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ANNUAL REPORT 2011–2012

Front Cover: Sir John Godsalve (c.1532–4) by Hans Holbein the Younger, executed in chalk and ink on pale pink paper,and included in the exhibition The Northern Renaissance: Dürer to Holbein, shown at The Queen’s Gallery,

Palace of Holyroodhouse, 17 June 2011 to 15 January 2012.

Back Cover: Endurance, included in the exhibition The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography.The ship that Sir Ernest Shackleton used for his 1914–15 Antarctic expedition became bound in the ice

of the Weddell Sea and sank in November 1915. Frank Hurley, who took this photograph on a moonlit nightin June 1915, described the scene in his autobiography: ‘never did the ship look quite so beautiful as when the

bright moonlight etched her in inky silhouette, or transformed her into a vessel from fairy-land’. The picture was later usedon the front cover of South, Shackleton’s account of the expedition, published in 1919.

Frontispiece: Jan Gossaert’s Adam and Eve (c.1520), from the exhibition The Northern Renaissance: Dürer to Holbein.

AIMS OF THE ROYAL COLLECT ION 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 crownand 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 standardsand 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 appreciationand understanding;

• access to the Royal Collection is broadened and increased (subject to capacityconstraints) to ensure that as many people as possible are able to view the Collection;

• appropriate acquisitions are made when resources become available, to enhancethe 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.

R O Y A L C O L L E C T I O NT R U S T

Annual Reportfor the year ended 31 March 2012

www.royalcollection.org.uk

Company limited by guarantee, registered number 2713536Registered Charity number 1016972Scottish Charity number SC 039772

Chairman

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

�••�

Deputy Chairman

The Earl Peel, GCVO

�••�

Trustees

The Duke of Buccleuch and Queensberry, KBE, DL

Mr Duncan Robinson, CBE, DL, FSA (to 14 March 2012)

Mr Peter Troughton

The Rt Hon. Sir Christopher Geidt, KCVO, OBE

Sir Alan Reid, KCVO

Dame Rosalind Savill, DBE, FSA, FBA (from 14 March 2012)

�••�

Director of the Royal Collection

Jonathan Marsden, LVO, FSA

T R U S T E E S O FT H E R O Y A L C O L L E C T I O N T R U S T

Chairman’s Foreword 5

Report of the Director of the Royal Collection 7

Custodial Control 11

Conservation 11Paintings 11Decorative Arts 12Works on Paper 15Preventive Conservation 16

Access and Presentation 17Exhibitions 17Visiting the Palaces 24

Buckingham Palace 24Windsor Castle 26Palace of Holyroodhouse 28

Historic Royal Palaces 29Loans 30

Interpretation 36Learning 36Workshops and Courses 37Lectures by Staff 39Publishing 41New Media 44Royal Collection Trust in the Media 46

Acquisitions 47

Trading Activities 48Retail 48Picture Library 49

Financial Overview 50

Summarised Financial Statements 52

Staff 55External Appointments 55Staff Numbers 56Staff Training and Development 56

Staff List 59

C O N T E N T S

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• 135,000 works of art online

• 3,000 conservation treatments

• 2.6 million visitors

• 12 exhibitions at eight UK venues

• 177 works lent to 45 exhibitions at 31 locations in the UKand 11 other countries

• Two major series on BBC One and BBC Radio 4

A N N U A L R E P O R T 2 0 1 2 7

R E P O R T O F T H E D I R E C T O RO F T H E R O Y A L C O L L E C T I O N

Jonathan Marsden

The year under review has been marked by excellent results in many areas. The variety and quality of

the Royal Collection, combined with the ingenuity and commitment of our staff in every discipline,

have resulted in some of the most highly acclaimed exhibitions of the year, consistently high visitor

numbers and many productive new ventures, whether in the fields of technology and new media or

through partnerships with museums, schools and the media. Perhaps the most significant of these

achievements, and certainly the most demanding, has been the launch in March 2012 of an entirely new

website. Our first online resource, the e-Gallery, was launched at the time of the Golden Jubilee, in 2002.

It eventually presented 8,000 works of art and was widely praised. The Collection Online now contains

details of 135,000 objects and offers numerous different avenues by which visitors can prepare for a visit

to one of the palaces or galleries, learn more about the history of the Collection or the monarchy, and

make purchases in the online shop.

The marriage of The Duke and Duchess of Cambridge in April 2011 provided the best possible start

to the year. The early success of the special commemorative range of china from the time of its launch the

previous December was repeated during the summer, when unprecedented numbers came to see

The Duchess’s wedding dress, as the centrepiece of a special display celebrating the role of British design and

designers in this most memorable event. The enthusiasm and efficiency with which this display was mounted

could be found throughout the organisation, whether among the team responsible for taking bookings over the

internet or telephone, the press and marketing teams who produced a first-rate publicity campaign in next to

P.-P. Thomire’s splendid Apollo Clock(1800–1810) was one of the highlightsof the exhibition Treasures: Mythology andRegency, shown at The Queen’s Gallery,Buckingham Palace, between 15 Apriland 9 October 2011. Originally purchasedby the Prince Regent for display in CarltonHouse, the clock depicts the sun godracing through the heavens, the mechanismand the dial being wittily housed in thechariot’s wheel.

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no time, or the Summer Opening team of

mostly temporary staff. This achievement was

all the more impressive for the fact that the

display was in addition to the exhibition Royal

Fabergé, which had been in preparation for

nearly a year.

Further details of these projects are found

elsewhere in this report. Meanwhile, the

exhibition The Northern Renaissance: Dürer to

Holbein, which opened in June 2011 at the Palace

of Holyroodhouse, was praised as one of the

most beautiful in recent years. Alongside some of the famous stars of the Collection, in particular by Dürer

and Holbein, were numerous outstanding but less well-known works, by artists as varied as Hugo van der Goes,

Urs Graf, and (in the context of the French Renaissance) Benvenuto Cellini and Leonardo da Vinci. This

exhibition will be seen in London at the end of 2012.

The final showing of The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography (previously

seen in Edinburgh and Christchurch, New Zealand) took place at The Queen’s Gallery, Buckingham Palace,

coinciding with the climax of the centenary commemoration of the Terra Nova expedition. Resulting

attendance figures were good and the exhibition, at turns revelatory, sublimely beautiful and very moving in

its effect, attracted large numbers of people who had not previously been to the Gallery.

A major study undertaken at Windsor Castle throughout the year concluded with a theoretical plan for

improvements to the circulation, environment, facilities and provision of information, as well as catering.

These recommendations resulted from a total of 75 consultations undertaken throughout the year by the

architectural design firm, Feilden Clegg Bradley Studios. During the coming year, work will continue on the

development of this scheme, with the aim of completing the design stages by the end of the year.

The Management Board and 24 senior managers have taken part in the preparation of our Three-Year

Plan for 2012–15. This began with a review of progress against the Plan for 2011–14, and in particular the four

Paramount Objectives that appeared in last year’s report.

The first of these objectives, a focus on curatorial expertise, has borne fruit in several ways. A Curatorial

Forum, convened by Desmond Shawe-Taylor, now meets regularly to share research interests and expertise,

often linked to current and future exhibitions. The work of preparing records for online publication has

involved the entire curatorial team. Although mechanical in some of its aspects, this enormous task has helped

develop collective knowledge of the Collection and the important skills involved in describing and explaining

concisely the significance of individual works. Meanwhile, collaborative research seminars, such as those

detailed below concerning the role of Italians in the artistic life of the Tudor court, the attribution and dating

of The Embarkation of Henry VIII, and the depiction of costume in early modern portraiture, have also proved

very fruitful. As a means of promoting such collaborations and encouraging wider scholarly interest in the

St George’s Hall, Windsor Castle. The quality of theexperience of 1 million annual visitors is the focus ofthe Master Plan by Feilden Clegg Bradley Studios,completed in 2011.

A N N U A L R E P O R T 2 0 1 2 9

Royal Collection, early morning private views are now held regularly in The Queen’s Galleries for curators,

scholars and other professionals from museums and arts and heritage organisations. The newly formalised

internship programme and some notable achievements in postgraduate study are reported on pages 56–7.

The opportunity to display The Duchess of Cambridge’s wedding dress during the Summer Opening of

Buckingham Palace was undoubtedly very helpful in pursuit of two more of our strategic objectives. The online

shop, launched in April 2011, has transformed our ability to develop our income without relying solely on

visitors to the palaces or galleries. Royal Wedding and Diamond Jubilee merchandise accounted for around

75 per cent of online sales, building on an already strong performance in respect of the wedding range from

the end of 2010. In similar vein, the Retail Director continues to seek new partnerships and potential licensing

agreements on the model of the Designers Guild Royal Collection, which has continued to produce significant

income. As a further step towards a more diverse range of income streams, a review of our fund-raising

activities was commissioned from specialist consultants. For many years, financial support from individuals or

businesses has been essential for the publication of our scholarly catalogues to the appropriate standard.

Trustees have now endorsed a proposal to extend the qualification for external support to other areas, such as

Learning and digital programmes. During 2012 a plan will be developed, based on the consultants’ findings, to

grow this component of our income.

Last year saw an increase of around 100,000 in the number of UK-based visitors, a significant step towards

the third of last year’s strategic objectives, to raise levels of awareness of the Royal Collection among UK

citizens. There are also clear signs that the programme of regional exhibitions, with a strong events programme

promoted by the host museums, has been effective in this direction. A further step will be the implementation

of a geographical search tool for the website, allowing users to identify works with connections to their locality,

or which are either permanently or temporarily located there.

The high levels of visitors and excellent trading results have meant that the fourth main objective in last

year’s Plan has also been substantially met. The Financial Statements on pages 50–54 demonstrate that Royal

Collection Trust has, for the first time since its incorporation in 1993, begun to establish reserves. Resilient

charities are defined as having reserves equal to six months’ operating expenditure, and although this target

remains distant, Trustees have also decided to designate the sum of £7.5 million towards future works at

Windsor Castle (see page 27).

The next Three-Year Plan, for 2012–15, has set six strategic priorities. First of all, The Queen’s Diamond

Jubilee offers an exceptional opportunity for attracting further interest in the Royal Collection, especially

within the UK. Our activities will include a display of diamond jewellery and other works of art for the

Summer Opening of Buckingham Palace, several Jubilee publications and a further 14 exhibitions in London,

Edinburgh, Leeds, Bristol, Bournemouth, Dundee and Hull.

Second, enhancement of the new website, building on its successful launch in March 2012, will add

further functionality to encourage users not only to explore, but to share what they find and to contribute their

own insights. A third priority is the establishment of a new group name, Royal Collection Trust, giving greater

prominence to the ways in which visitors and customers contribute to the Trust’s charitable activities. Royal

Collection Trust incorporates the charity, The Royal Collection Trust, and its trading company, Royal

Collection Enterprises Ltd. The development of far-reaching projects at Windsor Castle and Holyroodhouse,

aimed at enriching the experience of a visit and investing in more modern facilities, will constitute a fourth,

substantial body of work in the coming year. Meanwhile, the aim of establishing free reserves for Royal

Collection Trust will be served by further work on seeking new sources of income from a greater diversity of

1 0 A N N U A L R E P O R T 2 0 1 2

sources. Finally, the development of our exceptionally committed and skilful staff will be given further

emphasis, ensuring that everyone has what they need to work to their full potential.

The Trustees met three times during the period under review. Duncan Robinson retired in March 2012 at

the end of his second three-year term. His blend of experience as an art historian, museum director and Master

of Magdalene College, Cambridge, has been invaluable both to the Board of Trustees and in the work of the

Strategic Development Committee. His successor, Dame Rosalind Savill, recently retired as Director of the

Wallace Collection in London after an outstanding career as a curator and scholar in the field of French

decorative arts, especially Sèvres porcelain. Her many distinctions demonstrate a lifelong commitment to

explaining and interpreting art in museums and historic settings, one of the central aims of The Royal

Collection Trust. Dame Rosalind has also joined the Strategic Development Committee, alongside Peter

Troughton and the three non-executive directors of Royal Collection Enterprises Ltd, Fiona Sale, Tom Jenkins

and Edward Griffiths. Mr Troughton has taken on the role of chairman of the Steering Group for the Windsor

Castle Master Plan, on which Tom Jenkins and Sir Neil Cossons have also served. Mr Troughton has continued

to chair the Audit Committee, on which Nigel Turnbull has continued to serve. The Management Board and

staff remain most appreciative of the expert guidance and support that is so vital to our work and so willingly

given by all of those named.

The planning of future publications is undertaken by a committee composed of curatorial and other staff,

our distributors Thames & Hudson, and two external members with valuable experience in the field. For more

than 20 years, from the earliest beginnings of the Trust’s publishing activities, including the establishment of

Royal Collection Publications as an independent imprint, we have had the benefit of constant encouragement

and advice from David Campbell, publisher of Everyman’s Library and Chairman of Scala Publishers. Following

his retirement from the Committee in 2011, it is appropriate to record here the appreciation of staff and other

partners in our publishing work. We are very fortunate that Jonathan Drori, CBE, a former Head of Digital

and Learning Channels in BBC Education, and former Head of Commissioning for BBC Online, has agreed to

join the Committee at a time when traditional print publishing is coming to terms with the new possibilities of

the digital world. Continuing thanks are also due to Mary Butler, formerly Head of Publications at the Victoria

and Albert Museum, who has given most willingly of her time and advice to the Committee for some years.

The work of preparing the Three-Year Plan 2012–15 has resulted in the agreement of some fundamental

statements about the organisation. These include a definition of our Mission, which is based closely on the

wording of the charitable aims of The Royal Collection Trust:

We support The Queen for the benefit of the Nation by ensuring that the Royal Collection

is cared for and presented to the highest standards, and is as visible as possible. We generate

revenues to fund our charitable work. Through research and creative excellence we act as

guides to the Palaces and Collection, promoting enjoyment and understanding by the

broadest possible audience.

The report that follows is divided into sections which cover each of the charitable aims, expressed in these

terms. It is under these headings that Trustees measure the year’s results, with reference to the guidelines on

public benefit prepared by the Charity Commission and the Office of the Scottish Charity Regulator.

The financial information is confined to a summary for the purposes of this report. Full financial statements

are available online (www.royalcollection.org.uk) or from the Registered Office, York House, St James’s Palace,

London SW1A 1BQ.

A N N U A L R E P O R T 2 0 1 2 1 1

C U S T O D I A L C O N T R O LEnsuring that the Royal Collection is subject to proper custodial control

A dedicated Collections Information team of 12 is employed to maintain, update and enhance the content of

the Collections Management System (CMS), adding new records and images and refining and editing data.

This year, 22,000 new records were written and added to the database, bringing the total to 746,000 records.

In addition, more than 35,000 images were uploaded to the system, bringing this total to 218,000. Priority is

now being given to incorporating conservation records previously maintained on separate databases, and to

the accurate assignment of condition rankings in order to inform the prioritisation of conservation treatments.

As part of the current cycle of inventory checks, scheduled to be completed by the end of 2013, on-site

checks were made of parts of Buckingham Palace, the Royal Library at Windsor Castle, Sandringham House

and the California Gardens Store at Windsor Castle. The CMS now has 174 users across the organisation and,

increasingly, in other Departments of the Royal Household, enabling local staff to update movements and

other information in a more timely manner. The CMS underpins many areas of activity, and this year the team

was heavily committed to the preparation of data for the Collection Online, which is fed directly from

the CMS. This is a never-ending as well as a vital task, and one in which curatorial and conservation staff are

also constantly involved.

C O N S E R V A T I O NEnsuring that the Collection is maintained and conservedto the highest possible standards

PA INT INGS

The preparation of paintings for exhibitions continues to be the dominant activity. For the new installation

at Kensington Palace, Victoria Revealed, 40 paintings and 13 miniatures received attention. Of these, five

paintings required full conservation treatment, while the remainder received preparatory work. Seventeen

frames required conservation work, which was shared between internal and external studios and overseen by

the Senior Gilding Conservator. All the remaining frames were prepared for loan by the Framing and

Exhibitions Conservator and Technician.

For the King’s Gallery at Kensington Palace, designed for George I in the 1720s by William Kent for the

display of some of the greatest paintings in the Collection, work was completed on Tintoretto’s The Muses

(1578). The removal of darkened varnish and overpaint has allowed the virtuoso brushwork to be appreciated

fully, and the numerous pentimenti, previously suppressed by the overpaint, reveal the evolution

of the composition. The painting will be displayed in the King’s Gallery for the first time in 200 years when it

returns to Kensington at the end of 2012. Five other works were conserved for display elsewhere in the State

Apartments at Kensington.

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Paintings fully conserved for The Northern Renaissance exhibition include Hans Holbein’s Thomas Howard,

Third Duke of Norfolk (c.1538–9), involving the removal of nearly a century of yellowed varnish and overpaint

from the striking green background, and Eleanor of Austria (c.1531–4) by Joos van Cleve, whose delicate and

freehand underdrawing was examined and recorded with infra-red reflectography, using the latest technology

from the British Museum. Jan Mertens’ large oak panel of The Calling of St Matthew (c.1530s) was transformed

by the removal of discoloured varnish and extensive overpaint and, along with eight other panels, was

displayed in a reproduction frame constructed from Baltic oak to a period design and surface finish by the

Conservation framing team. The cleaning and painstaking removal of overpaint from the entire background

and foreground of Holbein’s portrait of Hans of Antwerp (after 1532) has revealed a painting of high quality.

