Background Information for Commonwealth Media on the Prince of Wales and the Duchess of Cornwall April 2018
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Download Travels on My Elephant Free Ebook
TRAVELS ON MY ELEPHANT DOWNLOAD FREE BOOK Mark Shand | 206 pages | 28 Feb 2013 | Eland Publishing Ltd | 9781906011697 | English | London, United Kingdom Mark Shand Blessed by priests and entertained by princes, they shuffled happily through towns and villages: Tara sucking up rice and bananas from roadside stands and Shand scattering rupees in compensation. They have a great dread of the grunting of pigs and they delight in rivers. Edith Marguerite Harrington William Keppel, 7th Earl of Albemarle. Written with Travels on My Elephant humour in a very readable style. Ten minutes later a distinguished, well-built man, sporting a full moustache and wearing Rayban sunglasses, loped into the garden. InShand married Clio Goldsmitha French former actress, daughter of Edward Goldsmith and niece of Sir James Goldsmith[9] who were all members of the prominent Goldsmith family. Tara and Mark Shand took me Travels on My Elephant a different land and a different life style but were the same human characters can be found - but maybe not always for Travels on My Elephant best. Shand is the most engaging adventurer I have come across. However, the book itself moves fast its just pages and goes from one mini-adventure to the next in just a short paragraph. Thanks for telling us about the problem. For a small fee. This unique fleet of elephant infused Tuk Tuks charmed Londoners over that summer appearing at parades, events, shops and hotels right across the capital. Weaving Water By Ajeet Cour. Want to Read Currently Reading Read. How long will you be staying? Paperbackpages. I now had a complete journey more or less mapped out, but still no vehicle. -
THE PRINCE of WALES and the DUCHESS of CORNWALL Background Information for Media
THE PRINCE OF WALES AND THE DUCHESS OF CORNWALL Background Information for Media May 2019 Contents Biography .......................................................................................................................................... 3 Seventy Facts for Seventy Years ...................................................................................................... 4 Charities and Patronages ................................................................................................................. 7 Military Affiliations .......................................................................................................................... 8 The Duchess of Cornwall ............................................................................................................ 10 Biography ........................................................................................................................................ 10 Charities and Patronages ............................................................................................................... 10 Military Affiliations ........................................................................................................................ 13 A speech by HRH The Prince of Wales at the "Our Planet" premiere, Natural History Museum, London ...................................................................................................................................... 14 Address by HRH The Prince of Wales at a service to celebrate the contribution -
Young-Art-Catalogue-2016 06-1.Pdf
A DIFFERENT VIEWPOINT Tuesday 26 April – Friday 29 April Royal College of Art YOUNG ART 2016 Every child is an artist. The problem is how to remain ONCE A STAIRCASE. an artist once he grows up. NOW A STROLL —Pablo Picasso THROUGH HISTORY. As your home becomes more important, CONTENTS so does your insurer. A Year to Remember 2 A Different Viewpoint 3 About Young Art 4 Welcome 5 Thank You 7 Behind the Microscope 8 Dr Tessa Kasia A Word from the Rector 11 Dr Paul Thompson Young Art in Schools 14 Sir Christopher Frayling 16 Meet the Judges 18 A Day in the Life of a Framer 39 Silent Auction 40 Quiz 42 Acknowledgments 62 Catalogue compiled and edited by Maria Howard Home Insurance with contributions from Kate Dilnott-Cooper and India Jaques. Design by Clover Stevens. hiscox.co.uk Artwork photography by Charlie Milligan Cover by Nick Goodwin 1 Hiscox Underwriting Ltd is authorised and regulated by the Financial Conduct Authority. 