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Royal Collection Trust

Publications 2013–2014


Foreword Our publications for 2013–14 are a celebration of all things beginning with G – from The Royal Baby Book, the official Royal Collection Trust souvenir album, commemorating the arrival of the very newest member of the Royal Family, to at the other end of the scale, a monumental introduction to art and society in the time of the first two Georges. We have a ground-breaking re-appraisal of genius in our superb new study of the life and troubled times of the Baroque master Castiglione; and a winningly light-hearted celebration of the comedy, the artistry, and the sheer joie de vivre of Thomas Rowlandson – both the scourge and the immortaliser of England in the time of George III. Of course, as well as seeing the birth of a new heir to the throne, 2013 also marks the 60th anniversary of The Queen’s Coronation. Coronation 1953, our second title this year in our best-selling series of Souvenir Albums, recreates the story of Coronation Day sixty years ago, from the months of behind-the-scenes preparations to the glorious ceremony, the gowns and the jewels, of the day itself. Another important anniversary is celebrated in 2014, with Treasures from The Royal Archives, celebrating 100 years from the founding of this treasure trove of English history. Our award-winning title from 2012, Leonardo da Vinci: Anatomist, is released for the first time in paperback; and we are also publishing our first-ever cookbook. Written by the Royal Chef, Mark Flanagan, and Edward Griffiths, Deputy Master of the Household, it features genuine recipes from the royal kitchens, with all the tips and hints you could require to indulge in a little royal entertaining at home. We hope you enjoy!


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NEW AND FORTHCOMING R E C E N T LY P U B L I S H E D BOOKS IN PRINT SOUVENIR ALBUMS C ATA L O G U E S R A I S O N N É S D I S T R I B U T O R I N F O R M AT I O N


High Spirits The Comic Art of Thomas Rowlandson K AT E H E A R D WITH A FOREWORD BY HRH THE DUKE OF EDINBURGH

Portly squires and young dandies. Jane Austenesque heroines and their gruesome chaperones. Dashing young officers and corrupt politicians. The keenly observant satires by English caricaturist Thomas Rowlandson (1757–1827) make clear his sharp eye for current affairs as well as his appreciation of the humour in everyday life. High Spirits brings together nearly one hundred comic works by Rowlandson, with subjects spanning the entire range of English society. the comic art of

THO MAS

ROW LANDSO N

Accompanies the exhibition opening at The Queen’s Gallery, The Palace of Holyroodhouse, in November 2013 ‘There are, of course, two sides to the art of caricatures – the caricaturist and the subjects of his work. The latter, of which I am one, certainly need a sense of humour in order to enjoy a caricature of themselves. They need to be masochists to collect cartoons about themselves.’ HRH The Duke of Edinburgh

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Full-colour illustrations are accompanied by new archival research on both the works and their royal collectors, from George IV to Queen Victoria and Prince Albert.


28 La Place Victoire à Paris Published by Samuel Alken, November 1789 Etching and aquatint with hand colouring 44.0 × 61.5 cm (plate); 47.2 × 64.8 cm (sheet) rcin 810361 p rov ena nc e Probably the print of ‘La Place Victoire’ purchased by the Prince of Wales from William Holland in 1790 for 10s 6d (tna ho 73 /20/1, fol.17) l i t e rat ur e Grego 1880, I, pp. 262–6; bm Satires 9679; Payne and Payne 2010, p. 132

This is one of Rowlandson’s most famous prints, probably based on a watercolour he exhibited at the Society of Artists in spring 1783 and now in the Yale Center for British Art.89 Although the watercolour seems to date from late 1782 or early 1783, it was probably based on earlier sketches made by Rowlandson during his visit to Paris in 1774–5.90 He has, in fact, played with the topography of the city, moving the distinctive towers of the Cathedral of Notre-Dame so that they are visible beyond the Place, although they are in fact over a kilometre away on the Ile de la Cité. Rowlandson shows a bustling junction (the circular Place is the meeting point of six

streets) with his characteristic tumble of figures and animals. Dominating the Place, as well as the attention of many of those whom Rowlandson has depicted, is Martin Desjardin’s sculpture of Louis XIV, shown trampling the Triple Alliance of Britain, Sweden and the United Provinces (part of the present-day Netherlands), which had opposed the French King’s expansionist policies. This statue was destroyed in 1792.91 Although based on a drawing of c.1783, Rowlandson’s print was not published until November 1789, and was undoubtedly released as a reaction to the political situation in France.92 During the previous few months, unrest in the French capital had grown, with the storming of the Bastille in July and a march on Versailles by thousands of women, many of them armed, in October. Rowlandson’s image, which in its watercolour version predates the French crisis, has nothing particular to say about the situation, but the print tapped into British interest in the French capital in late 1789. With its large format, integral border and careful aquatinting, it was clearly intended as a luxury product. The print was sold to the Prince of Wales as one of a set of ‘Mounted prints in a whole sheet volume’, but at some point was removed from the volume and framed, resulting in damage from light exposure.93

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K AT E H E A R D is Curator of Prints and Drawings, Royal Collection Trust. She is the co-author of The Northern Renaissance: Dürer to Holbein (2011) and is Deputy Editor of the Journal of the History of Collections.

