Recalling the 18th Century!

J. Paul Getty’s statement “For technical skill & perfection and for delicacy & taste Sèvres is unsurpassed” is in my view definitely true whether talking about 18^th and 19^th century pieces or something contemporary such as the items shown by the Sèvres Factory at the recent PAD show in Berkeley Square.

I think that Getty would have been intrigued by the fact that as well as making striking modern designs they were also able, using the traditional methods, to recreate major pieces from the 18^th century such as the boat-shaped Vaisseau à Mât. Only twelve of these were created in the 18^th century, of which ten are known to survive today, including one in the Royal Collection. It is therefore a remarkable achievement that the factory has produced this soft paste ‘copy’ of the Buckingham Palace example which was originally owned by the great supporter and patron of the Sèvres Factory Madame de Pompadour.

The images reflect both the production and resultant vase – a veritable tour de force!

It can be seen at Thomas Goode in South Audley Street check for details 020 7499 2823; INFO@THOMASGOODE.COM)

sevresciteceramique.fr

thomasgoode.com

Canaletto & the Art of Venice

Aug28

Canaletto & the Art of Venice, The Queen’s Gallery, Buckingham Palace. London SW1, until 12^th November 2017

Canaletto, Piazza San Marco looking west towards San Geminiano, c.1723-4, part of a set of six views of Venice.
Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

The two key figures in this remarkable show are Joseph Smith, British Consul in Venice, and George III. The former was also Canaletto’s agent and dealer encouraging the artist to depict Venetian life for the Grand Tour visitors, especially the English ones, in the first half of the 18th century. The latter in 1762 bought almost all of Smith’s collection of paintings, drawings, medals and books which included Canaletto paintings, drawings and etchings as well as the works of other Venetian painters of the day.

Canaletto, The Pantheon, 1742, part of a set of five Roman views.
Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

This superb exhibition proves how wise George III was and how fortunate we are to be able to see it brought together – it is the best group of Canaletto’s works in the world! Alongside his paintings of Venice are the series of 5 large-scale Roman views which Canaletto painted in 1742. I particularly liked the smaller view of the Grand Canal (The Grand Canal looking north-west from near the Rialto) showing Smith’s palazzo with its new classical façade altered later by the artist.

Rosalba Carriera,’Winter’, c. 1726
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Add to this works by Sebastiano and Marco Ricci, Francesco Zuccarelli, Rosalba Carriera, Pietro Longhi and Giovanni Battista Piazzetta and one really gets an absorbing picture of life in 18th century Venice. I loved the Sebastiano Ricci of The Adoration of the Kings (1726) because of the way Christ’s arm and hand are outstretched touching one of the king’s heads in benediction.

Canaletto, The Mouth of the Grand Canal looking West towards the Carita, c.1729-30, from a set of 12 paintings of the Grand Canal.
Royal Collection Trust/(c) Her Majesty Queen Elizabeth II 2017

This exhibition should not be missed!

http://www.royalcollection.org.uk

Marco Ricci, Farinelli in walking dress, c.1729-30
Royal Collection Trust/(c)Her Majesty Queen Elizabeth II 2016

Beyond Caravaggio

Nov22

Beyond Caravaggio, Sainsbury Wing, The National Gallery, London, until 15^th January 2017

As I was unable to attend I asked John Kirkwood to go on my behalf – here are his thoughts:

Mattia Preti, called II Calabrese
Draughts Players, about 1635
Oil on canvas
107.9 × 142.2 cm
© Ashmolean Museum, University of Oxford

This is a very powerful exhibition displaying as it does the amazing influence of the unveiling in Rome of Caravaggio’s first public commission in 1600. Many artists were so taken with his naturalism and his treatment of light and shade that they went on to imitate him in a style that became known as Caravaggesque and here you will find many examples of this trend. Some may find the effect of all the gloom of this Caravaggism a little repetitive but there is no denying the artistry on display.