15740 04/16 YOUNG ART 2016 A YEAR TO REMEMBER Last year we celebrated the 25th anniversary of the first Young Art exhibition by raising £89,200 for Cancer Research UK. With a record number of 8,300 entries submitted and 760 on display at the Royal College of A DIFFERENT VIEWPOINT Art, it was an exceptional showcase of children’s art. Tuesday 26 April – Friday 29 April Royal College of Art Everyone at YA would like to say an Kensington Gore, London SW7 2EU enormous thank you to all the people who made it happen – exhibitors, teachers, schools, parents, judges – Featuring works donated by leading contemporary artists and all our supporters who gave so and Royal Academicians, supporting Cancer Research UK generously to such an important cause. -
FLAGS of the ROYALS Following the Untimely Death of Prince’S Arms Impaled with the Ing Three Shells Or
Published by the New England Vexillological Association Oct. Nº6 1997 FLAGS of the ROYALS Following the untimely death of Prince’s arms impaled with the ing three shells Or. The Spencer Lady Diana, Princess of Wales on Spencer arms, quarterly Argent and arms formed a quartering of Sir Win- August 30, 1997, a number of Gules, in the 2nd and 3rd quarters ston Churchill’s standard since his vexillological questions were directed a fret Or, over all a bend Sable bear- mother was a Spencer. to the editor of this journal. At first, Queen Elizabeth, the Queen the questions revolved around the Mother also flies an impaled stan- flag that covered the casket when dard. Since she was the wife of a Lady Diana’s body was returned to King and is the mother of a Queen, England and, later, during the fu- she impales the Royal Standard with neral. Shortly after that, other ques- the arms of her family, Bowes-Lyon. tions regarding the flags of some of These arms, of a type known as the other members of the British “canting” arms since the names of Royal Family were raised. As a re- the emblems are the same as those sult, your editor began researching of the family, are quarterly in the 1st these flags and presents his findings and 4th, Argent a lion rampant herein. Azure armed Gules within a double The flag that covered Diana’s cof- tressure fleury-counter-fleury of the fin was that of “the other members second; in the 2nd and 3rd quar- of the Royal Family.” This flag is used ters, Ermine, three bows stringed by those members of the family that Proper. -
Duchy of Cornwall Rental Properties
Duchy Of Cornwall Rental Properties Ungrassed Filmore electrifies mutely or set-up gramophonically when Ugo is blame. Alan is interpleural: she casserole pleasantly and jigsawed her photocells. Remotest and nativist Tony hypnotising so sorrowfully that Romain jawboning his clock. Duchy of Cornwall Creating opportunities for new entrants. It is feudal and I suspect many of those who work for it would say so if they felt able. Savills, one of the leading commercial property agents globally. Start a search then tap the heart to save properties to this Trip Board. Norfolk estate when they can. The Prince has long been concerned by the quality of both the natural and built environments in which we live. Properties are NOT individually inspected by us. Eden Project for a superb day out with the children. The houses, though objectionable in construction, are not in such a condition as to enable the Local Authorities to obtain a closing order. Prince Charles and the Duchess of Cornwall oversaw a sensitive redecoration of the property, hiring their favourite interior designer Robert Kime for the job, but they were careful to retain its distinctive character. There may be opportunity to expand the holding in the future. There was definitely a ghost. Duchy Field Brochure FINAL. Where does the royal family get their money? In accordance with the Stipulations, the Duchy of Cornwall reserves an absolute prerogative in considering these matters. Most property is tenanted out, particularly farmland, while the forest land and holiday cottages are managed directly by the Duchy. Have you seen these posts? Polperro is perfect to explore on foot as many of its streets are narrow. -
Duchy of Cornwall Map #224.3 the Duchy Of