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260 × 280 mm 272 pages Over 200 colour illustrations I S B N 978 1 905686 76 6 £24.95 November 2013

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The Georgian Revolution Art & Monarchy in Britain 1714–1760 E D I T E D B Y D E S M O N D S H A W E -TAY L O R

THE GEORGIAN REVOLUTION Art & Monarchy in Britain 1714–1760

2014 marks three hundred years since the arrival of the Hanoverians to the throne of Great Britain and Ireland. The Georgian Revolution examines the period from their succession in 1714, through the reigns of George I (1714–27) and George II (1727–60) to 1760. During these years Britain was arguably the most advanced country in Europe, undergoing one of the most dramatic periods in history; a revolution affecting almost every facet of its political, intellectual and cultural life. This comprehensive catalogue considers the artistic patronage of the first Hanoverian monarchs, as well as the works acquired by Queen Caroline and Frederick, Prince of Wales, many of which have never been seen publicly or catalogued fully before. It includes works produced in Britain, France and Germany during their reigns and explores all aspects of life and art during this ‘revolutionary’ period.

Accompanies the exhibition opening at The Queen’s Gallery, Buckingham Palace, in April 2014

box: english; miniature: christian friedrich zincke (1683/4-1767)

Tortoiseshell, gold, enamel

were given to those closest to the donor, or to

2.7 x 9.5 x 6.6 cm

those of high rank. But boxes were also given

rcin 3754 provenance Given to King George V on his

Snuff box with inset with miniature of George II (1683-1760) c.1745 Tortoiseshell, gold, enamel, glass 3.4 x 8.0 cm Indistinct hallmark on rim of box

birthday by the Earl and Countess of Derby, June 3 1914 literature Walker 1992, no. 44

The form of these two boxes show that

rcin 4077

they were not intended to contain snuff, as

provenance Vuillamy & Son, 30 January 1810,

snuff-boxes were invariably hinged, but

‘For a Tortoiseshell Snuff Box mounted in Gold

were souvenirs. Mary Cowper, Lady of the

with an enamel Painting of the late King George the

Bedchamber to Queen Caroline when she

2nd in the cover at 30 guineas’ (WRA 25822) Given

was Princess of Wales, recorded in her diary

to Queen Victoria by her aunts Princess Augusta

on 20 February 1716 that ‘The Princess told

and Princess Sophia (Osborne House inventory

me she had sent for Amber out of Germany

1876)

for Boxes for her Ladies; but as she loved and

literature Walker 1992, no. 33

esteemed me a hundred Times more than any of the Rest, she would make a Distinction

box: english; miniature: christian friedrich zincke (1683/4-1767) Snuff box with inset miniature of Frederick, Prince of Wales (17621830), c.1743

and so pulled out of a Drawer a fine gold Box, and gave it me…’ (Cowper, 1864, p.79). This comment makes clear that there was an unofficial hierarchy in the presentation of boxes from members of the royal family. Boxes were the gift of choice to ambassadors and other envoys, and members of the household, and finely chased gold examples

Follower of Christian Friedrich Zincke (1683/4–1767) George I (1660–1727), c.1750 Enamel, 4.6 × 3.7 cm R C I N 421779

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to those who had rendered service in some way. In 1738, for example, Frederick, Prince of Wales presented Richard Nash, the Master of Ceremonies at the Assembly Rooms in Bath, with an enamelled box in token of his attention during the Prince’s visit to the city. In return Nash erected an obelisk in Queen’s Square, commemorating Frederick’s visit. Although these two boxes are not of the finest quality, they do each bear a portrait by Zincke, suggesting that they were not a neglible gift. Zincke’s work was highly regarded by George II who commented that his portaits were both ‘beautiful and like’.


00 andrea boucheron (1701–1761), paul crespin (1694–1770) and attributed to nicholas sprimont (1716–1771) The Neptune centrepiece, 1741/2 Silver gilt, 49.0 x 66.0 x 47.0 cm marks Hallmarked on base with London marks for 1741/2 and maker’s mark of Paul Crespin; the shell mount below the tureen with Turin city mark and maker’s mark of Andrea Boucheron rcin 50282

other dishes (DoC Archives, Household Accounts, vol. VII, f.218). Traditionally the

provenance Almost certainly made for Frederick, Prince of Wales in 1741/2; first recorded in the Royal Collection in 1801 (TNA, LC5/206) literature Jones 1911, pp. 72 and 98; Grimwade 1969, p. 126; Clayton 1971, p. 233; Grimwade 1974, p. 22; Barr 1980, pp. 164-6; Newman 1987, p.222; Jones and Garibaldi 2006, pp. 25-39

