DOCSLIB.ORG

Annual Review 2015-16

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Review 2015-16 Royal Pavilion & Museums Foundation Annual Review 2015-16 Royal Pavilion & Museums and Royal Pavilion & Museums Foundation, Brighton & Hove 1 Director’s review Chair’s review The 2015/16 Annual Review which this year Arts Council England for their continued world-class cultural destination for heritage, The Royal Pavilion & Museums Foundation materials for the Learning team and continue combines the Royal Pavilion & Museums funding and support, which makes possible culture and the performing arts in the heart has had a very good year. We believe, with the restoration of the Saloon. The Royal and the Royal Pavilion & Museums our vibrant programme of activities. of the city. like you I’m sure, that museums are for Pavilion & I hope you will continue to support us so Foundation, highlights some of the many everyone and if if we can create positive Museums continue At the start of this year, we were delighted to I hope that you will enjoy reading about some that together we can continue to delight and achievements that have been made first experiences for our younger visitors, to play a major learn that Brighton Dome & Brighton Festival of the highlights of the past year, and thank inspire all our visitors and provide a very possible over the past year by members we can nurture a life-long long love of part in attracting had been awarded nearly £5million from you all for your support. memorable experience. and patrons of the Royal Pavilion & museums. Our 2015 annual appeal, which the 10 million plus the Heritage Lottery Fund towards Brighton Museums Foundation, our many partners, so many of you generously supported, Thank you all. visitors that come & Hove City Council, the Royal Pavilion & collaborators and funders. raised funds to inspire our children. to the city each year, Museums, and Brighton Dome & Brighton contributing millions of pounds to We would like to thank you all for working Festival’s joint vision to revitalise the Royal The Learning team here at the Royal Pavilion our economy, as well as providing Brighton with us to realise such a wealth of diverse Pavilion Estate. & Museums, gives children the opportunity & Hove residents, schools and colleges and exciting projects, ranging from the to take part in a wide range of learning This award makes possible the with a unique source of education in their opening of a brand-new, hands-on space, experiences and to participate in hands-on refurbishment of the Corn Exchange and home city.” Museum Lab, in Brighton Museum & Art sessions. Whether handling artefacts or Studio Theatre – the Prince Regent’s former Gallery, to exhibitions as varied as Exotic taking inspiration from the collections and Councillor Alan Robins stables and riding schools. It is the first Creatures in the Royal Pavilion and Wildlife Janita Bagshawe painting their own masterpiece, the work Chair of the Economic Development phase of the ambitious redevelopment Photographer of the Year at Brighton Museum Director of the Royal Pavilion the team delivers is a vital part of our future, Professor Julian Crampton CBE DL and Culture Committee, project, which will reconnect and revitalise & Art Gallery. These events and activities and Head of Museums, Brighton & Hove engaging our supporters of tomorrow. Chair of the Board of Trustees of the Brighton & Hove City Council the historic buildings and gardens as one. across the museum sites have continued to Royal Pavilion & Museums Foundation Breath-taking and previously hidden heritage I would like to take this opportunity to bring alive the city’s wonderful collections spaces will be restored for public viewing, welcome David Burgess to the team as the and the heritage buildings in which they are and new interpretation and an activity new Head of Development. I’m sure many of housed. plan for the Estate will reveal inspirational you will welcome him personally at one of the On behalf of everyone at the Royal Pavilion & stories, unfolding layers of history. We look events we hold over the year. Museums, I would particularly like to thank forward over the coming years to creating a As ever, your support is essential. It is with your help that we have been able to provide 2 3 I have been A hands-on experience fascinated by the variety of people Museum Lab opened in the Spring as a new Open days, drop-in sessions and special Museum Lab is also used by staff and who come to see interactive space at Brighton Museum & Art events give the public and partners volunteers for the on-going digital the skeletons and Gallery, in the site of the Victorian reference opportunities to work alongside museum documentation of over a million artefacts learn how we find library. The aim of this innovative space is staff to investigate, conserve and document in the museums’ collections. This is an things out from them. to