DOCSLIB.ORG

Position Spec

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Position Spec Candidate Brief Ref: Director Royal Collection Trust Introduction Royal Collection Trust is seeking an exceptional individual to appoint as its Director. The Director, Royal Collection Trust is responsible for all aspects of the leadership, management and administration of the Royal Collection Department, one of the five Departments of The Queen’s Household and for the management of the Royal Collection Trust in accordance with its charitable objectives. Working in a unique and high profile environment, the successful candidate will need to demonstrate relevant achievement in their careers to date and the experience, skills and qualities described in the following specification. This document should be read in conjunction with other supporting material and information on the Royal Collection’s website, (https://www.royalcollection.org.uk/) and its annual report 2016-17 (https://www.royalcollection.org.uk/about/royal-collection-trust/annual-reports#/). Royal Collection Trust The Royal Collection is one of the largest and most important art collections in the world. It comprises almost all aspects of the fine and decorative arts, and is spread among some thirteen royal residences and former residences across the UK, most of which are regularly open to the public. A considerable number of works from the Collection are on long-term loan to institutions throughout the UK, and short-term loans are regularly made from the Collection to exhibitions around the world. The works of art contained within the Royal Collection are held by Her Majesty The Queen in right of the Crown and are held in trust for her successors and for the nation. Royal Collection Trust, with its wholly owned trading subsidiary, Royal Collection Enterprises Limited, collectively referred to as Royal Collection Trust, is a charitable trust regulated by the Charity Commissioners with appropriate charitable responsibilities, as well as one of the Royal Household's five Departments. It was established in March 1993 in order to take responsibility for the trading activities which fund the maintenance, conservation, custody, presentation and curatorial aspects of the Royal Collection and the Royal Archives. The Trustees, on advice from the Director, determine how the income generated should be used. Royal Collection Enterprises Ltd is responsible for the management and financial administration of public access at Buckingham Palace (including The Queen’s Gallery, the Royal Mews and Clarence House), Windsor Castle (including Frogmore House) and the Palace of Holyroodhouse (including The Queen’s Gallery). Royal Collection Enterprises also promotes access to the Royal Collection through publishing, retail merchandise and the Picture Library, in support of the Royal Collection Trust’s charitable objectives. 1 of 6 Candidate Brief Ref: Director Royal Collection Trust The Role The Director is responsible for all aspects of the leadership and commercial activities of the Royal Collection Department, one of the five Departments of The Queen’s Household, and for the management of the Royal Collection Trust in accordance with its charitable objectives. As the Head of Department with responsibility for the Royal Collection, s/he has the privilege of direct access to Her Majesty The Queen and is responsible for keeping Her Majesty informed of the Department’s activities and for obtaining The Queen’s approval for loans, exhibitions, acquisitions and publications. The Director reports to the Lord Chamberlain. As Director, Royal Collection Trust s/he is responsible to the Board of Trustees and its Chairman, His Royal Highness The Prince of Wales, and for keeping them fully briefed. S/he is a member of the Lord Chamberlain’s Committee, which oversees the running of the Royal Household, and generally represents the Department’s interests in the wider Household and externally. S/he is an ex officio Trustee of Historic Royal Palaces (HRP), the charitable trust responsible for the running and opening of the unoccupied royal palaces (The Tower of London, Hampton Court, Kew Palace, Kensington Palace, the Banqueting House and Hillsborough Castle). These palaces contain a significant part of the Royal Collection, for which the Director is responsible in seeing that appropriate standards of custody, conservation display and interpretation are maintained in line with the objects and aims of the Trust. Key duties of the Director include: . Ensuring excellent communication with HM The Queen in all relevant matters relating to the Royal Collection. Informing and advising HM The Queen and HRH The Prince of Wales about possible acquisitions for the Collection. Ensuring that all items in the Collection, including those entrusted to the care of HRP, English Heritage and other bodies, are subject to proper custodial and curatorial control, and that the Collections Management System is regularly and accurately maintained and updated. Overseeing the commercial activities of Royal Collection Enterprises Ltd, and ensuring the optimal return from all revenue-generating opportunities, as far as is compatible with the style and dignity of the Monarchy. Ensuring that conservation priorities across the Department are effectively managed . Ensuring that the good reputation of Royal Collection Trust is upheld and enhanced through: advocacy of best curatorial and conservation practice and expertise; 2 of 6 Candidate Brief Ref: Director Royal Collection Trust preparation and dissemination of knowledge about the Collection to the highest standards through publications and other media, and provision