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dated 1990. RCIN 453411. The architect Sir Hugh Casson was President of the Royal Academy from 1976 to 1984. He became a close friend of several members of the Royal Family and over the years undertook a number of architectural projects for HM The Queen and HRH The Duke of Edinburgh. He was well known for his small and witty drawings of ...
From 1952 Queen Elizabeth used Royal Lodge as her weekend home. This view shows the interior of the Saloon, the oldest surviving part of the house, designed by George IV’s architect Sir Jeffry Wyatville in the 1820s. Queen Elizabeth’s own desk stands in the foreground.
Lady Elizabeth Bowes-Lyon’s mother, Nina Cecilia Cavendish-Bentinck, married Claude Bowes-Lyon (the Earl of Strathmore from 1904) in 1881. They had ten children, of whom Elizabeth was the penultimate child and youngest daughter. Lady Strathmore had a close relationship with her children, and she taught the youngest ones to read and write.
John Piper’s Views of Windsor. In her single most important act of patronage, Queen Elizabeth commissioned a series of watercolour views of Windsor Castle from John Piper during the Second World War. They were intended to serve as a record of the Castle in case it was damaged by enemy bombs. The result was a virtuoso performance of ...
On the King's death in 1952 Queen Elizabeth, now the Queen Mother, returned to Royal Lodge and Birkhall. She purchased the Castle of Mey in Caithness as a private residence, and Clarence House became her London home. Throughout her life the Queen Mother collected watercolours and drawings both of her official and her private residences.
RCIN 453457. With Queen Elizabeth as their Patron, the Royal Watercolour Society was allocated seats for the great birthday parade held in London to celebrate her 100th birthday. Charlotte Halliday, a member of the Society, recalled the event as ‘wonderful – quite unique of course, not only for the extraordinary variety of the processions ...
Soon after the accession of King George VI in 1936, Queen Elizabeth began to form a small but well-chosen collection of eighteenth and early nineteenth-century British watercolours and drawings. A number of works, such as those by Thomas Gainsborough and John Varley, reflect her wider interest in the landscape tradition.