provide new opportunities for visitors, objects from the Royal Pavilion & Museums’ essential part of the Royal Pavilion & School children love the schools and community groups to engage rich and wide-ranging collections. Museums’ work to care for and manage its experience, often seeing a real skeleton more closely with collections from across collections as part of its Accredited status, for the first time. We too are benefitting We have welcomed over 1000 people to the Royal Pavilion & Museums’ five sites. awarded by Arts Council England, and an from seeing how much new data we are monthly Discovery Days since since Museum The current emphasis is on archaeology important part of providing public access to able to discover using proven research Lab opened in February 2016. They provide and the nationally-designated Natural the collection. methods. Brighton & Hove Archaeological the chance for the public to meet museum Sciences collections, amongst a wide range Society bring in other objects that visitors staff as well as getting really close to of collections material. can handle, as well as carrying out post- museum collections. excavation work in the space, documenting tools, pottery and bones in front of visitors. Museum Lab It is fantastic to give people the opportunity to see this kind of work going on, providing a complete experience for anyone interested in archaeology and in museums. Museum Lab is a truly innovative space, something that I have not seen anywhere else during my research.” Dawn Cansfield, a PhD archaeology researcher who is working with the museums’ collection, the Royal Pavilion & Museums and University College London. 4 Dawn Cansfield in Museum Lab 5 I am extremely proud of the An enterprising scheme Lead partner support to regional museums that We’ve found an innovative way to share The Royal Pavilion & Museums’ The South East Museums Development SEMDP has been the many and diverse skills of staff at team was vital and instrumental Programme partnership (SEMDP) is a able to provide in the the Royal Pavilion & Museums with in securing our Heritage Lottery Fund bid, consortium of Hampshire Cultural Trust, last year. We welcomed organisations needing specialist support. without which the project simply couldn’t Oxfordshire County Museums Service, 236 delegates to our training Be it providing advice to Kew Gardens about happen. Their experience was critical – Chatham Historic Dockyard Trust and the sessions and supported 87 museums to the dragon restoration of the Great Pagoda they had experience we just didn’t have Royal Pavilion & Museums, with us as the improve the care and management of or formulating a fundraising strategy for and which fast-tracked our skill base. leading partner. With a strong training their collections; 160 museums received other museums, this scheme is a very We aspire to be like the Royal Pavilion & programme and commitment to sharing advice and guidance in business planning rewarding way of sharing the immense Museums, more than an operational railway skills and advice, it helps museums to and strategy, and a further 126 museums expertise of the people who work here. but providing for a wide audience including achieve the highest standards and to reach were supported to improve their visitor In return for sharing our knowledge we and inspire more people than ever. experience. It is only with the ongoing learning for schools and they are helping Volk’s Electric Railway generate much needed income which helps us make this possible. It feels right too, that support of the Royal Pavilion & Museums secure our future. the fees we pay are reinvested back into as lead partner that we are able to achieve In 2015/16 the fundraising team shared heritage and back into Brighton for us all to such impact. benefit from.” their experience with the Russell-Cotes Art We are fortunate to be able to draw on the Gallery & Museum in Bournemouth and Toni Manuel, Project Manager Royal Pavilion & Museums’ team members also with Poole Museum, helping both to for Volk’s Electric Railway who are always willing and able to share develop their fundraising plans and provide their knowledge and expertise. This mentoring to their fundraising teams. leadership role is particularly pertinent In addition, the team worked with Volk’s in terms of digital support, learning Electric Railway and continues to support and education advice and diversity and them on their major redevelopment project. workforce development.” Sarah Corn, Programme Leader, South East Museum Development Programme Russell-Cotes Art Gallery & Museum 6 7 Recreating the Saloon Saloon carpet is one of Axminster developments Carpet’s most Over the complicated and in- years George The circular Saloon is one of the oldest depth projects. IV reinterpreted the parts of the Royal Pavilion, yet it was the The original carpet was Saloon using different last room to be decorated for George IV.
