© The
unless stated otherwise.
This summer, we are thrilled to present Flora Yukhnovich and François Boucher: The Language of the Rococo. This free display initiates a conversation between two new works by Flora Yukhnovich, a bright star on the contemporary art scene, and our world-class collection of French 18th-century art. A long-time visitor to the Collection, Yukhnovich created the paintings in direct response to the pastoral pendants by François Boucher that typically flank the grand staircase on the Landing. Yukhnovich’s two works, in custom gilt frames, will take their place for the duration of the exhibition, while the Bouchers hang in the former Housekeeper’s Room on the ground floor. Out of their frames and positioned at eye level on white walls, the canvases appear as freshly painted as they would have been in the artist’s studio in 1749.
I had the great privilege of witnessing Flora’s process over the past months. Her deep engagement with our Rococo masterpieces offers a unique insight into their timeless relevance. I hope this will be the first of many such opportunities to see contemporary work at Hertford House, and that you will visit us to discover for yourselves the intriguing connections between old and new.
André-Charles Boulle, another leading light of the French 18th century, is currently the subject of a monographic exhibition at Château du Chantilly. We are proud to have lent two tables to this landmark event. At home in London, Conservator Jürgen Huber has recently restored two Boulle coffers. Read on to discover more about his work, and that of ‘the most skilful artisan in Paris’.
Our own current exhibition Ranjit Singh: Sikh, Warrior, King has delivered on its ambition to bring new audiences to the Collection. It has been wonderful to see so many families in the galleries, sharing history across generations. The show has seen strong media coverage, including four-star reviews from The Times and the Evening Standard. I encourage you to listen to curator Davinder Toor’s interview for The Art Newspaper podcast ‘This Week in Art’, and the BBC’s ‘Front Row’ radio show segment on the subject.
We remain, as ever, profoundly grateful to the loyal supporters who make possible all of our efforts across exhibitions, conservation, learning, and beyond. Thank you for your continued generosity. I wish you all an excellent summer, and I look forward to seeing you at the Collection again soon.
Dr Xavier Bray Director of the Wallace Collection
This summer, on the landing of Hertford House, a pair of paintings by British artist Flora Yukhnovich (b. 1990) will temporarily take the place of two idyllic scenes by François Boucher (1703–1770), Pastoral with a Bagpipe Player (1749) and Pastoral with a Couple near a Fountain (1749).
Taking two Boucher masterpieces as their inspiration, Flora Yukhnovich’s works, A World of Pure Imagination and Folies Bergère, move between figuration and abstraction in a playful synthesis of fleshy materiality and abundant colour. The Wallace Collection holds the most important collection of Boucher in the world; and this exhibition brings the paintings by Yukhnovich into conversation with the effervescent language of the Rococo. Installed in specially commissioned, ornate gold frames, the works are poised in a space that is arguably the most complete expression of the French 18th century in Britain.
Meanwhile, Boucher’s pendant paintings are the focus of a new display in the Housekeeper’s Room. Shown without their frames on a white wall, the works are hung at eye level and offer themselves to viewers’ careful scrutiny. Representing some of Boucher’s most ambitious work in the pastoral mode, the pair draw upon the utopian themes of the great Fêtes galantes by Jean-Antoine Watteau (1684–1721), some of which can be seen in the Small Drawing Room. Boucher exchanged Watteau’s contemporary Parisians for romanticised shepherds and shepherdesses, creating a space of his own imagining for the playful enactment of amorous encounters against serene scenes of rural life. More than two hundred years later, Yukhnovich suffuses her work with this aesthetic tradition, prompting us to reconsider our relationship with the Rococo today.
Flora Yukhnovich and François Boucher: The Language of the Rococo will remain open until 3 November 2024.
Courtesy the artist and Victoria Miro
Flora Yukhnovich, reimagining the 18th century Born in Norwich, Flora Yukhnovich has achieved international renown for her deeply material explorations of abstraction and colour. In 2017 she was awarded an MA from the City & Guilds of London Art School, and she has since exhibited at locations across the UK and abroad. Her work can even be found upon the walls of Downing Street, with Imagination, Life is Your Creation (2019) having been acquired for the Government Art Collection. A dreamy, gestural work, the painting reveals Yukhnovich’s preoccupation with historical notions of femininity and their entanglements with contemporary popular culture.