of as wide access to the Collection as possible for the general public and for scholars. Ensuring that the organisational structure, reporting lines and staffing levels are correct and that staff of the appropriate skill and experience are employed; motivating and managing staff to ensure that they give of their best and have appropriate training and career opportunities; ensuring that there is a good, co-ordinated teamwork and an effective working environment; overseeing all personnel matters including performance management and remuneration. Establishing with colleagues the Department’s primary operating objectives in the context of its strategic plan. This will include revenue-generating initiatives and priorities for the re-display of interiors, exhibitions, loans, publications and other capital projects. Guiding and advising the Surveyors and Librarian as to priorities and work programmes for themselves and their sections, and ensuring they achieve their objectives. Ensuring that appropriate reports and information are provided to the Trustees of the Royal Collection Trust in an efficient and timely manner, and generally fulfilling the responsibilities of Secretary to the Trust. Ensuring that all aspects of the Department’s operations, including Royal Collection Enterprises, are subject to proper financial control and procedures. These will include external and internal audit arrangements and oversight of general financial propriety. Overseeing and, when appropriate, co-ordinating the response to media enquiries about the Collection. Overseeing the output and direction of the Learning section. Chairing or attending the various departmental committees and ensuring that information and reports appropriate to each committee are provided in a timely fashion. Currently the nine members of the Management Board (to which the Board of Trustees has delegated responsibility for the day to day running of the Charity) are responsible for helping the Director (who at present is also Surveyor of Works of Art) fulfil the duties and objectives outlined below. They are: . The Surveyor of The Queen's Pictures . The Deputy Surveyor of The Queen's Works of Art . The Finance Director . The Retail Director . The Director of Communications and Business Development . The Visitor Experience Director . The Director of Content and Audiences . The Future Programme Director . The Head of HR 3 of 6 Candidate Brief Ref: Director Royal Collection Trust Director RCT Deputy Surveyor of Content & Visitor Experience Director of Surveyor of The Director, Future Head of HR Retail Director The Queens Finance Director Audience Director Communication Queens Pictures Programme Works of Art Royal Collection Trust Management Board EA to Director RCT Head of Development (BD and fund raising) Head of Collections Information Management In addition to the RCT Management Board direct reports, the Director also has an Executive Assistant, the Head of Development and the Head of Collections Information Management reporting into him/her. The Director is assisted in future planning by the Strategic Development Committee, established in 2008. This committee incorporates the members of the Management Board and the Directors of Royal Collection Enterprises (eight of the ten members of the RCT Management Board) plus two non- executive directors, and the Trustees of Royal Collection Trust, excluding the Chairman. It is currently chaired in a non-executive capacity by the Keeper of the Privy Purse, who provides the Director with assistance and guidance in respect of financial and commercial matters. On the retirement of the current post-holder in December 2017, one of the other Trustees (Mr Marc Bolland) will become the new Chair. Role Dimensions Number of Staff: 730 full time equivalents, including a large number of seasonal staff. Royal Collection Trust Group turnover: approx. £62M. Numbers of items on the Royal Collection Inventory: approximately 850,000 Decision
Load more

Recommended publications
  • Old Humphrey's Walks in London and Its Neighbourhood (1854)
    Victor i an 914.21 0L1o 1854 Joseph Earl and Genevieve Thornton Arlington Collection of 19th Century Americana Brigham Young University Library BRIGHAM YOUNG UNIVERSITY 3 1197 22902 8037 OLD HUMPHREY'S WALKS IN LONDON AND ITS NEIGHBOURHOOD. BY THE AUTHOR OP "OLD HUMPHREY'S OBSERVATIONS"—" ADDRESSES 1"- "THOUGHTS FOR THE THOUGHTFUL," ETC. Recall thy wandering eyes from distant lands, And gaze where London's goodly city stands. FIFTH EDITION. NEW YORK: ROBERT CARTER & BROTHERS, No. 28 5 BROADWAY. 1854. UOPB CONTENTS Pagt The Tower of London 14 Saint Paul's Cathedral 27 London, from the Cupola of St. Paul's .... 37 The Zoological Gardens 49 The National Gallery CO The Monument 71 The Panoramas of Jerusalem and Thebes .... 81 The Royal Adelaide Gallery, and the Polytechnic Institution 94 Westminster Abbey Ill The Museum at the India Hcfuse 121 The Colosseum 132 The Model of Palestine, or the Holy Land . 145 The Panoramas of Mont Blanc, Lima, and Lago Maggiore . 152 Exhibitions.—Miss Linwood's Needle-work—Dubourg's Me- chanical Theatre—Madame Tussaud's Wax-work—Model of St. Peter's at Rome 168 Shops, and Shop Windows * 177 The Parks 189 The British Museum 196 . IV CONTENTS. Chelsea College, and Greenwich Hospital • • . 205 The Diorama, and Cosmorama 213 The Docks 226 Sir John Soane's Museum 237 The Cemeteries of London 244 The Chinese Collection 263 The River Thames, th e Bridges, and the Thames Tunnel 2TO ; PREFACE. It is possible that in the present work I may, with some readers, run the risk of forfeiting a portion of that good opinion which has been so kindly and so liberally extended to me.