Details of a hitherto unrecorded key lying on the desk were uncovered, and the removal of overpaint from the

seal and letter has provided new and vital clues to the sitter’s identity. This remarkable portrait will be

included in the London showing of The Northern Renaissance: Dürer to Holbein exhibition in November 2012.

DECORAT IVE ARTS

A total of 540 works of art – including furniture, ceramics, clocks, metalwork, arms, armour and picture frames

– were conserved in the Royal Collection workshops and the two horological workshops. Many of these

required a variety of treatments: for example, the large musical automaton clock by John Smith of Pittenweem,

presented to the Duke of York and Lady Elizabeth Bowes Lyon on the occasion of their marriage in 1923, required

work to the paintwork of the dial and automaton figures, the gilding of the case and the mechanical movement.

The Muses (1578) by Jacopo Tintoretto. Cleaning has revealed subtle alterations (pentimenti)made by the artist that throw light on the evolution and construction of this epic composition.

A N N U A L R E P O R T 2 0 1 2 1 3

Right: Horological staff assemble the musicalautomaton clock made by John Smith ofPittenweem (1770–1816) and presented to the Dukeand Duchess of York (later King George VI andQueen Elizabeth The Queen Mother) upon theirmarriage in 1923.

Right: The Calling of St Matthew(c.1530s), by Jan Mertens.The crisp brushwork of thissuperbly detailed painting hasbeen revealed through theremoval of varnish and overpaintin preparation for the Londonshowing of The NorthernRenaissance: Dürer to Holbein,in November 2012, when thepainting will be shown in aBaltic oak frame of period designmade specially for the exhibition(below).

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Furniture conservation work included a late eighteenth-century French lacquer commode by Joseph

Baumhauer, from the King’s Drawing Room at Windsor Castle, and its two corner cabinets. Concurrent

treatment of two late nineteenth-century replicas of the corner cabinets, by the London firm of Johnstone and

Norman, revealed that the most prominent of the gilt-bronze mounts of Joseph’s original cabinets had been

exchanged for new copies, while the eighteenth-century mounts had been employed on the Victorian cabinets.

This exchange has now been reversed. An English rosewood breakfront cabinet, decorated with elaborate

engraved brass inlay, was fully conserved as part of a research project on a little-known group of cabinets

probably ordered for Queen Charlotte. In the gilding workshop, 17 picture frames were treated. Giltwood

furniture projects included two early eighteenth-century carved and gilded tables and two chairs from a set

made for the Prince of Wales at Carlton House, probably by François Hervé. A further 183 pieces of furniture

were treated in the Master of the Household’s ‘C’ Branch workshops at Windsor Castle.

Conservation of arms, armour and metals included work on the seventeenth-century cannon from the

covered stairs of the Round Tower, Windsor Castle, the study and treatment of sporting guns at Windsor

formerly belonging to Prince Albert and George IV, and the cleaning and conservation of pieces of Fabergé for

the Buckingham Palace Summer Opening exhibition. Several suits of armour on the Grand Staircase and

at high level in St George’s Hall at Windsor were examined in detail for the forthcoming catalogue raisonné.

Work also continued in connection with the catalogue of Chinese and Japanese works of art, including the

cleaning and repair of some 330 ceramic items in readiness for photography.

Major external projects included the treatment of 16 cannon from the parapet of the Round Tower and

two from the East Terrace, and the conservation of 265 pieces of copper from the Great Kitchen, all at

Windsor. Work began on the first of two French eighteenth-century tapestries from the Gobelins Amours des

The original gilt-bronze mounts on this pair of encoignures or corner cupboards of c.1770, made by the French cabinet-maker Joseph Baumhauer,were found on a pair of English late nineteenth-century mahogany versions. Following conservation of both pairs of corner cupboards, the originalmounts have now been restored to the correct cabinets.

Dieux series from the Ministers’ Staircase at Buckingham Palace. Conservation progressed at the Palace of

Holyroodhouse on a Flemish seventeenth-century tapestry, The Lion Hunt, as well as on the seventeenth-

century crewel-work hangings from Mary, Queen of Scots’ Bedchamber.

WORKS ON PAPER

Works on paper in the Royal Collection include manuscripts, documents, maps and books, as well as fans,

prints and photographs, and drawings, pastels, prints and watercolours. In total, 2,154 items were treated by

the staff of the Paper Conservation Studio, assisted by a number of volunteers for book refurbishment, and a

further 127 volumes were re-bound by specialist contractors.

The year’s most challenging task was the conservation of John James Audubon’s magnificent Birds of

America series (1827–38), published in four volumes and containing 435 plates. Because Audubon chose

to depict his subjects – including the pelican and flamingo – at life-size, the plates were printed on

double-elephant paper (approximately 100 × 67 cm), one of the largest sizes of handmade paper ever

produced. The project entailed many adaptations of usual working methods and the invention of new

methods, as the books were taken apart, cleaned, repaired and reinstated with a new flexible sewing structure

to reduce the risk of future damage to the plates. Cleaning and conservation work on Volume II was completed

in time for its display at Buckingham Palace for the President of the United States in May 2011.

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A volume of J.J. Audubon’s Birds of America being prepared for display at Buckingham Palaceduring the State Visit of the President of the United States in May 2011.

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Another exceptionally large work, Albrecht Dürer’s huge woodcut The Great Triumphal Cart (1522),

consisting of eight conjoined sheets, required conservation, mounting and framing for The Northern

Renaissance exhibition. More than two metres in length, this posthumous tribute to the Holy Roman Emperor

Maximilian I proved to be a highlight of the exhibition. Another challenge, because of the inherent delicacy

of the medium, was the conservation of the charming pastel self-portrait by Rosalba Carriera, prepared for the

Treasures from The Queen’s Palaces exhibition at The Queen’s Gallery, Edinburgh.

PREVENT IVE CONSERVAT ION

The funding of a new member of the Master of the Household’s Department, the Collections Care Steward,

has brought a fresh focus to the development of professional craft skills in housekeeping and object handling,

and to the regulation of the environment in the official residences. The Master’s staff routinely work alongside

Royal Collection conservators, and it is intended that a comparable approach will eventually be extended to

all of the principal residences.

Albrecht Dürer’s woodcut of the triumphal procession of the Emperor Maximilian I, published in 1522, was one of the biggest prints of its dayand needed careful mounting for display in The Northern Renaissance: Dürer to Holbein at The Queen’s Gallery, Edinburgh.

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A C C E S S A N D P R E S E N T A T I O N… through research and creative excellence we act as guides to the Palaces andCollection, ensuring that they are presented and interpreted to the highest standardto promote enjoyment and understanding by the broadest possible audience …

EXHIB IT IONS

A total of 12 exhibitions took place at The Queen’s Galleries, the Drawings Gallery at Windsor and in five

other locations around the country during the year under review. The contribution of exhibitions towards the

Trust’s aims can be felt in numerous areas: they are a means of highlighting particular aspects of the Collection

and offer a framework for programmes of events, and they provide a significant focus for the development of

research and curatorial expertise. This year’s programme, presenting old master paintings, prints and drawings

of the Northern schools, the earliest portrait photographs and photographs of the Antarctic, combined with

celebratory displays to mark royal anniversaries, was sufficiently varied in its range to attract interest from

many different quarters. Attendance at The Queen’s Galleries was consequently high, and increasing numbers

are taking advantage of the 1-Year Pass to return repeatedly to the same exhibition or its successors.

Exhibitions outside the royal palaces, such as those held this year in Bowness-on-Windermere, Barnard Castle,

Exeter and Birmingham, continue to be highly effective means of extending access to the Royal Collection

within the United Kingdom.

Prince Philip:Celebrating Ninety Years141 exhibits, including books, photographs,

documents, paintings, drawings

and watercolours

Drawings Gallery, Windsor Castle

12 February 2011 – 22 January 2012

The many hundreds of thousands of visitors to this

exhibition of photographs, memorabilia, paintings

and personal possessions illustrating the life of

HRH The Duke of Edinburgh included those

attending the special Thanksgiving Service and

Reception held at Windsor Castle in June 2011.

The display – curated by Jane Roberts and Rhian

Wong – reflected Prince Philip’s many interests,

from polo and carriage driving to painting and

design, and his extensive work as patron or

president of some 800 organisations, including the

Worldwide Fund for Nature and The Duke of

Edinburgh’s Award Scheme.

HRH The Duke of Edinburgh (1986) by David Poole, paintedwhile the artist was President of the Royal Society of Portrait Painters(1983–91) and given (with two other portraits of Prince Philip) bythe President and Members of the Society to The Queen on hersixtieth birthday in 1986.

Dutch Landscapes42 paintings

The Queen’s Gallery, Buckingham Palace

15 April – 9 October 2011

(137,450 visitors, in conjunction

with Treasures; see below)

The Bowes Museum, Barnard Castle,

County Durham

12 November 2011 – 11 March 2012

(18,283 visitors)

This selection of Dutch landscape paintings,

made by Desmond Shawe-Taylor and Jennifer

Scott and previously shown at The Queen’s

Gallery, Edinburgh, brought together 42 paint-

ings by artists of the calibre of Aelbert Cuyp,

Nicolaes Berchem, Jacob van Ruisdael and Meyndert Hobbema. The exhibition explored the ways in which

these leading artists of the Dutch Golden Age celebrated the growth and prosperity of the newly formed Dutch

Republic, independent since 1648 after a bitter war with its former Spanish rulers. At the same time, they were

responding to the changing landscapes of the northern Netherlands that resulted from large-scale land

reclamation projects, finding moral, political and spiritual meanings in the human ingenuity that transformed

marshland and sandy wastes into productive land.

A didactic display of 16 Dutch seventeenth-century drawings in the Millar Learning Room, and an

innovative online feature on linear perspective, allowed visitors to explore some of the compositional

techniques used by the artists featured in the exhibition.

From London, the exhibition moved on to the Bowes Museum, Barnard Castle, where it was enhanced by

a selection of prints and drawings by the Dutch painter Karel du Jardin, from the Bowes Museum’s own

collection, that had never before been on public display.

Treasures: Mythology and Regency240 exhibits, including paintings, miniatures, prints and drawings,

books, furniture, arms and armour and decorative art


15 April – 9 October 2011

(137,450 visitors)

While Dutch Landscapes was showing in the Chambers Gallery, the remaining spaces in The Queen’s Gallery

were devoted to an extensive selection of works of all kinds arranged in two sections. Although following

earlier such displays in presenting a broad overview of the Royal Collection, these installations broke new

ground in focusing on specific themes. In the Pennethorne Gallery and its two cabinet rooms, the inspiration

that European artists drew from Greek and Roman myths was explored by combining versions of the same story

in different media from different times. Claude’s Coast scene with the Rape of Europa (1667) could thus be

compared with a mid-eighteenth-century French bronze sculptural clock inspired by the same story.

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Evening Landscape with Figures and Sheep by Aelbert Cuyp (c.1650–59) depicts an idealisedlandscape suggestive of the egalitarian ideals of the newly formed Dutch Republic.

A N N U A L R E P O R T 2 0 1 2 1 9

Elsewhere, Sebastiano Ricci’s painting Aurora and Tithonus (c.1705) was hung above P.-P. Thomire’s Apollo

Clock (1800–1810; see page 7), with its gilt-bronze figures of the sun god driving his chariot across the arc of

heaven, and flanked by two pedestals made originally for Versailles, with gilt-bronze mounts emblematic

of the gods of the sun and moon, Apollo and Diana.

In the Nash Gallery, the bicentenary of the Regency of George, Prince of Wales in 1811 was

commemorated in a display of outstanding works acquired by the Prince Regent, including Dutch old masters,

notably Rembrandt’s Shipbuilder and his Wife (1633), French and English furniture, porcelain and bronzes,

complemented by a group of watercolour views of interiors of Carlton House, in which some of the exhibited

works could be seen. Both displays included volumes from the Royal Library and proved well adapted for

gallery talks and lectures by curators, conservators and members of the Learning team.

The Northern Renaissance:Dürer to Holbein110 exhibits, including paintings, watercolours,

drawings, books, prints, miniatures, manuscripts

and bronze sculpture

The Queen’s Gallery, Edinburgh

17 June 2011 – 15 January 2012

(36,556 visitors)

Curated by Kate Heard and Lucy Whitaker, this

exhibition of more than 100 works by such artists

as Albrecht Dürer, Lucas Cranach the Elder and

Hans Holbein the Younger set the exceptional

examples of these artists’ works in the Royal

Collection within a wider context, embracing the

art of their contemporaries in Flanders, France

and England. It opened with an extensive selection of Dürer’s prints, while Holbein’s portraiture was strongly

represented in both oil and chalk. The works on display revealed the originality and imagination with which

these artists depicted themes at the core of the Christian faith, but equally excelled in the emerging arts

of portraiture, the depiction of mythological themes and landscape painting. The exhibition also explored

the ways in which artists embraced the new technologies of the day, including the printing press, invented

For the Treasures: Mythology and Regency displayin The Queen’s Gallery, Buckingham Palace, thewoodcut The Fall of Giants (1647) by BartolomeoCoriolano was shown beside the drawing by GuidoReni (c.1638; far left) on which it depends.

Albrecht Dürer, St Anthony (engraving, 1519).

in Germany around 1450, which allowed texts, ideas and images to be circulated in large numbers for

the first time.

Taking advantage of a concurrent display, Dürer’s Fame, at the National Gallery of Scotland, Royal

Collection curators and British and European colleagues spoke at a study day on Northern Renaissance art

held in conjunction with the National Galleries. The Northern Renaissance will be shown in expanded form at

The Queen’s Gallery, Buckingham Palace, from 2 November 2012 to 14 April 2013.

The Heart of the Great Alone: Scott,Shackleton and Antarctic Photography141 exhibits, including photographs, books, watercolours,

sculpture, medals and textiles


21 October 2011 – 15 April 2012

(67,450 visitors)

Following successful showings at The Queen’s Gallery,

Edinburgh, and at the Canterbury Museum, Christchurch,

New Zealand, this compelling visual record of Captain

Scott’s ill-fated Terra Nova expedition to the South Pole,

and of Ernest Shackleton’s subsequent attempt to cross

the continent of Antarctica via the South Pole, coincided

with the national and international commemorations of

the centenary of the tragic culmination of Scott’s

expedition in March 1912. The exhibition – curated by

Sophie Gordon and Emma Stuart – brought these heroic

journeys vividly to life through a large selection of

photographs by Herbert Ponting and Frank Hurley. These

poignant images, originally presented to King George V,

were supplemented by flags, medals and sculpture, books,

drawings and watercolours.

An extensive learning programme accompanied the

exhibition, with public lectures and gallery talks (including a gallery tour with British Sign Language

interpretation) and two evenings with the explorer David Hempleman-Adams, who contributed to the

exhibition catalogue and supported the exhibition throughout its tour.

The Queen: 60 Photographs for 60 Years60 photographs

Drawings Gallery, Windsor Castle

4 February – 28 October 2012

This exhibition celebrates The Queen’s 60 years as Sovereign, from the accession in February 1952 through

to more recent events, such as the 2009 Royal Variety Performance in Blackpool. Illustrating official occasions

of Her Majesty’s reign, as well as more informal family gatherings, the majority of the photographs in the

2 0 A N N U A L R E P O R T 2 0 1 2

Herbert Ponting’s photograph of Captain Scott’s expedition ship, the Terra Nova,was taken at Cape Evans, close to the expedition hut, on 16 January 1911.The next day, Scott and four companions reached the South Pole.

A N N U A L R E P O R T 2 0 1 2 2 1

exhibition – curated by Lisa Heighway –

were taken by leading press photographers

and were generously presented by the

photographers or agencies concerned,

specifically for the display. The exhibition

will transfer to The Queen’s Gallery,

Edinburgh, where it will be on view from

16 November 2012 to 24 February 2013.

Treasures from The Queen’s Palaces153 exhibits, including paintings, drawings, furniture, ceramics,

jewellery, metalwork, sculpture and arms and armour

The Queen’s Gallery, Edinburgh

16 March – 4 November 2012

To mark the Diamond Jubilee, the Curator Deborah Clarke has

selected outstanding works illustrating the entire breadth of the

Royal Collection, from eight royal residences and covering more than

five centuries. Many of the works are being shown in Scotland for the

first time. They include such well-known masterpieces as

Rembrandt’s portrait of Agatha Bas (1641) – in which the sitter seems

almost to step out of the frame thanks to Rembrandt’s illusionistic

skill – and the self-portrait etching by Lucian Freud, which the artist

presented to The Queen on his appointment to the Order of Merit in

1993. Paintings by Lorenzo Lotto, Peter Paul Rubens, Frans Hals and

Anthony van Dyck, drawings by Leonardo da Vinci, Michelangelo

and Raphael, and objects such as the jewel-encrusted Mosaic Egg by

Fabergé and a pre-Columbian gold crown from Ecuador, contribute to

an exhibition that offers many surprises while being fully

representative of the range and quality of the Royal Collection.

Two selections (curated by Lauren Porter) of Treasures from the

Royal Library, including drawings by Leonardo da Vinci and Holbein,

were displayed alongside the themed exhibitions in the Drawings

Gallery, Windsor Castle (12 February – 25 August 2011; 26 August

2011 – 22 January 2012).

Photographed by John Shelley, The Queen andThe Duke of Edinburgh are carried aloft in dug-outcanoes festooned with garlands and flowers,during their visit to Tuvalu on 26 October 1982.