In autumn 2019, the artist completed a two-month residency in Venice organised by Victoria Miro. There she studied the works of Venetian artist Giovanni Battista Tiepolo (1696–1770) alongside the music of Antonio Vivaldi (1678–1741) and observed the same sense of play she found in the works of Jean-Antoine Watteau and François Boucher. Experimenting with capturing abstract elements of movement and pace as opposed to iconography, The Venice Paintings, produced the following year, reflect this evolving emphasis in their distinctly rhythmic reimagination of Rococo dynamism.
‘I
couldn’t be more excited to work on this project with Xavier and the Wallace Collection! I have been visiting since I was a student to immerse myself in the 18th century and to study the Boucher paintings. They have been incredibly important to me, finding their way into many of my paintings over the years. It will be such a privilege to see my work in dialogue with the paintings that have inspired them for so long.’
Flora Yukhnovich, from her studio in Bermondsey
François Boucher, Master of the Rococo François Boucher’s exuberant reinvention of the pastoral genre made him one of the most celebrated artists of his generation. Born in 1703 to a painter and lace designer, he initially supported himself as a draftsman and printmaker. During a spell working for the engraver Jean de Jullienne (1686–1766), Boucher produced more than one hundred etchings after drawings by Watteau. This formative period also enabled the young Boucher to gather the required funds for his two-year sojourn in Italy, 1728–30.
Following his return to France, Boucher experienced a meteoric rise to fame through his production of largescale mythological scenes. Teeming with resplendent gods, nymphs, and winged putti, his paintings soon decorated the walls of a wide-ranging, elite clientele and compelled his elevation to the position of Premier Peintre du Roi (First Painter to the King). Perhaps his most illustrious patron was the Marquise de Pompadour (1721–1764), mistress of King Louis XV (1710–1774), whose portrait by Boucher now hangs in the Wallace Collection.
Combining fragments of turtleshell from the Indian Ocean with German brass, Cornish tin, and exotic woods, André-Charles Boulle (1642–1732) produced exquisite pieces of furniture for a wealth of clients, including Louis XIV (1638–1715), the Sun King. So renowned was his work that the technique he perfected came to be known as ‘Boulle marquetry’.
André-Charles Boulle was born in Paris into a family of German or Dutch origin. His father, Johann Bolt, had adopted the name Jean Boulle when he arrived in the city. Jean recognised the talent of his young son, and ensured that he received a comprehensive education in painting and drawing as well as training in gilding and engraving. In recognition of his exemplary achievements, Boulle became Ébéniste du Roi in 1672 and found himself at the centre of a community of artists located in the Louvre. As well as freeing him from the regulations imposed by the city’s guilds, which restricted craftspeople to their trade, this mark of royal favour was an honour he would carry throughout his life. His reputation for beautifully crafted furniture and innovative designs, such as the writing desk, spread throughout Europe, and he gained a prestigious clientele.
Boulle marquetry went out of fashion after the artisan’s death, but from the turmoil of the French Revolution and the Napoleonic Wars, there emerged a growing appetite for French decorative arts on the part of British Francophiles. Perhaps the most flamboyant of these collectors was the Prince Regent, George IV (1762–1830), who acquired numerous pieces associated with Boulle for Carlton House and Windsor Castle.
Amongst these items was a grand bookcase by Etienne Levasseur (1721–1798), which is now housed in the Wallace Collection’s Large Drawing Room. Referred to as ‘The Londonderry Cabinet’, this reinterpretation of an original design by Boulle is veneered with ebony and includes delicate premièrepartie (brass inlaid on turtleshell) and contre-partie (turtleshell inlaid on brass) marquetry.
This passion for collecting was shared by the 3rd and 4th Marquesses of Hertford. While still Earl of Yarmouth, Francis Charles Seymour-Conway, 3rd Marquess of Hertford (1777–1842), acted as the Prince Regent’s agent and acquired the Levasseur bookcase on his behalf in 1818. Fifty years later, this bookcase was purchased by the 4th Marquess (1800–1870) at the Marchioness of Londonderry sale at Christie’s in 1869. As well as collecting such period pieces, the 4th Marquess was also an enthusiastic commissioner of replicas, which often cost him more than the originals.
This winter, the Wallace Collection will host a new temporary exhibition dedicated to Boulle clocks. Keeping Time: Clocks by Boulle will run between 27 November 2024 and 2 March 2025.