    [Show full text]
  • Contact Sheet
    CONTACT SHEET The personal passions and public causes of Prince Albert, husband of Queen Victoria, are revealed, as photographs, prints and letters are published online today to mark the 200th anniversary of his birth After Roger Fenton, Prince Albert, May 1854, 1889 copy of the original Queen Victoria commissioned a set of private family photographs to be taken by Roger Fenton at Buckingham Palace in May 1854, including a portrait of Albert gazing purposefully at the camera, his legs crossed, in front of a temporary backdrop that had been created. Queen Victoria and Prince Albert In a letter beginning ‘My dearest cousin’, written in June 1837, Albert congratulates Victoria on becoming Queen of England, wishing her reign to be long, happy and glorious. Royal Archives / © Her Majesty Queen Elizabeth II 2019 Queen Victoria kept volumes of reminiscences between 1840 and 1861. In these pages she describes how Prince Albert played with his young children, putting a napkin around their waist and swinging them backwards and forwards between his legs. The Queen also sketched the scenario (left) Royal Archives / © Her Majesty Queen Elizabeth II 2019 Press Office, Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T. +44 (0)20 7839 1377, [email protected], www.rct.uk After Franz Xaver Winterhalter, Bracelet with photographs of Queen Victoria and Prince Albert’s nine children, 1854–7 This bracelet was given to Queen Victoria by Prince Albert for her birthday on 24 May 1854. John Jabez Edwin Mayall, Frame with a photograph of Queen Victoria and Prince Albert, 1860 In John Jabez Edwin Mayall’s portrait of 1860, the Queen stands dutifully at her seated husband’s side, her head bowed.
    [Show full text]
  • Annual Report 2004/5 Corrected
    THE ROYAL COLLECTION 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 the crown and held in trust for her successors and for the nation) is subject to proper custodial control and that the works of art remain available to future generations; • the Royal Collection is maintained and conserved to the highest possible standards and that visitors can view the Collection in the best possible condition; • as much of the Royal Collection as possible can be seen by members of the public; • the Royal Collection is presented and interpreted so as to enhance public appreciation and understanding; • access to the Royal Collection is broadened and increased (subject to capacity constraints) to ensure that as many people as possible are able to view the Collection; • appropriate acquisitions are made when resources become available, to enhance the Collection and displays of exhibits for the public. When reviewing future activities, the Trustees ensure that these aims continue to be met and are in line with the Charity Commission’s General Guidance on public benefit. This report looks at the achievements of the previous 12 months and considers the success of each key activity and how it has helped enhance the benefit to the nation. FRONT COVER : Carl Haag (182 0–1915), Morning in the Highlands: the Royal Family ascending Lochnagar , 1853 (detail). A Christmas present from Prince Albert to Queen Victoria, the painting was included in the exhibition Victoria & Albert: Art & Love , at The Queen’s Gallery, Buckingham Palace, from March to December 2010.