Presented to Queen Victoria in 1862 by the President ofthe Republic of Ecuador, Gabriel García Moreno (1821–75),this gold crown was excavated in 1854 in the Cuenca regionof the Ecuadorian highlands; it dates from around AD 1400and was probably made by the Cañari people, in a regionthat was not conquered by empire-building Inca invadersuntil the mid-fifteenth century.

Travelling Exhibitions

Roger Fenton and Julia Margaret Cameron:Early British Photographs from the RoyalCollection22 photographs

The Arts and Crafts House, Blackwell, Bowness-

on-Windermere, 31 January – 27 April 2011

Royal Albert Memorial Museum, Exeter

16 December 2011 – 1 April 2012

This group of some of the finest portraits and

documentary images taken by the pioneer photographers

Roger Fenton and Julia Margaret Cameron, curated by

Sophie Gordon and previously shown at Aberdeen Art

Gallery, was displayed at The Arts and Crafts House,

Blackwell, alongside local material relating to the

development of photography in the Lake District. The

exhibition then travelled to Exeter, where it marked

the reopening of the Royal Albert Memorial Museum

after a major redevelopment campaign.

Ten Drawings by Leonardo da Vinci:A Diamond Jubilee Celebration10 drawings

Birmingham Museum and Art Gallery

13 January – 25 March 2012

(74,863 visitors)

Bristol Museum and Art Gallery

31 March – 10 June 2012

Tour continues to Belfast, Dundee and Hull

June 2012 – January 2013

The fifth touring exhibition of ten drawings from the

Print Room at Windsor Castle has been selected by

Martin Clayton to embrace almost every aspect of

Leonardo’s artistic and scientific interests. Two studies

for Leonardo’s lost masterpiece, Leda and the Swan

(a head of Leda and a study of plants), are accompanied

by works connected with anatomy, civil engineering,

military equipment, an equestrian monument, apocalyptic

scenes and a study of old age. A full account of this tour

will appear in next year’s report, but its value as a means

2 2 A N N U A L R E P O R T 2 0 1 2

Julia Margaret Cameron’s photograph of 1868 depicts Clinton Parry (1840–83),whose better-known brother, Hubert, composed ‘Jerusalem’.

The Head of Leda (c.1504–6), in pen and ink over black chalk by Leonardo daVinci, a study for the head of Leda in the lost painting of Leda and the Swan.

of bringing the Royal Collection to the attention of the widest possible audience

in the United Kingdom was demonstrated in the opening stage at Birmingham

Museum and Art Gallery, where the exhibition attracted the largest overall

numbers ever recorded for an exhibition at the museum. Advance work in

preparation for the tour has involved our curatorial, learning, press, marketing and

exhibitions teams in visits to each venue, to talk with representatives of arts

organisations, teachers, media and many others with a potential interest in the

exhibition. This has resulted in a lively programme of educational visits, lectures

and workshops, including practical drawing activities designed to encourage students

to explore Leonardo da Vinci’s techniques.

Occasional Displays

A team led by Jane Roberts arranged and installed six special temporary

displays during the year. At Buckingham Palace, displays of material from

the Royal Collection and Royal Archives were installed in the State Rooms

for the State Visits of the President of the United States in May 2011 and

the President of the Republic of Turkey in November, and for The Queen’s

receptions for those involved in Exploration and Adventure (December 2011),

and to mark the bicentenary of the birth of Charles Dickens (February 2012).

At Windsor Castle, displays for The Queen’s guests included one for those

attending the luncheon for members of the Order of Merit in April 2011.

Examples of some of the items chosen for display on each of these

occasions can be seen on the ‘Gallery’ of the British Monarchy website

(www.royal.gov.uk/ImagesandBroadcasts/ Galleries/Overview.aspx).

I feel incredibly privileged tobe here. When I was a littleboy I tried to copy thesedrawings … Getting thiscollection is fantastic, it’s agreat coup for the city.

Brian Travers, saxophonist

with the band UB40, visiting

Ten Drawings by Leonardo da

Vinci at Birmingham Museum

and Art Gallery in January

2012

Portraits, manuscripts and early editions of his novels formed part of the display mounted for the receptionhosted by The Queen to mark the bicentenary of the birth of Charles Dickens in February 2012.

2 4 A N N U A L R E P O R T 2 0 1 2

VIS IT ING THE PALACES

Buckingham Palace

The nineteenth annual Summer Opening of the State Rooms took place between 23 July and 3 October 2011.

In the course of these 73 days (2010: 67 days), an unprecedented 605,022 visitors attended (2010: 413,000).

Taking into account those who took advantage of the 1-Year Pass to return within a year of their first visit,

the overall number was 626,678. Most encouragingly, UK visitors accounted for 57 per cent of the total

(2010: 43 per cent).

The attendance figures were no doubt heavily influenced by public interest in the wedding of The Duke

and Duchess of Cambridge, which took place on Friday 29 April 2011 at Westminster Abbey. Thanks to

the generosity of The Duchess of Cambridge and the willing co-operation of Sarah Burton and her

team at Alexander McQueen, it was possible in a very short space of time to mount a special display in the

Ballroom, The Royal Wedding Dress: A Story of Great British Design. The dress itself took pride of place in

the Ballroom, displayed in conjunction with the bride’s earrings and shoes, and the Cartier ‘halo’ tiara, which

Photography in The Queen’s Galleries

Visitors to The Queen’s Galleries in London and Edinburgh are now permitted to take

their own photographs. It has been found that, with careful management, this need not

inhibit the enjoyment of others. This brings the Galleries into line with most museum

collections and will serve to raise the profile both of the Collection and of the Galleries

through the circulation of digital images. A prohibition on photography remains within

The Queen’s official residences themselves.

The wedding dress of The Duchess of Cambridge was the focal point of a display for the Summer Openingof Buckingham Palace celebrating the role of British design in the wedding festivities.

A N N U A L R E P O R T 2 0 1 2 2 5

had been lent by The Queen for the wedding day. The spectacular tiered wedding cake by Fiona Cairns,

appearing like a rare example of the traditional courtly art of sugar sculpture, complemented the elaborate

plasterwork, marble fireplaces and biscuit porcelain on display in the State Dining Room.

In the Ball Supper Room, a special exhibition, Royal Fabergé, featured more than 100 works by the Russian

court goldsmith and jeweller, Peter Carl Fabergé. The exhibition documented the contributions of six

successive generations of the Royal Family to the finest collection of Fabergé in the world, unparalleled in size,

range or quality. The innovative display presented the works – including Imperial eggs, clocks and automata,

picture frames, snuff bottles, cigarette cases and decorative miniatures – in groups according to their date of

acquisition. The scene was enlivened by short films shot in high definition to allow closer exploration of the

intricacies of these exquisite objects. The widely praised display was devised to ensure steady, continuous

movement through the space, allowing visitors to view the works equally well from either side. Both the

wedding dress display and the Fabergé exhibition were curated by Caroline de Guitaut, whose book

Royal Fabergé was published to coincide with the Summer Opening.

For the first time during the 2011 season, interpretive panels were installed in the Picture Gallery, giving

visitors key information on the most significant paintings, including the artist’s name, painting title and dates,

and a short account of themes and genres.

Throughout the Summer Opening period, Private Evening Tours were offered at the end of the day.

These tours also took place at Easter 2011 and during January 2012, the only other times in the year when

Buckingham Palace was not fully in use as an official residence.

Above: Audio tours and interpretive panels in the Picture Gallery giveinformation to Buckingham Palace visitors on significant paintings andkey themes. Right: The Royal Fabergé display.

2 6 A N N U A L R E P O R T 2 0 1 2

The Royal Mews

The Royal Mews was open to the public for 94 days

(2010–11: 106 days), including (for the second

successive year) the winter months. Interest in the

horses and carriages of the Royal Mews remained as

strong as ever, no doubt also stimulated by the Royal

Wedding, with a total of 271,253 people making a

visit. Between April and October, visitors are able to

take a guided tour and learn how the Mews serves The Queen in the performance of her official duties and

prepares for major state and ceremonial occasions. During the remainder of the year, Royal Mews staff give an

insight into how the Mews operates through a pre-recorded audio tour.

Windsor Castle

Windsor Castle was open throughout the year, with the usual occasional exceptions at times when the Castle

was in use for investitures or other official events. A total of 1.15 million visitors were received during the year

(a 10 per cent increase on 2010–11), continuing an upward trend since 2008.

During August and September 2011, a new ‘Conquer the Tower’ guided tour was offered in addition to

the main visit to the precincts and State Rooms. The panoramic views, a reward for the exacting climb to the

top of the Round Tower, help to demonstrate the strategic importance of Windsor to the Norman invaders who

founded the Castle in the 1070s. Around 10,000 people took advantage of this new experience, which will

be repeated in future years as one of an increasing range of additional opportunities to discover new aspects of

the historic and contemporary life of the Castle.

A special display of portraits by William Dobson was hung in the King’s Drawing Room as part of the

Dobson Art Trail, an extended exhibition across more than 20 separate museums and other sites, curated by the

critic and broadcaster Waldemar Januszczak.

In December, the State Dining Room and Octagon Dining Room were transformed by displays that

evoked the Christmas traditions of Queen Victoria and Prince Albert. The State Dining Room table was

decked for a Christmas feast, while in the adjoining Octagon Dining Room, several Christmas gift tables were

Tours of the Royal Mews provide an insight into major state ceremonies.

Enjoying the views from the top of the Round Tower as partof Windsor Castle’s new ‘Conquer the Tower’ guided tour.

A ‘pilot café’ was installed in the Undercroft as part ofa plan to improve the visitor experience at Windsor.

A N N U A L R E P O R T 2 0 1 2 2 7

arranged with works of art presented to one another by Queen Victoria and Prince Albert. At the centre of

the room, the gilt-bronze neo-Gothic chandelier was replaced by a candle-lit Christmas tree, hung in the

manner that Prince Albert introduced to the State Rooms.

Although market research ratings for enjoyment, value for money, knowledge and helpfulness of staff are

consistently good, aspects of the visit to Windsor Castle have been identified as capable of improvement.

At the beginning of last year, a Steering Group chaired by Trustee Peter Troughton appointed the architectural

firm of Feilden Clegg Bradley Studios to undertake a Master Plan. Their report was completed in December

2011 and submitted to Trustees, together with proposals for the external environment of the Castle by

The Landscape Agency. Two ‘thinking days’ were held, at which invited guests from the worlds of tourism and

heritage, the arts and education, together with representatives of local communities, discussed possible

improvements with Royal Household staff. As a contribution to the study, a ‘pilot’ café was installed in

Edward III’s Great Undercroft between October 2011 and April 2012. The temporary café was very well

received by visitors and provided valuable experience in the running of such an operation in the Castle.

The Master Plan has focused attention on the need for improvements to the initial reception and

orientation of visitors and to the circulation on the ground floor of the State Apartments. The possibility of

reinstating the fundamental north–south axis that has underpinned the Castle’s architectural development

since the late seventeenth century is also under consideration. Improvements to the display and visibility of

works of art, greater flexibility and choice for the visitor, the upgrading of essential facilities, and better

provision for educational activities will all form part of a major project, which it is hoped can be substantially

completed over the next three years.

The special installation at Windsor Castle evoking Queen Victoria and Prince Albert’s Christmas displays.

Free access for serving military personnel

Members of the armed forces are welcome to visit the palaces and galleries without charge. From

April 2011, this scheme was extended to family members: a complimentary family ticket now

gives admission for up to two adults and three children (under 17), and during the year under

review just over 8,000 tickets were issued under this initiative.

2 8 A N N U A L R E P O R T 2 0 1 2

The Royal Library and the Print Room received just over 1,000 visitors during the year. These included

individuals carrying out original research and groups of students, as well as participants in Royal Collection

Studies, those attending the symposium on Italian Culture at the Tudor Court and the study day on the theme

‘Monarchs and their books’, in conjunction with the British Library’s exhibition Royal Manuscripts: The Genius

of Illumination, along with the Windsor Festival Schools’ Competition prize-winners, and members of the

Antiquarian Horological Society. In addition, there were visits by groups of students from the Courtauld

Institute, Reading University and The Prince’s Drawing School. Among the visitors who came to study the

photograph collection were MA students from the History of Photography programme at Sotheby’s Institute,

MA students from the History of Photography programme at De Montfort University, Leicester, and Windsor

Castle staff and community groups.

Palace of Holyroodhouse

The Palace of Holyroodhouse received 267,000 visitors during the year, an increase of 14 per cent on the

previous year (234,000); and a further 53,000 people visited The Queen’s Gallery (up 23.5 per cent from

43,000 in 2010–11).

Following the recent success of tours of Holyrood Abbey, guided tours of the Palace garden were

successfully added to the range of options open to visitors. The new tour provides insights into the origins and

surrounding remains of the medieval Abbey, the

spectacular landscape, and the use of the garden for

The Queen’s Garden Parties and the competitions of

the Royal Company of Archers.

As the first step towards the possible

development of additional facilities for visitors to

the Palace, a comprehensive archaeological study

was made of the range of buildings in Abbey Strand.

A comprehensive archaeological study has establishedthat the two houses on Abbey Strand, located at the footof Canongate and just outside the precincts of the Palace ofHolyroodhouse, are among the oldest secular buildingsto survive in Edinburgh. The study will inform plans forthe future use of the buildings.

Group Travel Awards

Groups account for around half the overall number of visitors at Windsor Castle

and 24 per cent at other sites. We are therefore very pleased that Buckingham

Palace has been awarded ‘Best Attraction for Group Visits: Long Visit’ in the

2012 Group Travel Awards, as voted by readers of Group Travel Organiser

magazine. Windsor Castle was shortlisted for ‘Best Attraction for Group Visits:

Short Visit’. Susanna Mann and Rhiannon Marsh collected the award on behalf

of Royal Collection Trust at a ceremony held in London on 15 June 2012.

A N N U A L R E P O R T 2 0 1 2 2 9

In addition to the physical record, the study drew on primary and secondary sources to document the history

of the buildings, which, though much altered, contain parts of the earliest houses still standing in Edinburgh.

The Abbey Strand buildings have served many uses, including tea rooms, public houses and accommodation

for debtors seeking sanctuary (an arrangement that endured until the 1880s). During 2012, a Master Plan

process will explore ways of reincorporating the buildings in conjunction with The Queen’s Gallery and the café.

HISTOR IC ROYAL PALACES

Hampton Court Palace, Kensington Palace, Kew Palace and Queen Charlotte’s Cottage, and the

Tower of London, managed separately by Historic Royal Palaces, are additional places where substantial

parts of the Royal Collection are on permanent view. Combined visitor numbers to all the Historic

Royal Palaces grew during the past year, to a total of 3.41 million.

Projects to mark the Diamond Jubilee have

involved close collaboration between Royal Collection

Trust and Historic Royal Palaces staff. Kensington

Palace was reopened by The Queen on 15 March 2012,

following a three-year project to re-connect the Palace

with Kensington Gardens and the Round Pond, to

increase access and provide better facilities and

interpretation. Visitors can now choose between four

designated routes through the Palace. The first of these,

Victoria Revealed, incorporates a total of 214 works from

the Royal Collection, of which the majority are being

shown for the first time at Kensington.

More than 40 works have been included in the

exhibition at Hampton Court, The Wild, the Beautiful and

the Damned, which focuses on two series of paintings, the

‘Windsor Beauties’, painted around 1663 by Sir Peter

Lely, and the ‘Hampton Court Beauties’ by Sir Godfrey

Kneller, painted around 1690.

The spectacular new display of the Crown Jewels at

the Tower of London, inaugurated by The Princess

Royal on 29 March 2012, involved Royal Collection

curators and conservators, photographic, press and

publishing staff during the course of a two-year project.

Diana de Vere, Duchess of St Albans (1691) by Sir Godfrey Kneller.Forming part of a series of full-length portraits painted for Mary II,known as the ‘Hampton Court Beauties’, this painting is one of morethan 40 works from the Royal Collection included in the HistoricRoyal Palaces exhibition at Hampton Court, The Wild, the Beautifuland the Damned, about the ladies of the Stuart Court (1660–1714).

LOANS

One of the most ambitious and successful exhibitions ever mounted at the National Gallery in London,

Leonardo da Vinci: Painter at the Court of Milan (9 November 2011 – 5 February 2012), was seen by 323,897

visitors, and featured 33 drawings from the Royal Collection. This was by far the largest loan, making up

nearly half the works by Leonardo in the exhibition. The drawings were displayed in close relation to the

paintings that Leonardo created while court painter to Duke Lodovico Sforza in Milan in the late 1480s

and 1490s. Drawings such as Leonardo’s A man tricked by Gypsies (Five character studies, c.1493) enabled

visitors to study his mastery of draughtsmanship and his skill in the delineation of human character.

Royal Collection Trust played an active role in the exhibition in a curatorial and scholarly capacity:

Martin Clayton recorded all the audio-guide commentaries on the drawings. He also appeared in the

half-hour film made by the National Gallery to accompany the exhibition, speaking in the Print Room of

the Royal Library to Luke Syson, the show’s curator. He was interviewed by Mariella Frostrup for the Sky

Arts ‘Leonardo Live’ broadcast on the opening night, spoke on ‘Leonardo’s drawings’, in conversation

with the artist Michael Craig-Martin at a National Gallery discussion event, and chaired a second such

event, this time on Leonardo’s anatomical studies. In addition, Alan Donnithorne spoke at another

conference at the National Gallery on Leonardo’s Technical Practice.

