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Special Britsoc Jubilee Ball 2012 Bulletin
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Ball Bulletin Special Edition
2012
Content
The Evening / The proceedings
Article/ Short History of the accession and coronation
Interview/ Chris Naylor; chef, restaurant Vermeer
Charity/ The Red Cross
Music/ Katty Heath
Article/ “Black tie” A tale that started with two tails
Photo essay/ A Jubilee year in pictures
Article / The History of the St. Olof Chapel
Balls Past/ Warm memories of a jolly good time!
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The Evening
The Proceedings
Welcoming reception Foyer St. Olof Chapel
Raffle and Silent Auction for the Red Cross
Entry to the Dining Hall
Welcome Ms. Paula O’Connell -‐ Master of Ceremonies
Speech Mr. Stephen Huyton – Chairman, British Society of Amsterdam
Say Grace Mr. John Cameron-‐Webb – British Consul & President, British Society of
Amsterdam
First Course
Performance Ms Katty Heath – Singer
Second Course
Speech HE Mr. Paul Arkwright -‐ HM Ambassador
Loyal Toast to HM the Queen
Dessert
Coffee & Winners Raffle and Silent Auction
Article
Short History of the Accession and Coronation
Accession to the throne On the 6th of February 1952 King George VI peacefully passed away in his sleep. His daughter, Princess Elizabeth and her husband Prince Philip were, at that moment, at the royal hunting lodge in Kenya, about to start a tour through the Commonwealth. She immediately returned to London upon hearing the news of her father
On the 8th of February, two days after the death of the king, Princess Elizabeth formally proclaimed herself Queen and Head of the Commonwealth and Defender of the Faith. The 150 Lords of the Council, various representatives of the Commonwealth and other dignitaries, witnessed the acces-‐sion of the Princess. The new monarch read the official Proclamation declaring her reign as Her Majesty Queen Elizabeth the Second.
Queen Elizabeth II read: "By the sudden death of my dear father I am called to assume the duties and responsibilities of sovereignty. My heart is too full for me to say more to you today than I shall al-‐ways work, as my father did throughout his reign, to advance the happiness and prosperity of my peoples, spread as they are all the world over."
Immediately after the Accession Declaration, the new Queen held her first Privy Council meeting where her Proclamation was signed by the Lord Chancellor, the Prime Minister, and many other Privy Councillors along with representatives of the Commonwealth and the City and the Lord Mayor of London. During these ceremonies the young Queen also took an oath to assure the security of the Church of Scotland and approved several other Orders in Council.
The Coronation
The coronation took place on the 2nd June 1953 more than a year after the accession. It was a grand celebration, and the whole country joined in. The only drawback was the weather as it was pouring with rain, but that didn’t stop the people all over Britain holding parties in the decorated streets of their towns and cities. For the first time ever, everybody in Britain had the opportunity to watch the cor-‐onation as it was televised. Initially there was some debate over this broadcast in both parliament and the cabinet whether it was “right and proper” to televise such a sol-‐emn occasion. One of those opposing the televising was no one less than prime minister Winston Churchill. But
One of the many street parties held throughout Britain on coronation day
The Queen sets foot on British soil for the first time as new the new Monarch
the Queen stayed firm and arranged for the televising of the coronation. She didn’t want anything to stand between her coronation and the people’s right to participate in it.
With an impressive procession, the Queen arrived at Westminster Abbey, where she was confronted with a problem. The carpet wasn’t laid out proper-‐ly, so the Queen had trouble gliding her robe over the carpet and the metal fringe on her robe actual-‐ly got stuck, pulling the Queen back. Apparently she turned to the Archbishop of Canterbury and said: “Get me started”. The ceremony itself took place as it was laid out in the history books, one filled with splendour and full of pageantry. After taking the oath and being anointed, St. Edward’s crown was placed on her head by the Archbishop of Canterbury. During the crowning she was hold-‐ing the sceptre of the dove (symbolizing spiritual authority) in one hand and the sceptre of the Cross (symbolizing temporal power) in the other.
The latter contains the famous Cullian I diamond which was cut and shaped by a Dutch diamond cut-‐ters firm in Amsterdam.
The Queen moments after receiving St. Ed-wards crown
Dancing!
