British Museum Act 1963
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Virtual Museum Scavenger Hunt
Virtual Museum Scavenger Hunt Musee d’Orsay, Paris, France The French Art of the Musee d’Orsay Welcome to the Musee d’Orsay Scavenger Hunt! This museum is located in Paris, France. In its past life, it was a railway station until 1939. During World War II, the French used it as a mailing station. Today, it holds French art from 1848 to 1914. The French wanted to create a museum that had pieces that other museums did not have room for. Quick Fun Facts about the museum! This museum has the largest 35,000 Square Meters of the It is one of the largest art collection of impressionist building is made of glass museums in Europe. masterpieces It took 6 months to place all of It has more metal than the Eiffel It was the first museum in the paintings and art into the Tower France to have a photography museum exhibition Start by going to this link: https://artsandculture.google.com/partner/musee-dorsay-paris?hl=en Part One: 1. You will need to select Canvas. Find the painting titled “Self Portrait”. a. Can you tell me when the piece was painted? b. Can you tell me who painted it? 2. Return to the home page through the link above. Then select Modern Art. Find the painting called “Magpie”. a. What season is portrayed in the painting? b. Who painted it? 3. Return to the homepage through the link above. Then select France. Search for the painting called “The circle of the Rue Royale”. a. Can you count how many people are in the painting? 4. -
Urban Megaprojects-Based Approach in Urban Planning: from Isolated Objects to Shaping the City the Case of Dubai
Université de Liège Faculty of Applied Sciences Urban Megaprojects-based Approach in Urban Planning: From Isolated Objects to Shaping the City The Case of Dubai PHD Thesis Dissertation Presented by Oula AOUN Submission Date: March 2016 Thesis Director: Jacques TELLER, Professor, Université de Liège Jury: Mario COOLS, Professor, Université de Liège Bernard DECLEVE, Professor, Université Catholique de Louvain Robert SALIBA, Professor, American University of Beirut Eric VERDEIL, Researcher, Université Paris-Est CNRS Kevin WARD, Professor, University of Manchester ii To Henry iii iv ACKNOWLEDGMENTS My acknowledgments go first to Professor Jacques Teller, for his support and guidance. I was very lucky during these years to have you as a thesis director. Your assistance was very enlightening and is greatly appreciated. Thank you for your daily comments and help, and most of all thank you for your friendship, and your support to my little family. I would like also to thank the members of my thesis committee, Dr Eric Verdeil and Professor Bernard Declève, for guiding me during these last four years. Thank you for taking so much interest in my research work, for your encouragement and valuable comments, and thank you as well for all the travel you undertook for those committee meetings. This research owes a lot to Université de Liège, and the Non-Fria grant that I was very lucky to have. Without this funding, this research work, and my trips to UAE, would not have been possible. My acknowledgments go also to Université de Liège for funding several travels giving me the chance to participate in many international seminars and conferences. -
Friends of the National Libraries: a Short History
Friends of the National Libraries: A Short History Saving the nation’s written and By Max Egremont printed heritage This history first appeared in a special edition of The Book Collector in Summer 2011, FNL’s eightieth year. The Trustees of Friends of the National Libraries are grateful to the publisher of The Book Collector for permission to reissue the article in its present, slightly amended, form. A Short History 1 HRH The Prince of Wales. © Hugo Burnand. 2 Friends of the National Libraries Friends of the National he Friends of the National Libraries began as a response to an emergency. From the start, the Friends were fortunate in their leadership. Sir Frederic Libraries has helped save TOn March 21 1931, the Times published a letter signed by a group of the great Kenyon was one of British Museum’s great directors and principal librarians, the nation’s written and and the good, headed by the name of Lord D’Abernon, the chairman of the Royal a classical and biblical scholar who made his name as a papyrologist and widened the printed history since Commission on National Museums and Galleries. The message was that there was appeal of the museum by introducing guide lecturers and picture postcards; he also had a need for an organisation similar to the National Art Collections Fund (now called literary credentials as the editor of the works of Robert and Elizabeth Barrett Browning. 1931. FNL awards grants the Art Fund) but devoted to rare books and manuscripts. The reason for this The Honorary Treasurer Lord Riddell, a former associate of Lloyd George, came to national, regional was that sales of rare books and manuscripts from Britain to institutions and to from the world of politics and the press. -