The exhibition Prinz Albert – Ein Bild von einem Mann, held to mark the 150th anniversary of the

death of the Prince Consort, in the Veste Coburg, ancestral home of Prince Albert’s family, the dukes of

Saxe-Coburg, included 21 loans from the Royal Collection. Also reflecting Prince Albert’s life and

achievements was the exhibition under the patronage of The Prince of Wales, held in Bonn from

November 2011 to April 2012, which featured 16 Royal Collection loans. The exhibition shed light on

the continental roots of the Victoria and Albert Museum and the influence of Prince Albert, who was a

graduate of the University of Bonn.

One of the most celebrated of all paintings in the Collection, Johannes Vermeer’s The Music Lesson

(c.1662–5), was included with two further Royal Collection paintings by other artists in the popular

3 0 A N N U A L R E P O R T 2 0 1 2

The chain ferry at Vaprio d’Adda(c.1511–13) by Leonardo daVinci, reproduced at life-size.From the exhibition Ten Drawingsby Leonardo da Vinci: A DiamondJubilee Celebration, this tinybird’s-eye view shows the swirlingcurrents of the River Adda andthe rocky wooded landscapenear the Villa Melzi, the familyhome of one of Leonardo’s pupilsoutside Milan, where the artiststayed during 1512–13.

A N N U A L R E P O R T 2 0 1 2 3 1

exhibition Vermeer’s Women: Secrets and Silence at

the Fitzwilliam Museum, Cambridge. A strong

selection of works by the eighteenth-century

German painter Johan Zoffany was lent to the

exhibition Johan Zoffany RA: Society Observed, shown

first at the Yale Center for British Art, New Haven.

For the London showing (Royal Academy of Arts),

the loan was augmented by a further group of major

works by the artist. A group of four early Italian drawings was lent to The Renaissance Portrait from Donatello

to Bellini, shown in Berlin and New York. Important Middle Eastern manuscripts were lent to exhibitions

in Paris, Zurich, New York, Los Angeles and Houston. Lucian Freud’s portrait of Her Majesty The Queen

was included in the special travelling exhibition The Queen: Art and Image, organised by the National

Portrait Gallery and shown in Edinburgh, Belfast and Cardiff, in anticipation of the Diamond Jubilee.

Three outstanding sixteenth-century bronze busts by the Italian sculptor Leone Leoni were placed

on display in the Medieval and Renaissance Galleries at the Victoria and Albert Museum in September

2011 for two years. The busts of Emperor Charles V, King Philip II of Spain and the Duke of Alba are

shown alongside medals and a plaquette by the same sculptor, as well as the ‘Plus Oultra Cabinet’, which

bears the emblems and motto of Charles V. The display has been supported by educational events and

links to the Royal Collection Trust website.

A new long-term loan has been agreed with the Palace of Westminster, where Queen Anne in

the House of Lords (1708–14), by the Flemish artist Peter Tillemans, has been partnered with another

Tillemans work, The House of Commons in Session

(1709–14), from the Palace of Westminster’s own

art collection.

A ceremonial adze and a model war canoe

were placed on loan for a period of five years as

part of a new exhibition about the Te Arawa Tribe

at the Museum of Art and History, Rotorua,

New Zealand. Both items were official gifts from

the Te Arawa people to the Duke and Duchess

of Cornwall and York (later King George V and

Queen Mary), at the Maori Welcome at Rotorua

in 1901.

Three outstanding sixteenth-century bronze busts by the Italian sculptorLeone Leoni have been placed on loan in the Medieval and RenaissanceGalleries at the Victoria and Albert Museum; they portray the HabsburgEmperor Charles V, his son, Philip II of Spain, and the Duke of Alba.

Given to the Duke and Duchess of Cornwall and York in 1901,this model of a waka, or ceremonial war canoe, has been lent toRotorua’s Museum of Art and History for an exhibition on theTe Arawa people of New Zealand.

3 2 A N N U A L R E P O R T 2 0 1 2

Loans to Exhibitions(listed by date of opening)

York, Fairfax House

Gilding the Lily. The Flower: Inspiring Design

in Georgian Decorative Arts

1 April – 31 July 2011

Cabinet

Pair of porcelain flower vases

Porcelain flute

Porcelain mug

Sèvres vase

Chelsea dish

Watercolour by Charlotte, Princess Royal

Watercolour by Princess Elizabeth

Two watercolours by Maria Sibylla Merian

Watercolour by George Dionysius Ehret

Paris, Musée National des Arts Asiatiques –

Guimet

Une cour royale en Inde:

Lucknow (XVIIIème–XIXème siècle

6 April – 11 July 2011

Shield

Two manuscripts

Watercolour by Egron Lundgren

Washington DC, National Gallery of Art

Gabriel Metsu 1629–1667

17 April – 24 July 2011

Painting by Gabriel Metsu

Paris, Musée du Louvre

Rembrandt et la figure du Christ

21 April – 18 July 2011

Painting by Rembrandt van Rijn

Rotorua, Museum of Art and History

Te Arawa Tribe Display

May 2011 – August 2016

Ceremonial adze

War canoe

Zurich, Museum Rietberg,

and New York, Metropolitan Museum of Art

Der Weg des Meisters – Die Grossen Künstler Indiens,

1100–1900

Wonder of the Age: Master Painters of India,

1100–1900

1 May – 21 August 2011

28 September 2011 – 8 January 2012

Four pages from the Padshahnama

Manuscript

Watercolour by Shaik Mansur

London, Mall Galleries

Annual Exhibition of the Royal Society

of Portrait Painters

5–20 May 2011

Drawing by Geoffrey Hayzer

Bristol Museum and Art Gallery

M Shed

June 2011 – June 2016

Silver model of the Dunbar and Ruston

steam navvy engine

Los Angeles County Museum of Art,

and Houston, Museum of Fine Arts

Gifts of the Sultan: The Arts of Giving at

the Islamic Courts

5 June – 5 September 2011

23 October 2011 – 16 January 2012

Six pages from the Padshahnama

Two manuscripts

Lent to the Musée National des Arts Asiatiques – Guimet, in Paris,this is an elaborate example of a traditional dhal (shield) made inLucknow in the first half of the nineteenth century and presented toAlbert Edward, Prince of Wales, during his visit to India in the winterof 1875–6. Although most shields of this form are made of hide, thisexample is of silver gilt, decorated with champlevé enamels depictinganimals and birds, while the tear-shaped ornaments and crescentmotif are all set with diamonds.

A N N U A L R E P O R T 2 0 1 2 3 3

Prangins, Musée National Suisse,

and Zurich, Musée National Suisse

Breguet



Clock by Breguet

Northamptonshire, Boughton House,

and London, Handel House Museum

The Music Party: Paintings, Drawings and

Prints by the Laroons


7 September – 27 November 2011

Painting by Marcellus Laroon

Suffolk, Gainsborough’s House

Diana and Actaeon Revealed


Painting by Thomas Gainsborough

York Art Gallery

William Etty: Art and Controversy

25 June 2011 – 22 January 2012

Painting by William Etty

Edinburgh, Royal Scottish Academy,

Belfast, Ulster Museum,

and Cardiff, National Museum Wales

The Queen: Art and Image



4 February – 29 April 2012

Painting by Lucian Freud

Sheffield, Millennium Galleries,

and London, Tate Britain

John Martin: Apocalypse



Painting by John Martin

London, Dulwich Picture Gallery

Cy Twombly and Nicolas Poussin: Arcadian Painters


Drawing by Nicolas Poussin

Madrid, Museo Nacional del Prado

Roma: Naturaleza e Ideal (Paisajes 1600–1650)

5 July – 25 September 2011

Drawing by Nicolas Poussin

Two drawings by Domenichino

London, National Gallery

Devotion by Design: Italian Altarpieces before 1500

6 July – 2 October 2011

Painting by Benozzo Gozzoli

Painting by Workshop of Fra Angelico

Dresden, Deutsches Hygiene-Museum,

and Brno, Moravian Gallery

Images of the Mind

23 July – 30 October 2011

9 December 2011 – 18 March 2012

Three drawings by Leonardo da Vinci

Berlin, Bode-Museum,

and New York, Metropolitan Museum of Art

Gesichter der Renaissance

The Renaissance Portrait from Donatello to Bellini

25 August – 20 November 2011

19 December 2011 – 18 March 2012

Drawing attributed to Fra Angelico

Drawing by an unidentified Florentine artist

Drawing by Domenico Ghirlandaio

Drawing by Leonardo da Vinci

London, Victoria and Albert Museum

Two-year gallery installation in the Medieval

and Renaissance Galleries

September 2011 – September 2013

Three bronze busts by Leone Leoni

Coburg, Kunstsammlungen der Veste Coburg

Prinz Albert – Ein Bild von einem Mann

9 September – 6 November 2011

Marble bust by Emil Wolff

Etching tools

Orange blossom parure

Bronze by Christian Daniel Rauch

Pair of Sèvres vases

Bracelet by William Essex

Statuette by Elkington & Co., Edward Corbould,

William Theed

3 4 A N N U A L R E P O R T 2 0 1 2

Miniature by Sir William Ross

Painting by Franz Xaver Winterhalter

Daguerreotype by William Kilburn

Watercolour by William Wyld

Watercolour by James Roberts

Watercolour by William Leighton Leitch

Drawing by Prince Albert

Watercolour by Carl Haag

Album of photographs by William Bambridge,

Frances Sally Day, J.J.E. Mayall, Camille Silvy

Watercolour by Edward Corbould

Watercolour by Albert Jenkins Humbert

Watercolour by Sir George Gilbert Scott

Watercolour by George H. Thomas

Antwerp, Rubenshuis

Palazzo Rubens. De meester als architect

10 September – 11 December 2011

Drawing by Michelangelo Buonarroti

Paris, Grand Palais

Des jouets et des hommes


Two dolls by Jumeau

Doll’s glove box and gloves by Alexandrine and

Hermès

Doll’s trunk by Innovation

Model Aston Martin car

Model Citroën/Daimler car

Model Citroën car

Cambridge, Fitzwilliam Museum

Vermeer’s Women: Secrets and Silence


Painting by Johannes Vermeer

Painting by Jan Steen

Painting by Pieter de Hooch

Norwich Castle Museum and Art Gallery,

and Sheffield, Millennium Galleries

Family Matters: The Family in British Art


2 February – 29 April 2012

Painting by Johan Zoffany

Painting by Sir Peter Lely

Vienna, Kunsthistorisches Museum

Wintermärchen


Two paintings by Sir Peter Paul Rubens

Painting by Paul Delaroche

London, National Portrait Gallery

First Actresses: Nell Gwyn to Sarah Siddons


Painting by John Hoppner

Perth, Western Australia Museum

Extraordinary Stories

25 October 2011 – 5 February 2012

Maori Hei-tiki

New Haven, Yale Center for British Art,

and London, Royal Academy of Arts

Johan Zoffany RA: Society Observed

27 October 2011 – 12 February 2012

10 March – 10 June 2012

Three paintings and one drawing by Johan Zoffany

(New Haven)

Seven paintings and two drawings by Johan Zoffany

(London)

Three porcelain groups (London)

Zoffany’s skill in depicting the varying textures of lace, satin, velvetgilding and pearls are evident in this portrait of George III’s consort,Queen Charlotte (1771), one of the highlights of the Johan Zoffanyexhibition shown at the Yale Center for British Art in New Havenand the Royal Academy of Arts in London in 2011–12.

A N N U A L R E P O R T 2 0 1 2 3 5

Doncaster Museum and Art Gallery

The King’s Own Yorkshire Light Infantry

30 October 2011 – 30 October 2012

Regimental brooch

Edinburgh, Scottish National Portrait Gallery

Lavery and the Great War at Sea

1 November 2011 – 14 October 2012

Painting by Sir John Lavery


Leonardo da Vinci: Painter at the Court of Milan

9 November 2011 – 5 February 2012

33 drawings by Leonardo da Vinci

London, British Library

Royal Manuscripts: The Genius of Illumination

11 November 2011 – 11 March 2012

Painting by British School, sixteenth century

Painting by Flemish School, sixteenth century

Turin, Le Scuderie Juvarriane della Reggia

di Venaria Reale

Leonardo da Vinci. Il Genio. Il Mito


Three drawings by Leonardo da Vinci

Drawing attributed to Francesco Melzi

Bonn, Kunst- und Ausstellungshalle der

Bundesrepublik Deutschland

Art and Design for All: The Victoria and

Albert Museum

18 November 2011 – 15 April 2012

Silk dress worn by Queen Victoria

Prince Albert’s Full Dress Uniform of

the Grenadier Guards

Bust by William Theed

Bronze by Sir Joseph Edgar Boehm

Solon Ware vase

The Albert Tazza

Silver-gilt and enamel casket containing an address

Two paintings by Franz Xaver Winterhalter

Painting by Heinrich von Angeli

Painting by David Roberts

Four watercolours by James Roberts

Watercolour by Nikolaus Christian Hohe

London, Tate Britain

Rubens and Britain

21 November 2011 – 6 May 2012

Two paintings by Sir Peter Paul Rubens

Greenwich, The Fan Museum

Alexandre: Fan Maker to the Courts of Europe


Two fans

Bouquet holder

Exeter, Royal Albert Memorial Museum

The Road to Rome: Artists and Travellers

on the Grand Tour

16 December 2011 – 6 May 2012

Two paintings by Canaletto

Munich, Neue Pinakothek

George Stubbs

26 January – 6 May 2012

Two paintings by George Stubbs

London, The Design Museum

Designs of the Year 2012

8 February – 4 July 2012

Lace placement by Alexander McQueen

Brighton Pavilion

Charlotte, The Forgotten Princess

10 March – 11 September 2012

Dress worn by Princess Charlotte


Turner Inspired: In the Light of Claude

14 March – 5 June 2012

Painting by Claude Gellée (‘Le Lorrain’)

London, Victoria and Albert Museum

British Design 1948–2012:

Innovation in the Modern Age

31 March – 12 August 2012

Investiture crown by Louis Osman

Brooch by Andrew Grima

Warwickshire, Compton Verney

The Image of a King

31 March – 16 September 2012

Painting by Sir Anthony van Dyck

3 6 A N N U A L R E P O R T 2 0 1 2

I N T E R P R E T A T I O N… as guides to the Palaces and Collection, we ensure that they are presented andinterpreted to the highest standard to promote enjoyment and understanding by thebroadest possible audience …

LEARNING

As in previous years, tailored learning programmes were developed for exhibitions at The Queen’s Galleries

and elsewhere. The public events comprised study days, lectures, ‘Perfect Partners’ gallery talks (short talks

comparing two or more works), ‘Meet the Curator’ evenings, family activities and events specially designed for

visitors with access requirements. The schools programmes included teacher training days and workshops,

such as drawing and creative writing sessions. Increasingly, the reach of these learning programmes is extended

by providing access online. Public events are now regularly filmed and recorded and made available on the

website: an example was the lecture by Professor Timothy Brook of the University of British Columbia on ships

as emblems of political and economic power in seventeenth-century Dutch art, held in connection with the

Dutch Landscapes exhibition.

Events take place on most days in The Queen’s Galleries, involving many hundreds of learners over

the year. Among this year’s highlights were the practical photography workshops and a creative writing

session in conjunction with The Heart of the

Great Alone exhibition. A weekend ‘Introduction to

Printmaking’ course was held in connection with

The Northern Renaissance exhibition in Edinburgh,

and Lucy Whitaker’s talks on ‘Dürer to Holbein’

featured in the Edinburgh Art Festival.

As part of BBC Radio 4’s The Art of Monarchy

project, a productive new collaboration with BBC

Online resulted in a range of learning resources,

linked to BBC Schools programmes for Key Stages 1,

2 and 3. These include lesson plans and worksheets

about Henry VIII, Elizabeth I, Mary, Queen of Scots,

Queen Victoria and Queen Elizabeth II on the

BBC’s ‘Famous People’ and ‘Primary History’

websites. A new relationship has been established

with the London Grid for Learning, resulting in a

new digital resource on the daily work of the Royal

Mews at Buckingham Palace. Featuring historic

photographs, archive materials, an interactive timeline and interviews with Mews staff, this is being promoted

to the 2,500 schools in the London area who are members of the Grid.

Additional electronic resources for younger visitors have been developed in-house. The Tudor and Stuart

portraits in the Royal Collection have been used as the basis for resources for teachers and students of art and

The ‘binaural’ installation in the Millar Learning Room evoked the destructionof Shackleton’s ship Endurance as experienced by her crew.

A N N U A L R E P O R T 2 0 1 2 3 7

design in secondary schools. Interactive games were created for the Dutch Landscapes and The Heart of the Great

Alone exhibitions, while children studying history can now investigate attack and defence at Windsor Castle

in medieval times.

New learning resources are also available on demand for families visiting the palaces and galleries, and

these have been well received. Family Activity Bags and family trails are available freely for self-guided visits.

At weekends and during school holidays, a range of creative activities are on offer in the Family Rooms.