Michelangelo Merisi da Caravaggio
Boy peeling fruit, about 1592-3
Oil on canvas
63 × 53 cm
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2016

http://www.nationalgallery.org.uk

Cecco del Caravaggio
A Musician, about 1615
Oil on canvas
125 × 100 cm
The Wellington Collection, Apsely House, London
© Historic England

Guido Reni
Lot and his Daughters leaving Sodom
About 1615-16
Oil on canvas
111.2 x 149.2 cm
The National Gallery, London
© The National Gallery, London

Dirck van Baburen
Cimon and Pero (Roman Charity), 1622-3
Oil on canvas
127 x 151 cm
York Art Gallery, York Museums Trust
© Image courtesy of York Museums Trust

Artemisia Gentileschi
Susannah and the Elders, 1622
Oil on canvas
161.5 × 123 cm
© The Burghley House Collection

Queen Victoria in Paris

Nov19

Queen Victoria in Paris: Watercolours from the Royal Collection, Compton Verney, Warwickshire, CV35 9HZ, until 11th December 2016

Antoine Léon Morel-Fatio (1810-71)
Royal visit to Napoleon III: Queen Victoria landing at Boulogne, 18 August 1855
Watercolour
© Royal Collection Trust 2016

This special exhibition commemorates the State Visit of Queen Victoria and Prince Albert (with their two eldest children) to Paris in August 1855 and followed a State Visit to Windsor in April of that year by the Emperor Napoleon III and his consort the Empress Eugénie. It was part of cementing the alliance between Britain and France in the Crimean War. The forty-four watercolours, generously loaned by Her Majesty the Queen, depict the major events of the nine day visit from their arrival at Boulogne aboard the Royal Yacht onwards.

Eugène-Charles-François Guérard (1821-66)
Royal visit to Napoleon III: Queen Victoria’s entry into Paris, 18 August 1855
Watercolour
© Royal Collection Trust 2016

The watercolours, half of which are being publicly shown for the first time, were either presented to or commissioned by Queen Victoria and became one of her ‘Souvenir Albums’ that recorded events in her marriage to Prince Albert. I find them all of great interest but am specially drawn to those of her apartments in the Palais de Saint Cloud.

Jean-Baptiste-Fortuné De Fournier (1798-1864)
Royal visit to Napoleon III: Queen Victoria’s dressing-room at St Cloud
Watercolour
© Royal Collection Trust 2016

The significance of the Queen’s visit is summed up by Rosie Razzall, Curator of Prints and Drawings, Royal Collection Trust: “This was a pivotal period in British and French history. After centuries of enmity, France and Britain were never again to fight on opposing sides. A visiting head of state was not received with such popular fervour in France until the Kennedys in 1961, and has been unmatched since.”

Max Berthelin (1811-77)
Royal visit to Napoleon III: illuminations at the Hôtel de Ville, 23 August 1855
Watercolour
© Royal Collection Trust 2016

After Compton Verney this touring exhibition goes on to the Royal Albert Memorial Museum, Exeter; The Wilson: Cheltenham Museum and Art Gallery; and the Bowes Museum, County Durham.

Eugène Louis Lami (1800-90)
Royal visit to Napoleon III: the supper in the Salle de Spectacle, Versailles, 25 August 1855
Watercolour
© Royal Collection Trust 2016

http://www.comptonverney.org.uk

‘Gibson of Rome’

Sep21

John Gibson RA: A British Sculptor in Rome, Tennant Gallery and Council Room, Royal Academy of Arts, Burlington House, Piccadilly, London W1, until 18th December 2016

John Gibson, R.A. (1790-1866)
Sleeping Shepherd Boy
1818
Bequeathed by John Gibson, R.A., 1866
Plaster
110.50 x 47.0 x 94.0 cm
Photo credit: (c) Royal Academy of Arts, London

It is a hundred and fifty years since the death of John Gibson RA (1790-1866) who was a leading neoclassical sculptor of his time. He was born in the Welsh town of Conwy but when still a child moved with his family to Liverpool. He was enthralled by Ancient Greek and Roman Art from an early age and his artistic talent and enthusiasm was recognised by a group of supporters who raised the wherewithal for him to go on a study trip to Italy in 1817.