Interview
Chris Naylor Chef de Cuisine at Vermeer restaurant since 2004
Chris Naylor got his degree in Bournemouth. During his studies, he met the well known chef Albert Roux and got an internship at Albert Roux's restaurant `Le Gavroche` in London, which was the first restaurant in the UK to be awarded one, two and three Michelin stars. Chris was taken on after his internship was com-‐plete. After two years he was then sent by Albert Roux to the Grand hotel in Amsterdam, then to New York for one year, re-‐turning to Amsterdam after meeting his Dutch wife and getting married. He then worked at the restaurant `La Rive` in the Amstel hotel Amsterdam and `Corona` in The Hague, alongside the chef cook Robert Kranenborg. He has worked in the Vermeer restau-‐rant for the last 8 years, which is renowned in Amsterdam and has a Michelin star. The team in the kitchen comprises 8 cooks. The restaurant has 10 tables and can cater for 10-‐20 people. Be-‐sides the restaurant, Chris also sets up the fine dining for larger events.
Can you tell us a bit about your background?
I come from Cheshire and earned a Hotel HND/economics degree. I always loved cooking and en-‐joyed tasting the food when on holiday in France and Italy. I never saw a direct future in cooking as Cheshire did not have a good food culture, so I was not surrounded by it. When I met Albert Roux, my world opened and I grew into it. I was one of the lucky ones to get a big break and grasped the opportunity with two hands by working terribly hard for Albert Roux. Working for Albert Roux meant hard and long hours. It was a difficult kitchen but I didn't want to fail and slowly made my steps up-‐wards.
Which cooks do you admire or have influenced you?
Obviously I was inspired by Albert Roux. I would definitely say Robert Kranenborg with whom I worked for a long time. Both are known for their refined food.
Have you been inspired by any Dutch influ-‐ences during your professional cooking?
Sorry to be a bit politically incorrect but the eating culture in Holland is horrible. The Dutch seem to be happy just eating a steak with chips in a café somewhere. In London there are more >
> restaurants with good food and more choice, much more of an eating culture than here. I find the quality of the food just as good though, it all depends on how it is prepared.
And the produce?
I hated herring but realized it could be well used in the kitchen here. I love Dutch products such as andijvie but in Holland there is not much thought as to what to do with this great produce. Cooks in the UK are so much more creative with the produce on offer.
Passion and ambition are the two main words used to portray the cooking style within restaurant Vermeer. Is that also your own personal approach towards cooking?
Vermeer has its own identity. That is a personal choice. It is better to be innovative rather than fol-‐low others. What is your own personal style of cooking?
Going back to the basics. Like the French but with Dutch produce. Simple produce from the area where you are. It is not necessary to overcomplicate things. My suppliers for the restaurant are mainly Dutch (70%). Local produce. Farmers for our cheeses and meats. I use the same suppliers and only find a new farmer on an average of once a year. We also have a garden patch in Osdorp where produce is grown. We follow the seasons so we also don’t need many sup-‐pliers. For example, most people don’t realize that tomatoes are seasonal as well. We only use toma-‐toes in our dishes for a period of about 6-‐7 weeks. Tinned tomatoes are used for our sauces etc.
Is that within the so called “green” trend of sustainability, slow food, cradle to grave etc?
Oh no! I think trend is the wrong word. For me it is not about a trend but about genuine respect for the products. The way I prepare and use prod-‐ucts I believe is the natural route that has to happen. A chef is not a politi-‐cian. I also don`t like to add flavour enhancers, not necessary. I really believe it is better to keep the food pure.
What is your feeling about all the cooking programmes like Masterchef which are being shown on television nowadays?
I feel very positive towards most of the cooking programmes on televi-‐sion. The public learns more about food which allows cooks to serve more exotic dishes as well. I make appearances on Dutch television, as a matter of a fact, I think I have one next week.
What do you think about the Dutch and their mentality? How was it for you when you just arrived in The Netherlands?