This object, which has been described as ‘the purest rococo creation in English silver’ (Grimwade 1974, p.30), was the centrepiece of a table service displaying the most advanced French taste of the period. The marine theme of the piece, with its Neptune finial, swags of shells and pieces of coral and detachable dishes in the form of abalone shells, suggests it was used to serve fish soups and seafood. The plateau on which the tureen sits, similarly decorated with shells, coral and small sea-creatures, resembles a beach from which the sea has retreated. Even the dolphins which entwine themselves around the supports for the tureen relate to the nautical theme, although these might also be a witty reference to the Prince of Wales, patron of the piece, as the English dauphin or ‘dolphin’. Frederick’s household accounts record large quantities of fish consumed by the Prince, including turbot, sole, cod, salmon, trout, pike, carp, flounders, lobsters and shrimp. Oysters were one of the Prince’s favourites and were ordered by the barrel, either to be eaten alone or incorporated into

Based on stylistic similarities with other hallmarked works it has long been suspected,

items of plate used to serve fish and soup

moreover, that a third hand was involved in

were removed from the dining table after

the design and creation of this piece – that of

the service of the first course. However, this

the Liègeois goldsmith Nicholas Sprimont.

elaborate piece is likely to have remained

Sprimont appears to have arrived in London

throughout the meal – the nozzles modelled

sometime in 1742 and did not enter an official

as sea-foam attached to the candle branches

mark at Goldsmiths’ Hall until 1743. He would

being removed in later courses to be replaced

not, therefore, have been able to sponsor the

by candles for added illumination during the

centrepiece, although his mark certainly

dessert course.

appears on the other parts of the service to

Although it has not been possible to trace the bill for the centrepiece in either the Duchy of Cornwall account books or the ledgers

which it belongs (see nos. xxx and xxx). It is possible that the two goldsmiths collaborated on the centrepiece, as fellow Huguenots, one

of George Wickes, goldsmith to the Prince,

simply sponsoring the work of the other, or

it was certainly in the Royal Collection by

dividing the work between them, or perhaps

1801 when it was recorded in the Warrant

Sprimont working for his neighbour Crespin

books undergoing repair, and in the plate

while anticipating his English hallmark.

inventories of 1832 it appears under the heading ‘Frederick, Prince of Wales’ together with its accompanying sauceboats, stands and salts (nos. xxx and xxx). Several theories as to the complicated history of the centrepiece have been posited. The object itself bears two contrasting

It is possible that Charles Calvert, Lord Baltimore was involved in the commission of the centrepiece and its accompanying wares. Baltimore’s taste for the rococo was more dramatic than Frederick’s – the interiors of his Surrey residence, Woodcote Park, displayed some of the most advanced French

hallmarks – one from Turin, dating from the

rococo taste of the day. Baltimore also worked

1720s, with the sponsor’s mark of Andrea

on other artistic commissions for the Prince,

Boucheron, the other from London, 1741/2,

supervising the creation of the Prince’s barge

with the sponsor’s mark of the Huguenot

in 1732 for example, and his accounts reveal

goldsmith Paul Crespin, who ran a premises

that he acquired works from both Crespin

in Compton Street in Soho. The two marks

and Sprimont in 1743-4. In 1742, Baltimore was

make it clear that the work is an amalgam – a

promoted to a Lordship of the Admiralty and

reusing of the Turinese silver incorporated

it is possible that the marine service was a

into a later English work. This might explain

grateful gift to the Prince in return.

the mismatched scale of the Neptune figure to the other decorative elements of the tureen.

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D E S M O N D S H A W E - TAY L O R is Surveyor of The Queen’s Pictures, Royal Collection Trust. His previous publications include Dutch Landscapes (2010) and The Conversation Piece (2009).

Philippe Mercier (1689–1760) The Music Party, 1733 Oil on canvas 79.4 × 57.8 cm R C I N 402414

HARDBACK

270 × 235 mm 480 pages Over 300 colour illustrations I S B N 978 1 905686 79 7 £45.00 April 2014

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Castiglione: Lost Genius T I M O T H Y J . S TA N D R I N G A N D M A R T I N C L AY T O N

‘Is this a moral person who would throw his sister off a rooftop? Who would accuse his brother of being a thief and an assassin and send him to jail? Who would flee Genoa with ill-gotten gains? Who would refuse to support the welfare of a niece or provide funds for her burial? And who would come close to killing his nephew by attacking him with seemingly unending punches?’

Accompanies the exhibition opening at The Queen’s Gallery, Buckingham Palace, in November 2013

Such accusations were levelled against Giovanni Benedetto Castiglione (1609–64), perhaps the most innovative and technically accomplished Italian draughtsman of his time. Although he was skilled as a painter, it was his mastery as an etcher, his status as the inventor of the monotype, and above all his extraordinary oil sketches on paper that secured his critical acclaim. But even during his lifetime, his tempestuous private life disrupted his career, and though highly esteemed for a century after his death, he fell from fame altogether in the modern era. The Royal Library at Windsor Castle houses the largest extant group of drawings by Castiglione, including his magnificent oil studies. This groundbreaking re-assessment of Castiglione’s life, the first in over 20 years, showcases 90 of the finest of these works, and discusses them in the context of important new archival research on the artist’s turbulent career and reputation.