John Gibson, R.A. (1790-1866)
Cupid pursuing Psyche
Before 1843
Bequeathed by John Gibson, R.A., 1866
Marble relief
72.40 x 103.50 x 10.50 cm
Photo credit: (c) Royal Academy of Arts, London

In Rome he was able to study under the leading sculptor of the day, Antonio Canova and was urged by him to set up a studio in Rome. Gibson did so and thanks to a European clientele decided to settle there saying: ‘In England my life would be spent in making busts and statues of great men in coats and neckties; here I am employed upon poetical subjects which demand the exercise of the imagination, and the knowledge of the beautiful.’. His sculptures were also popular in this country where he was known as ‘Gibson of Rome’ and by 1844 (the year of his first return visit) he counted the Queen and Prince Albert among his patrons. In 1836 he was elected as a Royal Academician.

Sir Edwin Landseer, R.A. (1802-1873)
Portrait of John Gibson, R.A.
ca.1850
Bequeathed by Sir Edwin Landseer, R.A., 1874
92.50 x 72.0 x 2.50 cm
Oil on canvas
Photo credit: (c) Royal Academy of Arts, London; Photographer: John Hammond

He had bequeathed his artworks to the Royal Academy on his death in 1866 and works on show in this exhibition and others on display at Bodelwyddan Castle, Denbighshire, Wales are part of this significant bequest.

John Gibson, R.A. (1790-1866)
Monument to Lady Leicester: Angel carrying infant and leading mother to heaven
ca.1844
Bequeathed by John Gibson, R.A., 1866
Plaster cast
181.0 x 126.50 x 18.0 cm
Photo credit: (c) Royal Academy of Arts, London

This exhibition is complemented by a virtual exhibition ‘The Gibson Trail’ which has images and information on over one hundred and fifty objects in the collections of the Royal Academy, the Victoria & Albert Museum, Tate Britain, the Palace of Westminster, Westminster Abbey, the National Portrait Gallery and Buckingham Palace. The website www.gibson-trail.uk includes an interactive map showing the locations of Gibson’s works in the capital.

The Tennant Gallery and Council Room Dates and Opening Hours Exhibition open to the public: 8 September – 18 December 2016 Tuesday – Friday, 10am – 4pm Saturday – Sunday, 10am – 6pm Closed Monday

www.royalacademy.org.uk

Beguiling Butterflies

Jul22

Maria Merian’s Butterflies, The Queen’s Gallery, Buckingham Palace, London SW1, until 9^th October 2016

Branch of West Indian Cherry with Achilles Morpho Butterfly, 1702-03
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

This is an exquisite gem of an exhibition that delights the eye and informs the mind. The German-born Maria Sibylla Merian (1647–1717) was both an artist and entomologist whose enquiring mind took her and her youngest daughter on the challenging two month voyage across the Atlantic to Suriname, a Dutch colony in South America in 1699. No mean feat at the age of fifty-two, especially as she had had to raise the funds to cover the cost herself. Already known for her 1679 tome on butterflies and moths, her purpose was to study its insects in their natural habitat.

Pineapple with cockroaches, 1702-03
Royal Collection Trust / (C) Her Majesty Queen Elizabeth II 2016.

She and her daughter resided in the hot and humid climate of Paramaribo, the Colony’s capital, and went into the surrounding forests to garner specimens. These they watched transform into butterflies, accurately recording the process in detailed drawings, which also include their host plants. She also studied the lizards, snakes and crocodiles she came across too.

Cassava with White Peacock Butterfly and young Golden Tegu, 1702-03
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

Illness forced her to return to Amsterdam in 1701, bringing specimens back with her. Over the next four years she worked to bring her findings to publication with Metamorphosis Insectorum Surinamensium being published in 1705 to great and deserved acclaim. The vellum plates on display – a mixture of printing and hand-painting – were luxury versions of the plates in Metamorphosis and were acquired by George III for his library.