    [Show full text]
  • Conserving Our Past for Tomorrow
    Historic Royal Places – Spines Format A5 Portrait Spine Width 25mm Spine Height 210mm HRP Text 14pt (Tracked at +40) Palace Text 21pt (Tracked at -10) Icon 15mm Wide (0.5pt/0.25pt) Conserving our past for tomorrow Collection care and conservation policy CONSERVATION& COLLECTIONS MANAGEMENT The collections are some of the palaces’ most significant assets... Contents Contents Purpose 4 Context 4 The Collection 6 Guiding principals 10 Standards 14 Collection care and conservation programme 16 Supporting others 20 Appendix 22 Acknowledgements 23 Version 1.1 Reviewed by: Executive Board – 17 June 2014 Approved: Board of Trustees – 23 July 2014 Review date: on or before July 2019 CONSERVATION & COLLECTIONS COLLECTIONS MANAGEMENT ...they are the physical embodiment of our stories 3 Purpose The purpose of this policy is to help us make the best decisions about how we care for, conserve and manage our precious collection. As a bridge between HRP’s overarching Cause and Principles and CCC’s operational guidelines and procedures, it guides everything we do. The collection consists of items owned by Historic Royal Palaces (HRP) along with items under the care of the Royal Collection Trust and in-situ at the HRP-managed palaces because we can show them in their original or early contexts. The Royal Armouries and many other lenders also own items. For simplicity, we use the term ‘the Collection’ to encompass them all, as conservation care covers all the objects in all the collections. CCC is an international leader in conservation practice and research, so the policy recognises our responsibility to share our discoveries.
    [Show full text]
  • Patron Events
    Historic Royal Places – Descriptors Small Use Width 74mm Wide and less Minimum width to be used 50mm Depth 16.5mm (TOL ) Others Various Icon 7mm Wide Dotted line for scaling Rules 0.25pt and minimum size establishment only. Does not print. autumn / winter 2017 December 19 Royal Collection Tour Help us reawaken Hampton Court Palace the dragons of Kew 6 Chief Executive 11.00 Christmas Drinks Join Royal Collection We are seeking supporters to help us to recreate one of Patron Events The Tower of London Club: Superintendent, Christopher the most stunning original features of the Great Pagoda: The Keys Stevens, in the stores at its flight of 80 dragons. 18.30 Hampton Court Palace as he prepares a number of key Our ambition is to recreate and like Chambers’ original vision for the Join new Chief Executive, pieces for the forthcoming reinstate the dragons in time for the Great Pagoda can be restored John Barnes, for his first Royal Academy of Arts reopening of the Great Pagoda in and maintained. Christmas drinks in the unique exhibition ‘Charles I: King 2018. Expert research has created an surroundings of the newly and Collector’. authentic design and the dragons will We invite you to support the refurbished Tower of London be manufactured using a combination production of one of these dragons Club: The Keys. Only accessible of traditional craftsmanship and the and help us to restore the Great to invited guests the club latest technology. Pagoda, a landmark in the capital boasts an array of Beefeater and one of the greatest examples of The eight dragons on the lowest level Chinese-inspired design anywhere memorabilia, including plaques We hope you enjoyed the last six representing the regiments from of the building will be hand carved by in the world.
    [Show full text]
  • Commercial in Confidence
    TERMS OF APPLICATION FOR LEARNING GROUP ADMISSIONS You may apply to The Royal Collection Trust ("us") for Learning Group Admissions to those parts of the Official Residences (defined below) open to the public subject to these Terms of Application and the Conditions of Admission to the Official Residences each as may be amended from time to time by us by posting the amended version on www.royalcollection.org.uk ("Conditions"). The Conditions were last updated on 04 December 2015. 1. Definitions In the Conditions the following words shall have the following meanings: "Admission" means a ticket or other entitlement issued by us allowing you to visit the specified Residence on the date (if any) and at the time (if any) stated on the ticket or other entitlement and which may be converted in certain circumstances (depending upon the type of entitlement) into a 1-Year Pass; "Agent" means a travel agent, tour operator or similar commercial person to whom the Conditions apply; "Conditions of means The Royal Collection Trust Conditions Admission to the of Admission to the Official Residences, as Official Residences" may be amended from time to time, the current version of which is available at www.royalcollection.org.uk; "Learning Group" means a group of people visiting the Residence for educational purposes and consisting of the number of people specified in the Admission or as varied pursuant to the Conditions; "Organiser" means the person (who is not an Agent) organising the Group's visit to the Residence and who makes the application for the Group’s Admissions; "the Official Residences" means the State Rooms and Garden at Buckingham Palace; the Royal Mews; The Queen's Gallery, Buckingham Palace; Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T.
