Review 2006/2007 - National Portrait Gallery

Review 2006/2007
Review 2006/2007
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Preface by the Chairman of the Trustees
Foreword by the Director
2006/2007 Highlights
Extending and Broadening Audiences
Developing the Collection
Increasing Understanding of Portraiture and the Collection
Maximising Financial Resources
Developing Staff
Improving Services
Exhibitions
Supporters
Financial Report
Acquisitions
Staff
Front cover
John Donne
by an unknown artist, c.1595
Back cover
Johnson Beharry
by Emma Wesley, 2006
Inside front cover
Main Entrance with
Face of Fashion banners
National Portrait Gallery Review 2006/7 incorporating Accounts
ordered to be printed by the House of Commons on 23 July 2007 as HC792
2
Preface by the
Chairman of
the Trustees
Board of Trustees
1 April 2006 to 31 March 2007
Professor David Cannadine, FBA, FRSL
Chairman
The Rt Hon. Baroness Amos
Lord President of the Council
Zeinab Badawi
Nicholas Blake, QC
Professor Robert Boucher, CBE, FREng
The Marchioness of Douro
Amelia Chilcott Fawcett, CBE
Deputy Chairman and Chair
of the Development Board
Flora Fraser
Professor Ludmilla Jordanova
Sir Nicholas Grimshaw, CBE
President of the Royal Academy
David Mach, RA
from August 2006
Sir Christopher Ondaatje, OC, CBE
David Ross
Chair of the Audit and Compliance
Committee from February 2007
Professor Sara Selwood
Alexandra Shulman, OBE
Sir John Weston, KCMG
Chair of the Audit and Compliance
Committee until November 2006
David Cannadine
by Kristofer Dan Bergman
© Kristofer Dan Bergman
Anniversary celebrations are moments for
institutional reflection as well as for making
new connections and discovering new supporters,
and I offered my own view on the Gallery’s first
150 years in the form of the first John Hayes
Lecture which I delivered in February 2007.
The Anniversary year ended on a high note,
with a record attendance at St Martin’s Place
of 1.6 million, the great success of the David
Hockney Portraits exhibition following on from
the best-attended BP Portrait Award (a record
197,687 visitors), the relaunch of Beningbrough
Hall with the National Trust, and many
fascinating events of all kinds. It was a year to
make the Chairman and Trustees very proud.
The successful acquisition of the portrait of
John Donne was a high point. This would not
have been possible without the support of
the National Heritage Memorial Fund, The Art
Fund and a number of trusts, foundations and
individuals who made extraordinarily generous
contributions. But the campaign also succeeded
through donations offered by visitors and sent
in by more than 700 individuals.
This was also the first time that the Portrait
Fund was used to support a major acquisition.
The Fund is a new and essential resource in
the Gallery’s determined work to acquire
great portraits for the nation, and it was
given powerful impetus when the Ondaatje
family announced that they would match
other contributions – up to £1 million. Once
again the Ondaatje family are enabling the
Gallery to make an important leap forward
and I am enormously grateful for their
imaginative generosity.
The Gallery’s work depends on supporters of
all kinds. We are grateful to the government –
although we argue vigorously to the Department
of Culture, Media and Sport that the Gallery
gives extraordinarily good public value and that
greater investment would produce even wider
public benefit. The generous support given by
corporate partners and members, trusts and
foundations, major donors, Patrons, Associates
and Members is equally appreciated and my
warmest thanks go to all those who help the
Gallery in so many ways.
During the year the artist and Royal
Academician David Mach joined the Board
of Trustees. I am grateful to him and to all
the Trustees for their unstinting commitment,
advice and support. Finally, my thanks go to
all the staff and volunteers who work so hard
to ensure that the National Portrait Gallery
remains an outstanding Collection and a
wonderful place to visit, whose work is shared
ever more widely in this country and abroad.
Professor David Cannadine
3
Foreword by
the Director
Such an exciting year as 2006 is hard to follow.
However, the spring of 2007 has demonstrated
the Gallery’s diverse responsibilities and
interests in presenting the Face of Fashion,
Between Worlds and Four Corners exhibitions,
as well as an exhibition of Lord Snowdon’s
portraits in Plymouth and a collaborative
exhibition about Lady Mary Wortley Montagu
in Sheffield; opening new displays including
separate presentations of photographs by the
distinguished photographers Don McCullin
and Nick Danziger; inaugurating a newly
commissioned portrait of the Victoria Cross
recipient Lance Corporal Johnson Beharry; and
a special trail and display commemorating the
200th anniversary of the first parliamentary Act
for the abolition of the slave trade. At the core
of all that work – as always – is the recognition
of outstanding achievement, mixed with the
exploration of the ever-changing concepts and
possibilities of portraiture.
Considerable time was spent preparing
Great Britons, a special exhibition from April
to September 2007 of the treasures of the
Collection presented by our sister institution,
the National Portrait Gallery of America, in
Washington, DC. For the first time, portraits of
both Queen Elizabeth I (the ‘Ditchley’ portrait)
and Queen Elizabeth II (the Annigoni portrait)
will be seen in the United States, together
with an outstanding selection of photographs
and paintings representing five centuries of
British history.
Sandy Nairne
by Tom Miller, 2002
© Tom Miller
A theme of this past year (and the years ahead)
is the mix of the increasingly international
nature of the Gallery’s work – through
exhibitions, publishing, and the sharing of
the Collection and information about it,
along with associated scholarship, utilising
the medium of the internet – with the local,
in the form of projects undertaken for and with
schools, community organisations, hospitals
and day centres. The last two projects in the
Reaching Out, Drawing In series have focused
on the diversity of London’s population and
have promoted particular links with the Chinese
communities. This is entirely appropriate given
the Gallery’s wish to connect with young and
diverse audiences and as we look ahead to the
Olympic Cultural Festival from 2008.
We are sorry to say goodbye to John Wykeham,
Head of Administration, who served the Gallery
for more than twenty years and expertly oversaw
the recent building and development schemes.
Joanna Banham, Head of Learning and Access,
also leaves us, having successfully developed
further our outreach and interpretation. I am
grateful to them and to the entire staff for
their outstanding commitment to the Gallery
and to its future.
Sandy Nairne
4
National Portrait Gallery
150th Anniversary stamps
Stamp designs
© Royal Mail Group plc 2006
2006/2007
Highlights
‘ It’s a small exhibition but
an important marker of
these unpredictable times.’
Evening Standard
Faith and Church
‘ Go to this show. I’ve yet to
come across a single person
who hasn’t loved it.’
Daily Telegraph
David Hockney Portraits
Denise Ellitson, Marketing Manager,
receives the Visit London Large
Visitor Attraction of the Year Award
on behalf of the Gallery
The Gallery completed celebrations of its
150th Anniversary, supported with successful
sponsorship from Herbert Smith, a media
partnership with The Times and the Sunday
Times and a special gift of funds for the external
lighting of the Gallery from British Land, also
celebrating its own 150th anniversary.
–
The Royal Mail produced a set of stamps to
celebrate the Gallery’s 150th Anniversary
featuring sitters including William Shakespeare,
Sir Winston Churchill and Dame Cicely Saunders.
Gallery visitors were able to enjoy the portraits
shown on the stamps on a special Family Trail.
–
The campaign to acquire the c.1595 portrait
of the great poet and preacher John Donne
was successful, raising £1.4 million towards
the Gallery’s most expensive acquisition.
–
There were 1.66 million visits to St Martin’s
Place – the highest ever – and the Gallery
was listed as the tenth most visited attraction
in Britain in a survey by the Association of
Leading Visitor Attractions.
Visit London chose the Gallery as the Large
Attraction of the Year for 2006 and 97% of
those sampled while visiting said they would
recommend it to a friend.
–
There were almost 10 million visits to the
website, making it the fourth most visited arts
website in the country.