Grape Vine with Vine Sphinx Moth and Satellite Sphinx Moth, 1702-03
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

http://www.royalcollection.org.uk

From Caledonia to the Continent

Jul20

Scottish Artists 1750 – 1900: From Caledonia to the Continent¸The Queen’s Gallery, Buckingham Palace, London SW1, until 9^th October 2016

Allan Ramsay, Queen Charlotte with her two Eldest Sons, c.1764-9
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

This is a somewhat personal exhibition in the fact that it reveals royal patronage of Scottish artists starting with George III’s of Allan Ramsay who painted the King’s well known State portrait and was appointed Principal Painter in Ordinary to His Majesty. He also painted a delightful picture of Queen Charlotte and her Two Eldest Sons which conveys an atmosphere of domesticity in what is obviously a royal portrait.

Sir David Wilkie, The Penny Wedding, 1818
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

One can easily see why George IV, as Prince Regent and King, liked the work of Sir David Wilkie since his scenes of everyday Scottish life echo the Dutch genre paintings so loved by the monarch. Following Wilkie’s trip to Continental Europe after a nervous breakdown he returned with a much more open style of painting and in 1828 George purchased five of his continental works, including ones set in Spain and appointed him as his Principal Painter in Ordinary. A post that Wilkie continued to hold under William IV and Queen Victoria until his death in 1841.

James Giles, A View of Balmoral,1848
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

David Roberts, A View of Cairo, 1840
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

Queen Victoria and her husband Prince Albert (Prince Consort) were active supporters of the Arts and some Scottish artists such as Sir Joseph Noël Paton (1821–1901), David Roberts (1796–1864), James Giles (1801–1870) and John Phillip (1817–1867) painted pictures that were Christmas and birthday presents between the couple. Queen Victoria favoured Scottish landscapes while Prince Albert, an admirer of early Italian art, was impressed by the works of William Dyce. Their interests also included works depicting the Middle East and Spanish life.

William Dyce, The Madonna and Child, 1845
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

John Phillip, The Letter Writer of Seville, 1854
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

In 1888 the future Edward VII was presented with two albums of works by member of the Glasgow Art Club when he went to open the Glasgow International Exhibition of Science, Art and Industry in the city’s Kelvingrove Park, including the one shown here.

Roberts Macaulay Stevenson, Romance, 1888
Royal Collection Trust (C) Her Majesty Queen Elizabeth II 2016.

There is also a group of furniture – a writing table and a pair of tables – supplied by the Edinburgh firm of Young, Trotter and Hamilton to the Palace of Holyroodhouse for the comte d’Artois, younger brother of Louis XVI and the future Charles X of France. Fleeing from large debts on the Continent he was offered shelter at Holryroodhouse in 1796 and remained there until 1803.

Writing table, 1796, mahogany and boxwood
Royal Collection Trust © Her Majesty Queen Elizabeth II 2016.

www.royalcollection.org.uk

The Queen’s Gallery

Jan11

Masters of the Everyday: Dutch Artists in the Age of Vermeer, The Queen’s Gallery, Buckingham Palace, London SW1, until 14^thFebruary 2016

Jan Steen, ‘A Woman at her Toilet’, 1663
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

This is a really engaging exhibition that reveals interest in Dutch painting by various monarchs since the reign of Charles I. He was the recipient of a gift of Rembrandt’s painting An Old Woman, called ‘The Artist’s Mother’ in 1629 and also had paintings by Dutch artists in his legendary art collection.

Johannes Vermeer, ‘Lady at the Virginals with a Gentleman or ‘The Music Lesson”, 1662-5
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Vermeer’s ‘The Music Lesson’ was a part of Consul Smith’s collection which George III purchased in 1762. His son George IV was an avid collector of Dutch art and many of the works on show were acquired by him. In some ways he was following in the tradition of some of the 18^th century French collectors such as the duc de Choiseul and one can certainly agree that French furniture of that period sits well with 17^th century Dutch works. There is also a small display of Sèvres porcelain – another of George IV’s favourites – decorated with scenes taken from Dutch paintings.