Duchy of Cornwall Map #224.3 The Duchy of Cornwall map (ca. 1286) belongs to a series of Anglo-French early medieval mappae mundi that include the Munich Isidorian T-O map (1130, #205), the Psalter map (ca. 1262, #223), the Ebstorf map (ca. 1300, #224), the Hereford map (ca. 1300, #226), the Ramsey Abbey Higden map (ca. 1350, #232), the Aslake map (ca. 1360). The following description is excerpted from Dan Terkla’s “The Duchy of Cornwall Map Fragment (c. 1286)” in his A Critical Companion to English Mappae Mundi of the Twelfth and Thirteenth Centuries (2019), the latest critique of this often referenced medieval mappa mundi. 1 Duchy of Cornwall Map #224.3 According to Terkla the Duchy of Cornwall map is misleadingly named: in its current state it is neither a complete map, nor does it have any cartographical relation to the southwestern English county of Cornwall. The fragment is so labeled because it belongs to the Duchy of Cornwall, which was created as the first English duchy in 1337, when Edward III (1312-77) granted the title and what was then the earldom of Cornwall to his son, Edward of Woodstock (1330-76), the Black Prince. More precisely, then, the map belongs to the duke of Cornwall. Since 1337, the title has been held by the monarch's eldest son; the current duke is HRH The Prince of Wales - Prince Charles. Terkla states that the surviving Duchy fragment illustrates the talents of its maker (or makers), in the clarity and confidence of its fine Gothic textualis quadrata book script and in what we might call “the personalities of its fauna and 'monstrous peoples.” The fragment's attributes point to an artist familiar with monumental mappa mundi design, a knowledge of source texts, a scribe or scribes from a sophisticated urban scriptorium and an ambitious patron of high standing with an eye for spectacle and desire for self aggrandizement. -
Christopher Le Brun CV
Sir Christopher Mark Le Brun Lives and works in London, UK 1974–75 MFA, Chelsea School of Art, London, UK 1970–74 DFA, Slade School of Fine Art, London, UK 1951 Born in Portsmouth, UK Selected Solo Exhibitions 2021 ‘Christopher Le Brun: A Sense of Sight, Abstract Works, 1974-2020’, Red Brick Art Museum, Beijing 2020 ‘Figure and Play’, Albertz Benda, New York, USA 2019 ‘Diptychs’, Lisson Gallery, Shanghai, China 2018 ‘Composer’, Southampton City Art Gallery, Southampton, UK ‘New Painting’, Lisson Gallery, London, UK ‘Dualities’, Wolfson College, Cambridge, UK 2017 ‘Now Turn the Page’, Arndt, Berlin, Germany ‘Composer’, Albertz Benda, New York, USA ‘Composer’, The Gallery at Windsor, Vero Beach, USA 2016 ‘New Paintings’, Arndt, Singapore 2015 ‘Colour’, Colnaghi, London, UK 2014 ‘New Paintings’, Friedman Benda, New York, USA 2011 ‘Five Symbolic Images: Bronze and Plaster Sculptures by Christopher Le Brun’, One Canada Square, London, UK ‘Watercolours’, Abbott & Holder, London, UK ‘Recent Work’, Galleri J. Aasen, Ålesund, Norway 2010 ‘Twenty Drawings’, Abbott & Holder, London, UK ‘The Distance: New Painting and Sculpture’, New Art Centre, Wiltshire, UK ‘Dream, Think, Speak: Christopher Le Brun’, Thomas Deans Gallery, Atlanta, USA 2009 ‘Landscapes’, Hohenthal und Bergen, Berlin, Germany 2008 ‘Christopher Le Brun’, The New Art Gallery, Walsall, UK ‘Fifty Etchings 2005’, Fitzwilliam Museum, Cambridge, UK 2005 ‘Lichfield Arts Festival’, Lichfield Cathedral, Lichfield, UK ‘Drawings’, Hilsboro Fine Art, Dublin, Ireland 2004 ‘The Given: Paintings and Watercolours 2000-2004’, Marlborough Chelsea, New York, USA 2003 ‘Venice Pictures’, Galleria Sotoportego, Venice, Italy ‘Venice Pictures’, Marlborough Graphics, London, UK ‘The Motif is Painting Itself’, Galerie Fortlaan 17, Ghent, Belgium 2002 ‘Christopher Le Brun’, Galleri Christian Dam, Copenhagen, Denmark 2001 ‘Works on Paper’, University Gallery, University of Northumbria, Newcastle, UK; Galleri J. -
I Some General Points Section I