1642 André-Charles Boulle is born in Paris to a German or Dutch Protestant family with a rich artistic tradition. Both his father, Jean Boulle (born c. 1616), and grandfather, Pierre Boulle (born c. 1595), had been skilled cabinetmakers under the direct patronage of the Crown.
1670–75 Production of the oak, walnut, pine and ebony cabinet (F16) now housed in the Wallace Collection’s Billiard Room.
1672 Upon the death of Jean Macé, Boulle is selected as royal cabinetmaker, or Premier Ébéniste du Roi, for Louis XIV, and is given lodgings in the Louvre.
1715 The Wallace Collection’s wardrobe (F429), also situated in the Billiard Room, is listed in Boulle’s workshop, in the same year he passed the workshop on to his sons.
1720 A devastating fire destroys much of the workshop in the Place du Louvre, dealing a further blow to the family’s shaky finances.
1732 In February, Boulle dies in the Louvre. While his work subsequently declined in popularity, it would see a revival in the 19th century. Boulle pieces were particularly sought-after during the Second Empire, 1852–70.
1825–50 Production of the Wallace Collection’s two eclectic coffers (F45 and F46), featuring mounts derived from Boulle himself and from later periods.
1869 The 4th Marquess of Hertford pays a staggering 3,990 livres for the Levasseur bookcase, originally purchased by his father on behalf of the future King George IV.
Oak, ebony, première- and contre-partie Boulle marquetry of brass and turtleshell, gilt bronze, gilt brass, brass, enamel, paint, steel, glass, gilt-bronze and steel keys
Together with its companion piece in premièrepartie marquetry, the Wallace Collection’s extraordinary wardrobe was listed in Boulle’s workshop in October 1715, the year he handed his business over to his sons. Beautifully veneered in contre-partie marquetry, the wardrobe has a design of turtleshell laid against a background of brass. Its costlier companion is adorned in the reverse, with a turtleshell background and the design in brass.
The movement of the clock at the top of the wardrobe was fashioned by Pierre Gaudron, who was clockmaker to the regent, Philippe d’Orléans (1674–1723). The central clock case closely resembles a drawing in the Musée des Arts Décoratifs in Paris, formerly attributed to Gilles-Marie Oppenordt but now believed to be by Boulle himself.
The symbolism of the infants around the clock dial is not entirely clear, though the infant with the owl is thought to represent Night while the infant scattering flowers may represent Dawn, by analogy with Aurora. The diapered marquetry on the outer, upper sections of the door is very similar to patterns found on Japanese 17th-century lacquer and may well have been a deliberate attempt by Boulle to adapt the motif for use on French furniture. Certainly, the entire effect of black (ebony) and gold (gilt bronze) evokes the black lacquer of the period, which was beloved by Europeans who lacked the technological means to produce it.
The elegance of Boulle furniture lies in the incredible skill of the marqueteurs who worked with this technique. Described in the 18th century as makers of peinture en bois (paintings in wood), these masters of their craft, some of whom were women, carved exquisite works of art from layers of metal and turtleshell.
1. The process began with the creation of a design, often featuring swirling arabesques and foliate imagery.
2. Then, a piece of metal (brass, copper, and pewter were all popular choices) was placed together with a piece of turtleshell to form a ‘packet’, with the design on top.
3. A fine fret-saw was then used to cut-out the design. As both materials were cut simultaneously, pieces of each dropped out, leaving two opposite but identical designs.
4. Once the ‘packet’ had been cut, the artisan then inlayed the opposing pieces together like a jigsaw puzzle, producing the distinctive première-partie and contre-partie constructions.
5. The design was then ready to be applied to the surface of the furniture and embellished with engravings to add movement and dimension to the finished work.
Amongst the Wallace Collection’s treasured pieces of Boulle furniture are two exquisite coffers. Earlier this year, the pair were treated by Senior Furniture Conservator Jürgen Huber.
In the 17th century, such pieces were known as coffres de toilette and were used to store the personal items men and women required in the elaborate process of washing and dressing for the day ahead.
While Sir Richard Wallace displayed his coffers as a pair, there are in fact subtle differences in the construction and decorative finish of the two. F411 is thought to have been produced about sixty years after F412, during a period of revived interest in Boulle-style furniture. Over the years, both coffers have undergone multiple alterations, including the addition of the prominent crowned vases at the base of the stands, designed to evoke a sense of royal provenance.