–
The Portrait Fund was launched with a pledge
of £1 million from the Ondaatje family together
with contributions from the first Patrons of the
Portrait Fund, adding to bequests from Lord
Marcus Sieff and Mary Hyde, Viscountess Eccles.
–
A number of outstanding acquisitions were
made, including portraits of Lady Jane Grey
and Sir Edward Heath and the generous gift
of photographs by Bernard Schwartz and funds
for cataloguing from the Bernard L. Schwartz
Foundation, through the American Friends of
the National Portrait Gallery.
5
The Thomas Buxton School
attending a Taylor Wessing /
Arts and Business workshop
‘ What an absolutely
fantastic exhibition!’
Visitor
Between Worlds
‘ Intensely beautiful,
intensely dramatic’
The Metro
Face of Fashion
‘ To gather such a collection
in itself is a wonderful
achievement’
Gallery Visitor
Visitors to the David Hockney
Portraits exhibition
The David Hockney Portraits exhibition attracted
over 151,000 ticketed visits, the highest ever for
a painting exhibition, and the catalogue was
shortlisted for the British Book Design and
Production Awards.
–
The BP Portrait Award 2006 exhibition had
197,687 visits, the highest ever.
–
The Gallery’s research programmes completed
work on the next phases of the Later Stuarts
and Later Victorian Portraits detailed catalogues,
as well as preparing for the first phase of
‘Making Art in Tudor Britain’, and welcoming
the first scholars in the Leverhulme Foundation
visiting research programme.
–
Retail sales reached a record level, 33% ahead
of target, and the Angus McBean Portraits, BP
Portrait Award 2006 and Photographic Portrait
Prize 2006 catalogues sold out before year end,
while the David Hockney Portraits and Face of
Fashion catalogues went into second printings.
–
There were 87,000 visits by school and college
participants, a 10% increase on the previous year.
The Reaching Out, Drawing In outreach
programme, supported by the Heritage Lottery
Fund, completed its six successful projects with
the Four Corners exhibition in the Studio Gallery.
–
New forms of interpretation for exhibitions
and displays were introduced including MP3
downloads for the Face of Fashion exhibition.
–
The Gallery reviewed its own Equality schemes
for employment and participated in the
Young Graduates Scheme, as well as the Arts
Council Inspire Fellowship Programme, while
also supporting staff on training and
development schemes, including the Clore
Leadership Programme.
–
The number of Members increased by 43%
to 3,500 and the number of higher level
Patrons exceeded, for the first time, the
milestone of 100.
–
The Gallery set up the new trading subsidiary,
National Portrait Gallery Trading Company,
to include retail, venue hire and catering
franchise activities.
7
Extending and
Broadening
Audiences
The Gallery’s 150th Anniversary was marked by
many important events mentioned throughout
this Annual Review, ranging from a special
edition of Royal Mail stamps, featuring ten
portraits epitomising all aspects of the Collection,
to winning the Visit London Large Visitor
Attraction of the Year Award in November. The
Gallery welcomed 1.66 million visitors during
2006/7, an increase of 8% on the previous year.
This represents the best financial year ever for
visitor figures.
Much of the increase is thanks to the
programme of exhibitions, which continue
to be hugely popular. Over 151,000 visitors
saw David Hockney Portraits, which received
the highest average daily attendance figure
for a ticketed exhibition at the Gallery.
David Hockney Portraits poster
Face of Fashion poster on London
Underground platform
Opposite
Fops and Dandies
Photography workshop for
young people aged 14–19
© Elizabeth Doak and the participants
Results indicate that the Gallery is attracting
a younger audience: a quarter of visitors
(24%) were aged seventeen to thirty-four,
an 11% increase on 2005/6. The Gallery also
received a higher proportion of overseas
visitors in the summer months (38%), a 12%
year-on-year increase.
Enjoyment and satisfaction levels remain
very high, with 97% rating their visit as ‘good’
or ‘excellent’. Overall, almost all questioned
(97%) would be likely to recommend the
Gallery to their friends.
Major Underground poster, press and radio
advertising campaigns were undertaken for the
Gallery’s exhibitions and special promotional
activities included partnerships with The Times,
the Sunday Times, Caffè Nero, the Royal Mail
Icons and Idols: Commissioning Contemporary
and Gap. Among the new online activity was
Portraits attracted 211,264 visitors, making it
the creation of a special microsite and online
one of the most popular exhibitions in the
advertising for Face of Fashion. Visitor research
Gallery’s history, and the BP Portrait Award
showed that a significant proportion of visitors
2006 reached a record attendance figure of
are finding out about the Gallery through
over 197,000, a 5% increase on the previous year. marketing channels; 35% had seen the
Underground posters and 45% other forms of
The Gallery undertook a review of its
advertising. The design of the quarterly talks
audience research needs and in May 2006
and events booklet was updated and a new
Morris Hargreaves McIntyre were commissioned generic leaflet produced and distributed. The
to carry out a three-year programme of
e-newsletter attracted over 34,000 subscribers,
research. The new year-round exit survey
an increase of 31% on 2005/6.
provides consistent seasonal data and
information on exhibition visitors, and a major
qualitative project has included mystery visits,
focus groups and observation work.
8
Extending and
Broadening
Audiences
Late night opening
Weekday evenings provide an opportunity
for people who cannot visit during the day
to view exhibitions and the Collection. On
Thursdays they can attend one of the regular
lectures or evening talks. On Fridays they can
listen to one of the Gallery’s popular evening
music events, performed by well-known
professional musicians and ensembles.
During the year this programme has seen
a wonderful range of events, among them
the performance of four works commissioned
with support from the Performing Right
Society (PRS) Foundation to mark the 150th
Anniversary, a welcome return visit from
The Shout, who composed a special birthday
song, and the BBC Singers with the premiere
of a new comission by Edward Cowie, entitled
National Portraits.
The Thursday evening programme featured
several events linked to the Gallery’s Anniversary,
including a series of talks organised with The
Times Literary Supplement exploring the lives
of writers such as George Bernard Shaw and
Samuel Beckett, born in 1856 and 1906
respectively, and monthly screenings of film
portraits of British artists in collaboration with
the Artists on Film Trust.
Our families outreach work has included an
animation project focusing on the theme of
‘Festivals and Celebrations’ made by family
learning groups in the borough of Haringey.
This marks the last of the current projects that
have been funded by the Rayne Foundation
over the past three years. A new partnership
has been forged with Camden Council’s Family
Learning Team to work together on another
animation project with Year 6 children and their
parents or carers. This is a pilot project funded
by the McAslan Trust, beginning in April 2007.
Teenagers and young people represent another
priority audience for the Gallery and we have
spent the past year developing new programmes
for fourteen- to nineteen-year-olds involved in
out-of-school learning. The core programme
consists of monthly weekend workshops called
First Sundays, and termly after-school clubs
called Afternoon Art.
The Gallery is currently seeking sponsorship
in order to develop and market further the
possibilities for late night openings.
Projects have included work with fourteen- to
sixteen-year-olds at Forest Hill Boys’ School
and Quintin Kynaston School on a display of
images and text inspired by the narratives
and images in Between Worlds: Voyagers to
Britain 1700–1850. Working with the artist
Gayle Chong Kwan, the students created
photographic self-portraits that illustrate the
stories behind their own and their families’
journeys from other parts of the world.
Pet Shop Boys Music Event –
Nick Squires
Family Activities at the Gallery
© Geraldo Cantarino
Stefan Velev and Juraj Tuska
(Forest Hill Boys’ School)
by Gayle Chong Kwan, part of
the Different Worlds display
© Gayle Chong Kwan
Families and young people
The numbers of families attending activities
and visiting the Gallery increased by 34%
in 2006, and the programme was boosted by
several new initiatives, including new activities
linked to national events such as Chinese New
Year and The Big Draw.
Adults, schools and colleges
The adult programme continues to provide a
huge number and variety of talks, lectures and
discussions related to Gallery exhibitions and
displays, and these attracted over 20,000 visitors
last year. The regular daytime programme of
informal talks and weekly lectures is supplemented
by the weekly Thursday evening events.