WORKSHOPS AND COURSES

The sixteenth annual session of Royal Collection Studies, organised by the Attingham Trust, took place in

London, Windsor and Hampton Court. Membership was typically international, with 20 participants from

Australia, Canada, China, Denmark, France, Germany, Italy, the Netherlands, Russia, Sweden and the United

States, and 12 who were based in the United Kingdom. Nearly 500 scholars have now taken part in this

programme, for which the majority of the teaching and guiding is undertaken by Royal Collection Trust

curatorial staff, ably supported by colleagues at Historic Royal Palaces. With a combination of lectures, guided

visits to the palaces and conservation studios, the ten-day course provides a thorough introduction to the

Royal Collection, its settings and history, and has been the catalyst for further advanced study, exhibitions and

collaboration in many areas. Among the innovations this year was a discussion on the challenges of presenting

the Collection to visitors at Windsor Castle.

A two-day symposium on Italian Culture at the Tudor Court was organised by Lucy Whitaker, with

Dr Charlotte Bolland and Professor Kate Lowe of Queen Mary, University of London, in October 2011.

The event opened at The Queen’s Gallery, Buckingham Palace, with subsequent visits to the Royal Library at

Windsor Castle and to Hampton Court Palace, where the terracotta roundels supplied for Cardinal Wolsey in

the early 1520s by Giovanni da Maiano have recently been the focus of research co-ordinated by curators at

Historic Royal Palaces. Twenty-one academics and curators from the United Kingdom, Europe and North

America, with specialisations ranging from textiles and painting to music and armour, took part in the symposium.

School pupils learn about royal ceremony and costume, while young visitors make the most of the activities on offer in the Family Rooms.

3 8 A N N U A L R E P O R T 2 0 1 2

A study day was held at Windsor Paintings Conservation Studio on 21 December 2011 with the aim of

examining two important sixteenth-century paintings: The Embarkation of Henry VIII at Dover and The Field of

Cloth of Gold (both usually on display at Hampton Court Palace). A group of art historians, naval historians,

costume experts and conservators considered the works side by side, and were shown the results of recent

infra-red reflectography in order to address issues of authorship and date. After a full day of lively discussion

it was agreed that both paintings were most likely to have been painted in the 1540s (20 years later than the

historical events that they depict), that they were created by two distinct artistic workshops and that they were

probably commissioned directly by Henry VIII.

On 8 March 2012, a workshop was held at The Queen’s Gallery, Buckingham Palace, in preparation for

a forthcoming exhibition on costume in early portraiture, to be held in 2013. The evening brought together

34 guests working in the fields of fashion education and contemporary design. Presentations about the

exhibition were followed by a wide-ranging discussion, generating valuable ideas about the interests of

different audience groups and the potential for collaborations with the fashion departments of the major

London art schools, London Fashion Week and the Royal School of Needlework.

Left: Participants in a symposium onItalian Culture at the Tudor Court visitHampton Court Palace tosee the newly restored terracottaroundels made for Cardinal Wolseyby Giovanni da Maiano.

Below left: The study day devoted totwo of the best-known works of theTudor period, The Embarkation ofHenry VIII at Dover and The Fieldof Cloth of Gold.

A N N U A L R E P O R T 2 0 1 2 3 9

LECTURES BY STAFF

Robert Ball gave a lecture on ‘Buckingham Palace and royal clocks’ to the St Albans and District Model

Engineering Society.

Rufus Bird spoke at the AGM of the Furniture History Society about ongoing conservation and research work

on a British brass-inlaid side cabinet and related works in the Royal Collection.

Wolf Burchard lectured on ‘The royal residences of George I and George II in London and Hanover’ at the

Royal Overseas League, London, and on ‘The Grande Galerie at the Louvre and shifting values in

seventeenth-century French royal patronage’ for the Society for Court Studies.

Claire Chorley: a video of Claire’s 2010 lecture ‘“Done by Holbin … upon a crackt board”: a case study of

Hans Holbein’s portrait of Hans of Antwerp’ was published online on the National Portrait Gallery’s website

(www.npg.org.uk/research/programmes/making-art-in-tudor-britain).

Deborah Clarke gave a number of lectures on the Palace of Holyroodhouse, including ‘Holyroodhouse and its

history as a royal residence’ at Duff House for the Friends of Duff House, and a talk in the ‘Perfect Partners’

series to accompany the exhibition Marcus Adams: Royal Photographer at The Queen’s Gallery, Edinburgh.

Martin Clayton took part in several live events connected to the Leonardo da Vinci exhibition at the

National Gallery, London (see page 30), and gave a number of talks in association with the travelling

exhibition Ten Drawings by Leonardo da Vinci, including ‘Leonardo through his drawings’ for The Art Fund, in

Birmingham, and at Bristol Museum and Art Gallery; and ‘Leonardo’s anatomical studies’ at Birmingham

Museum and Art Gallery. He spoke on ‘Leonardo’s “St Jerome” in the light of his anatomical studies’ at the

conference on Leonardo: Painting as Philosophy at the Warburg Institute, London.

Paul Cradock spoke to the North London Branch of the British Horological Institute on ‘Clocks in the Royal

Collection’.

Steven Davidson gave lectures on ‘The clocks of Windsor Castle’ to St Albans Antiquarian and Architectural

Society, the Probus Club, in Windsor, Watford Museum, The Antiquarian Horological Society of America, at

Windsor Castle, and the Antiquarian Horological Society Midlands Branch, at Warwick University.

Alan Donnithorne gave a gallery talk in the ‘Perfect Partners’ series during The Heart of the Great Alone

exhibition. At the conference on Leonardo’s Technical Practice: Paintings, Drawings and Influence, at the National

Gallery, London, he gave a paper on ‘The “faded” metalpoint drawings of Leonardo da Vinci in the Royal

Collection’, with Joanna Russell of the British Museum.

Sophie Gordon spoke on ‘The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography’ for

the Windsor Festival, and subsequently at the Summerleaze Gallery, Wiltshire, and for the Historical

Association, Isle of Wight; on ‘Victoria and Albert: a passion for photography’ at the Royal Albert Memorial

Museum, Exeter; on ‘The Heart of the Great Alone: Captain Scott and Herbert Ponting’ at National Museum

Wales, Cardiff; and at a two-day conference at St Andrew’s University on Polar Visual Culture on ‘At the ends

of the earth: polar images and royal collecting’. Sophie also recorded a website lecture on Herbert Ponting’s

use of colour for the Royal Channel on YouTube (www.youtube.com/user/TheRoyalChannel).

Caroline de Guitaut gave lectures on ‘Fabergé in the Royal Collection’ at the Royal Fabergé study day at

The Queen’s Gallery, London, at Stowe School and at Hillwood Museum, Washington DC, where she gave

4 0 A N N U A L R E P O R T 2 0 1 2

the inaugural lecture in the Frederick J. Fisher lecture series. She also gave seven talks on the Royal Fabergé

and The Royal Wedding Dress exhibitions at Buckingham Palace, including a British Sign Language group visit.

Kate Heard presented a paper on ‘Dürer’s drawings of the Virgin and Child’ at the joint Royal Collection

Trust/National Gallery of Scotland study day on ‘Dürer, Holbein and the Art of the Northern Renaissance’.

She gave a public talk on ‘Drawing in the Northern Renaissance’ at a ‘Meet the Curators’ event, and

‘Perfect Partners’ talks in both of The Queen’s Galleries on the Prince Regent’s acquisition of Rembrandt’s

Shipbuilder and his Wife, Dürer’s Pupila Augusta (c.1498) and St Anthony (1519), and on Edward Wilson’s

watercolours. She also gave papers on ‘“A hand, or eye by Hilliard drawne, is worth an history, by a worse

painter made”: portraiture and power in the early modern period’ at The Prince’s Teaching Institute

conference in Harrogate, and on ‘Vestments in the Yorkist Age’ at the Harlaxton Medieval Symposium on

The Yorkist Age.

Jonathan Marsden lectured on ‘“Portrait as Trophy”: three Imperial busts by Leone Leoni’ at the Victoria and

Albert Museum, on ‘The mystery of the Medici bust’ at Holyroodhouse, on ‘The Royal Collection’ at

Benenden School, and on ‘The Royal Collection on show’ at Dulwich Picture Gallery.

Lauren Porter gave a ‘Perfect Partners’ talk on ‘Avercamp and the landscape’ at The Queen’s Gallery, London;

the talk was later recorded and released on the British Monarchy’s Facebook page and YouTube channel as

‘A game of kolf on the ice’ (www.royalcollection.org.uk/exhibitions/dutch-landscapes/a-game-of-kolf-on-the-

ice) and ‘A sleigh accident on the ice’ (www.royalcollection.org.uk/exhibitions/dutch-landscapes/a-sleigh-

accident-on-the-ice).

Anna Reynolds gave a paper on ‘Costume at court: exhibition and research’ at the inaugural conference for

the Association of Dress Historians on the new research on costume in paintings in the Royal Collection.

Jane Roberts spoke on ‘Monarchs and their books’ during the showing of the British Library’s exhibition

Royal Manuscripts: The Genius of Illumination.

Jennifer Scott gave ‘Perfect Partner’ talks on ‘Dutch Landscapes’ and ‘Treasures: Mythology and Regency’ at

The Queen’s Gallery, London, and on Marcus Adams at The Queen’s Gallery, Edinburgh; she gave talks at the

National Gallery, London, on Anthony van Dyck and on Juan de Valdes Leal. She lectured on ‘The king in a

kilt: royal portraiture in context’ at the Palace of Holyroodhouse, Edinburgh; on ‘The royal image’ for the Royal

Collection Studies course; and on ‘The Royal Portrait: Image and Impact’ at five venues: National Museum

Wales, Cardiff, Hampton Court, Wellington College, Dulwich Picture Gallery and the Grosvenor Museum,

Chester (for The Art Fund). She lectured on ‘Tudor royal portraits’ at the Birkbeck Alumni History of Art

Society, and on ‘Cecil Beaton and royal portraiture’ at the Cecil Beaton study day at the Victoria and Albert

Museum. She delivered lectures on ‘Dutch Landscapes’ at the Bowes Museum, County Durham; on ‘Cows,

dunes and windmills: decoding the Dutch landscape’ at The Queen’s Gallery, London; on ‘Ruisdael, Cuyp and

the expressive landscape’ at the Wallace Collection’s Dutch landscapes study day; and on ‘Vermeer’s virginals

to Cuyp’s cows: Dutch paintings in context’ at Bath Literature Festival.

Desmond Shawe-Taylor lectured on ‘George IV and the heroic portrait’ at the conference The Portrait and the

Country House organised by the Centre for Eighteenth Century Studies, University of York; on ‘Paintings from

the Royal Collection’ at a study day at Kensington Palace; and on ‘Van Dyck and Charles I’ for The Art Fund

at the Society of Antiquaries, London. He also spoke about ‘Traditions of landscape painting’ as part of the

A N N U A L R E P O R T 2 0 1 2 4 1

Wallace Collection’s study day ‘Masters of Dutch painting: landscapes and seascapes’, and on ‘George III’s

Music Lesson: Dutch genre painting in the Royal Collection’ at the Fitzwilliam Museum, Cambridge.

Lucy Whitaker gave a paper entitled ‘The repetition of motifs in the work of Maso Finiguerra, Antonio

Pollaiuolo and their collaborators’ at the conference From Pattern to Nature in Italian Renaissance Drawing:

Pisanello to Leonardo at the Istituto Universitario Olandese di Storia dell’Arte, Florence. She organised and

spoke at the symposium on Italian Culture at the Tudor Court held at The Queen’s Gallery, Buckingham Palace,

Windsor Castle and Hampton Court, organised jointly with Queen Mary, University of London. She also gave

several talks and lectures based on The Northern Renaissance exhibition at The Queen’s Gallery, Edinburgh.

One of these – ‘Jan Gossaert’s “poetical subjects with nude figures” and the bringing of Rome to Antwerp’ –

was given at the joint study day organised by Royal Collection Trust and the National Gallery of Scotland on

‘Dürer, Holbein and the art of the Northern Renaissance’, in connection with The Northern Renaissance

exhibition at The Queen’s Gallery, Edinburgh, and Dürer’s Fame, showing simultaneously at the National

Gallery of Scotland.

PUBL I SH ING

Seven new titles were published during the year:

• The Northern Renaissance: Dürer to Holbein, by Kate Heard

and Lucy Whitaker

• Royal Fabergé, by Caroline de Guitaut

• Ten Drawings by Leonardo da Vinci, by Martin Clayton

• Queen Elizabeth II: A Diamond Jubilee Souvenir Album, by Jane Roberts

• The Crown Jewels, by Anna Keay

• Does The Queen Wear Her Crown in Bed?, by Marion McAuley

• Will There Be Knights and Dragons?, by Marion McAuley

and Leah Kharibian.

The Crown Jewels was the first book to be published jointly with an external publisher, Thames & Hudson, and in

partnership with Historic Royal Palaces. This authoritative and beautifully illustrated volume filled a major gap by

providing an affordable and scholarly account of the Crown Jewels and their history, drawing on the fundamental

work of Claude Blair and others published in the scholarly catalogue of 1998. The new book was published in

T h e

C rownJ ewe ls

A N N A K E AY

4 2 A N N U A L R E P O R T 2 0 1 2

advance of the Diamond Jubilee and in support of the re-presentation of the Crown Jewels in a magnificent

new setting within the Tower of London. Three different editions of the book were published. As well as the

hardback edition and a souvenir guide for visitors to the Tower, a specially bound limited edition was produced

that incorporated a three-metre fold-out panorama of Queen Victoria’s Coronation Procession in Westminster Abbey

on 28 June 1838, a faithful reproduction of a contemporary hand-coloured lithograph by Joseph Robins, held in the

Royal Library at Windsor Castle.

The publication of two new guides to Buckingham Palace and Windsor

Castle for younger visitors also broke new ground. Does The Queen Wear Her

Crown in Bed?, by Marion McAuley, with illustrations by Katy Sleight, answers

this and other questions most often asked by children about the Palace and

The Queen. The Windsor Castle guide, Will There Be Knights and Dragons?,

by Marion McAuley and Leah Kharibian, with illustrations by Katy Sleight,

follows a knight and two children as they explore the oldest and largest castle

in the world in search of the knight’s missing pet dragon. The preparation of

both titles involved local schools, and both have proved very successful,

providing a model for further children’s guides.

A new series of official guidebooks to the palaces was commissioned for the

Diamond Jubilee year, responding to the changing needs of visitors for a

souvenir of their visit. The new guidebooks are packed with high-quality colour

illustrations, room plans and authoritative text written by Royal Collection

Trust staff. The Diamond Jubilee Souvenir Album is a revised and extended

edition of a very successful existing title, and will also be published in German.

Reflecting the popularity of the touring Diamond Jubilee exhibition, the

inexpensive catalogue Ten Drawings by Leonardo da Vinci has sold very strongly,

and The Heart of the Great Alone, by David Hempleman-Adams, Sophie

Gordon and Emma Stuart, sold out at the end of the London showing of the

exhibition.

Much ongoing work is concerned with major scholarly publications, such

as the forthcoming catalogues raisonnés of Chinese and Japanese works of art

and European Arms and Armour, and the revised editions of Oliver Millar’s

catalogues of British paintings and the catalogue of the Dutch pictures by

Christopher White. Plans were finalised this year for a definitive history of

Windsor Castle, replacing the work of Sir William St John Hope, published as

long ago as 1913. Importantly, the new book, edited by Steven Brindle and

incorporating the latest archaeological and historical research, will be both

authoritative and appealing to the general reader. At the same time, a history

of the Royal Mausoleum at Frogmore is being prepared by Michael Hall,

drawing on a very complete and fully illustrated building record.

Twelve papers from the study days held at the National Gallery, London, in 2010, in connection with the

exhibition at The Queen’s Gallery, London, Victoria & Albert: Art & Love, have been published electronically,

edited by Susanna Avery-Quash. The first Royal Collection Trust publication in this form, it is available via both

the Royal Collection Trust and the National Gallery websites.

Does The Queen Wear Her Crown in Bed?A Children’s Book about Buckingham Palace

Written by Marion McAuleyIllustrated by Katy Sleight

A N N U A L R E P O R T 2 0 1 2 4 3

Publications by Staff

The following additional publications appeared during the year:

Wolf Burchard: ‘St James’s Palace: George II and Queen Caroline’s principal London residence’, The Court

Historian, 16(2) (2011); ‘Illusion and involvement: the lost baroque architecture of St George’s Hall at

Windsor Castle’, Immediations, 2(4) (2011).

Martin Clayton: two entries for The Northern Renaissance: Dürer to Holbein exhibition catalogue.

Sophie Gordon: ‘The web of royalty’, BBC History Magazine, February 2012.

Caroline de Guitaut: two catalogue entries in J. Bryant (ed.), Art and Design for All: The Victoria and Albert

Museum, V&A Publishing (2012).

Kate Heard: ‘“Such stuff as dreams are made on”: textiles and the medieval chantry’, Journal of the British

Archaeological Association, 164 (2011); ‘“Cheap and commercial”? Ecclesiastical embroidery and mass

production in late medieval England’, in M. Tomasi, L’art multiplié. Production de masse, en série, pour le marché

dans les arts entre Moyen Âge et Renaissance, Viella (2011); introductory material and 42 entries for The Northern

Renaissance: Dürer to Holbein exhibition catalogue; two catalogue entries in J. Bryant (ed.), Art and Design for

All: The Victoria and Albert Museum, V&A Publishing (2012).

Lisa Heighway: ‘Royal view’, NADFAS Review, winter (2011).