The British Museum Report and Accounts for the Year
The British Museum REPOrt AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2012 HC 400 £14.75 The British Museum REPOrt AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2012 Presented to Parliament pursuant to Museums and Galleries Act 1992 (c.44) S.9(8) Ordered by the House of Commons to be printed 12 July 2012 HC 400 London: The Stationery Office £14.75 The British Museum Account 2011-2012 © The British Museum (2012) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context The material must be acknowledged as The British Museum copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. This publication is also for download at www.official-documents.gov.uk ISBN: 9780102976199 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery Office ID 2481871 07/12 21557 19585 Printed on paper containing 75% recycled fibre content minimum The British Museum Account 2011-2012 Contents Page Trustees’ and Accounting Officer’s Annual Report 3 Chairman’s Foreword 3 Structure, governance and management 5 Constitution and operating environment 5 Governance statement 5 Subsidiaries 10 Friends’ organisations 10 Strategic direction and performance against objectives 10 To manage and research the collection more effectively 10 Collection 10 Conservation -
Annual Review 2016/17
Historic Royal Places – Spines Format A4 Portrait Spine Width 35mm Spine Height 297mm HRP Text 20pt (Tracked at +40) Palace Text 30pt (Tracked at -10) Icon 20mm Wide (0.5pt/0.25pt) Annual Review 2016/17 1 2 06 Welcome to another chapter in our story Contents 07 Our work is guided by four principles 08 Chairman’s Introduction 09 Chief Executive – a reflection 10 The Year of the Gardens 14 Guardianship 20 Showmanship 26 Discovery 32 Independence 38 Money matters 39 Visitor trends 40 Summarised financial statements 42 Trustees and Directors 44 Supporters 46 Acknowledgments Clockwise from top left: The White Tower, Tower of London; the West Front, Hampton Court Palace; the East Front, Kensington Palace; the South Front, Hillsborough Castle; Kew Palace; Banqueting House. 4 This year, the famous gardens of Hampton Court Palace took Guardianship: Welcome to centre stage. Already a huge attraction in their own right, this Our work is We exist for tomorrow, not just for yesterday. Our job is to give year the historic gardens burst into even more vibrant life. these palaces a future as valuable as their past. We know how another Prompted by the 300th anniversary of the birth of Lancelot guided by four precious they and their contents are, and we aim to conserve ‘Capability’ Brown, we created a spectacular programme of them to the standard they deserve: the best. chapter in exhibitions, events and activities. A highlight was the royal principles Discovery: opening of the Magic Garden; our playful and spectacular We explain the bigger picture, and then encourage people to our story 21st century contribution to 500 years of garden history. -
United Kingdom Report by Sara Selwood University of Westminster with Maurice Davies, Museums Association
A Guide to European Museum Statistics United Kingdom Report by Sara Selwood University of Westminster with Maurice Davies, Museums Association Introduction - Key Issues It is increasingly the case that hard data is required for a multiplicity of reasons: to support advocacy, not least to present the case for support to government; to assess museums´ efficiency in relation to funding; to inform decision making; to establish, develop and evaluate policies; to identify trends; to measure the progress that the sector is making, not least in terms of delivering government objectives. A current preoccupation is with measuring the impact of museums. Responsibility for national museum statistics falls to Museums, Libraries and Archives Council (MLA), the government's advisory body, which succeeded the Museums & Galleries Commission in April 2000. Following the devolution of Scotland, Wales and Northern Ireland, MLA´s remit is primarily confined to England. At the time of writing (October 2003) there is no dedicated statistical time series on museums, which covers the whole of the UK. The Museums & Galleries Commission's DOMUS database (see below) was abandoned after the 1999 survey, and the only other UK-wide, year-on-year time series are, Sightseeing in the UK and Visits to Visitor Attractions. These present the findings of annual surveys conducted by the National Tourist Boards of England, Scotland, Wales and Northern Ireland, which monitor trends in the visitor attraction market including museums. There are, however, an increasing number of regular reports, which cover local and regional trends (in particular, financial statistics) and the activities of different types of museums. Pulling together a national picture depends on the collation of existing data sets. -