9
The Gallery runs a busy programme of
conferences and symposia for academic
and specialist audiences, and a variety of
courses, study days and practical workshops
for more general interests. This year’s
conferences have included contributions from
the historians Richard Holmes, Miranda Seymour
and Adam Sisman. Courses and study days
range from intensive one-day events on topics
such as the Pre-Raphaelites, to four-week
courses on miniatures and practical weekend
painting workshops.
The schools programme has had another
extremely successful year providing primary
and secondary talks and workshops on art,
history and photography. It has continued
to develop themes related to citizenship,
which is becoming an increasingly important
element within the National Curriculum.
Nearly 42,000 students participated in the
schools programme, with an additional 3,500
students taking up video-conferencing sessions.
New Teachers’ Notes were produced for David
Hockney Portraits and on Benjamin Robert
Haydon’s Anti-Slavery Convention 1840 for the
bicentenary of the abolition of the slave trade.
The Hockney resources were supplemented by
a CD, based on the exhibition’s audio guide.
New interactive elements were added to the
Investigating Drawing online resource, which
includes step-by-step drawing demonstrations
and instructions by the artist Ron Bowen.
Outside the Gallery
The Access and Outreach programmes provide
a variety of workshops and events for socially
excluded and disabled children, young people
and adults, and have been increasingly
successful in developing partnerships with
organisations and charities working in these
areas. The projects have included a six-month
programme of workshops and talks, created by
and for Looked After Young People at Barnardo’s,
based on the Face of Fashion exhibition. As a
result approximately 90% of the participants
expressed an interest in attending the Gallery’s
mainstream programme for young people.
Elders’ Group at the Gallery
Hospital Schools Programme
Grace Getting Ready
from Cherish, part of the Reaching Out,
Drawing In programme
© Pamela So
The Gallery has been working in partnership
with MENCAP, secondary SEN (Special
Educational Needs) schools and a group of
artists to create a series of short animations
inspired by the Collection. The project is funded
by The Vodafone UK Foundation.
Work with adults has included Gallery tours in
partnership with Connect (adults who have
suffered from strokes or aphasia), and with the
homeless projects St Mungo’s and Capital A.
Approximately 165 children and young people
have participated in the hospital schools
programme. Overall a total of 1,561 students
in 60 groups were taught in the Gallery’s
outreach programme.
The Studio Gallery
The Gallery’s Reaching Out, Drawing In
programme, supported by the Heritage Lottery
Fund, is a key part of its outreach and audience
development work. Fame!, in partnership with the
Royal National Institute for the Blind, visually
impaired students at Dorton House School, the
Hereford College for the Blind and the Phoenix
elders’ group in Haringey, was created by blind
and partially sighted people exploring the theme
of celebrity. The exhibition offered a range of
innovative techniques for engaging with people
with visual impairments: Braille descriptions, a
tactile guide line, sound points, audio guides
and personal guides. Of the almost 27,000 visits
to the exhibition 30% were new visitors and
35% were aged twenty-four or under.
Cherish: Chinese Families in Britain was
developed in partnership with the Chinese
Arts Centre in Manchester and evolved out
of three community-based projects in London,
Manchester and Glasgow. The exhibition
attracted around 50,000 visitors, of whom
more than 17% were from an ethnic
minority background.
The Reaching Out, Drawing In series concludes
in 2007, and the Gallery is seeking funding to
continue to use the Studio Gallery as a focus
for community learning projects.
10
Interpretation
Interpretation is a core part of the Gallery’s
work and an area that we are particularly
keen to develop. This year saw the appointment
of the first Interpretation Editor, a new post
with responsibility not only for editing all the
captions and wall texts but for extending the
range of interpretation to include audio and
electronic media where appropriate. The
David Hockney Portraits exhibition was
accompanied by an extremely popular audio
guide that included interviews with the artist
and some of his sitters, and the Gallery created
a short, free audio tour for Face of Fashion which
could be downloaded from the website.
National programme
National partnerships
In June Making Faces, the innovative new
displays at Beningbrough Hall, opened to the
public. The interactive activities and new layered
interpretation were an immediate success.
Beningbrough saw over 33,000 visitors in the
five months following opening. In tandem with
Making Faces the Gallery and the Yorkshire
Country House Partnership worked on a project
that culminated in displays of portraits in the
houses within the partnership. The displays were
also the subject of an academic conference,
Making Faces – New Approaches to Georgian
Portraiture, organised in collaboration with York
University. Icons and Idols, the Gallery’s
exhibition about commissioning portraits, was
on show at York Art Gallery at the same time.
The displays at Montacute House were
enhanced by the portrait, visiting for one year,
of Phineas Pett, and were accompanied by
family activities. Portrait Explorer touchscreens
were introduced into the Long Gallery at
Montacute House in the summer and have
enabled visitors to access further information
about the Collection.
Extending and
Broadening
Audiences
To mark the 2007 bicentenary of the Act
of Parliament abolishing the slave trade in
Britain, the Gallery commissioned a new
Gallery Trail, entitled Portraits, People and
Abolition: A Journey through the National
Portrait Gallery Collection. Researched and
written by Dr Caroline Bressey of University
College London, this trail consisted of labels
highlighting individuals, ranging from Elizabeth I
to William Wilberforce, who were involved in
slavery and the abolition of the trade.
Phineas Pett
by an unknown artist, c.1612
a special loan to Montacute House
Icons and Idols installation
at York Art Gallery.
Courtesy of York Museums Trust
Culture Minister David Lammy MP
with Dr Caroline Bressey at the launch
of Portraits, People and Abolition
New interactive activity at
Beningbrough Hall
Interpretation projects for the coming year
include the development of Family Labels and
an online interactive portrait drawing activity for
families as part of the BP Portrait Award, as well
as additional web-related interpretation for the
Pop Art Portraits and Vanity Fair exhibitions.
The department has been closely involved in
contributing research and ideas for the
National Museums Online Learning project –
a consortium of ten national museums funded
by the Treasury to develop new e-learning
resources for schools and adults.
Following the successful collaboration between
the National Museums of Wales, the Gallery
and Bodelwyddan Castle with the exhibition
Faces of Wales early in 2006, the partners are
planning another exhibition, Visitors to Venice,
in 2007. Both exhibitions are part of the
National Museums of Wales’s ‘Art Share Wales’
initiative funded by the Esmée Fairbairn Trust.
Bodelwyddan also saw the introduction of new
orientation signage by Nick Bell Design.
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People, Places and Portraits
The DCMS/DfES National/Regional Museums
Partnerships Education programme has
continued to play a large part in developing
learning activity and collaborations around
the Collection. Both Montacute House and
Beningbrough Hall have worked with over
13,000 children undertaking activities
connected to the Gallery’s Collection.
Plymouth City Museum and Art Gallery
became a new partner in the programme
under the new South West Link (see below),
with a collaborative exhibition of photographs
from the Collection by Lord Snowdon. The
exhibition included works by some of the sitters
drawn from collections in the South West and
an area showing work produced by participants
in the learning programme.
Sheffield Galleries and Museums Trust
collaborated on the exhibition Lady Mary Wortley
Montagu: An Extraordinary 19th-Century Woman
and its associated learning programme. A group
of young people produced interpretation for the
exhibition to appeal to people of their own age,
including their own magazine, M’lady!.
Sunderland Museum and Winter Gardens
showed The World’s Most Photographed. Cases
of memorabilia drawn from local collectors and
collections relating to the sitters included a pair
of boxing gloves signed by Muhammad Ali on
his visit to South Shields.
Partnerships with Regional Museums Hubs
The partnership with the North East Regional
Museums Hub continued to flourish, with two
exhibitions at Sunderland Museum and Winter
Gardens. The Gallery set up a new partnership
with the South West Regional Museums Hub.