HARDBACK

260 × 280 mm 176 pages Over 130 colour illustrations I S B N 978 1 905686 77 3 £29.95 November 2013

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T I M O T H Y J . S TA N D R I N G is the Gates Foundation Curator of Painting and Sculpture at the Denver Art Museum and the leading authority on the works of Castiglione.

M A R T I N C L AY T O N is Head of Prints and Drawings, Royal Collection Trust. He has published extensively on the drawings in the Royal Collection.

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Leonardo da Vinci: Anatomist N E W I N PA P E R B A C K

M A R T I N C L AY T O N A N D R O N P H I L O

Leonardo da Vinci was one of the greatest anatomists ever to have lived. He dissected more than thirty human corpses in order to explore every aspect of anatomy and physiology. His findings are recorded in drawings of unparalleled beauty and lucidity, as well as in notes that bear witness to his astonishing insights into the subject.  This book presents 87 of the finest of these documents – the largest showing of Leonardo’s anatomical studies there has ever been – with a full discussion of their anatomical content and their significance in Leonardo’s pioneering work. It is an essential work of reference for the Leonardo enthusiast as well as a unique exploration of the anatomy of the human body itself. M A R T I N C L AY T O N is Head of Prints and Drawings, Royal Collection Trust.

Winner of the 2012 British Book Design and Production Award: Best Use of Cross Media, alongside the iPad app Leonardo da Vinci Anatomy

R O N P H I L O is Adjunct Associate Professor in the Graduate School of Biomedical Sciences, The University of Texas Health Science Centre at San Antonio.

PA P E R B A C K

250 × 210 mm 256 pages Over 120 colour illustrations I S B N 978 1 909741 03 4 £18.95 January 2014

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Leonardo da Vinci: Anatomy

Winner of the 2013 Webby Award, Education and Reference Tablet App Winner of the 2012 Lovie Award, Education and Reference Tablet App As featured on The Culture Show ‘A must-have for anyone who’s fascinated with the works of Leonardo da Vinci’ PadGadget

‘An exemplar of what ebooks can be’ Download the Universe

Leonardo da Vinci: Anatomy Almost 500 years after Leonardo da Vinci’s death, technology brings the artist’s ground-breaking studies of the human body to life in the Royal Collection Trust and Touch Press app, Leonardo da Vinci: Anatomy. The app enables users to appreciate fully the astonishing accuracy of Leonardo’s work for the first time and includes interactive 3 D anatomical models, pinch-zoom functionality and interviews with experts on Leonardo’s work and the history of medicine.

£9.95 Buy now at: www.appstore.com/touchpress or search the App Store for Leonardo da Vinci: Anatomy

Leonardo da Vinci: Anatomy has been produced by Royal Collection Trust in partnership with Touch Press and Primal Pictures.

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Treasures from The Royal Archives PA M E L A C L A R K , J U L I E C R O C K E R , A L L I S O N D E R R E T T, LAURA HOBBS AND JILL KELSEY

Since 1914, the famous ‘Round Tower’ of Windsor Castle has been the secure and honoured home to the Royal Archives – an extraordinary collection of many thousands of documents and records dating back to the reign of George III. Now, for the first time, highlights from this fascinating and internationally significant collection are to be published, as part of the celebrations to mark the centenary of the founding of the Royal Archives in a permanent home. The treasures discussed and illustrated here range from the records of affairs of state to letters, diaries, and domestic jottings. Here is an account book of Princess Elizabeth (later Queen Elizabeth I), the list of Jacobite prisoners taken at the Battle of Culloden, President Lincoln commiserating with Queen Victoria on the death of Prince Albert, and the testimony of a witness in the trial of the Tolpuddle Martyrs. Here are letters from Bonnie Prince Charlie, William Pitt, Disraeli and Gladstone, and from the young William IV, as prince, describing the New York of 1781 to his father, George III. There is a terrifyingly vivid first-hand description of the battle of Rorke’s Drift, and a gentlemanly skirmish between Winston Churchill and King George VI, over who should be present on board ship at D-Day in 1944. This exceptional publication will be further enhanced by a free augmented reality cross-platform app, bringing a selection of these treasures to 3 D life before the reader’s eyes, in an extraordinary union of historical document and cutting-edge technology. Pictures of liveries worn by Royal Mews staff at the time of Queen Victoria’s Golden Jubilee, 21 June 1887 Title deed for George III’s purchase of Buckingham Palace, 1763

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HARDBACK

257 × 210 mm 240 pages Over 120 colour illustrations I S B N 978 1 909741 04 1 £24.95 May 2014


Letters Patent creating Prince Charles Prince of Wales, 26 July 1958 Page from Queen Victoria’s Hindustani diary showing the entry for 23 March 1894, when she was staying in Florence

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The Royal Baby Book A Souvenir Album

What is it like to be a new royal baby, and the heir to a throne?

