In her first blog as part of the Chippendale 300 series sponsored by Christie’s, Harewood’s Historic Collections Adviser Professor Ann Sumner shares her research on one of the most spectacular pieces of Thomas Chippendale furniture in the Harewood collection.

The Diana and Minerva Commode, 1773, usually on display in the State Bedroom, is currently displayed in the Ante Room as part of the exhibition Designer, Maker, Decorator.

The Diana and Minerva Commode is one of the most famous pieces of Thomas Chippendale furniture in the world. It is the finest of a distinguished group of marquetry furniture that was supplied to Edwin Lascelles in the 1770s for the interior of his new house at Harewood. A commode is the term used to describe an elaborate chest of drawers popularised in France, which in turn, became much desired in England too. This commode was designed as a tripartite breakfront dressing commode and is generally considered to be Chippendale’s finest Neo-Classical masterpiece, with its superb craftsmanship and the elegant lines of its distinctive rectilinear design, along with splayed sides and decorative motifs of swags of husks, repeated garlands of flowering acanthus leaves and radiating fans. The main feature is the central concave recess with superbly executed ‘trompe l’oeil’ marquetry, enabling a lady to sit in front of it and use the central compartmented drawer.

Detail showing the acanthus leaves design.

A status symbol

The Diana and Minerva commode was supplied for the State Dressing Room (now the Spanish Library) in November 1773 and the Harewood bill described it in much more detail than any other item for the room – ‘A very large rich Commode with exceeding fine Antique Ornaments curiously inlaid with various fine woods . . .  with Diana and Minerva and their Emblems Curiously inlaid & Engraved’. This would indicate that although it was not the most expensive item in the room, it was highly regarded by the maker who so carefully described it. Chippendale only detailed truly exceptional furniture in such terms and the use of ivory in particular was reserved for only his firm’s most sumptuous marquetry work. The cost of the commode was £86 and a protective leather cover was also supplied for a further £1 to prevent fading.

An extract from the original bill in which Chippendale describes the Diana and Minerva commode, 1773.

The piece takes its name from the two Roman goddesses represented in dark roundels facing each other on either side of a feminine concave central section. The first is Diana, the goddess of hunting, with her emblem of the crescent moon, bow and hunting dog, and the second is Minerva, the goddess of learning and the arts – often seen as a patron of the arts – with her helmet, spear and shield representing her interest in war. Both are appropriate for the patron Edwin Lascelles, with his patronage of the arts and enthusiasm for country pursuits. The roundels are surrounded by laurel wreaths.

Details of the two roundels containing the Roman goddesses, Diana, the goddess of hunting and Minerva, the goddess of learning and the arts.

The State Dressing Room in which this commode was situated is described as being ‘Thirty feet by twenty-four; the furniture green and gold’ with a ‘chimney-piece of white marble’ in the History of Leeds guidebook of 1797. This elegant commode would originally have been displayed to best advantage situated under a superb mirror on the pier between the two windows in this luxurious room, adjacent to the State Bedroom. The ‘very large pier Glass’ sited above the commode cost Edwin Lascelles £290. Today in the current exhibition, the mirrored display helps give an idea of how the commode would have looked with a mirror above it. The Chippendale firm further supplied two large ‘richly Carved’ sofas costing together £64, with green serge protective covers at £5 10s. There were also twelve ‘Carved Cabriole’ armchairs which matched those in the bedchamber ‘gilt in burnished Gold, Covered’, costing a further £120, with their covers at £6.6s. The walls were richly hung with green damask as in the State Bedroom, finished with an ‘Antique Border gilt in Burnished Gold’ and there was a ‘very Elegant Chimney glass’. Green was a popular colour in the 1770s and in this case, the damask had been purchased by Edwin directly, demonstrating how engaged he was in the decorating of his new home. This commode was conceived as a piece of ‘parade’ furniture, used as a symbol of status and wealth and was ‘paraded’ formally against the walls to both impress, reflect and harmonise with Robert Adam’s elaborate interior decorative scheme. Commodes quickly assumed the status of the most prestigious type of ornamental cabinet furniture. Although commissioned for the State Dressing Room, the commode is usually displayed in the State Bedroom against the green damask walls, following restoration of the room in 1999 – 2000.

Detail of the inside of the coved door.