Snowdon: Iconic Images
at the Plymouth City
Museum & Art Gallery
Courtesy of Plymouth
City Museum & Art Gallery
M’lady! magazine created by
a group of young people as part
of the learning programme for
the Lady Mary Wortley Montagu
exhibition
Courtesy of Sheffield Galleries &
Museums Trust
Kate Moss and Corinne Day at
the Face of Fashion launch party in
front of Day’s new portrait of Moss
© EMPICS
Loans
The Gallery has undertaken a review of its
long-term loans and the first phase of research
into making further loans. 575 works were on
long-term loan. 428 short-term loans were
made to 47 venues in the UK and to 33
abroad. These were lent to a wide range of
exhibitions from portraits and sculpture for
the exhibition Hogarth in Paris, London and
Barcelona, to Stuart Pearson Wright’s pencil
studies of contemporary British actors shown
at the National Theatre and in the School of
Art at Aberystwyth.
Subject Specialist Network
The Gallery and its partners, the National Trust,
the North East Museums Hub, the South West
Museums Hub and the Oxford Dictionary of
National Biography were awarded an exploratory
grant from the Museums, Libraries and Archives
Council for a Subject Specialist Network on
Understanding British Portraiture.
Media collaboration
The Gallery continued to build on its
collaboration with BBC TWO’s arts magazine
The Culture Show with Living Icons, a poll to
find the nation’s greatest living icon. As well as
filming for the programme in the Gallery, a special
display and voting box were installed in the
Ondaatje Wing Main Hall and IT Gallery. The
figure topping the poll, Sir David Attenborough,
has been photographed for the Collection by
Richard Boll, the winner of the 2006 Photographic
Portrait Prize.
During the summer, to celebrate our 150th
Anniversary, BBC Radio Four broadcast an
afternoon series of five interviews on some
of the Gallery’s most iconic portraits. Introduced
by Sandy Nairne, the programmes matched
spokespeople from the Gallery with well-known
visitors to it such as Jeremy Paxman, Toyah Wilcox
and the film director Gurinder Chadha.
The Times and the Sunday Times continued
their media partnership for the Anniversary
year; this was reflected in substantial
coverage for both Angus McBean: Portraits
and David Hockney Portraits. To coincide with
Face of Fashion the ongoing collaboration
with Vogue led to the publication of a new
commissioned portrait of Kate Moss by
Corinne Day. A high media profile was
maintained for exhibitions, displays and
unveilings, with regular features in national
newspaper supplements, news stories in
broadsheet and tabloid newspapers and reports
on radio and television. International coverage
featured in a wide range of media titles, from
Le Figaro and Le Monde to Der Spiegel and the
New York Times. CBC and CNN TV and Radio
frequently covered Gallery activities.
13
Developing
the Collection
Acquisitions
The outstanding acquisition of the year was
the evocative image of John Donne, poet and
divine, painted c.1595 by an unknown artist.
It was acquired after a major appeal which
was marked by the generosity of numerous
supporters, led by The Art Fund and the
National Heritage Memorial Fund, and a very
large number of donations from Gallery visitors.
A list of supporters is given on page 37.
Historic photographs included an anonymous
early albumen print of the scientist Lord Kelvin,
Gillman & Co.’s photograph of Oscar Wilde with
Lord Alfred Douglas in 1893, literary figures
from the early twentieth century by James Craig
Annan, purchased with help from the Dame
Helen Gardner Bequest, and images of British
visitors to New York in the 1930s and 1940s
by Carl Van Vechten. Further photographic
acquisitions are described on page 14.
Portraits of three major figures long sought for
the Collection were acquired: Lady Jane Grey,
a memorial image, purchased with help from the
proceeds of the 150th Anniversary Portrait Gala,
Admiral Sir George Rooke by the Swedish-born
Michael Dahl, and Thomas Paine by the French
artist Laurent Dabos. Another sought-after
figure, Sir Edward Heath, was represented by
the loan of a portrait by Derek Hill from the
Sir Edward Heath Charitable Foundation.
Self-Portrait (Hockney Pillow)
by R.B. Kitaj, 1993–4
© R.B. Kitaj
Lady Jane Grey
by an unknown artist, 1590s?
Oscar Wilde and Lord Alfred Douglas
by Gillman & Co., 1893
Opposite
Dame Vivien Duffield (detail)
by Charlotte Harris, 2005
winner of the BP Portrait Award 2003
Several fine late Victorian drawings were acquired,
including Lady Coleridge’s profile of her friend
William Butterfield, the architect, Grace Black’s
sketches of social worker Nelly Benson and
socialist writer Eleanor Marx, and a pair of
images, Edward Stott by Philip Wilson Steer,
and Steer by Stott, given by Arthur Grogan.
Two groups of caricatures were added to the
Collection: the earlier by Powys Evans, which
included a drawing of T.S. Eliot given by
Michael Meredith and various images from
the 1920s purchased with help from the
Elizabeth Weisz Bequest; and the later group
by Barry Fantoni, representing media figures
from the 1960s and 1970s, given by the artist.
R.B. Kitaj’s powerful Self-Portrait (Hockney
Pillow) was purchased with generous help from
The Art Fund. Other contemporary acquisitions
included the loan of Sir Anthony Caro’s bronze
head of Lord Goodman, Sarath Chandrajeewa’s
bronze bust of Sir Christopher Ondaatje, given
by the sitter, Frederick Cuming’s oil head of
Stephen Hawking, given by the sitter, and
Jonathan Yeo’s painting of Rupert Murdoch.
All four of these are by distinguished living
artists previously unrepresented in the Collection.
A complete list of acquisitions accessioned
appears on pages 43–47.
14
Carol Vorderman and
Richard Whiteley
by Harry Borden, 2004
© Harry Borden
Developing
the Collection
Sir Steven Redgrave (detail)
by Dryden Goodwin, 2006
Commissioned by the Trustees and
made possible by JPMorgan through
the Fund for New Commissions
Dizzee Rascal
by Emma Hardy, 2006
© Emma Hardy
Commissions
The BP Portrait Award exhibition continues to
be a great source of talented young portrait
painters, some of whom go on to paint
commissioned portraits for the Gallery.
Charlotte Harris, who won first prize in 2003
while still a student, painted an affectionate
portrait of Dame Vivien Duffield, the
philanthropist who heads the Clore Duffield
Foundation. Emma Wesley, a regular exhibitor,
was commissioned to paint Lance Corporal
Johnson Beharry, the young Grenadian soldier
who was awarded the Victoria Cross for his
outstanding acts of bravery in Iraq. Appropriately,
this impressive portrait was painted in the year
that both the Gallery and the Victoria Cross
Association celebrated their 150th anniversaries.
For The Beatles on the Balcony we were glad to
receive ten important Beatle portraits from
the Estate of Linda McCartney, as well as
other significant additions from photographers
such as Harry Goodwin, Frank Herrmann,
Jim Marshall, Humphrey Ocean, David Redfern
and Michael Ward. A collaborative commission
with photographer Emma Hardy and writer
Jenny Dyson led to the acquisition of nineteen
portraits of high-achieving teenagers for a
display entitled Exceptional Youth.
Victorian acquisitions included a gift from
Anne Olivier Bell, which contained portraits of
Julia Margaret Cameron, Marianne North and
Sir Leslie Stephen. Other acquisitions included
a cabinet portrait of Dante Gabriel Rossetti,
John Ruskin and William Bell Scott taken by
JPMorgan continued their generous support
W. & D. Downey in 1863 and studies of
through the Fund for New Commissions, enabling previously unrepresented individuals such as the
the Gallery to realise an ambitious portrait of
first Indian-born subject to become a British MP,
the Olympic oarsman Sir Steven Redgrave by
Dadabhai Naoroji; Alicia Little, the author and
Dryden Goodwin. Made up of twenty-five
traveller who campaigned against foot-binding
meticulously drawn portraits and an animated
in China; and Dorothy Pattison, the Anglican
video piece, the portrait communicates the
nun and nurse better known as Sister Dora.
powerful combination of mental stillness and
dynamic movement required to win a race.