I learned to live with the Dutch directness. The language in the kitch-‐en is also very direct so it fits! I like living here now and do not see myself going back any time soon. Although I speak very good Dutch, it is not necessary to learn the language when in Amsterdam. For us Eng-‐lish, it is easy to get away with just English when living here. The Dutch are very relaxed, less aggressive. I love cycling to and from work. In that respect Amsterdam is a village which makes it peaceful here. I do not see myself as an expat but I see myself more Dutch and always had Dutch contacts instead of mingling with the expat scene. So my life here revolves around my Dutch friends. I have however noticed that the Dutch take over when they hear my English accent. They can be very rude without directly meaning to be!
Who cooks at home? You or your wife?
We both cook at home. I work 5-‐6 days at the restaurant Vermeer but I love to cook pies, stews and a good Sunday roast when at home. I do however find it very hard to find a good joint of meat or rack of lamb here in Amsterdam. I do not believe the supermarkets have as good a selection here as they do in the UK.
Do you still have an affinity with England? What do you miss the most?
I miss my bacon, sausages and baked beans the most. Sorry but I find the English kitchen so much better than the Dutch kitchen. There is a culture behind it. Look at all those gorgeous desserts and other tradi-‐tional British dishes. They are great. Mostly developed in large English houses where you had staff to cook grand meals and be able to experiment and therefore develop traditional dishes.
Chris will be preparing our special “Diamond Jubilee Me
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Charity
The Red Cross Origin of the Red Cross Movement
The International Red Cross and Red Crescent Movement started in 1863, inspired by a Swiss businessman, Henry Dunant. He had been appalled at the suffering of thousands of men, on both sides, who were left to die due to lack of care after the Battle of Solferi-‐no in 1859. He proposed the creation of national relief societies, made up of volunteers, trained in peacetime to provide neutral and impartial help to relieve suffering in times of war. In response to these ideas, a committee, which later became the International Committee of the Red Cross, was established in Geneva. The founding charter of the Red Cross was drawn up in 1863.Henry Dunant also proposed that countries should adopt an internation-‐al agreement, which would recognise the status of medical ser-‐vices and of the wounded on the battlefield. This agreement -‐ the original Geneva Convention -‐ was adopted in 1864.
By 1910 the Red Cross had spread as an organisation to over forty countries. Its original purpose to aid war casualties was expanded after World War One into providing services in peacetime too. To-‐day the Red Cross movement has 97 million members and volunteers. There is a Red Cross or Red Crescent society in 186 countries around the world.
Seven Principles
Proclaimed in Vienna in 1965, the seven fundamental princi-‐
ples bind together the:
• National Red Cross and Red Crescent Societies
• International Committee of the Red Cross
• International Federation of the Red Cross and Red
Crescent Societies.
They guarantee the consistency of the Red Cross and Red
Crescent Movement and its humanitarian work.
The seven fundamental principles are: Humanity
The International Red Cross and Red Crescent Movement, born of a desire to bring assistance with-‐
out discrimination to the wounded on the battlefield, endeavours, in its international and national
capacity, to prevent and alleviate human suffering
wherever it may be found. It promotes mutual under-‐
standing, friendship, co-‐operation and lasting peace
amongst all peoples. Impartiality
It makes no discrimination as to nationality, race, reli-‐
gious beliefs, class or political opinions. It endeavours
to relieve the suffering of individuals, being guided
solely by their needs, and to give priority to the most urgent cases of distress. Neutrality
In order to continue to enjoy the confidence of all, the Movement may not take sides in hostilities or
engage at any time in controversies of a political, racial, religious or ideological nature. Independence
The Movement is independent. The National Societies, whilst auxiliaries in the humanitarian services
of their governments and subject to laws of their respective countries, must always maintain their
autonomy so that they may be able at all times to act in accordance with the principles of the
Movement. Voluntary service
It is a voluntary relief movement not prompted in any
manner by desire for gain. Unity
There can only be one Red Cross or Red Crescent Society
in any one country. It must be open to all. It must carry
on its humanitarian work throughout its territory. Universality
The International Red Cross and Red Crescent Movement, in which all Societies have equal status and
share equal responsibilities and duties in helping each other, is worldwide.
The British Red Cross promotes and communicates the fundamental principles in the UK and over-‐
seas. This includes projects aimed at young people in schools and universities in the UK.
We also have a ‘Principles in Action’ project which explores how the fundamental principles help
National Societies across the world gain access to, and help, people in need.