Craftsmanship

The main carcass of the commode was made of mahogany (the most common cabinet wood used in the 18^th century and favoured by Chippendale more than any other tropical wood), oak and pine. The thin veneer ground is golden satinwood from the West Indies, which would have been carefully hand-cut and inlaid with dyed exotic tropical hardwoods such as rosewood and tulipwood. The sheen of the satinwood, applied with the grain going in various directions, gives the piece a jewel-like quality, catching the light at differing angles. The pictorial roundels representing the goddesses are inlaid with expensive ebony and ivory. Some of the inlaid woods were stained a variety of colours, whilst others were finely engraved with details such as leaf veins or scorched on the edges by being dipped in hot sand to give a 3-D quality. Engraving is employed with cross-hatching applied to the precious ivory as well, to highlight facial features and areas of flesh for the goddesses. The coved door is also a unique feature in Chippendale’s work and achieved by steaming strips of mahogany to shape them, using a technique similar to barrel making. The concave sides accommodated the hanging of curtains since the commode was placed on the pier, between the windows where it was originally sited.

Detail of the central, finely executed coved door with trompe d’oeil marquetry.

The top of the commode illustrating the beautiful marquetry and the extended open compartmentalised drawer.

The exquisite marquetry top would have been reflected in the mirror above, highlighting the detailed craftsmanship. The inlay colour scheme was predominantly pink and green, but despite the protective covers, the commode has faded and originally the marquetry would have been much brighter. Overall, the high technical finish is outstanding, as is the rich ormolu decoration. It is not known if this decorative brasswork was actually made in the Chippendale workshop as possibly the casting and chasing may have been sub-contracted, although there was a forge in the premises at St Martin’s Lane which suggests that he may have employed a brazier himself. It is key to note, as has been pointed out recently by James Lomax, that the use of ormolu is restricted to the stiff leaf scrolled brackets in the entablature. Although the Diana and Minerva commode was a piece of ‘parade’ furniture, it has functional elements such as the top dressing drawer which still contains neatly fitted, lidded and boxed compartments with the original glass cosmetic bottles and comb trays, and would originally also have had a fitted mirror.

The level of craftsmanship throughout the State Dressing Room was superb, but the Diana and Minerva commode was the outstanding piece, with its eloquent marquetry designs, intricate ivory inlay and drawers that still whisper shut, demonstrating the technical brilliance of the workshop where it was produced. The classical theme of the commode reflected the image of Edwin’s home, where the ancient Roman ideal of cultivated leisure on a country estate would be enjoyed by all. In total, the cost of furnishing the State Dressing Room to this luxurious standard was over £1,000 and within this context, the Diana and Minerva commode seems particularly reasonably priced at £86. It is often compared with the Renishaw commode, originally designed by Chippendale for the Dining Room at Melbourne House in Piccadilly for Lord Melbourne, which was however never intended to be a dressing commode. There it was seen by Thomas Mouat on a tour with Chippendale’s financial partner, Thomas Haig. Mouat recalls that the commode cost £140, making it far more expensive than the Harewood Diana and Minerva commode. Of course, the price might have been exaggerated by Haig or it might have been more expensive because of the larger amount of ormolu decoration. It also differs from the Harewood commode in that holly is used as the principal veneer, which has faded. The Renishaw commode was acquired at auction in 1802 by Sir Sitwell Sitwell of Renishaw in Derbyshire, where it remains today, hence the name ‘Renishaw commode’.

As with other rooms in the house, the décor of the State Dressing Room was transformed quite quickly with the arrival of family portraits. The History of Leeds guidebook in 1797 describes the State Dressing Room, some 25 years after it was completed, as already having the famous portraits of Edwin Lascelles’ step-daughters hanging in it – ‘The pictures of the Countess of Harrington and Lady Worsley, by Sir Joshua Reynolds’ (p 102). Despite the fame and admiration for this commode today, it is not singled out in this guidebook or by early visitors to the house for particular attention or praise. The commode is part of a group of celebrated marquetry pieces at Harewood, all dating to the 1770s, including the marquetry satinwood fall-front secretaire, inset with oval medallions enclosing a classical urn and reclining figure, which can be viewed in the State Bedroom today and a magnificent semi-circular table made originally for the Yellow Drawing Room, which has emblematic heads inlaid with ebony and ivory also.