A close examination of the coffers’ front panels reveals the difference in their marquetry. The inclusion of pewter with engraved detail in F412 (at left) is an elegant addition to the brass and turtleshell.
c. 1760 (F411)
Oak, ebony, première- and contre-partie marquetry of brass and turtleshell
This coffer suffered from historic woodworm damage, and the insertion of a back panel into its stand had significantly undermined its structure. A piece of Sellotape applied some forty years ago had created areas of discolouration and the insertion of overly large brass screws had damaged the wooden substrate and opened up unsightly, large holes.
During conservation, Jürgen reinforced the back panel with a pair of new wooden supports and removed the areas of discolouration.
James Queay, conservation student at UCL and intern at the Wallace Collection, assisted with the restoration of the marquetry by cutting new pieces of brass to be inlayed into the original design.
c. 1700 (F412)
Oak, ebony, première- and contre-partie marquetry of brass and turtleshell
While in in better condition than its counterpart, this coffer too had woodworm damage, unsightly modern fittings and areas of discolouration. Splits in the bun feet, combined with improper gluing, had also destabilised the coffer.
In the conservation studio, Jürgen worked to repair the splits in the feet and carefully reattached them to the legs to ensure the stand’s stability. He also cleaned both coffers’ gilt-bronze mounts and filled in any holes. Finally, he removed the old coats of shellac, a resin secreted by female lac bugs in the forests of India and Thailand, before applying a fresh coat.
This meticulous conservation has brought a renewed sense of splendour to these objects, and we encourage you to come and see them for yourself in the Billiard Room.
Launched last autumn, the Museum Ambassadors programme facilitates memorable encounters with art and history beyond the classroom.
Each term, the Wallace Collection welcomes twelve Year 5 or 6 pupils to take part in an extended eight-week project at the museum. Designed to expand our reach with local primary schools, in particular those with higher than average provisions for Free School Meals, these after-school sessions take place at the museum and encourage pupils to develop their creative and collaborative skills through imaginative discussions and hands-on activities. In this way, the programme aims to inspire a lifelong love of museums amongst participants, empowering them to become ambassadors for arts and culture.
In autumn 2023, Museum Ambassadors from St Mary’s Bryanston Square Church of England School produced a Zine inspired by the Collection. Working closely with the Learning team, pupils combined different forms of media to create a vibrant collage. When unfolded, the Zine transforms into a board game which leads players on a whirlwind adventure through the museum’s galleries.
Earlier this year, pupils from All Souls Church of England Primary School produced a fabulous Zine of their own. Complete with imaginative studies in pattern, colourful drawings and prints, and beautiful typography, their Zine is a wonderfully creative guide to the Collection.
Museum Ambassadors encourages playful engagement with some of the Collection’s most inspiring themes. The Learning team empowers pupils to produce something that is uniquely their own, shaped through shared experiences of great art.
Can you tell us a bit about your background?
I can’t remember a time when I wasn’t interested in history. In fact, some of my earliest childhood memories are of visiting the Wallace Collection with my grandfather. At school I was very fortunate to have history teachers who nurtured my love of the subject and arranged for me to undertake a work experience placement at the British Museum. After finishing my A levels, I completed a BA in Archaeology at the University of Nottingham, followed by an MA in Medieval and Renaissance Studies at University College London. By then I had been volunteering at the Wallace Collection for a good number of years. It was here that my interest in arms and armour really deepened, and I decided to pursue a career as a curator. Fortunately, I didn’t have too long to wait. In 2014, I took up the position of Assistant Curator of Arms and Armour at the Royal Armouries in Leeds, where I stayed for just over nine years. In April this year, my life came full circle when I returned to the Wallace Collection as Curator of Arms and Armour.
Are there any past projects that you have particularly enjoyed?
I think one of my most rewarding projects was my longterm work on the mid-17th-century Civil War collection of arms and armour at the Royal Armouries. One of my first tasks there was to oversee a major loan to the National Civil War Centre in Newark, which opened in 2015. Having already developed an interest in the British Civil Wars, it was the perfect opportunity to get to grips with the subject fully and work alongside specialists in the field. Over several years I became involved in a number of collaborative projects with other institutions and helped advise on the display and interpretation of their own collections of Civil War-related material.
What does your role involve and what motivated you to take it on?