Load more

Recommended publications
  • Bargain Booze Limited Wine Rack Limited Conviviality Retail
    www.pwc.co.uk In accordance with Paragraph 49 of Schedule B1 of the Insolvency Act 1986 and Rule 3.35 of the Insolvency (England and Wales) Rules 2016 Bargain Booze Limited High Court of Justice Business and Property Courts of England and Wales Date 13 April 2018 Insolvency & Companies List (ChD) CR-2018-002928 Anticipated to be delivered on 16 April 2018 Wine Rack Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002930 Conviviality Retail Logistics Limited High Court of Justice Business and Property Courts of England and Wales Insolvency & Companies List (ChD) CR-2018-002929 (All in administration) Joint administrators’ proposals for achieving the purpose of administration Contents Abbreviations and definitions 1 Why we’ve prepared this document 3 At a glance 4 Brief history of the Companies and why they’re in administration 5 What we’ve done so far and what’s next if our proposals are approved 10 Estimated financial position 15 Statutory and other information 16 Appendix A: Recent Group history 19 Appendix B: Pre-administration costs 20 Appendix C: Copy of the Joint Administrators’ report to creditors on the pre- packaged sale of assets 22 Appendix D: Estimated financial position including creditors’ details 23 Appendix E: Proof of debt 75 Joint Administrators’ proposals for achieving the purpose of administration Joint Administrators’ proposals for achieving the purpose of administration Abbreviations and definitions The following table shows the abbreviations
    [Show full text]
  • The Industrial Revolution: 18-19Th C
    The Industrial Revolution: 18-19th c. Displaced from their farms by technological developments, the industrial laborers - many of them women and children – suffered miserable living and working conditions. Romanticism: late 18th c. - mid. 19th c. During the Industrial Revolution an intellectual and artistic hostility towards the new industrialization developed. This was known as the Romantic movement. The movement stressed the importance of nature in art and language, in contrast to machines and factories. • Interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote and the mysterious. CASPAR DAVID FRIEDRICH Abbey in the Oak Forest, 1810. The English Landscape Garden Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England William Kent. Chiswick House Garden. 1724-9 The architectural set- pieces, each in a Picturesque location, include a Temple of Apollo, a Temple of Flora, a Pantheon, and a Palladian bridge. André Le Nôtre. The gardens of Versailles. 1661-1785 Henry Flitcroft and Henry Hoare. The Park at Stourhead. 1743-1765. Wiltshire, England CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Gothic Revival Architectural movement most commonly associated with Romanticism. It drew its inspiration from medieval architecture and competed with the Neoclassical revival TURNER, The Chancel and Crossing of Tintern Abbey. 1794. Horace Walpole by Joshua Reynolds, 1756 Horace Walpole (1717-97), English politician, writer, architectural innovator and collector. In 1747 he bought a small villa that he transformed into a pseudo-Gothic showplace called Strawberry Hill; it was the inspiration for the Gothic Revival in English domestic architecture.
    [Show full text]
  • Museum of Economic Botany, Kew. Specimens Distributed 1901 - 1990
    Museum of Economic Botany, Kew. Specimens distributed 1901 - 1990 Page 1 - https://biodiversitylibrary.org/page/57407494 15 July 1901 Dr T Johnson FLS, Science and Art Museum, Dublin Two cases containing the following:- Ackd 20.7.01 1. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 2. Wood of Chloroxylon swietenia, Godaveri (2 pieces) Paris Exibition 1900 3. Wood of Melia indica, Anantapur, Paris Exhibition 1900 4. Wood of Anogeissus acuminata, Ganjam, Paris Exhibition 1900 5. Wood of Xylia dolabriformis, Godaveri, Paris Exhibition 1900 6. Wood of Pterocarpus Marsupium, Kistna, Paris Exhibition 1900 7. Wood of Lagerstremia parviflora, Godaveri, Paris Exhibition 1900 8. Wood of Anogeissus latifolia , Godaveri, Paris Exhibition 1900 9. Wood of Gyrocarpus jacquini, Kistna, Paris Exhibition 1900 10. Wood of Acrocarpus fraxinifolium, Nilgiris, Paris Exhibition 1900 11. Wood of Ulmus integrifolia, Nilgiris, Paris Exhibition 1900 12. Wood of Phyllanthus emblica, Assam, Paris Exhibition 1900 13. Wood of Adina cordifolia, Godaveri, Paris Exhibition 1900 14. Wood of Melia indica, Anantapur, Paris Exhibition 1900 15. Wood of Cedrela toona, Nilgiris, Paris Exhibition 1900 16. Wood of Premna bengalensis, Assam, Paris Exhibition 1900 17. Wood of Artocarpus chaplasha, Assam, Paris Exhibition 1900 18. Wood of Artocarpus integrifolia, Nilgiris, Paris Exhibition 1900 19. Wood of Ulmus wallichiana, N. India, Paris Exhibition 1900 20. Wood of Diospyros kurzii , India, Paris Exhibition 1900 21. Wood of Hardwickia binata, Kistna, Paris Exhibition 1900 22. Flowers of Heterotheca inuloides, Mexico, Paris Exhibition 1900 23. Leaves of Datura Stramonium, Paris Exhibition 1900 24. Plant of Mentha viridis, Paris Exhibition 1900 25. Plant of Monsonia ovata, S.