Willem van Mieris, ‘The Neglected Lute’, c.1708
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Some twenty or so works in this exhibition will move to the Dutch Royal Picture Gallery Mauritshuis in The Hague this coming autumn because that gallery has loaned Gerrit Dou’s The Young Mother to this show. It is a painting which was given to Charles II in 1660 and when William of Orange became our King in 1688 he inherited this painting with the rest of the British Royal Collection. The picture was sent to decorate Het Loo his new hunting lodge near Apeldoorn in the Netherlands and has remained there ever since.

Ludolf de Jongh, ‘A Formal Garden: Three Ladies Surprised by a Gentleman’, c.1676
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

There is a sense of fun and humour in many of the paintings which depict scenes from everyday middle class life from the servants’ point of view and it is this element that makes it a suitable bedfellow for the adjoining Rowlandson exhibition.

High Spirits: The Comic Art of Thomas Rowlandson, The Queen’s Gallery, Buckingham Palace until 14^th February 2016

Money Lenders, 1784
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

Very little was safe from Rowlandson’s satirical wit as this exhibition shows be it society, fashion, politicians, love or the royal family. The young George IV when Prince of Wales was a particular target because of his extravagance and dubious lifestyle. Despite that it was George who started collecting these prints. They provide a fascinating glimpse into a world that many of us have read about in the works of Jane Austen.

Four-leaf screen, pasted with satirical prints c.1806
Royal Collection Trust/ (C) Her Majesty Queen Elizabeth II 2015

http://www.royalcollection.org.uk

PS: Don’t forget you can enjoy free re-admission for a year by asking us to treat your ticket purchase as a donation:

1. Before you leave the site, please sign and print your name in the spaces provided on the reverse of your ticket.
2. Hand the ticket to a member of staff, who will stamp and validate it.
3. Retain your ticket for future visits.

Your ticket will only be accepted for re-admission if it has been stamped and signed on the day of your first visit

The Prince Regent’s Christmas

Dec4

A Regency Christmas, Windsor Castle, Windsor, Berkshire SL4, until 5^th January 2016.

This year the Castle’s State Apartments have been decorated in a manner that evokes how the Prince Regent (later George IV) would have celebrated his Christmas there in the early-19th century.

The Crimson Drawing Room Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2015

While there are impressive Nordmann Fir Christmas trees in the Crimson Drawing Room and St George’s Hall – do look closely at the latter as its decorations reflect that this is the 200^th anniversary of the Battle of Waterloo – it is the State Dining Room which has the major wow factor. The table is set with pieces from the silver-gilt Grand Service which is still used today at State banquets. It was made for the Prince Regent by the royal goldsmiths Rundell, Bridge & Rundell and there are some four-thousand pieces in all.

The Octagon Dining Room Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2015

The Prince Regent’s mother Queen Charlotte (wife of George III) is recalled in the Octagon Dining Room which is decorated with yew. The yew tree was the first tree to be used as a Christmas tree in England and an 1819 memoir of the Queen tells us that ‘in the middle of the room stood an immense tub with a yew-tree placed in it, from the branches of which hung bunches of sweetmeats, almonds, and raisins, fruits and toys, most tastefully arranged, and the whole illuminated by small wax candles’. There is also a small display of gifts exchanged by Queen Charlotte and her family.

Table display in the State Dining Room Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2015

http://www.royalcollection.org.uk

A Royal Welcome

Aug14

A Royal Welcome, The Summer Opening of the State Rooms at Buckingham Palace, until 27^th September 2015.

The Ballroom at Buckingham Palace prepared for a State Banquet
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

It is hard to imagine the idea, living in a small flat, that as many as sixty-two thousand guests were invited to Buckingham Palace last year. They came to Garden Parties, receptions, Investitures, private audiences and finally and certainly not least State Visits with their full panoply of splendour.