Activities of the national Red Cross societies
Despite formal independence regarding its organiza-‐
tional structure and work, each national society is still
bound by the laws of its home country. The duties
and responsibilities of a national society as defined by
International Humanitarian Law and the statutes of
the Movement include humanitarian aid in armed
conflicts and emergency aid in crises such as natural
disasters. Depending on their respective human,
technical, financial, and organizational resources, many national societies take on additional humani-‐
tarian tasks within their home countries such as Blood donation services or acting as civilian Emer-‐
gency Medical Service (EMS) providers. The ICRC and the International Federation cooperate with
the national societies in their international missions, especially with human, material, and financial
resources and organizing on-‐site logistics.
Photo Essay
A Jubilee year in a few pictues
Article
“Black tie” a tale that started with two tails... .
Late Victorian era During the Victorian era most of the styles from earlier times were con-‐tinued. Fashion was predominantly English and dress codes were very precise. At the same time however, features of casual daywear started to make their way into evening attire. This subtle evolvement set the stage for the two-‐tier dress code we know today. Evening Dress Code The division of the social day remained as strict as ever: the dinner hour marked the end of “morning” pastimes and the beginning of evening
formalities. Thus polite society was expected to change into evening dress before dining and there-‐fore also be prepared for any functions that they might have to attend afterwards. Another rule to adhere to was that evening dress was not to be seen before the seven or eight o’clock meal. Sundays continued to be an exception to the evening dress rule as polite society dressed more modestly on these evenings. New to American etiquette guides of the late nineteenth century was an allowance for less formal attire when appropriate. Full dress remained mandatory for gentlemen at the most formal of evening affairs – weddings, the opera, theatre parties and formal dinners – but was now optional for social calls, small gatherings and public entertainments where ladies chose to forego evening dress. In these latter situations it was acceptable, even appropriate, to follow the women’s lead and opt for morning dress instead. English gentry were also seeking an informal alternative to full dress but had no intention of appearing in day wear after candlelight. Instead, they modified existing evening dress by replacing its most impractical aspect with a more comfortable alternative. Evening Lounge Jacket English Origin Just as the tailcoat had evolved from country riding attire to town day wear and finally to formal evening wear, so too did its substitute begin life on horseback. During the Victorian era, Britons and Americans were becoming more active in outdoor recreation such as shooting, riding and walking and they required more comfortable clothing for their new pas-‐times. As a result, English tailors in the 1850s produced the short lounge jacket (the predecessor of today's suit jacket) to provide men with more freedom of movement than the long frock coats and morning coats cus-‐tomarily worn during the day. Eventually the lounge jacket found its way indoors as a smoking jacket when country squires had it made from the same soft velvet as their dressing gowns so it could absorb the odour of
cigars that were smoked after dinner once the ladies had retired. The new dining jacket's legitimacy was assured when it was adopted by Queen Victoria’s eldest son, the Prince of Wales, who had a penchant for elegant but comfortable clothes. In 1865 legendary Savile Row tailors Henry Poole & Co. provided the 24-‐year-‐old future Edward VII with an early prototype which was worn for informal dinner parties at his San-‐dringham country estate. According to the company's original ledgers the Prince commissioned "a blue silk smoking jacket" and trousers of a matching fabric. Regardless of how or when the Prince discovered the evening jacket, we do know that he was in the habit of wearing it by the summer of 1886 as that is when history records its introduction to an impressionable Ameri-‐can dinner guest. American Premiere The only known record of the jacket's export from England is an essay from the Tuxedo Park archives about an 1886 summer visit to that country by two of its residents, millionaire coffee broker James Brown Potter and his actress wife Cora. Upon being introduced to the couple at a court ball, the womanizing Prince of Wales was apparently taken with Cora’s renowned beauty and invited the cou-‐ple to dinner at Sandringham. When Mr. Potter asked his host for advice on what to wear for such an occasion, the Prince referred him to his tailors Henry Poole & Co to be fitted for a short evening jack-‐et. Mr. Potter then brought the innovation back home to Tuxedo Park, a private residential country club established a year prior by a group of prominent New Yorkers. There were many American gen-‐tlemen who visited England often at the time the Prince began wearing the new jacket and it is en-‐tirely possible some of them may have copied the style besides, or even prior, to Potter.