-- SOME QUERIES ON HISTORICAL DETAIL A Report on World Without End a novel by Ken Follett, first draft Commissioned from Geoffrey Hindley for 31 I 07 I 06 Submitted by email attachment 01 I 08 I 06 The Report has rwo sections I Some general points II Points of detail noted by page numbered references Section I : Some general points: -A] ·dukes' etc Ken, a North Walian friend tells me that the sons of Cymru refer among themselves to our lot as Saes6n nevertheless, to the best of my knowledge there never was an archbishop of Monmouth p. 505, (though there was an archbishop of Lichfield in the late 700s!). I suppose the archbishop can be granted on the grounds of poetic licence but a duke of Monmouth (e.g. p. 34 7) does have me a little worried as a medievalist and not by the anachronistic pre-echo of the title of Charles II's bastard. On a simple fact of historical accuracy, I should point out that whereas the title was known on the continent - duke ofNormandy, duke of Saxony, duke of Brittany etc - up to 1337 the title of' 'duke' was unknown among English aristocratic nomenclature. The first award was to Edward III's eldest son (the Black Prince) as 'duke' of Cornwall (hitherto the duchy had been an earldom). The second ducal title was to Henry Grosmont elevated as 'Duke of Lancaster' in 1361. He too was of royal blood being in the direct male descent from Henry III's son Edmund Crouchback. His father the second earl of course lost his head after his defeat at the battle of Boroughbridge. -
Duchy of Cornwall Bill [Hl] Explanatory Notes
DUCHY OF CORNWALL BILL [HL] EXPLANATORY NOTES What these notes do These Explanatory Notes relate to the Duchy of Cornwall Bill [HL] as introduced in the House of Lords on 10 June 2015 (HLBill 43). These Explanatory Notes have been prepared by Lord Berkeley in order to assist the reader of the Bill and to help inform debate on it. They do not form part of the Bill and have not been endorsed by Parliament. These Explanatory Notes explain what each part of the Bill will mean in practice; provide background information on the development of policy; and provide additional information on how the Bill will affect existing legislation in this area. These Explanatory Notes might best be read alongside the Bill. They are not, and are not intended to be, a comprehensive description of the Bill. So where a provision of the Bill does not seem to require any explanation or comment, the Notes simply say in relation to it that the provision is self‐explanatory. HLBill 43–EN BACKGROUND 3 The purposes of this Bill are to amend the provisions with regard to the inheritance of the Duchy of Cornwall, and to remove the presumption of Crown Immunity as it applies to the Duchy of Cornwall. It also removes a number of exemptions and immunities under various Acts of Parliament currently applicable to the Duchy of Cornwall. 4 In addition the Bill provides that certain rights and obligations applicable to the Duchy of Cornwall within Cornwall and the Isles of Scilly will henceforth vest in the Crown and thus place Cornwall and the Isles of Scilly in the same position as the rest of England and Wales. -
Annual Report 2017−2018
ROYAL COLLECTION TRUST ANNUAL REPORT REPORT COLLECTION TRUST ANNUAL ROYAL 2017−2018 www.royalcollection.org.uk ANNUAL REPORT 2017−2018 ROYA L COLLECTION TRUST ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2018 www.royalcollection.org.uk 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 ~ the Royal Collection is presented and held by The Queen in right of the Crown interpreted so as to enhance public and held in trust for her successors and for the appreciation and understanding; nation) is subject to proper custodial control and that the works of art remain available ~ access to the Royal Collection is broadened to future generations; and increased (subject to capacity constraints) to ensure that as many people as possible are ~ the Royal Collection is maintained and able to view the Collection; conserved to the highest possible standards and that visitors can view the Collection ~ appropriate acquisitions are made when in the best possible condition; resources become available, to enhance the Collection and displays of exhibits ~ as much of the Royal Collection as possible for the public. can be seen by members of the public; When reviewing future plans, 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. -
UNIVERSITY of LONDON THESIS This Thesis Comes Within Category D
REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree pKb Year 2.ool Name of Author COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962 - 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. -
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.