Kathryn Jones: ‘Prince Albert and Elkingtons’, Silver Studies, The Journal of the Silver Society, 27 (2011);

‘Celebrating jubilees: gifts in the Royal Collection’, BADA Handbook (2012/13); ‘“To wed high art with

mechanical skill”: Prince Albert and the industry of art’, Victoria & Albert: Art & Love. A Symposium

(www.royalcollection.org.uk/exhibitions/victoria-albert-art-love/symposium); three catalogue entries in

J. Bryant (ed.), Art and Design for All: The Victoria and Albert Museum, V&A Publishing (2012).

Jonathan Marsden: ‘Mr Green and Mr Brown: Ludwig Grüner and Emil Braun in the service of Prince Albert’,

Victoria & Albert: Art & Love. A Symposium (www.royalcollection.org.uk/exhibitions/victoria-albert-art-

love/symposium); one entry for The Northern Renaissance: Dürer to Holbein exhibition catalogue; two catalogue

entries in J. Bryant (ed.), Art and Design for All: The Victoria and Albert Museum, V&A Publishing (2012).

Vanessa Remington: ‘Queen Victoria, Prince Albert and their relations with artists’, Victoria & Albert: Art &

Love. A Symposium (www.royalcollection.org.uk/exhibitions/victoria-albert-art-love/symposium); seven entries

for The Northern Renaissance: Dürer to Holbein exhibition catalogue.

Anna Reynolds: four catalogue entries in J. Bryant (ed.), Art and Design for All: The Victoria and Albert Museum,

V&A Publishing (2012).

Jane Roberts: ‘The Lodge and the development of the Great Park’, in S. Robinson (ed.), Glorious Seclusion:

Cumberland Lodge and Windsor Great Park in the Life of the Nation, Phillimore (2011).

Jennifer Scott: introductory material and 22 entries for The Northern Renaissance: Dürer to Holbein exhibition

catalogue.

Desmond Shawe-Taylor: review of Johan Zoffany 1733–1810 by Mary Webster, Country Life, 27 July 2011;

‘Our Island Story’, a preview of BBC Radio 4’s The Art of Monarchy, The Spectator, 11 February 2012.

4 4 A N N U A L R E P O R T 2 0 1 2

Rachael Smith: ‘The conservation of 830 oil paintings on paper by Marianne North’, Journal of the Institute of

Conservation, 34(2) (2011) (with Tanya Millard, Emma Le Cornu, Eleanor Hasler, Helen Cowdy, Rebecca

Chisholm and Eleanor King).

Emma Stuart: nine entries for The Northern Renaissancee: Dürer to Holbein exhibition catalogue.

Lucy Whitaker: ‘“Preparing a handsome picture frame to pattern chosen by HRH The Prince”: Prince Albert

frames his collection’, Victoria & Albert: Art & Love. A Symposium (www.royalcollection.org.uk/exhibitions/

victoria-albert-art-love/symposium); introductory material and 16 entries for The Northern Renaissance:

Dürer to Holbein exhibition catalogue.

NEW MEDIA

Following almost a year of sustained hard work by staff in numerous sections, the first stage in the development

of the new website (www.royalcollection.org.uk) went live on 22 March 2012.

The new site presents the Royal Collection in greater quantity and detail, and provides easily navigable

and informative introductions to each of the official royal residences and exhibitions. New features include

‘What to see and do’ for each location, and information to help plan and follow up a visit; a ‘What’s on’ listing

of all events, from exhibitions and lectures to family activities; and content created for specific audiences,

including the travel trade and the media.

There are sections for school teachers and pupils that can be used to support classroom work and to make

the best use of a visit; for families and adult learners; and for visitors with access needs. Some of these resources

are linked to the core curriculum, while others explore more general topics – such as the use of perspective in

art or the development of photography – or provide trail material for exploring the gardens of Buckingham

Palace or the historic buildings of Windsor Castle.

Throughout the coming years, new content and functionality will continue to be added to the site. This

is especially true of the Collection Online, which gives access to an extensive database on works of art of all

kinds. The first page of the ‘Collection’ section gives a flavour of the 135,000 works of art that can currently

be explored, from a photograph of Emmanuel Louis Cartigny, the last survivor of the Battle of Trafalgar, taken

by Henry Ellis around 1891, to ‘A catte’, an embroidered panel depicting a ginger cat with a mouse on a

chequered floor, bearing the cipher of Mary, Queen of Scots, most of whose embroideries were made between

1569 and 1584, when she was held captive in England by the Earl of Shrewsbury.

The ‘Collection’ section also includes a new series of Conservation case studies, showing, for example, the

work recently completed on the rebinding of Audubon’s Birds of America (see page 15), and the work of cleaning

and repairing the gilded and painted case of the Erard piano purchased by Queen Victoria and Prince Albert

in 1856 for their music-making at Buckingham Palace.

In pursuit of the same aim, the Royal Collection is now represented in the Google Art Project, to which

152 images of works by 126 different artists have been made available. The Art Project is an online archive of

some 30,000 works of art from the world’s leading galleries and museums, in the form of high-resolution images

that can be enlarged and studied in more detail than is often possible in front of the original work. It is hoped

that the selected works will become much better known as a result of our participation, and that visitors to

the Art Project will follow links to the much larger selection of works on the Royal Collection Trust site.

A N N U A L R E P O R T 2 0 1 2 4 5

The Changing the Guard app was

launched in March 2012. Designed for use

on smart phones, the app is packed with

information to help spectators at the

ceremony understand the pageantry they

are witnessing. The app includes a video

introduction, a timetable of events, a guide

to each of the five Guards regiments that

take part, and an interactive map showing

the Guards’ route and the main points of interest during the ceremony. The app was made with the support of

the Household Division and a proportion of the sales income will be donated to regimental charities.

4 6 A N N U A L R E P O R T 2 0 1 2

ROYAL COLLECT ION TRUST IN THE MED IA

This has been an exceptional year for media coverage of the work of Royal Collection Trust, marked by two

major BBC series. The Queen’s Palaces, a three-part documentary presented by Fiona Bruce, exploring the

architecture and history of Buckingham Palace, Windsor Castle and the Palace of Holyroodhouse, was shown

on BBC One in September 2011, attracting an average of 3.81 million viewers per episode. The Art of

Monarchy, an eight-part series presented by BBC Arts Editor Will Gompertz on Radio 4, was broadcast on

Saturday mornings in February and March 2012 to mark the Diamond Jubilee, reaching an average of

1.12 million listeners. Each programme examined works in the Royal Collection that shed light on aspects of

royal history, under such overall themes as Faith, Magnificence, People and Progress. Royal Collection curators

featured prominently in both series, alongside other academics and commentators, and the curators

contributed a series of posts on related subjects to the Radio 4 and 4 Extra Blog (www.royalcollection.org.uk/

plus/the-art-of-monarchy).

Royal Collection Trust has participated in a number of other media projects during the year, among them

Channel 4’s three-part series Elegance and Decadence: The Age of the Regency, presented by Lucy Worsley.

In February 2012, the Radio 4 travel programme Excess Baggage, hosted by John McCarthy, was recorded before

a live audience during The Heart of the Great Alone exhibition at The Queen’s Gallery, Buckingham Palace.

The programme included discussions about Antarctica with the explorer David Hempleman-Adams

and his daughter Amelia (at the age of 16, the youngest person ever to ski to the South Pole), Antarctic

expert Meredith Hooper and Frozen Planet cameraman Doug Allan. Sophie Gordon (curator of the

exhibition) subsequently recorded a question-

and-answer discussion on the photographs for a

podcast on the BBC History Magazine website

(www.historyextra.com/podcast-page: the podcast

for 19 January 2012). Sophie also appeared in a

BBC Radio 4 series presented by Sara Wheeler,

To Strive and Seek, marking the centenary of Scott’s

expedition to the South Pole.

Fiona Bruce presented BBC One’s three-part series The Queen’s Palaces in September 2011, while Will Gompertz’s eight-part serieson The Art of Monarchy was broadcast on BBC Radio 4 in February and March 2012.

Polar exploration was the theme of the BBC Radio 4 travelprogramme, Excess Baggage, recorded in The Queen’s Gallery,Buckingham Palace, to coincide with The Heart of the Great Aloneexhibition in February 2012.

A N N U A L R E P O R T 2 0 1 2 4 7

A C Q U I S I T I O N SEnsuring that appropriate acquisitions are made whenresources become available, to enhance the Collectionand displays of exhibits for the public

Five works of art were purchased at the sale of the contents of

Old Battersea House, the London home of the Forbes family, held in

Edinburgh in November 2011: the oil paintings Sketch for the State

Portrait of King George VI (1941), by Sir Gerald Kelly, and Tyrolese

Woman and Child (1850–60), by Queen Victoria and Prince Albert

after Philipp von Foltz; and three works on paper by Queen Victoria’s

daughters, Victoria (the Princess Royal) and Louise: an early

watercolour, The Good Knight Bayard (1856), a portrait drawing of

Princess Helena in 1863 by the Princess Royal (Empress Frederick of

Germany), and a watercolour, Maidenhood (1869), by Princess Louise,

a present to the Queen on her fiftieth birthday in 1869.

A set of the 12 official London 2012 Olympic and Paralympic

Games posters – by Fiona Banner, Michael Craig-Martin, Martin Creed,

Tracey Emin, Anthea Hamilton, Howard Hodgkin, Gary Hume, Sarah

Morris, Chris Ofili, Bridget Riley, Bob and Roberta Smith and Rachel

Whiteread – was presented by the publisher, Counter Editions.

Notable acquisitions of photographs this year included a group

of 19 portraits of members of the Royal Family presented by Geoffrey

Sawyer, assistant to the photographer Cecil Beaton; a set of some

50 prints documenting Princess Anne’s visit to Kenya in 1972 for

Blue Peter, presented by BBC Archives; ‘Portrait of The Queen and

The Duke of Edinburgh’, by Thomas Struth, commissioned by the

National Portrait Gallery for The Queen’s Diamond Jubilee; and

the official Diamond Jubilee portraits by John Swannell.

Some 50 books and several sets of coins and medals were received as gifts. These included a facsimile

(produced by Vermillion Design of Dublin) of a late sixteenth-century Irish language primer (attributed to

Christopher Nugent, Baron Delvin), presented to The Queen by Mary McAleese, President of Ireland, on the

occasion of the State Visit to Ireland in May 2011; and a 3D book entitled Eceabat, presented (in a musical

box, along with a pair of 3D glasses, and a bullet casing from the Gallipoli campaign) by the President of Turkey

on the occasion of the State Visit in November 2011. ‘Mr Dickens and the actors: a script for the performance

at the Guildhall in London on the themed Dickens day, 14 February 2012’ was presented to The Queen by

Sir Derek Jacobi on behalf of the Royal Theatrical Fund, to celebrate Dickens’ bicentenary. The Royal Mint

presented coins struck in 2011 to commemorate the ninetieth birthday of HRH The Duke of Edinburgh and

the marriage of The Duke and Duchess of Cambridge, along with several coins in the Olympic series.

The Canadian Directorate of Honours and Recognition presented a full set of specimens of Canadian medals

and decorations in current use.

The 12 posters designed by leading British artists for the London2012 Olympic and Paralympic Games.

Tyrolese Woman and Child (1850–60), painted by Queen Victoriaand Prince Albert, after a work by the German historical painterPhilipp von Foltz, purchased in November 2011.

4 8 A N N U A L R E P O R T 2 0 1 2

T R A D I N G A C T I V I T I E S

RETA IL

Retail activities enjoyed an extremely successful year, continuing to benefit from the effects of the

celebrations surrounding the marriage of The Duke and Duchess of Cambridge. More than 190,000 items

of wedding-related merchandise were sold during the year, at a value of almost £4 million; the majority

consisted of commemorative china designed and manufactured in Stoke-on-Trent. Demand for products

from this range was so great that a decision had to be taken to reduce wholesale activity and concentrate

on selling through our own shops and online shop. The online shop has achieved a notable increase in

sales following its redesign and relaunch, providing a strong platform for growth in off-site business

in the future.

The range of merchandise designed to commemorate the Diamond Jubilee of Her Majesty

The Queen was launched on 10 October 2011, resulting in sales of 60,000 units by 31 March 2012.

Limited-edition china has proved especially popular.

All 11 shops performed well, achieving a 46 per cent increase in sales on the previous year. Initiatives

to promote tax-free sales and home delivery have proved increasingly popular, and additional training

in this specialist area is now given to all staff. While all sites contributed to the strong performance,

Windsor Castle and the Buckingham Palace Road shop showed particularly good growth, the latter

benefiting from the crowds that gathered during the Royal Wedding weekend. The Royal Mews shop at

Buckingham Palace was refurbished in February 2012, in preparation for further sales growth in the

busy year ahead.

Limited-edition china designed to commemorate the Diamond Jubilee of Her Majesty The Queen.

A N N U A L R E P O R T 2 0 1 2 4 9

P ICTURE L IBRARY

The four full-time specialist photographers are

constantly adding new images to the Picture

Library, which are then available for a wide variety

of internal research and publishing projects and

for sale to external publishers and broadcasters.

During the year, more than 100,000 digital

records were added to the Digital Asset

Management system (DAM), a database of new

photographs and scanned material. Since the

DAM was implemented in January 2011, this

resource has grown to more than 256,000 records.

One of the photographers has been working

full-time on historic photographs for the

Collection Online. The digitisation of microfilm

and microfiche images has also started, and those

covering the published catalogues of drawings and

George III’s collection of military maps, together

with those recording works by Hollar and

Raphael, have been prioritised for scanning.

External demand for pictorial material has

remained strong, and the Picture Library has dealt

with requests from all over the world, for both TV

and print, in connection with the Royal Wedding.

The agreement reached last year with the

Bridgeman Art Library to market selected images

has resulted in additional revenue, as has the

licensing of images for books, calendars and merchandise in connection with the National Gallery’s

Leonardo exhibition. Further income was earned from sales of images to the Florence-based art publisher

Giunti Editore for their Leonardo Project, consisting of facsimile reproductions of all the surviving

drawings of Leonardo da Vinci. The licensing of images to the Metropolitan Museum of Art, New York,

has enabled the Museum to create a range of merchandise based on works by Leonardo da Vinci and

Fabergé.

Among the film and television projects that made use of Picture Library material during the year

were the BBC productions Diamond Queen, Of Hearts and Minds and To the Manor Reborn; the broadcast

‘Leonardo Live’, made for the National Gallery; a forthcoming documentary for Channel 4 about

Queen Victoria; and the film Sherlock Holmes: A Game of Shadows.

This photograph by Anwar Hussein, showing The Queenat Aberdeen Airport on her way to Balmoral on 22 June 1974,featured in the exhibition The Queen: 60 Photographs for60 Years at Windsor Castle.

5 0 A N N U A L R E P O R T 2 0 1 2

F I N A N C I A L O V E R V I E W

Incoming Resources

The summarised financial statements set out on pages 52–4 indicate that Royal Collection Trust

increased its incoming resources by £8,487,000 (20.3 per cent), from £41,785,000 in 2010–11

to £50,272,000 in 2011–12. The growth in admissions income of £6,569,000 (26 per cent), from

£25,246,000 to £31,815,000, is attributable to an increase in visitor numbers of 436,000 (20.2 per cent),

from 2,160,000 to 2,596,000, and higher admission charges.

Income from retail, catering and photographic services increased by £5,600,000 (46.3 per cent), from

£12,093,000 to £17,693,000. This increase was generated largely by the sale of Royal Wedding

merchandise in the first half of the year and Diamond Jubilee merchandise in the second half of the year,

but was also influenced by the growth in visitor numbers, increased spend per visitor and an increase in

off-site retail sales.

Charitable Expenditure

Expenditure on charitable activities increased by £2,636,000 (11 per cent), from £24,021,000 in 2010–11

to £26,657,000 in 2011–12. Expenditure on access to the Royal Collection increased by £1,619,000

(10.1 per cent); exhibitions and displays increased by £480,000 (22.3 per cent); and conservation

increased by £386,000 (25.1 per cent).

Net Incoming Resources and Cash Flow

Net incoming resources, before recognising the pension scheme actuarial loss of £1,200,000 (2010–11:

a gain of £500,000), amounted to £10,437,000 (2010–11: £7,422,000). The net cash inflow of

£12,063,000 has resulted in net cash balances of £14,660,000 at 31 March 2012 (2010–11: £2,597,000).

Funds and Reserves

Royal Collection Trust has total Funds and Reserves of £29,979,000 at 31 March 2012 (2010–11:

£20,742,000). After allocating funds that are restricted or are represented by fixed assets, the Trustees

have designated funds of £700,000 relating to the pension scheme and £7,500,000 towards the

development of Windsor Castle visitor facilities, leaving £3,394,000 of free reserves (2010–11: £nil).