The Royal Baby Book is the official souvenir publication to mark the birth of the new heir to the throne and will delight anyone who has ever had a baby in their life, royal or otherwise.

From baby’s first shoes, embroidered with tiny crowns, to golden rattles and miniver-trimmed short coats, this new book, the latest in Royal Collection Trust’s best-selling series of Souvenir Albums, tells the story of eight royal babies, from Queen Victoria to the new Prince George. Using a wealth of previously unpublished items and documents from the Royal Collection and Royal Archives, it details the lives of seven of these royal babies from infancy and babyhood to first steps, and on to first days at school. Here are the dolls and teddy-bears, the prams and cots and tricycles, the lost teeth and locks of hair that all parents know and treasure, together with the little notes in childish scrawl, the family photographs, and the first dainty sets of ‘best clothes’. And where else could such a celebration of baby- and childhood end, but with a chapter devoted to our new Prince, to bring this happy history up to the present day.

Prince Charles played with toy horses, as had his mother, including those living in ‘Prince Charles’ Mews’. This model train set, packed in cases made by Louis Vuitton, replicates part of the Paris metro, including the station ‘George V’, renamed after the Prince’s great-grandfather in 1920.

In addition to the Sunbeam, Prince Charles also inherited his mother’s childhood car, a Citroen electric vehicle. In 1953 it was renovated, and the Citroen radiator replaced with that of a Daimler. The number plate was also replaced, to read ‘PC 1953’.

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200 × 200 mm 144 pages Over 250 colour illustrations I S B N 978 1 905686 84 1 £14.95 August 2013

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Returning again to Marcus Adams’s studio in 1954, Prince Charles and Princess Anne were photographed there against this measuring post, with Prince Charles already approaching the 4-foot mark. The photograph was sent to The Queen and Prince Philip, who were abroad on a tour of the Commonwealth at the time. While his parents were away, the Prince spent much time with his grandmother, Queen Elizabeth the Queen Mother; he and sent her a letter (left) written from the new Royal Yacht Britannia shortly before his parents’ return.

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the royal baby book

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The Queen’s Coronation 1953 The Official Souvenir Album C A R O L I N E D E G U I TA U T

THE QUEEN’S CORONATION 1953 The Official Souvenir Album

The summer of 2013 marked the 60th anniversary of one of the most joyous days in twentieth-century British history – the Coronation of Her Majesty Queen Elizabeth II. This official souvenir guide recalls the celebrations of 1953, and recreates all the preparations and pageantry of this spectacular event. Lavishly illustrated throughout with newly commissioned photography, it brings together the dresses, uniforms and robes, the jewels and the crowns worn at the Coronation for the first time since 1953, and tells a story in pictures of the people, the places, the ceremony and the events of this most extraordinary occasion. is Curator of Decorative Arts, Royal Collection Trust. She has lectured and published widely on aspects of the Royal Collection, particularly dress, jewels and Fabergé. Her most recent publications are Royal Fabergé (2011) and Diamonds: A Jubilee Celebration (2012). C A R O L I N E D E G U I TA U T

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200 × 200 mm 128 pages With 138 illustrations, 91 in colour I S B N 978 1 905686 80 3 £12.95 July 2013

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A Royal Cookbook MARK FLANAGAN AND E D WA R D G R I F F I T H S

A ROYAL COOKBOOK

mark flanagan edward griffiths

This stylishly illustrated publication is the firstever cookery book to come from within the Royal Household. Written by the Royal Chef, it enables the reader to recreate a selection of authentic dishes prepared and served to The Queen and her guests. With an emphasis on seasonal cooking and fresh, local ingredients, the recipes cater for a variety of occasions and range in both scope and scale, with offerings for both new and experienced cooks. The book elaborates on the recipes with tips on entertaining and inspirational ideas for preparation and presentation, including illustrations and explanations of the choice of china, decorations and flowers that accompany royal dining. is the Royal Chef to Her Majesty The Queen

MARK FLANAGAN

E D W A R D G R I F F I T H S is Deputy Master of the Royal Household

HARDBACK

200 Ă— 200 mm 120 pages Over 150 colour illustrations I S B N 978 1 905686 78 0 ÂŁ14.95 June 2014 German rights sold

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In Fine Style The Art of Tudor and Stuart Fashion ANNA REYNOLDS

This fascinating and sumptuously illustrated book celebrates the world of high fashion in the Tudor and Stuart period. Bringing together works by the most fashionable artists of the time – including Holbein, van Dyck and Rembrandt – with rare surviving examples of costume, it unstitches and explores the truth (or otherwise) of the dress in art – and the art of dress.

Style In fine

The Art of Tudor and Stuart Anna Reynolds Fashion

This enchanting exploration of the social history and truth behind the painted image is a valuable addition to studies of Tudor and Stuart costume and an absorbing survey of the subject for all readers.

