Royal Collection

Art, Passion & Power – The Story of the Royal Collection episode 4: Andrew Graham-Dixon explores how royal collecting has changed since the days of Queen Victoria. This is a story of the British monarchy’s remarkable survival, while elsewhere the crown heads of Europe crumbled in the face of world wars and revolutions. But it is also an age when women took charge of royal collecting; from Victoria to Elizabeth II, queens and queen consorts have used art to steady the ship of monarchy during this uncertain age.     It’s one of the curiosities of the Royal Collection that

Art, Passion & Power – The Story of the Royal Collection episode 3: Andrew Graham-Dixon continues his exploration of the Royal Collection, the vast collection of art and decorative objects owned by the Queen. In the third episode he has reached the age of the Romantics – the flamboyant George IV who created so much of the visual look of the modern monarchy, and Queen Victoria and Prince Albert, for whom collecting was an integral part of their happy marriage.     As Prince of Wales, George was a famously loose cannon – a spendaholic prince whose debts ballooned in

Art, Passion & Power – The Story of the Royal Collection episode 2: In the year 1660, something miraculous began to happen. After the execution of Charles I, the Royal Collection had been sold off and scattered to the four winds. But now, with the restoration of Charles II, the monarchy was back. And with it their driven, sometimes obsessive, passion for art. Slowly but surely, new pieces were acquired, as others were returned out of fear of reprisal. The Royal Collection had sprung back to life.     Andrew Graham-Dixon tells the story of the Royal Collection’s remarkable resurrection,

Art, Passion & Power – The Story of the Royal Collection episode 1: In a major four-part series, Andrew Graham-Dixon explores the history of the Royal Collection, the dazzling collection of art and decorative objects owned by the Queen. Containing over a million items, this is one of the largest art collections in the world – its masterpieces by Van Dyck, Holbein, Leonardo da Vinci, Vermeer and Canaletto line the walls of Windsor Castle, Hampton Court and many other palaces, museums and institutions around Britain.     Andrew argues that on the surface, the Royal Collection projects permanence, but within