Alexander Larman

The first official portrait of King Charles III since his coronation has been unveiled. Both the artist Jonathan Yeo and the King should be delighted: the vast oil on canvas, which was seen for the first time at Buckingham Palace today, captures a remarkable likeness of the King. One particular work of his might give

Prince Harry’s visit to London this week, to celebrate the tenth anniversary of the Invictus games, was largely overshadowed by the news that his father was ‘too busy’ to see his errant younger son. This may have been despite or perhaps because of the King’s more active public profile thanks to his positive response to

Apple has a reputation for advertising that not only sells their products effectively, but sets a standard few of their competitors could ever hope to attain. Their famous advert for the Mac, which launched forty years ago, was directed by Ridley Scott, fresh from Blade Runner, and channelled Orwell’s Nineteen Eighty-Four to thrilling and iconic

Prince Harry’s occasional visits to Britain are regarded by many with the sense of unease that most people reserve for unexpected tax bills, visits from distant relatives and Jehovah’s Witnesses turning up on the doorstep on Sunday mornings. It would seem that his father feels rather similar about the prospect of seeing his errant son,

Illness, like death, is society’s greatest leveller, and so the news that the King had been affected by cancer led to an outpouring of sympathy and compassion that few other circumstances might prompt. Since he came forward earlier this year to share his diagnosis, Charles – sometimes seen as a remote and inaccessible figure, especially

Most years, the royal family’s attendance at the Easter Mattins service at St George’s Chapel in Windsor is nothing more than a well-received piece of pageantry, an opportunity for well-wishers to wave and cheer and for commentators to observe whatever couture the royals are wearing. Not this year. The absence of the Princess of Wales