    [Show full text]
  • 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.
    [Show full text]
  • FACT SHEET Frogmore House Frogmore House
    FACT SHEET Frogmore House Frogmore House is a private, unoccupied residence set in the grounds of the Home Park of Windsor Castle. It is frequently used by the royal family for entertaining. It was recently used as the reception venue for the wedding of The Queen’s eldest grandson, Peter Phillips, to Autumn Kelly, in May 2008. How history shaped Frogmore The estate in which Frogmore House now lies first came into royal ownership in the 16th century. The original Frogmore House was built between 1680 and 1684 for tenants Anne Aldworth and her husband Thomas May, almost certainly to the designs of his uncle, Hugh May who was Charles II’s architect at Windsor. From 1709 to 1738 Frogmore House was leased by the Duke of NorthumberlandNorthumberland, son of Charles II by the Duchess of Cleveland. The House then had a succession of occupants, including Edward Walpole, second son of the Prime Minister Sir Robert Walpole. In 1792 George III (r. 1760-1820) bought Frogmore House for his wife Queen CharlotteCharlotte, who used it for herself and her unmarried daughters as a country retreat. Although the house had been continuously occupied and was generally in good condition, a number of alterations were required to make it fit for the use of the royal family, and architect James Wyatt was appointed to the task. By May 1795, Wyatt had extended the second floor and added single- storey pavilions to the north and south of the garden front, linked by an open colonnade and in 1804 he enlarged the wings by adding a tall bow room and a low room beyond, to make a dining room and library at the south end and matching rooms at the north.
    [Show full text]
  • In and Around Buckingham Palace
    MY BABA’s In and Around BuckinghamBy Nanny Anita Palace There are so many wonderful things to do in St. James’s Directions: and Green Park that are not included in this trail, so feel free to use this a base in which This trail starts on Buckingham you can go off and explore the Palace Road by the Royal Mews surrounding area. and finishes at the other end of The Mall by Admiralty Arch. • Start at the Royal Mews located on Buckingham Palace Road; if you do go in for a visit then you will exit further along Buckingham Palace Road. Either way, continue down the road until you come to Buckingham Palace. • Head into St. James’s Park and follow The Mall down to Admiralty Arch. • Walking down The Mall there are St. James’s Palace and The Mall Galleries on your left. • Towards the end of the Mall, on the right, is The Household Cavalry Museum. If you are planning to be there in time to see the changing of the guards, be aware that it will become extremely busy and the whole process takes around 45 minutes. For more fun things to do visit the My Baba blog at www.mybaba.com or tweet your trail @ mybabatweets INFORMATION For Attractions ATTRACTION OPENING TIMES COST February, March, November Adult 8.75 Royal Mews 10am-4pm Under 17s 5.40 April-October Under 5s free 10am-5pm Open during the sum- Adult 19.75 mer only: check their Buckingham Under 17s 11.25 website for details. Palace Under 5s free Adults 3.00 Daily 10am-5pm Mall Galleries Under 18s free April-October Adults 7.00 10am-6pm Household Calvary Child 5.00 November-March Museum Under 5s free 10am-5pm N.B Security into these attractions is very tight and you will be subject to airport style checks.