    [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]
  • A Summer of British Festivals Featuring 3 Performances at the the Proms, 2 Operas at Glyndebourne and Shakespeare at Stratford and the Globe
    Australian Freephone: 1800 132 385 New Zealand Freephone: 0800 132 385 Email: [email protected] A Summer of British Festivals Featuring 3 performances at the The Proms, 2 operas at Glyndebourne and Shakespeare at Stratford and The Globe As Summer comes to England, our minds turn towards glorious Summer Festivals. The wonderful series of BBC Proms at the Royal Albert Hall, a night out at the opera at Glyndebourne and, in the 450th anniversary year of Shakespeare’s birth, to the Summer performances of the bard at the RSC in Stratford and at the Globe in London. Our 14 night program combines these inspiring events into a summer symphony of culture and allows you to sit back and relax while enjoying some stunning performances of drama and music. However, our musical and dramatic pursuits do not prevent us from enjoying some of the best scenery England has to offer. Naturally, while in London, we enjoy a tour of the National Gallery with a specialist guide, we visit splendid Kew Palace and Gardens, enjoy a day out on the Thames at Windsor and Eton, visit Hampton Court Itinerary at a Glance and take advantage of the special Summer opening of Buckingham Site / Number of Nights Palace. We stay at Brighton, close to Glyndebourne, to visit the London - 4, Royal Pavilion and nearby Sissinghurst Gardens, as well as the Brighton - 3, quaint towns and villages of Kent and East Sussex, such as Stratford – 3, Tenterden and Rye. While in Stratford, not only do we visit the town of the Bard but also immerse ourselves in the history of London – 4.
    [Show full text]
  • Transcription of 3D Royal Pavilion Estate Commentary [PDF]
    Transcription of 3D and VR Pavilion Estate curatorial commentary Written and voiced by Alexandra Loske URL: http://brightonmuseums.org.uk/3DPavilion/ Royal Pavilion The Royal Pavilion was created between 1785 and 1823 by George, Prince of Wales who would later become Prince Regent and eventually King George IV. George first visited Brighton as a young man aged 21 in 1763 and soon after decided to make the seaside town his playground away from London. He rented a house on the site of the present Pavilion and in 1786 hired the architect Henry Holland to build him a ‘pavilion by the sea’. This first building on this site was a two-storey, symmetrical structure in a neo- classical style. It was elegant and sophisticated, but by no means exotic in appearance. George made alterations and changes to his pleasure palace throughout his life, gradually creating the outlandish and exuberant palace we see today -- although he never called it a palace. He mostly used it for lavish banquets and to stage great balls and concerts, and often spent several months at a time here. The greatest change to the exterior was made between 1815 and 1823, when the famous architect John Nash was hired to transform the neo-classical building into an oriental fantasy. The exterior we can see here was inspired by Indian architecture, with added Gothic elements. Nash added two large state rooms to the Pavilion on the north and south end, with tent-shaped roofs. The onion-shaped domes and ornamental features in the centre of the building were built around and on top of the existing building, using cast iron on a large scale.
    [Show full text]
  • Narrator: from Brighton, on the English South Coast, These Are the Voices of the Royal Pavilion & Museums, with Dr
    Narrator: From Brighton, on the English South Coast, these are the voices of the Royal Pavilion & Museums, with Dr. Sophie Frost. Sophie: Hello! I'm Sophie, and I've spent the past 9 months wandering the corridors of the Royal Pavilion & Museums in Brighton & Hove - otherwise known as RPM - uncovering the stories of the museum people who keep Brighton's historic buildings and collections relevant, vibrant, and accessible for the world we're living in. Sophie: In this episode I'm joined by Marcus Bagshaw, Sue Winkett, Clare Hartfield, and Zak Flannery, who all work in the Visitor Services team at Royal Pavilion & Museums, Brighton and Hove. As we discovered last time, schemes such as the Workforce Development programme provoked a family feel across the workforce at RPM. In what follows, we'll see how the enthusiasm and expertise of different frontline staff provides a collective energy that keeps RPM's objects, buildings, and collections, alive for its visitors. Marcus: My name is Marcus Bagshaw and I'm what they call a Visitor Services Officer - basically front-of-house. The role is all-encompassing - it's not just the one thing - we get involved in many different elements of customer service. And, I think one of the main reasons we are there, is to embellish the customer experience - provide just that little bit more information that they might not get, ordinarily. So, that means that we do get into some very interesting conversations, long and short. And, of course, working in a place like the Royal Pavilion - visitors are never short of questions.