Recently deceased subjects remembered by
A major group commission taken by the
gifts include the paediatrician and government
photographer Julia Fullerton-Batten of
adviser Lord Chan, a photograph given by
influential figures who have shaped healthcare
the Pearl Foundation; an intimate study of
was completed with help from the Deloitte
photographer Bob Carlos Clarke taken by his
Acquisition Fund and displayed in June 2006.
daughter Scarlett when she was twelve; and
Richard Whiteley, the popular presenter of
Photographs
Countdown, given by Harry Borden.
Photographic displays on the Balcony Gallery
have provided the opportunity to show recent
All acquisitions made in the last year can be
acquisitions and to acquire additional material.
accessed through the Gallery website.
15
Richard Hallas, Head of Frame
Conservation, at work on a
frame at Montacute House
Larry Adler
by Mark Wayner, 1943
Sir Henry Wood
by Mark Wayner, 1931
The Heinz Archive and Library
An important gift of forty folio-sized albums,
containing photographs of portraits painted
by Frank Owen Salisbury, was offered by the
artist’s grandson Richard Norris. The albums,
the first eight of which were received in 2006,
were assembled by Salisbury and will join the
six volumes of his correspondence purchased
in 1997. Also received was a small sketchbook
by Sir George Scharf, dated 1854, given by
Ann Mitchell to be added to the extensive
archive of Scharf’s private papers held by
the Gallery.
Care of the Collection
A high level of activity was maintained
throughout the year, which began with the
final preparations for the re-display at
Beningbrough Hall and concluded with the
planning of Great Britons: Treasures from the
National Portrait Gallery, London, travelling to
the National Portrait Gallery in Washington, DC.
This was a high-profile project for the Gallery
and involved close collaboration between
curators and staff of the collections and loans
management, art handling and conservation
departments.
Two albums of lithographic caricatures by
Mark Wayner were purchased, Celebrities in
Caricature, 1931, and Celebrities Today in
Caricature,1943, including lively images of the
conductors Sir Henry Wood and Sir Thomas
Beecham, the literary figures G.K. Chesterton,
George Bernard Shaw and Dame Edith Sitwell,
the harmonica player Larry Adler and the actress
Dame Sybil Thorndike. Gifts included an engraved
portrait of the printseller Alexander Beugo,
1814, donated by Jacob Simon, and a varied
group of twenty-six prints given by Julian Perfect.
A large number of works were prepared for
exhibition within the Gallery, for Regional
Partners and for loan to other exhibitions
and the national programme. The frame
conservation team advised and made new
frames for acquisitions and commissions,
most notably the portraits of John Donne and
Sir Steven Redgrave. The frame conservation
internship programme, supported by the
Pilgrim Trust, successfully concluded its final
year – offering a unique opportunity to study
the Collection. A condition survey of small
sculptures was completed and next year the
Gallery will embark on condition surveys of
works on display.
The art handling team have managed a
rigorous programme of changing displays
and exhibitions over the year, in particular
the David Hockney Portraits exhibition, which
involved the Wolfson Gallery and the whole
of the ground-floor contemporary galleries.
17
Increasing
Understanding
of Portraiture
and the Collection
Exhibitions
The programme, in the Gallery’s 150th
Anniversary year, has been particularly
successful and drawn not only very high
visitor figures but significant press and TV
coverage. We have continued to collaborate
both nationally and internationally in a very
positive and effective manner.
the graphics, marketing materials and the
catalogue. The Gallery’s Design Studio
worked on a number of exhibitions (notably
David Hockney, Angus McBean and Between
Worlds) as well as maintaining an overview
of the general Gallery signage and working
on marketing and promotional material.
Wolfson Gallery
The BP Portrait Award 2006 achieved the high
number of 1,100 entries, of which fifty-six
were shown in the exhibition, with the first
prize going to Andrew Tift for Kitty. The BP
Travel Award 2005 winner, Joel Ely, presented
his portrayals of members of Txoko Mallona,
a Basque gastronomic society.
The autumn saw the opening of the David
Hockney Portraits exhibition, in conjunction
with the Museum of Fine Arts, Boston, and
Los Angeles County Museum of Art. It involved
a significant collaboration with the artist and
was a huge success, attracting much critical
acclaim and record visitors for a painting
show. The exhibition won Second Place Award
for Best Monographic Museum Show in Boston
at the Fifth Annual AICA/New England
awards ceremony.
Kitty
by Andrew Tift
© Andrew Tift
Winner of the
BP Portrait Award 2006
1939 Christmas Card
Angus McBean, 1939
© Angus McBean Estate
Opposite
David Hockney Portraits exhibition
Face of Fashion: Mert Alas & Marcus Piggott,
Corinne Day, Steven Klein, Paolo Roversi and
Mario Sorrenti followed in the spring, involving
five contemporary fashion photographers whose
work is best known in the realm of fashion
magazines. David Adjaye Associates designed
the exhibition and Thomas Manss designed
Porter Gallery
Angus McBean: Portraits opened in July. It
showcased the versatility and skill of McBean,
with his unique approach to photographing
the stars of the time in surrealist settings. The
exhibition was the first gallery retrospective
of the photographer since his death in 1990.
18
Joe
by Richard Boll, winner of the
Photographic Portrait Prize 2006
© Richard Boll
Increasing
Understanding
of Portraiture
and the Collection
The Photographic Portrait Prize 2006 received
over 2,000 entries (over 5,000 photographs
and prints), with sixty being selected for the
exhibition. The first prize was awarded to
Richard Boll for Joe and the Deloitte Award
for the best portrait taken by a photographer
aged twenty-five or under was awarded to
Erin Kornfeld for Prudence and Julie.
The Gallery’s 150th Anniversary displays
continued across the Collection until summer
2006, notably an illustrated timeline, 150 Years:
The National Portrait Gallery 1856–2006, which
featured key moments in the Gallery’s history.
Between Worlds: Voyagers to Britain 1700–1850
opened in March and explored the diverse stories
of travellers to London between 1700 and 1850
from countries including North America, Africa,
the South Pacific and India. The loan of the
Four Indian Kings by John Verelst from the
Portrait Gallery of Canada was an important
contribution. Further details of Gallery
exhibitions are given on page 33.
Tee Yee Neen Ho Ga Row,
Emperor of the Six Nations
by John Verelst, 1710
Portrait Gallery of Canada,
Library and Archives Canada,
Acc. No. 1977–35–4.
Acquired with a special grant from
the Canadian Government 1977
The Treacherous Patriot Unmask’d
(William Pulteney, 1st Earl of Bath)
By an unknown artist, 1742
The galleries and displays
Following a review last year of the use of
the Gallery’s display spaces, greater emphasis
has been given to a range of changing displays
embracing visiting portraits and interventions
within the Collection, designed to enhance
understanding of portraiture. On the Balcony
Gallery, a series of visiting portraits were shown,
commencing with Andy Warhol’s Ten Portraits
of Jews of the Twentieth Century, followed by
Francis Bacon’s Portrait of Gilbert De Botton
Speaking and Jim Dine’s The Artist’s Face.
On the first-floor landing, interventions have
included a display of recent commissions
and acquisitions, followed by Clear Vision:
Brockhurst, Frampton and Kelly, bringing
together work by three artists who achieved
distinction in the 1930s.
The programme of displays of works on paper is
designed to show the strengths of the Gallery’s
collection of drawings, prints and photographs.
On the top floor, Pulling Faces: Caricature in
eighteenth-century England was followed by
another eighteenth-century display devoted to
Thomas Frye’s atmospheric mezzotints.
19
Sheila Kitzinger
by Julia Fullerton-Batten, 2006
part of the Deloitte supported
commission A Picture of Health
© Julia Fullerton-Batten
On the first floor, various recent acquisitions
were shown, including Victorian photographs
by Elliott & Fry and two groups of twentiethcentury photographs by John Gay and by
Walter Benington. Other displays featured
little-known works from the nineteenth century
including Chartist Portraits and John Linnell:
Portraits, and from the twentieth century
Sir Benjamin Stone’s Parliamentary Pictures
and Women Writers.