F I V E -Y EAR COMPAR I SON

2007–8 2008–9 2009–10 2010–11 2011–12

£000 £000 £000 £000 £000

Admissions income (including Gift Aid) 20,379 21,348 23,307 25,246 31,815

Retail sales 8,542 9,023 9,936 11,705 17,068

Charitable expenditure 20,045 21,179 22,634 24,021 26,657

Net incoming resources (before actuarial 1,519 802 1,908 7,422 10,437gain/(loss) recognised in pension scheme)

Capital expenditure 1,412 688 647 1,159 902

Visitor Performance Indicators

Visitor numbers (000) 1,986 1,993 2,074 2,160 2,596

Admissions income per visitor £10.26 £10.71 £11.24 £11.69 £12.26

Retail spend per visitor (on-site only) £3.91 £4.13 £4.30 £4.59 £5.40

I NCOME AND ADM I S S I ON NUMBER S FOR THE Y EAR

Admission numbers

2011–12 2010–11 2011–12 2010–11

£000 £000 000 000

Windsor Castle and Frogmore House– admissions 14,044 12,325 1,182 1,073– shop sales 3,314 2,687

Buckingham Palace Summer Opening– admissions 10,040 6,608 613 422– shop sales 3,874 2,207

The Queen’s Gallery– admissions 1,431 1,358 196 174– shop sales 3,331 2,495

The Royal Mews– admissions 1,707 1,234 271 196– shop sales 1,233 913

Clarence House– admissions 127 114 13 12– shop sales 51 44

Palace of Holyroodhouse– admissions 2,862 2,383 321 283– shop sales 1,055 796

Other retail income (including cafés) 4,593 2,808

Publishing 262 263

Photographic services 242 143

Gift Aid 1,604 1,224

Other income 502 4,183

50,272 41,785 2,596 2,160

A N N U A L R E P O R T 2 0 1 2 5 1

5 2 A N N U A L R E P O R T 2 0 1 2

S U M M A R I S E D F I N A N C I A LS T A T E M E N T S

INDEPENDENT AUDITORS ’ STATEMENT TO THE ROYALCOLLECT ION TRUST ( ‘ THE CHAR ITY ’ )

We have examined the summarised financial statements of The Royal Collection Trust for the year ended

31 March 2012 which comprise the Summary Consolidated Statement of Financial Activities and the

Summary Consolidated Balance Sheet set out on pages 53–4. The summarised financial statements are

non-statutory accounts prepared for the purpose of inclusion in the Annual Report.

This statement is made, on terms that have been agreed with the charity, solely to the charity, in order

to meet the requirements of Accounting and Reporting by Charities: Statement of Recommended

Practice (revised 2005). Our work has been undertaken so that we might state to the charity those

matters we have agreed to state to it in such a statement and for no other purpose. To the fullest extent

permitted by law, we do not accept or assume responsibility to anyone other than the charity for our

work, for this statement, or for the opinions we have formed.

Respective Responsibilities of Trustees and Auditors

The Board of Trustees has accepted responsibility for the preparation of the summarised financial

statements. Our responsibility is to report to the charity our opinion on the consistency of the

summarised financial statements on pages 53–4 in the Annual Report with the full statutory Annual

Financial Statements.

We also read the other information contained within the Annual Report and consider the implications

for our report if we become aware of any apparent misstatements or material inconsistencies with the

summarised financial statements.

Basis of Opinion

We conducted our work having regard to Bulletin 2008/3 The auditor’s statement on the summary financial

statement in the United Kingdom issued by the Auditing Practices Board. Our report on the charity’s full

statutory Annual Financial Statements describes the basis of our audit opinion on those financial

statements.

Opinion

In our opinion, the summarised financial statements set out on pages 53–4 are consistent with the full

statutory Annual Financial Statements for the year ended 31 March 2012. We have not considered the

effects of any events between the date on which we signed our report on the full statutory Annual

Financial Statements (19 June 2012) and the date of this statement.

M.G. Fallon

for and on behalf of KPMG LLP

Chartered Accountants

8 Salisbury Square, London EC4Y 8BB

2012 2011

£000 £000

INCOMING RESOURCES

Incoming resources from generated funds:

Retail, catering and photographic services 17,693 12,093

Investment income 216 44

17,909 12,137

Incoming resources from charitable activities:

Access 31,626 25,078

Presentation and interpretation 452 431

32,078 25,509

Other incoming resources:

Other income 285 4,139

Total incoming resources 50,272 41,785

RESOURCES EXPENDED

Cost of generating funds:

Retail, catering and photographic services 12,504 9,832

Charitable activities:

Access 17,642 16,023

Presentation and interpretation 3,676 3,559

Exhibitions 2,631 2,151

Conservation 1,924 1,538

Custodial control 784 750

26,657 24,021

Governance costs 129 130

Other resources expended:

Donation 745 480

Pensions finance charge (200) (100)

545 380

Total resources expended 39,835 34,363

Net incoming resources 10,437 7,422

Actuarial (loss)/gain recognised in pension scheme (1,200) 500

Net movement in funds 9,237 7,922

Fund balances at 1 April 2011 20,742 12,820

Fund balances at 31 March 2012 29,979 20,742

S UMMARY CON SO L I DAT E D S TAT EM EN T O F F I N ANC I A L AC T I V I T I E S

for the year ended 31 March 2012

A N N U A L R E P O R T 2 0 1 2 5 3

2012 2011

£000 £000

Fixed assets

Tangible assets 17,956 18,683

Current assets

Stock and work in progress 3,484 2,710

Debtors 1,804 1,282

Bank deposits 9,000 –

Cash at bank and in hand 8,660 5,597

22,948 9,589

Creditors: amounts falling due within one year (8,625) (5,930)

Net current assets 14,323 3,659

Total assets less current liabilities 32,279 22,342

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

Net assets excluding pension asset 29,279 19,342

Pension asset 700 1,400

Net assets 29,979 20,742

Income funds

Restricted 429 442

Unrestricted

Designated funds

Fixed assets fund 17,956 18,683

Windsor Castle visitor facilities 7,500 217

Free reserves 3,394 –

Funds excluding pension reserve 29,279 19,342

Pension reserve 700 1,400

Total funds 29,979 20,742

These are not statutory accounts, but a summary of information relating to both the Statement of Financial Activities and the

Balance Sheet. They may not contain sufficient information to allow for a full understanding of the financial affairs of the

charity. For further information, the full annual statutory accounts, the Auditors’ report on those accounts and the Trustees’

Annual Report should be consulted. Copies of these can be obtained from the Director of the Royal Collection, York House,

St James’s Palace, London SW1A 1BQ.

The statutory Annual Financial Statements were approved on 19 June 2012 and have been delivered to the Charity Commission

and the Registrar of Companies. The accounts have been audited by a qualified auditor, KPMG LLP, who gave an audit opinion

which was unqualified and did not include a statement required under section 498 (2) and (3) of the Companies Act 2006.

The summary financial statements of The Royal Collection Trust were approved by the Trustees on 19 June 2012 and were

signed on their behalf by:

Mr Peter Troughton Trustee Sir Alan Reid Trustee

S UMMARY CON SO L I DAT E D BA L ANC E S H E E T

as at 31 March 2012

5 4 A N N U A L R E P O R T 2 0 1 2

A N N U A L R E P O R T 2 0 1 2 5 5

EXTERNAL APPO INTMENTS

Julia Bagguley: Member of the Lucy Cavendish

College Fine Arts Committee; Honorary Secretary

of The Prince’s Teaching Institute.

Robert Ball: Member of the Executive Committee

of the National Benevolent Society of Watch and

Clock Makers; Chairman of the Council, British

Watch and Clock Makers Guild; Trustee of the

British Horological Institute Museum Trust.

Wolf Burchard: Member of the Committee, Society

for Court Studies.

Martin Clayton: member of the Ente Raccolta

Vinciana.

Jacky Colliss Harvey: Trustee of the Association

for Cultural Enterprises.

Paul Cradock: Member of the Executive Committee

of the National Benevolent Society of Watch and

Clock Makers; Secretary of the British Watch and

Clock Makers’ Guild.

Alan Donnithorne: Visiting Professor at

Camberwell College of Arts (University of the Arts

London).

Kate Heard: Deputy Editor of the Journal of the

History of Collections; member of the UK Print

Curators’ Forum.

Kathryn Jones: Member of the Committee of the

Silver Society, and of the Silver Society’s Research

and Publications Committee; member of the

Antique Plate Committee.

Jonathan Marsden: Trustee of Historic Royal

Palaces; The Art Fund; Royal Yacht Britannia Trust;

Household Cavalry Museum Trust; City & Guilds

of London Art School; Hon. Editorial Secretary,

Furniture History Society; Member of Council,

Attingham Trust.

Simon Metcalf: Member of the Conservation

Committee, Church of England Church Buildings

Council.

David Rankin-Hunt: Norfolk Herald of Arms

Extraordinary; Deputy Inspector of Regimental

Colours; Deputy Inspector of RAF Badges;

Genealogist of the Antigua and Barbuda Orders of

Chivalry; Special Adviser (Honours), Government

of Grenada; Trustee of The Guards Museum.

Jane Roberts: Member of the Ente Raccolta

Vinciana, the Editorial Advisory Board of the

Master Drawings Association; the Council of

Management of the Windsor Festival; the

Chatsworth House Conservation Advisory Board

and the Consultative Committee of the Walpole

Society; Governor of the British Institute of

Florence.

Jennifer Scott: Trustee of the Living Paintings Trust.

Desmond Shawe-Taylor: Trustee of the Samuel

Courtauld Trust; Member of the Advisory Council,

Hamilton Kerr Institute; Vice-President, NADFAS;

Trustee of The Holburne Museum, Bath; Trustee of

Compton Verney Collections Settlement; member,

selection panel for the Sunday Times Watercolour

Competition; assessor, the Berger Prize for British

Art History.

Shaun Turner: Tutor/Lecturer in

Woodwork/Cabinet-making, Picture Frame-making

and Furniture Restoration for Hammersmith and

Fulham Adult Education, Macbeth Centre.

David Wheeler: External Examiner for the MA in

Conservation of Historic Objects, University of

Lincoln; Member of the Conservation Advisory

Panel, the Wallace Collection.

Bridget Wright: Honorary Editor of the Friends of

St George’s and Descendants of the Knights of the Garter

Annual Review.

S T A F F

5 6 A N N U A L R E P O R T 2 0 1 2

STAFF NUMBERS

(2010–11 numbers in brackets)

The Paintings section had 10 (7) full-time and

8 (10) part-time staff. Their work was aided by

1 intern on a six-month placement.

The Decorative Arts section had 16 (16) full-time

and 3 (3) part-time staff. Their work was aided by

the Royal Household’s Collections Care Steward

and 2 interns on six-month placements.

The Royal Library (which includes the Print Room,

Photographs and Paper Conservation sections, the

Exhibitions section and the staff of the Dal Pozzo

Project) had 19 (19) permanent full-time staff, 4 (4)

permanent part-time staff and 4 (4) staff on fixed-

term contracts. Their work was aided by 5 (5) long-

term volunteers, 2 interns on six-month placements

and 4 (4) paper conservation students on a two-

week placement from Camberwell College of Arts

(University of the Arts London). An additional

4 (4) volunteers assisted with the refurbishment of

books in the Royal Library during August.

The curatorial team is completed by the Curator,

Palace of Holyroodhouse (1), and the Superintendent

of the Royal Collection at Hampton Court (1).

The Collections Information section had 12 (12)

full-time and 3 (2) part-time members of staff.

Their work was aided by 2 (0) volunteers.

Front-of-house staff, which includes Visitor

Services, Retail and Ticket Sales staff, had the

following full-time equivalents:

Windsor Castle 155 (147)

Buckingham Palace and Clarence House 146 (120)

Palace of Holyroodhouse 49 (47)

Ticket Sales and Information 40 (38).

Central Departments had the following full-time

equivalents:

Retail 23 (20)

Public Relations and Marketing 8 (8), with 1 intern

Publishing 4 (4)

Learning 6 (6)

Photographic Services 9 (8). Their work was aided

by 2 (0) people on short-term work experience

Administration 3 (2).

Finance, IT and Personnel services are provided

by the Royal Household under a shared services

arrangement.

STAFF TRA IN ING AND DEVELOPMENT

Several staff achieved higher academic qualifications during the course of the year. Sophie Gordon was

awarded her PhD by the School of Oriental and African Studies, University of London, for her thesis

‘Monumental visions: architectural photography in India, 1840–1901’. Sarah Thompson was awarded a

distinction for her MA in Arts Policy and Management by Birkbeck, University of London. Will Miller also

achieved a distinction for his MA in Conservation of Furniture and Decorative Arts from Buckinghamshire

New University. David Oakey was awarded an MA with distinction in Decorative Arts and Historic Interiors

by the University of Buckingham, and Katie Holyoak achieved a merit with a distinction in her dissertation

for her MA in History of Art from Birkbeck, University of London.

A number of staff also participated in specialist, externally run courses and conferences covering a range

of subject areas, from the composition and manufacture of early pigments to the history of upholstery. In July,

Jennifer Scott participated in the three-week annual Attingham Summer School, visiting and studying

country houses and their collections across the United Kingdom.

A N N U A L R E P O R T 2 0 1 2 5 7

Above: Interns benefit from mentoring by curatorial staff; each has a researchassignment to complete during their six months of training. (From left to right)Kathryn Jones; Helen Ritchie; Lucy Whitaker; Sarah Fletcher; Kate Ainley-Marr;Emma Stuart.

Right: Participation in the World Skills Exhibition in October 2011 at the ExCelArena in London was intended to promote the Royal Household as an inclusiveemployer, focusing particularly on areas of specialist craft skills. The many jobseekers (in the age range 17 to 22) who visited the stand learned about qualifyingto work in furniture conservation from Royal Collection specialists, includingShaun Turner (pictured).

Staff took advantage of programmes organised throughout the year by the Royal Household Learning and

Development team, in such areas as Time Management, Public Speaking and Project Management.

The Visitor Services teams at each residence took part in half-day workshops based on the Disney Quality

Standard model. The sessions involved defining Royal Collection Trust Quality Standards and using these as

a tool to look with fresh eyes and evaluate the visitor experience at each site. Seventy-four people from the

Retail, Ticket Sales and Wardening teams also took part in team-building events during 2011. Additional

Health and Safety Awareness sessions were programmed in order to redress a backlog in this fundamental area.

Thirty-two people attended the Performance and Development Review for Reviewees workshop, which is

aimed at helping staff to be better prepared for their annual review meeting. In addition, 19 supervisors and

first-line managers and two team leaders took part in leadership development courses, using programmes

validated by the Chartered Management Institute and the Institute of Leadership and Management.

This represented the first step in a move to a more structured approach to leadership development, and further

programmes for the senior leadership team are envisaged during 2012.

A significant move towards the formalisation of internships began in October 2011. Three paid curatorial

internships and three in conservation are now offered twice a year, with each successful candidate in post for

six months. The scheme has already proved very successful, giving candidates invaluable experience, as well

as providing the Department with additional resources and a continually renewed source of new perspectives

and insights on the Collection. Interns are assigned to a mentor with whom they have regular review meetings,

to assess progress towards the learning objectives to be achieved during the course of the internship.

Each intern is also given an individual research project to accomplish. The first curatorial interns –

Kate Ainley-Marr (Paintings), Sarah Fletcher (Books and Manuscripts) and Helen Ritchie (Decorative Arts)

– completed their appointments in March 2012. These posts, which are advertised on the web, are in addition

to an existing internship scheme in Marketing, currently undertaken by Claire Jackson.

These photographs were taken especially for this Annual Report by Andrew Wright, who is studying photography at University College Falmouth, in Cornwall, having first becomeintrigued by photography while travelling and working abroad. Interested in documentary work as well as portraiture, Andrew most enjoys photographing people at work.