Accompanies the exhibition opening at The Queen’s Gallery, The Palace of Holyroodhouse, in March 2014 18/04/2013 16:12

‘the book is both a pleasure to read and likely to be of great practical value’ Karen Hearn, The Burlington Magazine

‘a faultless and lavishly illustrated catalogue’ Bendor Grosvenor, Art History News

HARDBACK

290 × 275 mm 300 pages Over 320 colour illustrations I S B N 978 1 905686 44 5 £45.00 May 2013

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A N N A R E Y N O L D S is Curator of Paintings, Royal Collection Trust. She has a Master’s degree in the History of Dress from the Courtauld Institute and delivered a paper on Democratising Fashion at the 2012 TEDx conference at the Houses of Parliament. She recently contributed to Victoria & Albert: Art & Love (2010).

R E C E N T LY P U B L I S H E D

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Cairo to Constantinople Francis Bedford’s Photographs of the Middle East SOPHIE GORDON

WITH CONTRIBUTIONS FROM

INTRODUCTION BY JOHN MCCARTHY

BADR EL HAGE AND ALESSANDRO NASINI

In 1862 the leading British photographer Francis Bedford was commissioned by Queen Victoria to accompany her son and heir, the future King Edward VII, on an ambitious journey around the Middle East. Using the photographs Bedford took alongside extracts from the Prince’s journal and other archival material, this beautifully illustrated book documents that journey. is Senior Curator of Photographs, Royal Collection Trust and has published widely on nineteenth- and early twentieth-century photography. Recent publications include Roger Fenton • Julia Margaret Cameron: Early British Photographs from the Royal Collection (2010) and The Heart of the Great Alone: Scott, Shackleton and Antarctic Photography (2009).

SOPHIE GORDON

Accompanies the exhibition opening at The Queen’s Gallery, Buckingham Palace, in October 2014 ‘A sumptuous new record of [Francis Bedford’s] work on the royal journey.’ Colin Thubron, The New York Review of Books

Introduction by

JOHN McCARTHY

is a journalist, writer and broadcaster. He has worked all over the world but much of his broadcasting and writing is focused on the Middle East.

JO HN M CC A RTHY

has been an independent photohistorian for many years. He has worked as a freelance writer and curator in the Middle East.

BADR EL HAGE

A L E S S A N D R O N A S I N I is Collections Information Assistant, Royal Collection Trust.

presenter of ‘In a Prince’s Footsteps’

BBC RADIO 4

HARDBACK

260 × 280 mm 256 pages Over 220 colour illustrations Maps, biography, chronology, bibliography and index I S B N 978 1 905686 18 6 £35.00 March 2013

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Leonardo da Vinci The Mechanics of Man

N E W I N PA P E R B A C K

M A R T I N C L AY T O N A N D R O N P H I L O

The anatomical drawings and notes on the workings of the bones and muscles made by Leonardo da Vinci during his campaign of human dissection in the winter of 1510–11 fill the pages of a manuscript, now held in the Royal Library at Windsor Castle. The Mechanics of Man reproduces this manuscript in full and, for the first time in print, translates all of Leonardo’s notes ‘on the page’, so that the reader may readily follow his thoughts as they unfold. M A R T I N C L AY T O N is Head of Prints and Drawings, Royal Collection Trust. R O N P H I L O is Adjunct Associate Professor in the Graduate School of Biomedical Sciences, The University of Texas Health Science Centre at San Antonio.

Winner of the 2010 British Book Design and Production Award: Exhibition Catalogue As featured on The Culture Show Accompanies the exhibition opening at The Queen’s Gallery, The Palace of Holyroodhouse, in August 2013

‘In many ways Leonardo predicted the 20th-century revolution in various medical imaging techniques [. . .] The anatomical accuracy of Leonardo’s drawings has rarely ever been surpassed, and I still use them to teach surgeons and medical students today.’ Peter Abrahams, Professor of Clinical Anatomy, Warwick Medical School

PA P E R B A C K

310 × 215 mm 160 pages 93 colour illustrations I S B N 978 1 905686 83 4 £19.95 US and Canadian rights sold August 2013

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The Queen’s Diamonds HUGH ROBERTS

The first authorised account of the history of some of the finest diamond jewellery in the world. This book tells the story of the magnificent royal inheritance of diamonds from the time of Queen Adelaide in the 1830s to the present day. Illustrated with a wealth of archive material as well as extensive new photography of the jewels, this publication includes stones of international importance as well as items of great historic significance, and will be a standard work of reference on diamond jewellery for many years to come. was Director of the Royal Collection and Surveyor of The Queen’s Works of Art until 2010.

HUGH ROBERTS

‘the photographer . . . has achieved the near impossible in conveying the essence of this magnificent and historic collection. This book is a work of art in its own right.’

Winner of the 2013 Motovun Group Association Award, Best Book 2013

Geoffrey Munn, Country Life

HARDBACK

315 × 250 mm 320 pages with 2 gatefolds Over 300 colour illustrations Family tree, glossary, bibliography and index I S B N 978 1 905686 38 4 £60.00 German rights sold

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Dressing The Queen The Jubilee Wardrobe A N G E L A K E L LY

ANGELA KELLY

DRESSING THE QUEEN the jubilee wardrobe

When The Queen appears in public she is naturally the centre of attention. Have you ever wondered how she always stands out in a crowd? What is behind her unfailing sense of style? This beautifully illustrated book opens a door to the very private world of the Dressers’ Floor at Buckingham Palace, as Angela Kelly, Personal Assistant, Adviser and Curator to The Queen takes the reader through the process of creating a wardrobe for The Queen’s Diamond Jubilee.