Experts in Central London Planning & Development
EXPERTS IN CENTRAL LONDON PLANNING & DEVELOPMENT PLANNING & DEVELOPMENT Gerald Eve’s planning and development advisory business is one of the most respected in the UK. Consisting of over 100 professionals, we are one of the only fully integrated planning and development teams in our industry. The vast majority of the team are based in central London, working on some of the capital’s largest and most complex projects. Active in all London Acted for Advised all major central boroughs and the London developers and City of London REITS, including British Land, Derwent London, 50% Great Portland Estates, of London First's property Landsec and Stanhope and housing members We act for all the major London million estates, including The Bedford 15 sq ft £12.5 billion Estates, Capital & Counties Covent Garden, The Church of commercial gross development Commissioners, City of London, floorspace approved value The Crown Estate, Grosvenor Britain & Ireland, The Howard de Walden Estate, The Portman Estate, and Soho Estates 2 EXPERTS IN CENTRAL LONDON PLANNING & DEVELOPMENT OUR CENTRAL LONDON CLIENTS OUR CENTRAL LONDON CLIENTS 3 YOUR INTELLIGENT ADVISOR Gerald Eve is recognised among the UK’s leading experts in planning and development. Our clients look to us to help them realise or improve asset value. One of the largest fully integrated planning and development teams in the sector Deep understanding of the entire planning system Harnessing imaginative strategies and a tenacious approach to optimise outcomes Agile, flexible and adaptable to changing -
Access Guide Piccadilly Main Building Is Burlington House, London W1J 0BD on Piccadilly, Which Includes the Keeper’S House
Burlington House and Please note Keeper’s House The Royal Academy of Arts is Burlington House housed on two separate sites. Our Access Guide Piccadilly main building is Burlington House, London W1J 0BD on Piccadilly, which includes the Keeper’s House. Our other building, Burlington Gardens Burlington Gardens, is situated 6 Burlington Gardens directly behind Burlington House. London Currently, there is no direct access W1S 3ET between the two sites. To get from one site to the other, you need to General Enquiries: 020 7300 8000 use Old Bond Street, Sackville Street or Burlington Arcade which has General opening hours ramped access on request. 10am to 6pm Saturday–Thursday (last admission to galleries 5.30pm) Contact the Access Team To find out more about the RA’s 10am to 10pm Friday dedicated programmes and services (last admission to galleries 9.30pm) for disabled audiences, please visit our website or contact us: Opening times and access to the Website royalacademy.org.uk Keeper’s House and John Madejski Email [email protected] Fine Rooms do vary. Telephone 020 7300 5732 R BURLINGTON GARDEN E S G BU E OL SA N R T D L I CK NG S B Burlington T R ON T VI ON Gardens E E LLE T AR D ST CA ST D E Burlington House PICCADILLY ILLY S ICCAD T. P HA JA YM ME JERMYN STREET Green Park A S’ RK S ET ST REGISTERED CHARITY NUMBER 212798/DESIGN 01.02/ILLUSTRATIONS BY RUSSELL BELL/PRINTED BY TRADEWINDS/PHOTO BY ROY MATTHEWS, © ROYAL ACADEMY OF ARTS OF ACADEMY ROYAL © MATTHEWS, ROY BY TRADEWINDS/PHOTO BELL/PRINTEDBY RUSSELL BY 01.02/ILLUSTRATIONS -
The Parthenon Sculptures Sarah Pepin
BRIEFING PAPER Number 02075, 9 June 2017 By John Woodhouse and Sarah Pepin The Parthenon Sculptures Contents: 1. What are the Parthenon Sculptures? 2. How did the British Museum acquire them? 3. Ongoing controversy 4. Further reading www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary 2 The Parthenon Sculptures Contents Summary 3 1. What are the Parthenon Sculptures? 5 1.1 Early history 5 2. How did the British Museum acquire them? 6 3. Ongoing controversy 7 3.1 Campaign groups in the UK 9 3.2 UK Government position 10 3.3 British Museum position 11 3.4 Greek Government action 14 3.5 UNESCO mediation 14 3.6 Parliamentary interest 15 4. Further reading 20 Contributing Authors: Diana Perks Attribution: Parthenon Sculptures, British Museum by Carole Radatto. Licenced under CC BY-SA 2.0 / image cropped. 3 Commons Library Briefing, 9 June 2017 Summary This paper gives an outline of the more recent history of the Parthenon sculptures, their acquisition by the British Museum and the long-running debate about suggestions they be removed from the British Museum and returned to Athens. The Parthenon sculptures consist of marble, architecture and architectural sculpture from the Parthenon in Athens, acquired by Lord Elgin between 1799 and 1810. Often referred to as both the Elgin Marbles and the Parthenon marbles, “Parthenon sculptures” is the British Museum’s preferred term.1 Lord Elgin’s authority to obtain the sculptures was the subject of a Select Committee inquiry in 1816. It found they were legitimately acquired, and Parliament then voted the funds needed for the British Museum to acquire them later that year. -