The dinner jacket's subsequent introduction to the nation at large can be definitively traced to Tuxedo Park thanks to its popular American name, but the specifics of its premier have long been clouded by tailors’ myth. The confusion originates from an 1886 article in the society newspaper Town Topics which reported that Griswold Lorillard, son of one of the Tuxedo Park founders, showed up to the wealthy enclave's Autumn Ball that year wearing “a tailless dress coat and waistcoat of scarlet satin, looking for all the world like a royal footman”. According to second-‐hand sources dating back to at least the 1930s, the coat style was then adopted by Society as the popular evening jacket we know today. In actual fact, the Town Topics article has been misinterpreted
because the “dress coat” mentioned was a period reference to the tailcoat. Consequently, the re-‐moval of the tails from a coat that is cut above the waist, worn open in front and fitted tightly would have produced the equivalent of a mess jacket sported by military officers and aforementioned royal servants. It certainly would not have resembled a dinner jacket which is cut below the seat, designed to be buttoned in front and loosely fitted. The true story of the dinner jacket's broader debut can be found in another essay in the Tuxedo Park archives. According to the last surviving founder of the club, the public introduction was a low-‐key affair much more befitting of the jacket's aristocratic sta-‐tus. Eventually, after wearing the new jacket for dinner in Tuxedo, some of the early members were bold enough to wear it one evening at a bachelor dinner at Delmonico’s, the only place in New York where gentlemen dined in public at that time. Needless to say, the other diners at Dell’s were aston-‐ished, and when they asked what it was the men in short coats had on, they were told, “Oh that is what they wear for dinner up in Tuxedo”. Hearing Tuxedo mentioned, the curious diners quite natu-‐rally starting calling the new jacket by that name.
Dual Identity: "Dinner Jacket" vs. "Tuxedo" Which brings us to the most important questions for black-‐tie purists: What is its proper name? De-‐spite over a century of insistence by etiquette and sartorial experts that tuxedo is less correct than dinner jacket, the fact is that the latter term did not appear until a couple of years after the supposed nickname did. Specifically, the Oxford English Dictionary cites the first written reference to tuxedo in the August 1889 issue of Sartorial Arts Journal while the first recorded appearance of dinner jacket is dated to the 1891 novel Gerard: or, The World, the Flesh and the Devil. The misconception about the catchy term's legitimacy likely stems from the fact that it was adopted largely by the American gen-‐eral public whereas the more refined name was preferred by the American elite and, of course, the British. Two-‐Tier Etiquette Regardless of its name, the new evening jacket caught on quickly among the fashionable upper clas-‐ses and by the late 1880s. Occasion The matter of "where" was fairly cut and dry: only in the most casual of settings. As its early British name implied, the short dress lounge was very much an informal alternative to the tailcoat just as its daytime equivalent was formally inferior to the long morning coat or frock coat. As such, it initially had no place in mixed company where women were dressed in their full evening finery and was ap-‐propriate only for socializing amongst other men. Occasion-‐specific clothing became less common as the lounge suit replaced morning dress during the day and the new evening jacket increasingly usurped the tailcoat. Attire Explaining the "how" of wearing a dinner jacket centred upon the recognition of two distinct catego-‐ries for evening dress. Formal evening dress was defined as a black tailcoat and trousers, black or white waistcoat, white bow tie, white dress shirt, white dress gloves and black patent leather shoes. In both Britain and America this was the only evening kit that now qualified as full dress. Informal
evening dress differed from formal "in the wearing of the Tuxedo or dinner coat in place of the ‘swallowtail’", explained The Complete Bachelor, "and the substitution of a black silk for a white lawn tie." In addition, "White evening waistcoats and Tuxedo coats do not agree; black is only allowable.” The essence of modern White Tie and Black Tie was now firmly established. Or at least it was in conduct manuals. In practice, the distinction between formal and informal even-‐ing attire would take some time to catch up with the theory. The current definition of proper black tie, like most contem-‐porary definitions throughout its past, provides options that
can produce either a timeless look or a look relative to a specific era. While the relative look can be hit or miss (remember ruffled shirts and powder blue suits?) the timeless look delivers optimal re-‐sults every time: It makes a man look taller, stronger and younger, it focuses attention on his face, it provides sophistication, swank and uniformity and it channels time-‐honored sartorial convention. Therefore if we strip past and present black-‐tie definitions of their temporal variations, we are left with the quintessential or “classic” black tie code: the Depression-‐era ideal.