On the Balcony Gallery, The Beatles on the
Balcony celebrated defining images of the
band by leading photographers. This was
followed by Photographs 1965–2006, focusing
on works by Jorge Lewinski, Bob Collins and
other photographers, and including Exceptional
Youth, new photographs of high-achieving
teenagers by Emma Hardy. From April 2007,
the Balcony will be rehung and a larger space
devoted to portraits from 1960 to 1990.
The Beatles
by Robert Whitaker, 1965
© Robert Whitaker
Julie Christie
by Michael Ward, 1963
© Michael Ward
On the ground floor, two Gallery photographic
commissions were shown: A Picture of Health,
photographs by Julia Fullerton-Batten,
supported by Deloitte, and Faith and Church,
portraits by Don McCullin, representing leaders
of prominent faiths in Britain. Individuals:
20 Portraits from the Gap Collection was
shown alongside the exhibition Face of Fashion.
Benjamin’s Britain, a group of photographs from
the Gallery and other collections, accompanied
by poetry and text, was created by poet and
author Benjamin Zephaniah. Blair at War,
photographs by Nick Danziger, provided an
unprecedented insight into a Prime Minister
facing the option of going to war in April 2003.
In the Bookshop Gallery, Mostly Women,
photographs by Michael Ward, was followed
by Pet Shop Boys, both displays coinciding
with the publication of new books.
Further details of Gallery displays are given
on page 33.
20
Beningbrough Hall Virtual
Portrait activity
Increasing
Understanding
of Portraiture
and the Collection
Information Technology
Website
A new server has provided faster and more
reliable access for visitors. More than 4.6 million
visitors made nearly 10 million visits, over one
third higher than last year. Searching the
Collection accounts for most visits – 96,000
portraits (up 7,000 from last year), 55,000 of
which are illustrated (up 6,000). The website
now includes acquisition information, Gallery
publications in which portraits from the
Collection have appeared, links to portraits on
loan at Regional Partnerships and elsewhere
and a ‘See Also’ section for related portraits.
The ‘Who’s Who’ feature from the Portrait
Explorer, where every person in a group portrait
can be identified by touching their head on a
digital representation of the portrait, has been
adapted for the website, in the first instance for
the ‘Abolition of the Slave Trade’ website feature.
Timelines have been developed for the
twentieth century and more are under way
for the sixteenth to nineteenth centuries, to
complete a year-by-year timeline. Developments
are also under way to filter search results by
gender, time period and medium.
The BP Portrait Award 2007 has seen 1,300
entries made online – 75% of all applications,
contributing to a considerable increase on the
2006 total. Data from the entries flows directly
into the administrative database used by
Exhibitions and Finance to reduce manual
keying-in of entries.
A virtual page-turning presentation of
Hockney sketchbooks was integrated into
the David Hockney Portraits exhibition and
a DVD of his sketchbooks could be consulted
in the IT Gallery.
1,600 journalists registered to download
images for exhibitions and displays (up 113%).
Subscribers to the e-newsletter increased to
34,000 (up 31%). David Hockney and Face of
Fashion exhibition sales helped lift e-commerce
to record monthly levels.
The Portrait Explorer and IT Gallery
Visitors can find out about 26,500 different
sitters and artists in 55,000 portraits (an
increase of 1,000 and 5,000 respectively since
2005/6). The Portrait Explorer was introduced
to Beningbrough Hall and Montacute House
in the summer, as well as Plymouth Art Gallery
for the Snowdon: Iconic Images exhibition.
The Virtual Portrait activity at Beningbrough
allowed visitors to sit for an artist and see their
face incorporated into a new portrait – 5,800
virtual portraits have been generated, attached
to emails and sent out to the sitter’s contacts,
publicising the activity.
The Portrait Explorer
at Montacute House
Digital images, index cards and the
Portrait Printer
The team provided digital images for 5,000
previously unillustrated portraits. A restructuring
of positions has led to new annual targets of
double this number, which will further help to
reduce the number of still unillustrated portraits.
Work began on the electronic transfer of data
from 55,000 Photographs Collection index
cards to a FileMaker Pro database. Nearly
15,000 entries have been made in three
months. These will be added to the MultiMimsy
collections management system and then the
Gallery’s website in 2007/8.
The Portrait Printer digital print service now
has a selection of 45,500 portraits available
for customers (up 6%).
21
Research programmes
Projects anticipated in the last Review have
developed well. The major catalogues of
Later Stuarts and Later Victorian Portraits
have advanced considerably; we welcomed
our first Leverhulme Fellows under the new
programme; individual members of staff were
able to pursue their research and the Gallery
made its first bid for funding from the Arts and
Humanities Research Council (AHRC).
The year saw the completion of the entries
for all the major sitters, constituting over a
quarter of the catalogue, for Later Stuarts.
This is being prepared by John Ingamells,
supported by the Paul Mellon Centre for British
Art. Meanwhile good progress is being made on
the Later Victorian Portraits catalogue. This is
being compiled by Carol Blackett-Ord, Jan Marsh
and Magda Keaney under the supervision of
Peter Funnell and is funded by the Getty
Foundation with additional support from the
Paul Mellon Centre. The team is close to
completing the entries on artists, architects
and art-world figures and preparations are
in hand for publishing this tranche of the
catalogue online in the coming year.
Two scholars were appointed to the Leverhulme
Fellowship in the History of Portraiture:
Kate Retford, Lecturer in Art History at Birkbeck
College, London, to work on ‘The Conversation
Piece in Eighteenth-Century England’, and
Emma Chambers, Curator of University College
London Art Collections, to work on a project
entitled ‘Portraiture and Plastic Surgery: Identity
and the Flesh’.
The foundations were laid for the start of the
major research project ‘Making Art in Tudor
Britain’, a scientific survey of the Gallery’s
early collections, being led by Tarnya Cooper.
She also took six months’ sabbatical leave
to work on a book on sixteenth- and early
seventeenth-century citizen and merchant
portraits. This was enabled by another aspect
of the Getty Foundation project which funds
an assistant curator post to release time for
curators to conduct research.
Henry VII
by an unknown artist, 1505
Detail of the Golden Fleece from the
portrait of Henry VII. Technical analysis
has helped to confirm that this is a work
painted from life
Other significant achievements in research
were made during the year by individual
members of staff. Sarah Howgate edited and
contributed to the publication for David Hockney
Portraits and Terence Pepper wrote and
researched the text for Angus McBean: Portraits.
Susanna Brown contributed three biographies
to the Oxford Dictionary of National Biography
on photographers well represented in the
Collection. Lucy Peltz published ‘A Friendly
Gathering: the Social Politics of Presentation
Books and their Extra-Illustration in Horace
Walpole’s Circle’ in the Journal of the History
of Collections. Paul Moorhouse contributed to
books on Bridget Riley and John Hoyland and
was a member of the commissioning panel for
the AHRC Landscape and Environment
Programme. Jacob Simon produced an online
Directory of Artists’ Suppliers and Colourmen,
1650–1939, available on the Gallery website,
the first in a series devoted to the technical
and commercial history of art. Clare Gittings
taught on a new Masters’ course at Bath
University and spoke at the British Association
for the Advancement of Science. Peter Funnell
wrote an article on display at the Gallery in the
late 1960s and early 1970s for a forthcoming
special issue of Art History. Richard Hallas
continued valuable research on micro-climate
framing for works on panel at Montacute House,
one of our Regional Partners, which enables us
to maintain the works in improved conditions
whilst in the house. Sandy Nairne gave lectures
in New Zealand, Australia and Britain, in
relation to the Gallery’s 150th Anniversary;
he gave the second annual G.F. Watts lecture
and was elected an Honorary Fellow of
University College Oxford.