Sir Charles Barry’s alterations to the interior of Harewood produced a house well suited to the complex structure of aristocratic Victorian society and improved domestic organisation. The State Dressing Room became a breakfast room with the addition of bookshelves and was situated next to the Countess’ Sitting Room, overlooking the new parterre. With this change of function, the beautiful Diana and Minerva commode moved to the Countess’s Sitting Room, the original State Bedroom, where it remained for many years, even when this room was Princess Mary’s Sitting Room and it was used by her, as her son the 7^th Earl of Harewood remembered. It has found a permanent home in the State Bedroom since the restoration of this room in 2000. For the exhibition ‘Designer, Maker, Decorator’, the commode is for the first time displayed using mirrors to show aspects of the commode to full advantage, just as the original pier mirror would have done in the State Dressing Room, enabling visitors to see the details of the design, quality of the materials used and outstanding craftsmanship in detail.

Rebecca Burton, Collections Assistant, giving visitors a rare opportunity to see the central compartmentalised drawer opened for them to view in the exhibition. See the Diana and Minerva Commode in the ‘Thomas Chippendale: Designer, Maker, Decorator’ exhibition at Harewood House until 2nd September, 2018.

With thanks to James Lomax for discussions about the Diana and Minerva commode. For a full comparison between the Diana and Minerva commode and the Renishaw commode see James Lomax The Panshanger Cabinets in Context, 21 July 2017, on the Firle website under House, Family and Collection articles.

Professor Ann Sumner, Historic Collections Adviser, April 2018

Look out for Ann’s next blog in May when she shares her interview with Dr Adam Bowett, Chairman of the Chippendale Society and more on her paper about what early visitors thought of the Chippendale interiors at Harewood when they first saw them in the late 18th century.

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A big thank you to all of our visitors and members who supported us in 2017!

We are very much looking forward to 2018 and this year, we will be doing things a little bit differently, with a changing theme for every season.

In the Spring, we will be celebrating the 300th anniversary of Chippendale’s birth. Through a series of exhibitions, events and activities, Designer, Maker, Decorator offers a new way of looking at Chippendale’s work and a story unique to Harewood. Chippendale was born just 7 miles down the road from Harewood in the town of Otley and in 1767, he received the largest commission of his career, to furnish the newly built Harewood House. The season will also include a contemporary response to Chippendale from artist Geraldine Pilgrim, with both internal and external installations.

Throughout the Summer, we will be working in creative partnership with Lord Whitney, looking at life at Harewood at the end of the First World War. Seeds of Hope will explore the life and experiences of the local community and the people who lived and worked at Harewood during this period. Featuring crops, livestock and exhibits that will take visitors back in time, we will create a picture of the Walled Garden as it was in 1918.

Towards the end of the year, our thoughts will turn to artisans, designers and the contemporary with exhibitions, installations and events that celebrate craft.

Throughout the year, we will also have an exciting range of external events taking place, from our ever-popular annual Great British Food Festival and Rolls Royce Rally, to Classic Ibiza – a new, family friendly addition to our events programme.

Look out for more details and a full programme coming shortly. We look forward to welcoming our visitors and members for this exciting year ahead when we re-open on Friday 23rd March.

As you may know, Harewood House has been used as a major set for ITV’s flagship period drama “Victoria”. Throughout the first series, the production saw Harewood transformed into Buckingham Palace and Kensington Palace. The programme was viewed by over 7 million people here in Britain and has also been broadcast in over 100 countries worldwide. Series two is currently being filmed across Yorkshire and on the 2nd – 5th August, Harewood will once again become Buckingham Palace. This will cause some changes to visitor access to the House and grounds.

To allow the film crew to transform Harewood House into Buckingham Palace, we will close Below Stairs between 2nd – 5th August.  Part of the Terrace, Terrace Cafe and Terrace Gallery will be closed on 2nd, 3rd and 4th August but will reopen on the 5th August. Please note on 3rd August, no access to the Terrace will be possible.

To ensure that you can enjoy all of the House, we will be opening the State Floor to all visitors between 2nd – 5th August at no additional cost. This will allow you to see the magnificent rooms and the Victorian Harewood exhibitions.

Filming generates vital income for Harewood and it makes a significant difference to the charity. We would like to thank all our visitors in advance for their patience and we hope that you enjoy seeing the House being used by a large film production like “Victoria”.