As a curator my role is to oversee the management, research and interpretation of the European, Middle Eastern and Asian arms and armour collection. The thing I love about my job is that these days the role is much broader than it used to be and no two days are the same. One day I might be researching and cataloguing pieces in the collection, while on another I could be showing visitors around the galleries and planning future projects. On top of that, I get to work with a team of highly talented and passionate individuals. I’ve always been drawn to the Wallace, and so when the opportunity arose for me to come back and work with the arms and armour collection I couldn’t let it pass by. For anyone in the field, it’s a dream job.
What are you looking forward to most (and what is something that might be a challenge)?
There are so many fascinating objects in the collection, each with its own unique story to tell. Yet, as anyone who has visited the arms and armour galleries will know, some of the current displays are so crowded that lots of important pieces simply get overlooked. With the limited and often quite basic interpretation added to this, the arms and armour collection can be off-putting for the non-specialist or enthusiast. I am therefore really looking forward to sharing my passion for the subject by improving the displays through better and more varied interpretation to appeal to as broad an audience as possible. At the same time, it’s important to me that I balance these aims with the historic nature of the displays and the appreciation visitors have for the character of Hertford House. Since every change inevitably results in a domino-like effect through the galleries, it will be quite a challenge!
The Wallace Collection houses some beautifully ornate pieces of arms and armour. Could you comment upon the significance that such items held for their owners and the roles they played in constructing identities?
Today we typically think of arms and armour as having a purely utilitarian function. However, throughout history they have also been used much more dynamically, not only to convey a person’s wealth, authority and social status (whether real or claimed), but also to fashion their sense of identity. Arms and armour possessed a transformative power, enabling their owners to reinvent themselves as the idealized heroes of history and legend or even to appear as semi-divine figures. Personal piety could also be expressed through arms and armour. Many Islamic pieces, for example, have been embellished with Quranic inscriptions which were believed to confer spiritual protection and signify heavenly favour. Even today the arms and armour in the Wallace Collection have the power to awe and inspire, and alongside their practical role that’s exactly what they were designed to do.
What is your favourite piece in the Wallace Collection, and why does it stand out to you?
Wow, that’s a tough question, since the answer probably changes week to week! However I would have to say that A22, a South German armour made between 1500 and 1510, has been one of my favourites since I first visited the Wallace Collection some twenty-five years ago. Not only is it a beautiful example of the restrained aesthetic of the early 16th century but, being almost entirely homogenous, it stands in contrast to the majority of armours which are usually made up of numerous diverse parts (A20 being a case in point). Standing in front of A22, I’m always struck by its somber commanding presence, and whenever I’m in the galleries I always make sure that I pay it a visit.
Above
Full armour, Unknown Maker, South Germany, probably Nuremberg, c. 1500–1510 (A22)
We are incredibly grateful to all the donors who have generously supported the Wallace Collection during the period 1 April 2023 to 31 March 2024 and to all Endowment donors. Your support is more important than ever before.