The Gallery continued its long tradition of
active collaboration on external research
projects, contributing this year, for example,
to the Oxford Portraits project and the De László
catalogue project. It continued to advise on
portrait illustrations for the Oxford Dictionary
of National Biography.
22
William Ewart Gladstone
by Elliott & Fry, 1887
Increasing
Understanding
of Portraiture
and the Collection
Cataloguing the Collection
The Gallery continues to invest heavily in
cataloguing and digitising the Collection, with
any profits from image sales going towards
making more of the items available online.
Currently, 88,000 portrait engravings and
photographs have been catalogued. The aim
is to have half the reference collection, or some
160,000 portraits, available on the Gallery’s
database by 2009.
Cataloguing priorities in the Heinz Archive
and Library focused on nineteenth-century
prints and drawings and a set of 430
engravings by the seventeenth-century
printmaker William Faithorne. In addition,
work began on the Archive’s substantial holding
of large-format prints. In January a cataloguer
was recruited to list 7,000 prints from an
extra-illustrated set of the Rev. James Granger’s
A Biographical History of England from Egbert
the Great to the Revolution (1769) and Noble’s
Continuation (1806), which extends Granger to
1727. Both the Faithorne engravings and the
extra-illustrated Granger form part of the gift
made in 1931 by Mrs Mary Stopford, daughter
of the print collector Dr William Fleming of
Rowton Grange, Cheshire. In total, 3,475 prints
and drawings were digitised, and a further
7,104 reproductions were added to the sitter
and artist boxes in the study room.
King Charles I
by William Faithorne, 1658
after Sir Anthony Van Dyck
In the Photographs Collection a further 5,383
items were catalogued. About half of these form
part of the Victorian collection of cartes-de-visite
albums, supporting the production of the
forthcoming Later Victorian Portraits. As well as
all contemporary acquisitions, other significant
collections catalogued include a group of Elliott
& Fry exhibition prints of Victorian subjects,
works by Cavendish Morton from the early
1900s, an important part of the Benjamin Stone
collection covering the years 1897–1906, and
the pre-1935 Bassano negatives. In addition,
more than 1,100 photographs from the National
Photographic Record, many by Godfrey Argent,
were catalogued with support from the EP Trust.
23
The catalogue cover for
David Hockney Portraits
Publishing
One measure of the appeal of the Gallery’s
publishing programme this year is the number
of titles whose sales exceeded estimates.
Sixteen projects were realised overall, comprising
six catalogues, three co-editions, three reprints
and three licensing agreements plus a calendar
and over 100,000 postcards. Of these, Angus
McBean: Portraits, Photographic Portrait Prize
2006 and BP Portrait Award 2006 all proved so
popular that they sold out before the year-end.
The best-selling titles were David Hockney
Portraits – over 11,000 copies sold at the
London exhibition against the estimate of
4,770 copies – and BP 2006, with 10,100 copies
overall. Both catalogues were singled out for
praise in reviews of the exhibitions, not least
because of the interpretation their authors
gave to the portraits on show and the Hockney
catalogue was shortlisted in the British Book
Design and Production Awards. Margaret Forster’s
essay for the BP catalogue was reproduced in
The Guardian, and Edmund White’s essay for
David Hockney Portraits was the subject of an
article about the exhibition, as well as being
the basis of a sell-out talk at the Gallery.
Face of Fashion book on
display in the exhibition shop
The book cover for
The National Portrait Gallery,
A Brief History
by Professor David Cannadine
We will continue to make connections between
catalogue content and interpretation material
available online, in the media and through
Gallery events. Indeed, the Gallery has
continued its partnership with the Cheltenham
Book Festival with two events: Professor
Stanley Wells, a contributor to the Searching
for Shakespeare catalogue, spoke about why
we should care what the playwright looked like,
and a discussion about The Portrait Now book
involved Sandy Nairne, actress Fiona Shaw
and artist Stuart Pearson Wright. Both events
received excellent publicity.
The sales team have ensured that Gallery
publications reach distant audiences through
e-commerce and at exhibition venues, from the
Lady Lever Art Gallery in Liverpool to the Yale
Center for British Art in America, and Bendigo
Art Gallery in Melbourne, Australia. We have
also experimented with new retail opportunities,
specifically a concession at the Summer Fair
at Olympia for Fine Art and Antiques, and
we promoted our list to potential co-publishers
at the Frankfurt and London Book Fairs.
Commercial developments include
collaborations with other publishers: with
Scala to produce The National Portrait Gallery
Book of The Tudors and Elizabeth I; and with
HarperCollins to create a Children’s Reading
Scheme book, What Are You Looking At? Both
publishers pay a royalty to the Gallery for the
text and images, and we hope these books will
enhance understanding and enthusiasm for
portraiture with younger audiences.
Strong sales this year have exceeded our forecast,
which has enabled the Gallery to support the
important titles Between Worlds and The National
Portrait Gallery, A Brief History. Next year the
challenge will be to continue to succeed in
balancing the need for publications that support
our academic profile and exhibition research
with those that generate revenue for the Gallery.
25
Maximising
Financial
Resources
As the Gallery’s grant-in-aid funding from the
government represents around half of total
income (net of trading and fundraising costs),
self-generated income remains crucial
to sustaining the breadth and quality of its
activities. The overall income target was
over-achieved by 30%, replenishing reserves
which enable the Gallery to fulfil its plans
for further investment and growth.
Corporate supporters and sponsors
This was a year that saw the beginning
of new partnerships, the ending of existing
ones and the continuation of long-term
collaborations. The three-year alliance with
Deloitte as the Gallery’s Contemporary
Photography Displays Partner came to an end
in autumn 2006. This programme enabled the
Gallery to grow its collection of photographic
portraits, and the Development team are
working to find new support for photographic
commissions and displays.
BP Portrait Award 2006
Main Entrance banners
Face of Fashion Gap
(Product) RED T-shirt
Opposite
David Hockney Portraits
Fundraising Dinner
© Miranda Parry, MPP Image Creation
New corporate partners this year included
Hazlitt, Gooden & Fox and American Express
as Corporate Members, and Gap became
first-time supporters as the co-sponsors of
Face of Fashion, with Taylor Wessing. Creative
cross-promotions included a limited-edition
exhibition (Product) RED T-shirt sold in aid of
the Global Fund and the Gallery which greatly
enhanced this partnership for both parties.
The Times and the Sunday Times jointly
supported the Gallery for the first time as
Anniversary Media Partners.
BP confirmed its ongoing title sponsorship of
the BP Portrait Award for the years 2007–2011,
showing a strong commitment to supporting
portraiture in the coming years. Burberry,
previous sponsors of Mario Testino Portraits in
2001, returned as the sponsor of David Hockney
Portraits, hosting a glamorous, high-profile
opening party. Herbert Smith, the past sponsor
of two major Gallery exhibitions, became the
150th Anniversary Partner, providing vital
support during this special year. Arts & Business
New Partners funding was awarded to both
the Herbert Smith and the Taylor Wessing
sponsorships, enabling staff activities and
community outreach projects to take place,
greatly enriching both partnerships.
Venue hire
This year many Corporate Members and
Regency Partners chose to entertain at the
Gallery, including BBA Aviation, BDG
Workfutures (part of the WPP Group), BP,
Burberry, Citigroup, Herbert Smith LLP,
JPMorgan, Lehman Brothers, Linklaters,
Manning, Selvage & Lee, Towers Perrin and
Urenco. Gap held a special event in September
to launch the book Individuals. The Balcony
Gallery screens were rehung for one night to
show forty Gap portraits.
One-off hires included dinners for Arts & Business,
Englefield Capital LLP and Liberty International
PLC and receptions for BT, Freshfields Bruckhaus
Deringer, Future Films Limited, Luther Pendragon
and PricewaterhouseCoopers.
26
Charitable trusts and foundations
Efforts in recent years to develop longer-term
relationships with trusts and foundations have
been very successful and several projects have
been supported for up to three years. This
level of support provides an opportunity to
plan ahead and extend and develop many
areas of activity.