Many hands make light work

HARDBACK

297 × 233 mm 144 pages Over 250 colour illustrations I S B N 978 1 905686 74 2 £24.95 German rights sold



R E C E N T LY P U B L I S H E D

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The Northern Renaissance Dürer to Holbein

N E W I N PA P E R B A C K

K AT E H E A R D A N D L U C Y W H I TA K E R

The Northern Renaissance in Europe was a period of rapid social and religious change. This is reflected in much of the art of the period, which is further characterised by a fascinating range of subject matter, superb technical skill and an interest in capturing likeness with almost psychological precision. The same period also saw a great rise in the importance of works on paper, especially prints. The Northern Renaissance: Dürer to Holbein examines works by the greatest masters of this period alongside opulently illuminated manuscripts and early printed books. K AT E H E A R D is Curator of Prints and Drawings, Royal Collection Trust. She has published on art and patronage in late medieval England and is also the Deputy Editor of the Journal of the History of Collections.

‘Stunning reproductions . . . a brilliant overview’ K.E. Staab, Choice

L U C Y W H I TA K E R is Senior Curator of Paintings, Royal Collection Trust. She has published widely on the paintings in the Royal Collection, most recently in Victoria & Albert: Art & Love (2010). She is co-author of The Art of Italy in the Royal Collection: Renaissance & Baroque (2007).

PA P E R B A C K

290 × 230 mm 248 pages 191 colour illustrations Map, list of further reading and index I S B N 978 1 905686 82 7 £29.95

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BOOKS IN PRINT


The Royal Portrait Image and Impact J E N N I F E R S COT T

This book examines the role portraiture has played in promoting the public and private face of monarchs from Richard II to Queen Elizabeth II. Bringing together works by artists from Holbein to Freud, it investigates the role the royal portrait has played in fashion and politics across 600 years of official and unofficial image-making.

HARDBACK

253 × 210 mm 200 pages 180 colour illustrations Endnotes, bibliography and index I S B N 978 1 905686 13 1 £24.95

Dutch Landscapes D E S M O N D S H A W E -TAY L O R WITH CONTRIBUTIONS BY J E N N I F E R S COT T

Holland in the seventeenth century presented artists with the most man-made landscape in Europe, and one which still exerts a fascination on our imaginations today.

PA P E R B A C K

250 × 210 mm 176 pages 132 colour illustrations List of further reading and index I S B N 978 1 905686 25 4 £19.95

The Conversation Piece Scenes of Fashionable Life D E S M O N D S H A W E -TAY L O R

The Conversation Piece is an intriguing contradiction – the high-life group, but caught informally, off-guard. This publication, the first on this subject for more than thirty years, provides a unique opportunity to connect the study of ‘the conversation’ in eighteenthcentury English art to its seventeenth-century European predecessors.

PA P E R B A C K

250 × 210 mm 192 pages 157 colour illustrations I S B N 978 1 905686 07 0 £19.95

BOOKS IN PRINT

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‘Immensely successful . . . informative and finely illustrated’

ALL BOOKS HARDBACK

200 × 200 mm

Hugo Vickers, Country Life

Diamonds A Jubilee Celebration C A R O L I N E D E G U I TA U T

Published to celebrate Queen Elizabeth II’s Diamond Jubilee, this visually stunning publication presents a selection of diamonds from the Royal Collection, ranging from tiaras and personal jewellery to diamond-set swords. It explores the special qualities of diamonds and the royal uses to which they have been put throughout the centuries and includes new, specially commissioned photography in close-up detail of each piece. A popular introduction to a magnificent royal inheritance.

120 pages I S B N 978 1 905686 42 1 £9.95

Fabergé’s Animals A Royal Farm in Miniature C A R O L I N E D E G U I TA U T

In 1907 King Edward VII and his consort, Queen Alexandra, commissioned Carl Fabergé to create an entire diminutive carved menagerie of all the animals on their country estate at Sandringham in Norfolk. This book is the first to explore the complete history of this unique commission. It includes stunning close-up photography of the carvings themselves, plus contextual material from both the Russian and the Royal Archives, some of which has never been published before.

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SOUVENIR ALBUMS

120 pages I S B N 978 1 905686 12 4 £12.95 French and Dutch rights sold


The Queen’s Dolls’ House LU C I N DA L A M BTO N

Lucinda Lambton guides the reader on an enchanting tour of The Queen’s Dolls’ House, one of the largest, most beautiful and most famous dolls’ houses in the world. Richly illustrated, and complemented with previously unpublished archive material, this title will appeal to anyone with affection for all things miniature.