The Antiques & Fine Art Fair at Harewood returns at an earlier time this year, from Friday 12 to Sunday 14 May 2017. Organised by The Antiques Dealers Fair Limited, the fair is staged in a purpose-built marquee overlooking the stunning ‘Capability’ Brown landscape towards the 18th century country house, hailed as one of the great Treasure Houses of England.

Supported by Knight Frank Harrogate and Wilson Mitchell & Co, senior partner practice of St. James’s Place Wealth Management, the fair is now in its 6th year, and is a firm fixture in the diary for the discerning interior decorator and private buyer looking for distinctive, unusual and individual pieces for the home. The fair is a boutique-style event with around 30 specialist exhibitors taking part, the majority being members of BADA or LAPADA, the leading UK dealers’ trade associations. All abide by strict codes of practice.

Major highlights of the fair are to be found with first time exhibitor, Mary Cooke Antiques, specialist silver dealers from central London, who are bringing some exceptional pieces of York silver. York silver is very rare to come across as York was a small centre of silver and the assay office closed in 1856 resulting in very little surviving from that period and earlier. One piece is an Argyle, made in York in 1790 by Hampston & Prince, £8,950. Argyles are generally accepted to have been containers for gravy or sauce as the design incorporates some form of heat preserving element. The credit for inventing these Argyles goes to the 3rd Duke of Argyll as he and his Duchess had become tired of their sauces arriving cold at the dining table at Inverary Castle. Argyles made in London are scarce, however, it is thought that only a handful were made in York and examples are exceptionally rare. Two more pieces of York silver are Charles II tumbler cups which were used to drink from when travelling in carriages so they would always tumble back to the flat point. One was made in York in 1680 by Richard Waynes, £8,950, and the second was made in York in 1678, £8,950. Near identical examples of both cups are in the William Lee Collection, held in the York Minster Undercroft.

Another interesting piece with a local provenance is a Spode porcelain spill vase, hand-painted with a view of York Minster, c.1820, from Carolyn Stoddart-Scott, £340. Antique maps are always a source of fascination and J Dickinson Maps & Prints has an excellent choice of local topographical subjects including a map of the West Riding of Yorkshire by Jan Jansson from 1646, £595.

Northern artists have a strong following in this part of the country and Haynes Fine Art is putting on a good show including Warm skies over an industrial landscape by Brian Shields (aka Braaq), who was born into a Liverpool family in 1951 and A View of the Royal Mile, Edinburgh by Louis H Grimshaw (1870-1943), £235,000, born in Leeds. For something more contemporary, Richwood Fine Art is bringing a study for the painting Four colours, Black + White Visual Grey, warm and cold yellow sensation by Bridget Riley (born 1931) , one of the foremost exponents of Op Art, £45,760. Other fine art dealers are Ashleigh House Fine Art and Cambridge Fine Art.

A mix of 19th and 20th century bronze sculpture such as Reflections among the Ruins by Dominique Alonzo, c.1920, £4,450, and contemporary wildlife bronzes by Robert Glen (b.1940), who lives in Tanzania, are being offered by Garret & Hurst Sculpture. More options are available from Hickmet Fine Arts with an excellent early 20th century bronze figure of a reclining lioness, c.1900, signed Valton, £2,650 and a late 19th century bronze group of a family of hares, signed J Moigniez, c.1870, £6,850.

The ‘look’ of the fair is always cleverly defined by the dealers, who go to great lengths to create a room-set in order to give visitors ideas and inspiration on how to display items at home often using a combination of antique and contemporary pieces. William Cook Antiques has a number of eye-catching pieces of furniture such as an unusual William IV games table, c.1835, £1,600, and a Regency period mahogany bookcase, c.1800, £3,300. A great choice of oak and country furniture is available from Melody Antiques as well as quirky accessories tracked down by Mike Melody, who has an excellent eye for spotting the unusual.

Lighting is paramount in any interior and Fileman Antiques’ stand is cleverly lit with a pair of cut glass and ormolu candelabra by F & C Osler, c.1880, £3,200, as well as other glass items including drinking vessels and a pair of Regency cut glass drum base candlesticks, c.1800, £5,000). Antique glass, both English and Continental, is also available from another specialist glass dealer Mark J West and more silver highlights are on offer from Ilkley based silver dealer Jack Shaw & Co including a Charles II silver porringer, c 1683, £6,500.