Donors to the Wallace Collection Endowment
£1 million and above
The Monument Trust
£500,000 and above
Lionel and Ariane Sauvage
£100,000 and above
The Estate of Mr Stanley Gordon Clarke
Sir Siegmund Warburg’s Voluntary Settlement
£10,000 and above
Kate de Rothschild Agius and Marcus Agius CBE
Lady Alexander of Weedon
Alexis and Anne-Marie Habib Foundation
Mr Omar Ali & Mrs Saira Ali
Alvarium Guggenheim
Nada Bayoud and Andrew Wynn
Marilyn Berk
The Boston Consulting Group
Sir Francis Brooke Bt. & The Hon. Lady Brooke
Timothy and Andrea Collins
Michael and Angela Cronk
Mr and Mrs Michel David-Weill
Mr and Mrs Bruno and Marianne Deschamps
The Desmond Foundation
Eric and Virginie Ellul
Mme Alice Goldet
Sir António and Lady Horta-Osório
The John Armitage Charitable Trust
Christian Levett
The Lord Leonard and Lady Estelle Wolfson Foundation
Béatrice and James Lupton
The Michael and Nicola Sacher Charitable Trust
Albéric and Audrey de Montgolfier
Mr and Mrs Nadar
Sir John and Lady Ritblat
Robert de Rothschild
Sir Hugh and Lady Stevenson and
Aberdeen Asset Management
Prince Amyn Aga Khan
Mr and Mrs Nicolas Cattelain
Mr and Mrs R. J. Elliott
The Estate of Lt. Cdr. Paul W W Fletcher
The Geoffrey and Julian Agnew Charitable Trust
David and Janice Gu
J.P. Morgan
Annika Lejeune
Lloyds Banking Group
Clare McKeon
Morgan Stanley
In memory of the late A.V.B. (Nick) Norman
Roslyn Packer AC
Jessica Pulay CBE
Röbbig München
Richard Sachs
Adrian Sassoon
Timothy and Ellen Schroder
The Tavolozza Foundation
UBS Group AG
Cecilia Versteegh
The Wallace Collection in America
Andy Xue
Benefactors of the Wallace Collection
Director’s Circle
Kate de Rothschild Agius and Marcus Agius CBE
Nada Bayoud and Andrew Wynn
Marilyn Berk
Sophie and Michael Birshan
Sir Bruce Bossom, Bt Allison Childers
Michael and Angela Cronk
The Deborah Loeb Brice Foundation
Dame Vivien Duffield
Simon Eccles
Thomas and Elsebeth Gatacre
Mrs Tove Goddard
Mrs Brent Hoberman
Mr and Mrs William Iselin
Russell and Irina Jacobs
Lucie Jay
Dr Avtar and Monika Kamboj
James and Clare Kirkman
Jackie Mountain
Mr and Mrs Nadar
Christopher and Sophie North
Richard and Amicia Oldfield
Roslyn Packer AC
Denise Patterson
Jessica Pulay CBE
Philip and Sarah Richards
Pamela Roditi
Adrian Sassoon
Jake and Hélène Marie Shafran
Dasha Shenkman OBE
Sir Hugh and Lady Stevenson
Marjorie Stimmel
Alison Taylor
Rijnhard and Elsbeth van Tets
Davinder Toor
Carolyn Townsend
Thomas and Catrin Treadwell
Jack Verhoeven
Cecilia Versteegh
Conservator’s Circle
Stephen Allcock and Hitesh Batavia
Mr James and Lady Emma Barnard (The Barness Trust)
Mr and Mrs Nick Barton
Christopher Clarke
John and Patricia Glasswell
David Kempton
Lady Lowther
Béatrice and James Lupton
Mrs Annie Mackeson-Sandbach
Tessa Nicholson
Ivetta Rabinovich
Paul Rivlin
Timothy and Ellen Schroder
Rima Tatjana Shour
Curator’s Circle
Julian Agnew
Ambassador Victor Ashe
Peter Belchamber
Guy and Margaret Beringer
Nicholas Berwin
Rosamond Brown
Robin and Jacqueline Budenberg
Ian Butchoff
Peter H G Cadbury
Mr Charles Cator
Oliver and Cynthia Colman
Sir Alan and Lady Ros Cox
Mrs M. David-Weill
Mr and Mrs Bruno and Marianne Deschamps
Bernard Dewe Mathews
Patrick K. F. Donlea
Dame Jennifer Eady
Sam Fogg Esq.
Paul Gallois
Mme Alice Goldet
Charlotte and Roger ter Haar
Mr and Mrs Matthew Hartley
Iain and Alicia Hasnip
Susan Hazledine part of A&O New Change Group
Katrin Henkel
Soo and Jonathan Hitchin
Philip Hudson
Hugh Hudson-Davies
The John Armitage Charitable Trust
Colleen Keck
Dr Susan E. Kendall
David Lawson
Ms Laura Lindsay
Richard Mansell-Jones
Don and Lisa McGown
Clare McKeon
Patrick Mears
Mark van Oss
Mervyn and Jill Parry
The Lord and Lady Phillimore
Jonathan Refoy Leila Russack / Miss Zagato
Patrick and Sarah Ryan
Richard Sachs
Jennifer Stern
Alistair Summers
Anthony and Jacqueline Todd
Kathryn Uhde
Alan and Sue Warner
Patricia Wengraf Ltd.