The Australian State Coach, on display at the Grand Entrance. It is used as part of the arrival procession on the first day of a State Visit.
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

For the first time this year visitors to the Summer Opening are allowed to enter the Palace through the Grand Entrance. As you do so you will pass the Australian State Coach which was used to bring Prince Philip and Señora Rivera de Peña, wife of the President of the United Mexican States, in the procession which brought the Queen and the Mexican President to the Palace at the commencement of their State Visit in March this year.

Knighting Stool
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

As you progress through the State Rooms you will come upon displays that reflect the various reasons why guests are invited. In the Throne Room Investitures is the theme with a display of orders, the Knighting Stool and sword as well as paintings of recipients of the Order of Merit.

Salt cellar acquired by George I, c.1721 and placed in front of The Queen and The Duke of Edinburgh at a State Banquet. It contains two compartments – one for salt, the other mustard.
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

The State Banquet in the Ballroom is the highlight of a State Visit and this year visitors see how the table is set-out for a banquet. It is a truly impressive sight with pieces from George IV’s silver-gilt Grand Service adorning the table which has one hundred and seventy place settings. It must be even more spectacular when the Queen and her guests are there.

Historic copper mould used to make ice cream bombes, served at State Banquets
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

Just before you go into the Ballroom you pass through the Ball Supper Room which has displays showing some of the behind-the-scenes preparations for a State banquet including the kitchens, silver and china pantries and the wine cellars. The recreation of the Dresser’s workroom includes items worn by the Queen and in adjoining displays there are some of her evening gowns worn at Banquets over the years as well as some of her personal diamond jewellery which she wears with them.

Tree of Life – a traditional Mexican clay sculpture, presented to The Queen by the President of the United Mexican States, 2015
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

In the State Dining Room some of the gifts presented to Her Majesty by visiting Heads of State are on show. It is customary for gifts to be exchanged on the first day of a State Visit as a token of goodwill. Garden Parties are celebrated in the display in the Music Room. As you leave the Palace through the Bow Room the doors are open to the 1844 Drawing Room on the right which is set up for a meeting of the Privy Council. It is also the room where new Ambassadors present their credentials to the Queen and where she receives people in audience.

Centrepiece in use during a State Banquet at Buckingham Palace
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

Visitors to the Summer Opening always get a most warm and friendly welcome from all the attendants on duty which helps make it such a special pleasure to visit the Palace. What this year’s theme does is show how very special and wonderful it is to be invited as a guest of Her Majesty the Queen.

The Ballroom at Buckingham Palace set up for a State Banquet.
Royal Collection Trust (c) Her Majesty Queen Elizabeth II, 2015

http://www.royalcollection.org.uk

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Tag Archives: Royal Collection

Recalling the 18th Century!

It can be seen at Thomas Goode in South Audley Street check for details 020 7499 2823; INFO@THOMASGOODE.COM)

Canaletto & the Art of Venice

Beyond Caravaggio

Queen Victoria in Paris

‘Gibson of Rome’

Beguiling Butterflies

From Caledonia to the Continent

The Queen’s Gallery

PS: Don’t forget you can enjoy free re-admission for a year by asking us to treat your ticket purchase as a donation:

1. Before you leave the site, please sign and print your name in the spaces provided on the reverse of your ticket.
2. Hand the ticket to a member of staff, who will stamp and validate it.
3. Retain your ticket for future visits.

Your ticket will only be accepted for re-admission if it has been stamped and signed on the day of your first visit

The Prince Regent’s Christmas

A Royal Welcome

It can be seen at Thomas Goode in South Audley Street check for details 020 7499 2823; INFO@THOMASGOODE.COM)

PS: Don’t forget you can enjoy free re-admission for a year by asking us to treat your ticket purchase as a donation:

1. Before you leave the site, please sign and print your name in the spaces provided on the reverse of your ticket. 2. Hand the ticket to a member of staff, who will stamp and validate it. 3. Retain your ticket for future visits.

Your ticket will only be accepted for re-admission if it has been stamped and signed on the day of your first visit

1. Before you leave the site, please sign and print your name in the spaces provided on the reverse of your ticket.
2. Hand the ticket to a member of staff, who will stamp and validate it.
3. Retain your ticket for future visits.