Prior to the 1930s black tie was still largely an informal offshoot of white tie, borrowing its parent’s white waistcoat, stiff shirt and even bow tie at times. During the Depression era it finally came into its own with its standardization of the black waistcoat, adoption of a formal turndown-‐collar shirt and acceptance of swank warm-‐weather alternatives such as the double-‐breasted and white jackets and the cummerbund. The standards of the 1930s have remained the benchmarks for successful black tie to this day.
Arranging a dinner jacket in Amsterdam Dinner jackets can be bought at: Tip de Bruin Nieuwendijk 82-‐90 1012 MR Amsterdam 020 6249402 www.tipdebruin.nl
Dinner Jackets can be hired:
Maison van den Hoogen Sarphatipark 90 1073 EB Amsterdam 020 679 8828
www.maisonhoogen.nl
Huyer Weteringschans 153 1017 SE Amsterdam 020 -‐ 623 54 39 www.huyer.nl
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Music
The Diamond Jubilee Ball
proudly presents:
Katty Heath
<<< Live Performance at the Ball >>>
Introduction of Katty Heath Katty is a vocalist who has collaborated with a diverse range of artists over the years. Be-‐tween 2001-‐2009 she performed internationally with UK Electronica duo ‘Bent’ and is a prominent feature on their third album ‘Ariels’. Now living in Amsterdam, Katty still collabo-‐rates with artists overseas but is planning to develop a solo career in Holland. Recently Katty’s star has been rising through the popular Dutch TV programme “The Voice of Hol-‐land”. Katty studied music at a British University.
During the preparations for the ball and Katty’s performance we took the opportunity of asking Katty a couple of questions.
Can you tell us a bit about yourself?
I'm 37, I was born and bred in Cambridgeshire, then I moved to Nottingham in 1993 to study Contemporary Arts at Nottingham Trent University. I met my Dutch boyfriend Cas in 2007 whilst working in a ski resort in The French Alps. We lived together in London for a while and then an opportunity arose to live in a beautiful houseboat in Amsterdam..we couldn't resist, so we moved there in June 2011.
Have you always been interested in music ?
From a young age I loved music and performing. I learnt piano from the age of 10, and started singing in bands in my teens. Since then I have collaborated with a diverse range of artists, with many of whom I have recorded.
So you have quite some stage and tour experience? Bent headlined ‘The Big Chill’ festival three times and we also supported well known acts including Faithless, Or-‐bital and The Scissor Sisters. In 2005 they toured Austral-‐ia with The Scissor Sisters.
How did you end up in Holland and on the TV show “The Voice of Holland”?
When I left the UK I was concerned that I was leaving a busy music career behind, so I wanted to get something off the ground in Holland. My boyfriend's family encouraged me to enter 'The Voice of Holland' so I did! The last 6 months have been an incredible experience. As the only English person in the contest it was amazing to get as far as the live shows and feel accepted by the Dutch audience. The TV exposure has al-‐ready lead to some exciting new collabora-‐tions in Holland.
Article
The history of the St. Olof Chapel
This year’s ball will be held in the beautiful St. Olof Chapel which carries a rich history which we would like to share with you. History of the St. Olof Chapel The chapel is located in a part of town whose history dates back to the 15th century. This area was once water until rich merchants decided to fill it in and thus created a new stretch of land which became the dockyards of Amsterdam. Its tar trade, which was an important product to waterproof ships in those days, blossomed especially in the 16th and 17th centu-‐ry. The chapel itself has a long history, which is inter-‐twined with the history of the city of Amsterdam. The city of Amsterdam came to life in the 12th cen-‐tury, when its first inhabitants lived around a dam in the river Amstel. Because of its strategic location, the city grew rapidly as a trading hub. To sustain this growth during the 14th century, the city walls were extended along the ‘Nieuwezijds -‐ and the ‘Oudez-‐ijds Voorburgwal’. One of the new gates to the city was named the Olofs gate and was located next to the site where the St. Olof chapel was later built. The St. Olof chapel was built along the ‘Zeedijk’ in 1440. In those days a considerable
amount of Scandinavian trade came through Amsterdam. Its name therefore deriving from Saint Olof, the patron saint of the Norwegian sailors. Over the following years and centuries, the city evolved around the area where the Chapel is located. During this period the chapel itself was altered and enlarged. Most notably in 1644, when an extension was built and merged with the neighbouring Jeruzalem Chapel, which was originally a chapel for crusaders returning from the holy land.