A 2,000 year old apple is one of the more intriguing objects to be found with Odyssey, a dealer in ancient and medieval antiquities and coins. This carbonated apple was found with other fruit during the late 19th century excavations on the site of the market place in the Roman city of Pompeii. Its blackened and petrified state is a result of the intense heat due to being buried by hot volcanic ash when Pompeii was engulfed following the famous eruption of Mount Vesuvius on 24th August AD 79. This extremely rare example is from the collection of antiquities formed by the late Rev Geoffrey Elford Stephens, £550.

Jewellery, whether for the gentleman or the lady, is well provided at the fair with a sparkling choice from Plaza showing a 1950’s 18 carat gold, sapphire and diamond brooch by the Swiss master jeweller, Gubelin, £7,500, a sapphire and diamond ring, c.1950 from Anderson Jones, £5,000 or for something less showy, Sue Brown is bringing an Austrian carved amethyst, nephrite and diamond brooch in the shape of wild violets, c.1930, £2,400. For the gentleman, there is a good selection of vintage timepieces from Howell 1870 including a men’s steel Jaquet Droz chronograph, c.1960, £750.

The Antiques Dealers Fair Limited has an ongoing relationship with the Queen Elizabeth Scholarship Trust (QEST), the charitable arm of the Royal Warrant Holders Association. QEST is represented at Harewood by two scholars demonstrating their skills, Teresa Dybisz, a stone carver and sculptor based in Leeds and Andrian Melka, a sculptor working in bronze, living in Tadcaster. Both have pieces for sale at the fair or commissions can be taken for a bespoke item.

There is also the opportunity to seek advice and look at examples of work carried out by T L Phelps Fine Furniture Restoration. Tim Phelps has worked on restoration of Chippendale furniture at Harewood House.

Light refreshments are available within the fair or more substantial catering is available at the Courtyard at Harewood. Ingrid Nilson, director of The Antiques Dealers Fairs Limited said, “We are looking forward to returning to Yorkshire in May and to seeing many of our loyal visitors again as well as welcoming new faces. There is plenty for everyone to discover”.
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Harewood House members are welcomed at the fair free-of-charge. Tickets are £5 each and include free parking and access to Harewood’s grounds and Below Stairs. For an extra £5, antiques fair ticket holders can visit Harewood House’s State Rooms, including the current Victorian Harewood exhibitions and other contemporary exhibitions. Harewood House was a major set for ITV’s Victoria series with the Cinnamon Drawing Room, the Gallery and the Old Kitchen being prominent features in the lavish period drama. Victoria – a costume exhibition presents an impressive collection of costumes from the programme, including the iconic Coronation dress worn by ‘Queen Victoria’, played by Jenna Coleman, in series one. Victorian Harewood also showcases the many rooms used in the series, plus personal objects, letters and archival material from Harewood’s collection including a collection of personal etchings of their children and family pets by Queen Victoria and Prince Albert. This collection was given to Princess Mary on the day she married Viscount Lascelles, who became the 6th Earl of Harewood.

The Antiques & Fine Art Fair at Harewood returns to the spectacular surroundings of Harewood House at an earlier time of year, from Friday 12 to Sunday 14 May 2017. Organised by The Antiques Dealers Fair Limited, the fair is staged in a purpose-built marquee overlooking the stunning Capability Brown landscape towards the 18th century country house near Leeds in West Yorkshire, dubbed one of the great Treasure Houses of England.

The fair, supported by Knight Frank Harrogate, now in its 6th year, is a firm fixture in the diary for the discerning interior decorator or private buyer looking for distinctive, unusual and individual pieces for the home. There are around 30 exhibitors taking part, the majority being members of BADA or LAPADA, the leading UK dealers’ trade associations, and all abide by strict codes of practice.

One of the highlights of the fair is an important, possibly unique, pair of George III cast neo-classical silver vases made in London in 1792 by William Holmes, priced at £11,750 from Mary Cooke Antiques. This type of vase is extremely rare and the work of William Holmes is also scarce. These vases are particularly appropriate for Harewood, though not directly designed by Robert Adam, their form is strongly influenced by his design books and Adam worked extensively at Harewood during this period. From local silver dealer, Jack Shaw & Co of Ilkley is a Charles II lidded tankard, London 1682, POA. With London Silver Vaults dealer, Stephen Kalms Antiques also exhibiting, visitors will be spoilt for choice.