132 pages I S B N 978 1 905686 26 1 £12.95 German rights sold

The Royal Tour A Souvenir Album C A R O L I N E D E G U I TA U T

Published to celebrate the 60th anniversary of the creation of the modern Commonwealth, this beautifully illustrated book includes a selection of Queen Elizabeth II’s dresses and jewellery, worn on her many visits to the countries of the Commonwealth.

120 pages I S B N 978 1 905686 24 7 £9.99 German rights sold

The Queen’s Year A Souvenir Album D AV I D O A K E Y

A season-by-season guide to The Queen’s year, this colourful souvenir album includes both the public and historic events, such as the State Opening of Parliament and Remembrance Sunday; and the more private, informal occasions, such as the famous summer garden parties at Buckingham Palace and the glamour of Royal Ascot.

120 pages I S B N 978 1 905686 34 6 £9.99

SOUVENIR ALBUMS

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Victorian Miniatures in the Collection of Her Majesty The Queen VA N E S S A R E M I N G T O N

‘exceptional photography . . . allows examination of these miniatures that is barely possible in any other circumstances without magnification – images leap off the page as if the object were actually there, in all its solid reality.’ Charlotte Gere, Apollo VA N E S S A R E M I N G T O N is Curator of Paintings, Royal Collection Trust, and a specialist in portrait miniatures.

French Porcelain in the Collection of Her Majesty The Queen GEOFFREY DE BELLAIGUE

‘Superb detailed photography, unparalleled by any published thus far and unlikely to be seen again in print form . . . each object is abundantly illustrated . . . the photographs replicate the experience that only a very few curators or collectors of these objects are privileged to experience’ Selma Schwartz, Apollo

Apollo Magazine Book of the Year 2010 Shortlisted for the 2009 British Book Design and Production Awards

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C ATA L O G U E S R A I S O N N É S

The late S I R G E O F F E R Y D E B E L L A I G U E , Surveyor Emeritus of The Queen’s Works of Art, was regarded as one of the world’s leading authorities on Sèvres porcelain and published extensively on the decorative arts in the Royal Collection.

HARDBACK

2 VOLUMES 300 × 245 mm 432 pages per volume approx. 1,200 colour illustrations Full scholarly apparatus I S B N 978 1 905686 23 0 £175.00

HARDBACK

3 VOLUMES 325 × 245 mm 1,312 pages 2,400 colour and b/w illustrations 1,000 specially commissioned drawings of incised marks Full scholarly apparatus I S B N 978 1 905686 10 0 £500.00


Arms and Armour Volume I: Armour Volume II: Edged Weapons A . V. B . N O R M A N W I T H I A N E AV E S AND PHILIP LANKESTER

Published in two volumes, this study of the Royal Collection’s European arms and armour comes together to form the first catalogue of this substantial and important collection of historic weapons for more than one hundred years. Highlights of Volume I include the huge set of armour made for Henry VIII around 1540, and the exceptionally beautiful armour made for Henry, Prince of Wales around 1608. Volume II focuses on the edged weapons in the collection, including both pieces that had a practical purpose and those which were acquired by either gift or purchase.

HARDBACK VOLUME I

approx. 432 pages approx. 500 colour illustrations £150.00 2014 VOLUME II

3 parts 2015

Chinese and Japanese Works of Art J O H N AY E R S

The Royal Collection includes some of the most historic examples of eastern arts now in the western world. With over 2,000 items distributed among the royal residences in England and Scotland, this collection presents a rich cross-section of the porcelains, jades, lacquer and other works of art produced in China and Japan and brought here over a period of several centuries, reflecting the West’s long-standing appetite for rarities from distant lands. A striking feature of the collection is the mounting in the eighteenth and nineteenth centuries of many objects in gilt bronze: the mounts themselves, made in French and British workshops, are often of superb quality and of great historical importance and will be published here for the first time.

HARDBACK

3 VOLUMES 300 × 245 mm approx. 1,296 pages; approx. 2,000 colour illustrations £495.00 2014

C ATA L O G U E S R A I S O N N É S : F O R T H C O M I N G

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All details are provisional and subject to alteration without notice DESIGN BY

Philip Lewis PRODUCTION MANAGER

Debbie Wayment Unless otherwise specified, text and images are Royal Collection Trust / © HM Queen Elizabeth II 2013 COVER:

Attributed to Henry Wigstead (1740–1804) Bookseller and Author, 1784 Pen and ink with watercolour over pencil, 23.1 × 30.9 cm R L 13704

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Find out more about Royal Collection Trust www.royalcollection.org.uk Subscribe to the Royal Collection Trust e-newsletter at www.royalcollection.org.uk/newsletter Follow us on twitter @BritishMonarchy Royal Collection Trust is a member of the Motovun Group Association MGA www.motovungroup.org

ISBN 978-1-909741-05-8

9 781909 741058

Royal Collection Trust Publications 2013-2014  

Royal Collection Trust's publishing programme is dedicated to creating the highest-quality books, exhibition catalogues and guides to celebr...

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