There were multiple entrances to the chapel and one would use these according to class and status. One famous regular visitor to the church was the Dutch seafarer and national hero Admiral Michiel de Ruyter. During the 20th century the chapel was used by various organisations and congregations such as the reformed church, a cultural organ-‐isation which used it as an exhibition space. A weekly cheese market also took place in the
chapel between 1935 and 1961. In 1988 the chapel was completely renovated by Golden Tulip Hotels and it became part of the Barbizon Palace hotel adjacent to it, connecting the two buildings underneath the Zeedijk through a tunnel. Barbizon Palace Hotel and Vermeer restaurant
In 1988 the Golden Tulip hotel group found-‐ed and constructed the Barbizon Palace Ho-‐tel. The name of the hotel refers to a little French village in the surroundings of Fon-‐tainebleau near Paris. It was here in the 19th century that a school of painters evolved. The school included painters such as Théo-‐dore Rousseau, Jean-‐Baptiste Corot and Jean-‐François Millet. Their primary subject
was landscape painting without drama or storytelling This was as a reaction to the dominant romantic movement. Their style features were tonal qualities, colour, loose brushwork, and softness of form. Some consider this a prelude to impressionism. The hotel interior is inspired by the style of the Barbizon school painters.
In 2000 the Barbizon Palace Hotel was acquired by the NH hotels, which is the present owner. The Hotel has a extend-‐ed permit, giving the Britsoc the oppor-‐tunity to party till 03:00. The Vermeer restaurant is part of the hotel and named after the famous Dutch painter Johannes Vermeer. The Michelin star restaurant is proudly managed by the British chef de cuisine Christopher Naylor.
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Specialised Therapy Massages (3 x 60 mins) €150.00
For more information contact: Ann-Marie ToolenPhone: 06 46612634 or Email: [email protected]
We are also on Facebook & Twitter. Website: www.mythaimassage.nl
Fully trained and accredited massage therapist through the ITM Massage School, Thailand
Raffle & Auction
Diamond Jubilee Ball Sponsors
Diamond Partner
Partner
Diamond Jubilee Ball Sponsors
Are you visiting the “Diamond Jubilee Ball” on December 8th?
Experience Amsterdam to its fullest with a room at Hampshire Hotels!
Hampshire Hotels offers the inspiration for a weekend getaway. Enjoy a day at the seaside, linger in the countryside or enjoy the vibrant city life. You are "More than Welcome" in one of our 90 beautiful hotels in the Netherlands, Belgium and Germany. You can have a special experience staying in an old monastery, castle, country estate, old farmhouse or trendy city hotel. Enjoy the excellent service, culinary treats, special wellness and golf facilities. Members of The British Society of Amsterdam can make use of a special 10% discount on the flexible BAR at one of the Amsterdam Hotels. This discount is valid during the weekend of 7 to 9 December. We wish you "More than Welcome" in one of the hotels. Participating hotels: - Amsterdam American Hotel - Hampshire Eden - Eden Hotel Amsterdam - Hampshire Eden - The Manor Hotel Amsterdam - Hampshire Eden Book: Go to www.hampshire-hotels.com and choose the hotel of your choice at participating locations. Enter the promotional code BSA12 for the discount.
Balls Past
Fond memories of a jolly good time!
Today Last day for ticket sales
Price: Members: €105,-‐ / Non-‐Members €120,-‐
For further questions or dietary requirements (such as vegetarian, religious, allergies etc.) please contact [email protected]
To order click here Date: Saturday 8 December 2012
Time: 18:30 – 03:00
Dress code: Dinner jacket
Venue: St. Olof chapel – Barbizon Palace Hotel
Address: Prins Hendrikkade 59
1012 AD Amsterdam
(Opposite to Amsterdam Central station)
