gary Langford Leonard Chandler Nagina Chaudhry Margot Law John Clayton Louisa Knight Paul Leighton Peter Cockbain Janet Maxwell Helen Lincoln Geoffrey Cox Rosemary Osgood, RVM Steven Lovegrove Kevin Cronin James Rodrigues Rita Lyons Malcolm Davis Marit Stokes Michael Macaskill Caroline Dewell

54 A NNUAL R EPORT 2011 John Dexter Wardens Retail/Admissions Visitor Service Paul Dunham Juan Aguero Benítez Assistants – Casual Brian Dupe Rosie Croker Emily Clarke Henry Everist Colin Dempster Susan Davidson Francis Franklin Ross Hannay Fiona Dempster Roy Gardner Andrew Hume-Voegeli Rachel Lammiman Norman Garrett Chantal Hume-Voegeli Sharon McBride Ronald Grant Seana Keenahan Jonathan Read Nancy Green, RVM Carol Leslie Fiona Simpson Gordon Haines Edward Lipscomb Frances Singer Jacqueline Haines Lesley McGlinchey Rebeka Venters Brian Hall Brian Morley Fiona Wood Alan Head Katarzyna Musur Brenda Herbert Ian Reilly Retail and Admissions Manager Peter Hicks Harriette Riddell Shirley Duke Francis Holland, RVM Yvonne Rollert Margaret Holmes Rachel Skilling Assistant Retail and John Janes David Thomson Admissions Managers Diana Jolley Sharon Thomson Claire Anderson Enda McArdle Janet Whellans Andy Dickson Patricia McGill Peter Whyte Geoffrey Murray Shelagh Wilson Retail and Admissions Supervisor Pearl Nodwell Andrew Grant Bryan Percy Wardens – Casual Patricia Pipe Douglas Alexander Financial Administrator Frank Poole Cameron Baillie Elaine Maclean Malcolm Potter Lucia Baker Rodney Richardson Callum Casebow Porter Molly Rudge Jim Church Stuart Robertson René Schurtenberger Catherine Crompton Roger Taoka-Thompson Gemma Cruickshanks Daily Ladies Bert Turner Rosie Grahame Elinor Allan Anthony Wise Jim Hinks Sheila Cairns Patricia Wright Moira Hinton Julie-Anne Duff Christian Millar Doreen Fraser Keith Mullins Palace of Holyroodhouse Callum Mutch Carol Schreuder Superintendent Veronica Schreuder Geoffrey Mackrell Paul Steele Cecelia Teitz Visitor Operations Manager Tom Turpie Kirsty McNiece (maternity leave) Andrew Young

Curator Retail/Admissions Visitor Deborah Clarke Services Assistants Shona Cowe Operations Manager Jennie Crossley Joanne Butcher Janet Ferguson Alison Gove Senior Wardens Zoë Hayes Pilar Aran (maternity leave) Rosie Hunter Brian Coutts Paul Lambert Magdalena Kasprzyk (maternity cover) Amanda Mills Mary Mowbray Janet Stirling Joanna Todd

A NNUAL R EPORT 2011 55 © 2011 The Royal Collection Trust

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