    [Show full text]
  • National Gallery Exhibitions, 2010
    EXHIBITIONS AT THE NATIONAL GALLERY 2010 PRESS NOTICE MAJOR EXHIBITION PAINTING HISTORY: DELAROCHE AND LADY JANE GREY 24 February – 23 May 2010 Sainsbury Wing Admission charge Paul Delaroche was one of the most famous French painters of the early 19th century, with his work receiving wide international acclaim during his lifetime. Today Delaroche is little known in the UK – the aim of this exhibition is to return attention to a major painter who fell from favour soon after his death. Delaroche specialised in large historical tableaux, frequently of scenes from English history, characterised by close attention to fine detail and often of a tragic nature. Themes of imprisonment, execution and martyrdom Paul Delaroche, The Execution of Lady Jane Grey, 1833 © The National Gallery, London were of special interest to the French after the Revolution. The Execution of Lady Jane Grey (National Gallery, London), Delaroche’s depiction of the 1554 death of the 17-year-old who had been Queen of England for just nine days, created a sensation when first exhibited at the Paris Salon in 1834. Monumental in scale, poignant in subject matter and uncanny in its intense realism, it drew amazed crowds, as it still does today in London. This exhibition will, for the first time in the UK, trace Delaroche’s career and allow this iconic painting to be seen in the context of the works which made his reputation, such as Marie Antoinette before the Tribunal (1851, The Forbes Collection, New York). Together with preparatory and comparative prints and drawings for Lady Jane Grey on loan from collections across Europe, it will explore the artist’s notion of theatricality and his ability to capture the psychological moment of greatest intensity which culminated in Lady Jane Grey.
    [Show full text]
  • Report of the Royal Trustees on the Sovereign Grant Review 2016
    Sovereign Grant Act 2011: Report of the Royal Trustees on the Sovereign Grant Review 2016 November 2016 Sovereign Grant Act 2011: Report of the Royal Trustees on the Sovereign Grant Review 2016 Presented to Parliament pursuant to section 7(4) of the Sovereign Grant Act 2011 November 2016 This document is available in large print, audio and braille on request. Please call +44 (0)20 7270 5000 or email public. [email protected] © Crown copyright 2016 You may re-use this information (excluding logos) free of charge in any format or medium, under the terms of the Open Government Licence v.3.0. To view this licence visit www.nationalarchives.gov.uk/doc/open-government- licence/version/3/ or email [email protected] Where third party material has been identified, permission from the respective copyright holder must be sought. This publication is available at www.gov.uk/government/ publications Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-911375-36-4 PU1988 Printed on paper containing 75% recycled fibre content minimum Contents Page Chapter 1 Introduction 3 Chapter 2 Sovereign Grant Act 2011 5 Chapter 3 Sovereign Grant Review 2016 7 Chapter 4 Review of the financial management of the Sovereign Grant 9 2012-2016 Chapter 5 Expected costs for the next 5 year period 2016-2021 11 Chapter 6 Buckingham Palace reservicing 13 Chapter 7 Conclusions of the Sovereign Grant Review 19 Annex A Summary of Sovereign Grant income and expenditure 2012- 21 2016 1 1 Introduction 1.1 Since 1760, when George III agreed to surrender the net income of the Crown Estate to the Exchequer in return for a fixed annual payment, the government has provided financial support to the Sovereign.
    [Show full text]
  • Conservation of a 17Th-Century Painting Reveals a Previously
    PRESS RELEASE 6 October 2016 Conservation of a 17th-century painting reveals a previously hidden self-portrait of the artist [Type a quote from the document or [Typethe summary a quote of from an interestingthe document At first glance, a 17th-century Dutch painting in the point.or the You summary can position of an the interesting text Royal Collection of a group of inanimate objects appears boxpoint. anywhere You can in theposition document. the text to be a typical still life of the period. However, recent Usebox the anywhere Drawing inTools the document.tab to conservation work on A Vanitas by Pieter Gerritsz. van changeUse thethe Drawingformatting Tools of the tab pull to Roestraten (c.1630–1700) has uncovered a new element quotechange text the box.] formatting of the pull to the picture – the artist's self-portrait. quote text box.] The conservation treatment was undertaken in preparation for the first-ever exhibition of portraits of artists in the Royal Collection. A Vanitas (c.1666–1700) by Roestraten is one of 150 works that will go on display at The Queen's Gallery, Buckingham Palace next month in the exhibition Portrait of the Artist (from 4 November). The self-portrait of Pieter Gerritsz. van Roestraten in A Vanitas, A 'vanitas' painting was a type of still life that conveyed a c.1666–1700 message about the misguided pursuit of transient earthly pleasures and was particularly popular in the Netherlands during the 17th century. This example by Roestraten shows a number of objects displayed on a chest – coins and a silver pocket-watch on a silk ribbon suggest the coveting of worldly possessions, a glass sphere suspended from above signifies the fragility of life, while a human skull serves as a reminder of the inevitability of death.
    [Show full text]