LONDON the DORCHESTER Two Day Itinerary: Old Favourites When It Comes to History, Culture and Architecture, Few Cities Can Compete with London
LONDON THE DORCHESTER Two day itinerary: Old Favourites When it comes to history, culture and architecture, few cities can compete with London. To look out across the Thames is to witness first-hand how effortlessly the city accommodates the modern while holding onto its past. Indeed, with an abundance of history to enjoy within its palaces and museums and stunning architecture to see across the city as a whole, exploring London with this one-day itinerary is an irresistible prospect for visitors and residents alike. Day One Start your day in London with a visit to Buckingham Palace, just 20 minutes’ walk from the hotel or 10 minutes by taxi. BUCKINGHAM PALACE T: 0303 123 7300 | London, SW1A 1AA Buckingham Palace is the 775-room official residence of the Royal Family. During the summer, visitors can take a tour of the State Rooms, the Royal Mews and the Queen’s Gallery, which displays the Royal Collection’s priceless artworks. Changing the Guard takes place every day at 11am in summer (every other day in winter) for those keen to witness some traditional British pageantry. Next, walk to Westminster Abbey, just 15 minutes away from the Palace. WESTMINSTER ABBEY T: 020 7222 5152 | 20 Dean’s Yard, London, SW1P 3PA With over 1,000 years of history, Westminster Abbey is another London icon. Inside its ancient stone walls, 17 monarchs have been laid to rest over the course of the centuries. Beyond its architectural and historical significance, the Abbey continues to be the site in which new monarchs are crowned, making it an integral part of London’s colourful biography. -
The Bourse De Commerce — Pinault Collection, a Museum Accessible to Everyone
The Bourse de Commerce — Pinault Collection, a museum accessible to everyone In the heart of Paris, the Bourse de Commerce — Pinault Collection presents part of the contemporary art collection amassed by François Pinault over the past forty years. In the historic building of the former Bourse de Commerce (com- modities exchange), restored and transformed by Japanese architect Tadao Ando, a dialogue emerges between heritage and contemporary creation. Through the prism of a collector’s gaze on the art of today and in an effort to increase public awareness and understanding, the Bourse de Commerce — Pinault Collection offers regular exhibitions and hangings of contemporary art, with artist com- missions, cartes blanches and a rich programme of cultural events: lectures, screenings, concerts and performances. Open to everyone, the Bourse de Commerce — Pinault Collection strives to offer an accessible and inclusive pro- gramme of events in line with its exhibitions. Finally, the Bourse de Commerce – Pinault Collection is equip- ped with all the necessary facilities to ensure that everyone’s visit is a pleasant and stress-free experience. Certain areas of this listed building with historic monument status are subject to preservation constraints and therefore, do not feature standard accessibility norms. This booklet explains the visiting conditions and resources put at your disposal in order to facilitate your access and visit to the museum. A museum accessible to everyone / Bourse de Commerce — Pinault Collection 1 Summary Practical information -
The British Museum Annual Reports and Accounts 2019
The British Museum REPORT AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2020 HC 432 The British Museum REPORT AND ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2020 Presented to Parliament pursuant to Section 9(8) of the Museums and Galleries Act 1992 Ordered by The House of Commons to be printed on 19 November 2020 HC 432 The British Museum Report and Accounts 2019-20 © The British Museum copyright 2020 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as British Museum copyright and the document title specifed. Where third party material has been identifed, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to us at [email protected]. This publication is available at www.gov.uk/ofcial-documents. ISBN 978-1-5286-2095-6 CCS0320321972 11/20 Printed on paper containing 75% recycled fbre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Ofce The British Museum Report and Accounts 2019-20 Contents Trustees’ and Accounting Ofcer’s Annual Report 3 Chairman’s Foreword 3 Structure, governance and management 4 Constitution and operating environment 4 Subsidiaries 4 Friends’ organisations 4 Strategic direction and performance against objectives 4 Collections and research 4 Audiences and Engagement 5 Investing