Warden, Palace of Holyroodhouse, Ross Hannay Senior Horological Conservator, Robert Ball

Warden, Royal Mews, Buckingham Palace, Shalini Punjani Project Editor, Publishing, Nina Chang

Learning Co-ordinator, Windsor Castle, Catherine Martin Assistant Retail Manager, Windsor Castle, Hanna Cross

Paintings Conservator, Tabitha Teuma Warehouse Manager, Jim Hoyle

A N N U A L R E P O R T 2 0 1 2 5 9

S T A F F L I S Tas at 31 March 2012

DIRECTORATE

Director of the Royal CollectionJonathan Marsden, LVO, FSA

Assistant to the DirectorCaroline de Guitaut, MVO

Personal Assistant to the DirectorDenise Vianna Haran

Administrator and Assistantto the SurveyorsDavid Rankin-Hunt, LVO, MBE, TD

Assistant to theAdministrator/ReceptionistGeorgina Asplin

Superintendent of the Royal Collection(Hampton Court Palace)Christopher Stevens

Custodian of California Gardens Store(Windsor Castle)Anthony Barrett, RVM

Assistant CustodianArthur Pottinger

Records OfficerAmelie Von Pistohlkors

FINANCE

Finance DirectorMichael Stevens, CVO, FCA

PAINTINGS

Surveyor of The Queen’s PicturesDesmond Shawe-Taylor, LVO

Assistant to the Surveyor ofThe Queen’s PicturesLucy Peter

Senior Curator of PaintingsLucy Whitaker, MVO

Curators of PaintingsVanessa RemingtonAnna ReynoldsJennifer Scott

Project Curator (BBC Radio 4)Christopher Maxwell

Exhibition Curatorial AssistantWolf Burchard

Senior Paintings ConservatorNicola Christie

ConservatorsKaren Ashworth, MVOAl BrewerClaire ChorleyAdelaide IzatRosanna de Sancha, MVOTabitha Teuma

Framing and Exhibitions ConservatorMichael Field, MVO

Framing and Exhibitions TechnicianStephanie Carlton

Paintings Conservation AdministratorNicola Swash Hardie (maternity leave)Neil Vaughan (maternity cover)

DECORATIVE ARTS

Surveyor of The Queen’s Works of ArtJonathan Marsden, LVO, FSA

Deputy Surveyor of The Queen’sWorks of ArtRufus Bird

Curators of Decorative ArtsCaroline de Guitaut, MVOKathryn Jones

Assistant to the Deputy Surveyorof The Queen’s Works of ArtDavid Oakey

Senior Furniture ConservatorDavid Wheeler, MVO

Furniture ConservatorsWill MillerShaun Turner, MVOJane Wallis

Senior Gilding ConservatorStephen Sheasby

Gilding ConservatorsPerry Bruce-MitfordElizabeth Parker

Armourer and Senior MetalworkConservatorSimon Metcalf

Senior Horological Conservator(Buckingham Palace)Robert Ball, MVO

Horological Conservator(Buckingham Palace)Paul Cradock, MVO

Horological Conservator(Windsor Castle)Steven Davidson, MVO

THE ROYAL LIBRARY

Librarian and Curator ofthe Print RoomThe Hon. Lady Roberts, CVO, FSA

Secretary to the Librarian andOffice AdministratorMargaret Westwood

BibliographerBridget Wright, LVO

Curator of Books and ManuscriptsEmma Stuart, MVO

Senior Curator of Prints and DrawingsMartin Clayton, MVO, FSA

Curator of Prints and DrawingsDr Kate Heard, FSA

Assistant to the Curatorsof the Print RoomRhian Wong

Print Room AssistantLauren Porter

Dal Pozzo Project Co-ordinatorPanorea Alexandratos

Dal Pozzo Project Research AssistantDr Eloisa Dodero

6 0 A N N U A L R E P O R T 2 0 1 2

Dal Pozzo Project AssistantSabrina Stevenson

Senior Curator of PhotographsDr Sophie Gordon

Curator of PhotographsLisa Heighway

Head of Paper ConservationAlan Donnithorne, MVO, FIIC

Head of Book ConservationRoderick Lane, MVO, RVM

Deputy Head of Book ConservationIrene Campden, MVO

Exhibitions and MaintenanceConservatorDavid Westwood, MVO, RVM

Paper ConservatorMegan Gent, MVO, RVM

Archives BookbinderPhilippa Räder

Conservation Mounter/FramerKathryn Stone

Drawings ConservatorRachael Smith

General and Workshop AssistantMartin Gray

EXHIBITIONS

Head of ExhibitionsTheresa-Mary Morton, LVO

Senior Exhibition Project Co-ordinatorStephen Weber

Exhibition Project Co-ordinatorSandra Adler

Exhibition AssistantRosemary Razzall

Acting Loans Officerand Exhibitions SecretaryRoxanna Hackett

COLLECTIONS INFORMATIONMANAGEMENT

Head of Collections InformationManagementStephen Patterson, LVO

Inventory Clerk (Buckingham Palace)Melanie Wilson

Inventory Clerk (Windsor Castle)Alexandra Barbour

Senior Collections InformationAssistant (Paintings)Alexandra Buck

Collections Information Co-ordinatorand IndexerPaul Carter

Photograph Collection CataloguerEmily Green

Raphael Collection CataloguerTatiana Bissolati

Collections Information Assistants(Works of Art)Julia BagguleyBeth Clackett

Collections Information Assistant(Prints and Drawings)Allan Chinn

Collections Information Assistant(Photographs)Paul Stonell

Collections Information Assistant(Photographs and Pictures)Alessandro Nasini

Collections Information Assistant(Books)Elizabeth Clark

Collections Information AssistantSiân Cooksey

PUBLISHING AND NEW MEDIA

Director of Publishing and New MediaJemima Rellie

PublisherJacky Colliss Harvey, MVO

Project EditorNina Chang

Publishing and New Media AssistantElizabeth Simpson

Head of LearningLucie Amos

Senior Learning and Access ManagerAmy Stocker

Learning Manager(Buckingham Palace)Will Graham

Learning Manager(Palace of Holyroodhouse)Alison Campbell

Learning Manager (Windsor Castle)Penny Russell

Learning Co-ordinator(Windsor Castle)Catherine Martin

Head of Photographic ServicesShruti Patel, MVO

Picture Library SupervisorKaren Lawson

Picture Library AssistantsDaniel BellKatie Holyoak

Digital ImagerDaniel Partridge

Senior PhotographersStephen Chapman, MVOEva Zielinska-Millar, MVO

PhotographerDominic Brown

Collection Online PhotographerHenrietta Clare

A N N U A L R E P O R T 2 0 1 2 6 1

RETAIL

Retail DirectorNuala McGourty, LVO

Head of DesignKatrina Munro, MVO

Production ControllerIan Grant

Senior BuyerCharlotte Burton

BuyerJohan Verbruggen

MerchandisersNicole AndrewsLei Song

Retail Operations ManagerJacqueline Clarke

Retail Operations AdministratorJacqueline Bowden

Retail Administration AssistantKate Kenah

Warehouse ManagerJim Hoyle, RVM

Administration ManagerEmma Wood

Administrative AssistantSheila Clements

Delivery Fulfilment OperatorRosanna Earles

Delivery Fulfilment AssistantsYvonne DelucaMatthew WhitehouseLinda Wroth

Warehouse Operatives/DriversBernard BarfieldDerek FosterJames HallRobert Kedge

COMMUNICATIONS ANDBUSINESS DEVELOPMENT

Director of Communications andBusiness DevelopmentFrances Dunkels, LVO

Administrator to the Director ofCommunications and BusinessDevelopmentEdward Harris

PUBLIC RELATIONS ANDMARKETING

Head of MarketingSusanna Mann

Sales and Marketing OfficerRhiannon Marsh

Web and Marketing AssistantAnna Lucas (maternity leave)Melanie Rouse (maternity cover)

Media Relations ManagerAlice Ross

Press and Public Relations OfficersEmma ShawRachel Woollen

Press and Public Relations AssistantHanae Tsuji

TICKET SALES ANDINFORMATION

Head of Ticketing and SalesMark Fisher

Specialist Sales SupervisorJanice Galvin, MVO

Operations SupervisorLucy Allen

Technical Support SupervisorGareth Thomas

Staffing and DevelopmentSupervisorPrakuti Deolia

Technical Support AssistantChristopher Hallworth

Learning Bookings Co-ordinatorNicola Jones

Senior Ticket Sales and InformationAssistantAudrey Lawrence

Ticket Sales and InformationAssistantsGenevieve Arblaster-HulleyNicola BentleyScott BowmanLuiz CustodioFaye GrimesFaye HabgoodFraser HamiltonFrancesca Williams

Ticket Sales and InformationAssistants – CasualMatthew BaldwinAnil BangaRina BhudiaSarah BlakeburnLawrence CoppinMarquita Cox-CarderOlivia DaviesMariam El-SraidiLaura GrantAlexander GroganLee HiornsJake MeadJo-Anne MeadAlan NichollsZachery O’BrienLee PrestonStephanie RetiganRosalind RyderChloe TaylorAbigail Trime

VISITOR SERVICES

Director of Visitor ServicesKerry François, MVO

Administrator to the Directorof Visitor ServicesEdward Harris

6 2 A N N U A L R E P O R T 2 0 1 2

Buckingham Palace

Visitor ManagerRichard Knowles

Operations ManagerSarah Thompson

Visitor Operations AdministratorAmanda Jacobs

Staff Co-ordinatorSamuel Faure Ackroyd

Visitor Operations Co-ordinatorStephanie Howard

Senior WardensClive BayardJon LopianoNatasha NardellIoan Waight

Senior Warden – SeasonalDorothy Barlow

Warden SupervisorsErnest KingstonCharles Nicholls

Duty Manager – SeasonalBeverley Hemsley

WardensMarie BarenskieAdrian BeckwithSusan BolsterSinead BoothJanet BurrellMarilyn CarpenterUrsula ClaxtonMichael CoxLara Davenport-RayPamela EdenLeonard FranklinCatherine FyfieldKate GazzardCarolyn GloverChristopher GrigsbyLouise HalfpennyBridget HarrisMartin HarrisWilliam HodgesClare HowarthLouise HunterFiona KuznetsovaStephen KyteKathryn LamontagneSusan Latimer

Louise LavellBridget LittleSophie MackenzieIlenia MartiniGeorgia MoultKaitlyn PettengillSimon PiercyDr Shalini PunjaniKirby SholetteRosalind SpencerHelen St Clair MartinSteve TrotterKeith WayeStephen Wild

Wardens – SeasonalGemma AgravatJanis AunonEleanor BagnallMonica BennettCharlotte BrainwoodLynne DenhamStephen DenhamSusanna GearyAnna JamiesonElaine LaCossAlan LionDaniele MiddletonValerie RossPamela Tebbs

Wardens – CasualGeorge BanhamMatthew CaroRobert CastledineDavid CharlestonBarbara DonnePeggy DuffinSheila EdgarJuan EdwardsChristine ErneVernon GoodwinJohn LeedsMargaret LeggMaureen MaronGeorge MartinBrian McBrideMichael NashAnna Thomas

Retail ManagerAndrew Fairmaner (maternity cover)Virginia Green (maternity leave)

Assistant Retail ManagersStuart CullenBeatriz RamirezMark Randall

Retail SupervisorJacqueline Young

Senior Retail AssistantDiana Rakhimova

Retail and Display AssistantKevin Dimmock

Retail AssistantsDouglas BellGillian BurkeAfrica CalzonStephen CookLynda CrakerKayleigh CrayAmi CullumAndrew FayKhushpreet GulshanJane HackwoodAminata KalokohDaniel KennedyVivian LauClaire McDougallFiona MooreJuno RaeAnne RiceLianne RoyallPatricia SweetlandMichie WakeAmani Waldron-IsioyeRichard Winstone

Retail Assistants – CasualPenelope Dalziel-SmithJanet EastoHelen Le BrunMargie Nolan

Windsor Castle

Visitor ManagerChristine Taylor, MVO

Operations ManagerJanet Cole

Admissions ManagerJohn Sugg

Assistant Operations ManagerAlison O’Neill

Financial AdministratorRoger Freeman

Staff Operations AdministratorEmma Featherstone

A N N U A L R E P O R T 2 0 1 2 6 3

Visitor Operations AdministratorHelena Holden

Staff Co-ordinatorChristopher Thomas

Assistant Retail ManagersSusan AsberyHanna Cross

Retail SupervisorKathryn Freeman

Ticket Sales SupervisorsJames BallFraser Gillham

Senior Retail Assistant(Lower Ward Shop)Anne McGowan, RVM

Senior Ticket Sales AssistantShirlee Pouncett

Visitor Services AssistantsHeather BakerLaura BeldomDavid BirrellMonika BoneCeri BroughGemma BucknerMarian ChallisCharlotte ColeBrian DeenihanYvonne EdwardsSophie EllisSarah EntwistleBrenda GardnerEmilia GarveyJulia GodsellLinda GouldJessica HardwickCharlotte HitchensOlga HorlockGemma LeeAileen LewisMark LinesJoshua LovellLeigh MacnabJane MckenzieAmber PoulsonJulie PurvisAlexandra SillsDiane SmithKathleen TempleFaye WichelowHuai Fiona Yan

Visitor Services Assistants – CasualGeorgia BradleyJanet CaryNagina ChaudhryJessica GoldsmithJoshua HumbyLouisa KnightCharlotte LeeJanet MaxwellElena McGregorAlexander SmithMarit Stokes

Senior WardensSusan AshbyClaude-Sabine BikoroCaroline SaraJeffrey Wilson

Deputy Senior WardensPeter CritchleyPhilip Howarth-JarrattAlun ThomasCarla Weston

WardensColin AdamsColin AilesSandra ArgiolasMaria AxelsonMark AylingThomas Mark Aylward-GreenwaySandra BakerMarcus BartonSophie BateOliver BlumfieldAlexander BogardEllen BolickGeoffrey BonehillDanitza BowersDonald BradleyCatherine BrailsfordDelia BullMichael CampbellColin CarterWilliam ChristieBenjamin ChristophersJacqueline ClemsonEllen Compton-WilliamsSheila CookPatricia CurtisMarcelle DovellJohn DriscollAdele FellowsDouglas FrameRichard FryAnthony GoldingBarry GouldThomas Gray

Carol GreenhowSarah GuntonPhilip HallJohn HamptonCharles HartleySusan HiscockFrancesca HolleyLorna HollidayRita HornerJack Howarth-JarrattChristine HughesPeter HumphreySylvia JamesPatrizia KnightGary LangfordMargot LawHelen LincolnSteven LovegroveRita LyonsLesley MacaskillMichael MacaskillDavid MasonFreda MasonAnne MeyerGiulia OvidiElizabeth PantiaChristopher PhillipsJosie PhillipsKirsty PhillipsEdward PinkNicholas PrestonFiona ProudfootArturo RamirezIan ReadJosephine RedfernBerni ReidLynne RobertsEdwin Rodbard-BrownCharles RosenCarly RowlinsonMartin RyanPhilip RyanJudy SalmonLauren SametKaren ShirtcliffeVictor SidebothamAllan SmithJohn SmithJean SpratleyGraham StaggRebecca StylesSusan SuchodolskaAileen SutherlandMonica TandyCarl TaylorChristopher TillyDavid UppingtonAnna WallasKin Yip Wan

Barry WardRobert WebsterRebecca WelchSusan WellsJoseph WoodDavid WoodallPeter WoodallDerek WoodmanGeoffrey WoodruffRobert WorkmanMark WrightHelen ZacksEvelina Zavataro

Wardens – CasualRobert AtchesonRicardo BessfordMaurice BevisDavid ButtimerLeonard ChandlerJohn ClaytonPeter CockbainGeoffrey CoxKevin CroninMalcolm DavisCaroline DewellJohn DexterPaul DunhamBrian DupeHenry EveristFrancis FranklinRonald GrantNancy Green, RVMGordon HainesJacqueline HainesAlan HeadBrenda HerbertPeter HicksFrancis Holland, RVMMargaret HolmesJohn JanesDiana JolleyEnda McArdleMary McGillGeoffrey MurrayPearl NodwellBryan PercyPatricia PipeFrank PooleMalcolm PotterRodney RichardsonMolly RudgeRené SchurtenbergerRoger Taoka-ThompsonAnthony WisePatricia Wright

Palace of Holyroodhouse

SuperintendentGeoffrey Mackrell, MVO

Deputy Visitor ManagerKirsty McNiece

CuratorDeborah Clarke

Operations ManagerJoanne Butcher

Senior WardensPilar Aran MolinaBrian CouttsMagdalena KasprzykMary Mowbray

WardensJuan Aguero BenítezAlmundena CachazaCallum CasebowRosie CrokerColin DempsterRoss HannayAndrew Hume-VoegeliChantal Hume-VoegeliElisabeth IbbotsonSeana KeenahanMavis LasneCarol LeslieEdward LipscombLesley McGlincheyBrian MorleyKeith Mullins-MacIntyreIan ReillyHarriette RiddellYvonne RollertPhilippa RoperVeronica SchreuderRachel SkillingDavid ThomsonSharon ThomsonJanet WhellansPeter WhyteShelagh Wilson

Wardens – CasualDouglas AlexanderLucia BakerPeter BrownJames ChurchGemma CruickshanksCatherine Dickson

Doreen GillonJames HinksMoira HintonChristian MillarJames OswaldCarol SchreuderPaul SteeleCaecilia TeitzAndrew Young

Retail and Admissions ManagerShirley Duke

Assistant Retail andAdmissions ManagersClaire AndersonAndrew Dickson

Retail and Admissions SupervisorAndrew Grant

Visitor Services AssistantsShona CoweJennie CrossleyJanet FergusonAlison GoveZoë HayesRosemary HunterJennifer KirkPaul LambertAmanda MillsJanet Stirling

Visitor Services Assistants– CasualEmily ClarkeFiona DempsterRachel LammimanJonathan ReadFrances SingerRebeka VentersFiona Wood

Financial AdministratorElaine Maclean

6 4 A N N U A L R E P O R T 2 0 1 2

Unless otherwise stated, all illustrations are © HM Queen Elizabeth II 2012.

Royal Collection Trust is grateful for permission to reproduce the items listed below:

Page 6: (top row, centre) photograph by Pawel Libera;

(second row, left) photograph by Ian Jones; (second row, right) photograph by Andrew Wright;

(third row, left) photograph by Ian Jones; (third row, centre) photograph by Sandy Young

Page 8: photograph by Ian Jones

Page 17: Royal Collection Trust / All Rights Reserved

Page 21: (top) © John Shelley / Rex Features

Page 23: (top) © Birmingham PostPage 24: photographs by Ian Jones

Page 25: (top and bottom left) photographs by Ian Jones

Page 26: (top) photograph by Ian Jones

Page 28: (bottom) photograph by Peter Stubbs

Page 31: (top) V&A Images / Victoria and Albert Museum, London;

(bottom) Rotorua Museum of Art and History, New Zealand

Page 46: (top) © BBC; (bottom) photograph by Julian Andrews

Page 47: (bottom) courtesy of LOCOG / (from left to right) Anthea Hamilton;

Bob and Roberta Smith; Bridget Riley; Chris Ofili; Gary Hume; Howard Hodgkin; Martin Creed;

Fiona Banner; Michael Craig-Martin; Rachel Whiteread; Sarah Morris; Tracey Emin

Page 49: © Anwar Hussein

Page 58: photographs by Andrew Wright

Royal Collection Trust / © HM Queen Elizabeth II 2012

Designed by Mick Keates Editorial and Project Management by Kate Owen and Alison Tickner

Production by Debbie Wayment Printed and bound by Streamline Press Limited, Leicester

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