    [Show full text]
  • Royal Collection Trust Exhibitions and Displays 2020
    CONTACT SHEET Royal Collection Trust Exhibitions and Displays 2020 The Queen’s Gallery, Buckingham Palace George IV: Art & Spectacle Japan: Courts and Culture 15 November 2019 – 3 May 2020 12 June – 8 November 2020 Sir Thomas Lawrence, Iwai Yozaemon, George IV, 1821 Armour (dōmaru), c.1610 Masterpieces from Buckingham Palace 4 December 2020 – September 2021 Pieter de Hooch, Card Players in a sunlit Room, 1658 The Queen’s Gallery, Palace of Holyroodhouse Leonardo da Vinci: A Life in Drawing Eastern Encounters: Four Centuries of Paintings and Manuscripts from the Indian 22 November 2019 – 15 March 2020 Subcontinent 3 April – 13 September 2020 Attributed to Francesco Painting from the Melzi, Leonardo da Vinci, Padshahnama manuscript 1515–18 (‘Book of Emperors’), 1656–7 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 The Queen’s Gallery, Palace of Holyroodhouse George IV: Art & Spectacle 16 October 2020 – 5 April 2021 Sir David Wilkie, George IV, 1829 Windsor Castle Christmas at Windsor Castle 29 November 2019 – 5 January 2020 The Christmas tree in St George’s Hall, Windsor Castle Palace of Holyroodhouse Christmas at the Palace of Holyroodhouse George Washington Wilson: Queen Victoria’s 6 December 2019 – 6 January 2020 Photographer in Scotland 17 July – 4 October 2020 George Washington Wilson, Queen Victoria on ‘Fyvie’ with John Brown, Balmoral, 20 October 1863 Christmas display in the Throne Room, Palace of Holyroodhouse Press Office, Royal Collection Trust,
    [Show full text]
  • 702231 MODERN ARCHITECTURE a Nash and the Regency
    702231 MODERN ARCHITECTURE A Nash and the Regency the Regency 1811-1830 insanity of George III rule of the Prince Regent 1811-20 rule of George IV (former Prince Regent) 1820-1830 the Regency style lack of theoretical structure cavalier attitude to classical authority abstraction of masses and volumes shallow decoration and elegant colours exterior stucco and light ironwork decoration eclectic use of Greek Revival and Gothick elements Georgian house in Harley Street, London: interior view. MUAS10,521 PROTO-REGENCY CHARACTERISTICS abstract shapes shallow plaster decoration light colouration Osterley Park, Middlesex (1577) remodelled by 20 Portman Square, London, the Adam Brothers, 1761-80: the Etruscan Room. by Robert Adam, 1775-7: the music room MUAS 2,550 MUAS 2,238 ‘Etruscan’ decoration by the Adam brothers Syon House, Middlesex, remodelled by Robert Portland Place, London, Adam from 1762: door of the drawing room by the Adam brothers from 1773: detail MUAS 10,579 MUAS 24,511 shallow pilasters the Empire Style in France Bed for Mme M, and Armchair with Swan vases, both from Percier & Fontaine, Receuil de Décorations (1801) Regency drawing room, from Thomas Hope, Household Furniture and Decoration (1807) Regency vernacular with pilastration Sandford Park Hotel, Bath Road, Cheltenham Miles Lewis Regency vernacular with blind arches and Greek fret pilasters Oriel Place, Bath Road, Cheltenham photos Miles Lewis Regency vernacular with balconies No 24, The Front, Brighton; two views in Bayswater Road, London MUAS 8,397, 8,220, 8,222 'Verandah' [balcony], from J B Papworth, Rural Residences, Consisting of a Series of Designs for Cottages, Decorated Cottages, Small Villas, and other Ornamental Buildings ..