A visually interesting and decorative stand, always ablaze with light, is Fileman Antiques – one of the few specialist antique lighting and glass dealers – bringing a pair of cut glass and ormolu candelabra by F & C Osler, made around 1880, £3,200 and a pair of Regency cut glass drum base candlesticks, dated 1800, £5,000. Mark J West has a wide selection of antique and decorative glass including Art Deco vases, scent bottles and cocktail shakers. Glass has always been a highlight of fine dining and his stand has excellent examples of drinking glasses to suit all tastes. One particular decorative piece is a Biedermeier cup and saucer from Austria, c 1820, priced at £440. Carolyn Stoddart-Scott specialises in antique pottery, porcelain and decorative items with pieces by Sèvres, Worcester, Wedgwood and Coalport. For Harewood she is showing a set of six English pearlware plates decorated with peafowl, c 1800, POA.

An excellent collection of sculpture, both antique and contemporary can be found with Garret & Hurst Sculpture including Vanité, c 1886, by Henri Levasseur (1853-1934), £8,895 and Warthog by Robert Glen, £10,200. Robert Glen was born in Kenya in 1940 and his true love of the African bush has led to him to live in a simple camp with a studio in Tanzania’s Ruaha National Park, where he can sculpt and sketch the wildlife at first hand. Odyssey offers Egyptian, Greek and other antiquities from the classical period spanning thousands of years of history. This is a fascinating stand to linger over and highlights of interest include an imposing Roman portrait head of a man in fine grain marble, dated c 1st-2nd century AD. The short wavy hairstyle is typical of that sported by members of the Imperial families or military commanders of the time although the identity of this man remains a mystery. It is priced at £3,250. From a different part of the world comes an eastern Greek banded lydion (perfume container), which dates to the mid 6th century BC and was probably used to contain baccaris, a perfume base oil for which Sardis in Lydia was noted in antiquity. This attractive example of a scarce type of Greek pottery has a price tag of £450.

Jewellery at the fair is a feast for the eyes and noteworthy pieces include a sapphire and diamond ring, c1950, priced in the region of £5,000 from Anderson Jones Ltd. Floral-themed jewellery includes an Austrian amethyst, nephrite and diamond brooch in the shape of wild violets, c1930, £2,400 and a Georgian two-colour gold pansy brooch, £3,300, both from Sue Brown. For the gentleman, Howell 1870 is bringing a selection of vintage watches including a man’s steel Jaquet Droz chronograph fitted with Valjoux calibre 7753 movement, c1960, £750. Other jewellers include Plaza and Shapiro & Co.

Specialists in oak and country furniture, Melody Antiques has an excellent selection to suit every taste from a cottage to a castle. Pictures to suit every taste and pocket can be found around the fair from J Dickinson Maps & Prints, Cambridge Fine Art and Ashleigh House Fine Art.

Antiques fair ticket holders (£5 each) gain complimentary access to Harewood’s grounds, gardens and Below Stairs, as well as free parking. For an additional £5 each, (saving £11.50 on an Adult Freedom ticket), fair visitors can upgrade to see the State Rooms and the current exhibition, Victoria – a costume exhibition is open from 24 March until 29 October. Harewood House was recently used as a major set for ITV’s Victoria series. Visit www.harewood.org for more information.

Launched last year at the Harewood fair, The Antiques Dealers Fair Limited has an ongoing association with the Queen Elizabeth Scholarship Trust, the charitable arm of the Royal Warrant Holders Association that helps talented craftspeople pursue and hone their talents. QEST scholars will be in attendance across all four days of the fair, showcasing their skills and selling their work.

There is also the opportunity to seek advice and look at examples of work carried out by T L Phelps Fine Furniture Restoration. Tim Phelps has worked on restoration of Chippendale furniture at Harewood House. Advisors from Wilson Mitchell & Co. Ltd, a senior partner practice of St. James’s Place Wealth Management, will be happy to discuss investments with their clients and other interested visitors.

Light refreshments are available within the fair or more substantial catering is available at the Courtyard at Harewood.
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Ingrid Nilson, director of The Antiques Dealers Fairs Limited says, “We look forward to returning to Yorkshire in May and to seeing many of our loyal visitors again.”