Lynne Woolfson
Young Benefactors
Dallas Athent
Carlos Baird
Maribelle Bierens
Cassandra Bowes
Quaid Childers
Chen Chowers
Joseph Yoav Dangoor
Dr. Michael R. Engel
Alexander Hankin
Anya Hayden
Baroness Ariana von der Heyde
Amanda Ibrahim
Michael and Georgette Ilett
Phoebus Istavrioglu
Dr Simmy Kaur
Priya Maya Kumari
Elle Libraty
Fiona MacLeod
Jean-Michaël Maugüé
Ms. Elle McPherson-Yoon
Vitoria Monteiro de Carvalho Faria
Sebastien Paraskevas
Polina Proshkina
Helena Santidrián Mas
Thomas R. Senecal
Joseph Spieczny
The Hon Clarence Tan
Mr Thomas D. Truckle
Eliana and Harry Walker
Alice Wang
Skylar Xie
Jack Ye
Companions
Viscountess Bridgeman, The Bridgeman Art Library
Lord Cholmondeley
Dee Singh Datta
Giles Ellwood and Philippe Sacerdot
Jennifer Montagu
In memory of the late A.V.B. (Nick) Norman
Christylle Phillips
Kate
Chris and Cynthia Bake
Sophie and Michael Birshan
Bloomberg L.P.
Bonhams Auctioneers
David and Molly Lowell Borthwick
Sir Bruce Bossom, Bt
Sir Francis Brooke Bt. & The Hon. Lady Brooke
Peter H G Cadbury
Lord Cholmondeley
Randolph Churchill
Michael and Angela Cronk
Robert de Rothschild
Patrick K. F. Donlea
Gagosian
Thomas and Elsebeth Gatacre
Mrs Tove Goddard
Sukhbir Kainth
Dr Avtar and Monika Kamboj
Professor Ajit Lalvani
Christian Levett
Thomas Leysen
Harminder Mangat
NoteWorthy
Peter Finer Ltd
Philip and Sarah Richards
Sotheby’s
Marjorie Stimmel
Davinder Toor
Victoria Miro
The Wallace Collection in America
John and Amelia Winter
Trusts and Foundations
The Anson Charitable Trust
The Anthony and Elizabeth Mellows
Charitable Settlement
The Barakat Trust
Belvedere Trust
The Clare McKeon Charitable Trust
The Clore Duffield Foundation
DCMS/Wolfson Museums & Galleries Improvement Fund
The D’Oyly Carte Charitable Trust
The Elizabeth Cayzer Charitable Trust
The Excel Fund
The Golden Bottle Trust
The Hobson Charity
The J Paul Getty Jr Charitable Trust
The John Armitage Charitable Trust
John Lyon’s Charity
The Kamini and Vindi Banga Family Trust
The Kirby Laing Foundation
The Leche Trust
The Lord Leonard and Lady Estelle Wolfson Foundation
The Magic Trust
McCorquodale Charitable Trust
National Lottery Heritage Fund
The Rory and Elizabeth Brooks Foundation
The Rose Foundation
The Rothschild Foundation
The William Arthur Rudd Memorial Trust
The Collection is extremely grateful to those who over the past year have made donations to The Wallace Collection in America
Gregory Annenberg Weingarten, GRoW @ Annenberg
Mary Beth Anton and Jeffrey D. Hewett
Ambassador Victor Ashe
Nada Bayoud and Andrew Wynn
Candace and Rick Beinecke
Michele Beiny Harkins
Allison Childers
The Deborah Loeb Brice Foundation
E. Rhodes and Leona B. Carpenter Foundation
Edward Lee Cave
Marilyn and Lawrence Friedland
Renee Harbers Liddell
Cecily E. Horton
Lucie Jay
Dr Susan E. Kendall
Khanuja Family
KPB Corporation
Mrs. John P. Lyden (Carol)
Christopher and Sophie North
Richard III Society-American Branch
Lionel and Ariane Sauvage
David and Rachel Schlesinger
Thomas and Catrin Treadwell
And all those who wish to remain anonymous
We would also like to thank all of our wonderful donors who gave to specific projects, renewed their membership, or left legacy gifts to the Wallace Collection during this period.
85,065
19,000
tickets sold for Ranjit Singh, so far
Featured in Frans Hals, on view in the National Gallery, London, the Rijskmuseum, Amsterdam, and the Gemäldegalerie, Berlin
9 visitors to Portraits of Dogs miniatures conserved
11
watercolours exhibited (for the first time in 17 years)
6 pieces of furniture unlocked in February for Open Furniture Month
1,770
100,000
bricks preserved by tuckpointing
Out of the Frame engages older adults living in care. Lively sessions are delivered in care homes across London, using reproductions and handling objects to stimulate interaction and discussion.
Museum Ambassadors engages Year 5-6 pupils through special after-school projects based at the museum. Each term, 12 pupils from a local primary school embark on an in-depth, 8-week project.
5
Christmas trees in the galleries