    [Show full text]
  • 2020 ANNUAL FALL BENEFIT LECTURE Sunday, October 25 Via Zoom
    2020 ANNUAL FALL BENEFIT LECTURE Sunday, October 25 via Zoom Welcome and Introduction by Beth Carver Wees President, American Friends of Attingham ‘Such matchless beauty as renders words inadequate’: The Restoration of the Saloon at the Royal Pavilion, Brighton and a Royal Loan of Unparalleled Magnificence David Beevers, Keeper of the Royal Pavilion, Brighton Annabel Westman, Executive Director of the Attingham Trust and textile historian Special thanks to The Royal Pavilion, Brighton; Louis Grant, videographer and to Her Majesty the Queen for permission to film the Royal Loans We gratefully acknowledge the 2020 Annual Fall Benefit Lecture Sponsors Thomas Appelquist & Charles Newman Edward Lee Cave Sheila ffolliott & Shepard Krech III Steven W. Spandle Beth Carver Wees & Dustin Wees Anonymous William T. Hobbs II Cynthia Bronson Altman E. Randolph Hooks Betsy Shack Barbanell Thomas Jayne Margaret Civetta Anne Kenny-Urban Karina Corrigan David Maxfield Nancy deWaart George McNeely Heather Ewing Mary M. Meyer Barbara File David Parsons Amy Freitag Stewart G. Rosenblum Kathryn Calley Galitz Sean Sawyer Michele Beiny Harkins E. Clothier Tepper Fenella and Morrie Heckscher Thanks to the following for contributing to this event: Felicia Fund Merrily Glosband Linda Pasley Mary Riley Smith Presenters David Beevers FSA has been Keeper of the Royal Pavilion, Brighton, since 2007. Before that he was Keeper of Fine Art and Keeper of Preston Manor, also at Brighton. Whilst curator at Tredegar House, Newport, South Wales, he was awarded a Leverhulme scholarship to attend the 1978 Attingham Summer School, a memorable year whose alumni included the late and much missed Giles Waterfield. In 1998 he attended Royal Collection Studies and in 2002, 2009, 2015 and 2017 participated in the Attingham Study Programme.
    [Show full text]
  • An Introduction to Regency Chitectu
    ’ Desi ns f THE N M N L M L W O RKER S D IR EC TO RY Cottin ham 1 824 g rom O R A E TA ETA by L . N . g , AN INTR O D U CTIO N TO R E GE N CY C H I TE C TU PA U L R EI LLY P E L L E G R I N I C U D A H Y N EW Y O R K Pr inted in Great Br itain by S H E N VA L PR E SS LTD and p ublis hed in the U S A . by I N I A Y I N C PE LL E G R C U D H , PREFACE THIS SHORT ES SAY does not pretend to be more than an elementary survey of Regency architecture . Its purpose is to draw attention , by of l way generalization rather than close examination , to the high ights of a brief but beautiful period of English building . I hope that the lay reader will learn enough from the text and the plates to value this fast-vanishin g beauty and to protest energetically when he sees an example of Regency architecture threatened with destruction . of c t I must , course , a knowledge my deb to Mr John Summerson for his Geor ian London his of John Nash g (Pleiades Books) and life , Ar chitec t to Kin Geor e I V U g g (George Allen and nwin Ltd) , both of i re- wh ch I read before starting this present essay .
    [Show full text]
  • Annual Report 2018−2019
    ROYAL COLLECTION TRUST ANNUAL REPORT REPORT COLLECTION TRUST ANNUAL ROYAL 2018−2019 www.rct.uk ANNUAL REPORT 2018−2019 ROYA L COLLECTION TRUST ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2019 www.rct.uk AIMS OF THE ROYAL COLLECTION TRUST CONTENTS In fulfilling The Trust’s objectives, the Trustees’ aims are to ensure that: ~ the Royal Collection (being the works of art ~ the Royal Collection is presented and CHAIRMAN’S FOREWORD 5 held by The Queen in right of the Crown interpreted so as to enhance public DIRECTOR’S INTRODUCTION 7 and held in trust for her successors and for the appreciation and understanding; nation) is subject to proper custodial control PRESENTATION AND PARTICIPATION 9 and that the works of art remain available ~ access to the Royal Collection is broadened Visiting the Palaces 9 to future generations; and increased (subject to capacity constraints) ~ Buckingham Palace 9 to ensure that as many people as possible are ~ The Royal Mews 11 ~ the Royal Collection is maintained and able to view the Collection; ~ Windsor Castle 12 conserved to the highest possible standards ~ Clarence House 12 and that visitors can view the Collection ~ appropriate acquisitions are made when ~ Palace of Holyroodhouse 16 in the best possible condition; resources become available, to enhance Exhibitions 21 the Collection and displays of exhibits Historic Royal Palaces & Loans 33 ~ as much of the Royal Collection as possible for the public. INTERPRETATION 37 can be seen by members of the public; Learning 37 Publishing 39 When reviewing future plans, the Trustees ensure that these aims continue to be met and are CARE OF THE COLLECTION 43 in line with the Charity Commission’s general guidance on public benefit.
    [Show full text]