Curatorial research continued with ongoing
funding from the Getty Foundation and the
Paul Mellon Centre for Studies in British Art.
There was continued support for the Leverhulme
Fellowship in the History of Portraiture and the
Frame Study Programme supported by the
Pilgrim Trust. An exploratory grant was awarded
from the MLA (see page 11).
Maximising
Financial
Resources
In 2006 the Gallery was one of the first
museums to receive Academic Analogue
Status from the Arts and Humanities Research
Council. This has allowed us to apply for funding
towards the cost of research.
There were a number of grants enabling the
Learning and Access department to offer a
wider range of activities and to reach new
audiences. The year also saw the conclusion
of the Haringey Family Learning Project,
supported by the Rayne Foundation.
Friday evening music again received support
from both the Musicians’ Benevolent Fund and
the PRS Foundation. The RVW Trust funded a
special performance of James Macmillan’s ...as
others see us... as part of the 150th Anniversary
celebrations.
A wide-ranging collection from the 1970s by
American photographer Bernard Schwartz
(1914–1979) was given by the Bernard L. Schwartz
Foundation, together with generous support to
catalogue and display his works and hold a
related lecture series.
The Government of Canada granted support
for the exhibition Between Worlds: Voyagers
to Britain 1700–1850.
Between Worlds promotional
flyer featuring The Government
of Canada logo
Sir John Plumb
by Bernard Schwartz, 1978
With the support of the Mercers’ Company
and a number of other trusts and foundations,
the Conservation Studio acquired a powerful
new microscope in readiness for the first phase
of research for the ‘Making Art in Tudor Britain’
project beginning in April 2007. Fundraising
continues for this.
Individual support
Patrons
The Patrons’ group has continued to flourish
over the past year and the retention rate
continues to be high, with a renewal rate of
over 95%. The group has now grown to 110
Patrons, of whom eighteen are Life Patrons.
Events this year have included preview guided
tours of all major exhibitions. Patrons enjoyed
a ‘behind-the-scenes’ evening in the Frame
Conservation Studio, a morning visit and tour
of the Palace of Westminster and a breakfast
private view of the Royal Academy of Arts
exhibition Modigliani and His Models. We
continued our very successful series of Patrons’
Literary Lunches and were delighted to have
Alan Bennett as our guest speaker. Bennett read
from his recently published diaries, Untold Stories,
and talked with broadcaster James Naughtie.
This was followed later in the year by an
equally successful and fascinating talk given
by one of the Gallery’s ex-Trustees, the
Whitbread Award-winning historian and
biographer Claire Tomalin, who talked about
her well-received recent biography of
Thomas Hardy, The Time-Torn Man.
In March Jacob Simon, Chief Curator, hosted
a special evening at the Gallery for potential
supporters to learn more about the Collection.
The occasion featured a series of lively talks
with curators throughout the Gallery. Each
area had a very different feel – with period
music in the Tudor Gallery, readings in the
Regency and artists Stuart Pearson Wright and
James Lloyd talking about their work in the
Contemporary Galleries.
Associates
There are now eighty-eight Associates,
a category launched at the end of 2005.
We were delighted with the success of our
series of Thursday evening events entitled
New Faces, which were designed to encourage
some longstanding Members, as well as donors
to special appeals, to consider joining as
Associates.
Associates enjoy invitations to private view
parties at the Gallery with a guest, as well
as an Associates’ breakfast, a complimentary
catalogue and other special occasions
throughout the year, together with all of
the benefits received by Members.
27
Members
Largely through the popularity of the David
Hockney Portraits exhibition, Membership has
increased to 3,500. Alongside this, the direct
debit discount is proving to be a very popular
incentive as well as increasing our retention
rate of current subscribers.
This year we have piloted a Members’
Desk in the Gallery, manned by volunteers,
to increase the visibility of Membership.
The Members events programme has
included two evening private views, which
proved very popular and attracted a younger
audience to Membership. In addition Members
had the opportunity to tour both the Globe
and Rose theatres.
For the forthcoming year we will be targeting
our marketing at Gallery visitors, as our aim
is to recruit 2% of those purchasing exhibition
tickets, and to raise awareness of Membership
with customers of the shops, Portrait Restaurant
and Portrait Café.
The Portrait Fund
The Portrait Fund made significant progress
during the year, thanks in large part to
an exceptionally generous lead gift from
Sir Christopher Ondaatje and family to
encourage matching support. A special
dinner hosted by Professor David Cannadine
showcased the announcement of this gift
and celebrated the launch of a new group of
individuals, the Patrons of the Portrait Fund.
Amelia Fawcett and Simon and Midge Palley
became the first of these Patrons and we
look forward to building upon this support in
the next year.
The Gallery was very pleased to welcome
Sir Christopher Ondaatje and Matthew Freud
as new Trustees of the Portrait Fund. The
first contribution from the Portrait Fund
was towards the acquisition of the important
portrait of John Donne.
Cover of Face to Face
the Gallery’s newsletter
for Individual Supporters
New Trading Company stationary
Development Board and
Board of American Friends
The Development Board, under the Chairmanship
of Amelia Fawcett, gave tremendous support to
the Development team. Many members of the
Board took tables at the special David Hockney
evening to celebrate the opening of his exhibition.
After bringing a number of new supporters to
the Gallery, and being a great inspiration to us
all, Jane Benson concluded her term of office.
Frances Jackson very kindly agreed to take over
her role as Chairman of the Individual Giving
Advisory Group. Michael Potter and Philip Mould
also finished their terms of office, and we are
extremely grateful to them all for their
wonderful help and encouragement.
The Board of the American Friends made a
number of grants throughout the year and
continued their commitment to the Gallery
through the President, David Alexander. Some
Board members are attending the opening of
Great Britons at the American National Portrait
Galley in Washington, DC, as indeed are a number
of Patrons from both the UK and the USA.
Trading company
The Gallery has set up a subsidiary trading
company, National Portrait Gallery Company
Limited, which starts operations on 1 April 2007;
following consultation with HM Revenue and
Customs, retail, venue hire and the catering
franchise will be transferred to the company.
Longer term, the Gallery will be seeking to
identify, evaluate and develop new commercial
opportunities to be run through the company.
28
Retail
After a slower than expected beginning to the
year, the retail operation finished 2006/7 with
record sales in all three shops, 33% ahead
of the annual target, which was achieved three
months before the year-end, and 36% up on
2005/6.
The recovery was already under way by the
summer, but the major driver, of both visitors
and sales, was David Hockney Portraits, for
which the Gallery developed three distinct
ranges of merchandise. More than 71,000
reproductions of the works were sold and an
enormous number of catalogues (over 11,000)
at the exhibition alone.
Maximising
Financial
Resources
Building on this success, the Gallery worked with
designers Thomas Manss to produce a sharply
focused range of merchandise to accompany
the Face of Fashion exhibition. The appeal of
this range was reflected in Vogue’s request to
feature it in the April 2007 edition.
The average retail taking per Gallery visitor
increased by 25% during the year and the
average transaction value increased by 9%.
Although online sales were strong during the
major exhibitions, values for the year rose by
just 6%, which was disappointing against the
backdrop of rapid growth in this market as a
whole. However, the online service has prompted
much positive feedback from customers and
investment in the Gallery’s website is expected
to further improve product ranges, navigability
and ease of ordering.
A range of greetings cards based on images
from the photographic archives has proved very
popular and will be one of a number of areas
for product development in 2007/8. Income
from the Gallery’s publishing programme
contributed significantly to overheads and
exceeded targets by 26% thanks to strong
sales at the Gallery, in the book trade and
through a number of international co-editions.
Face of Fashion merchandise
BP Portrait Award 2006
exhibition shop
Picture Library
The Picture Library met its sales targets, despite
difficulties in the book trade, the Gallery’s key
market. Agency sales targets were exceeded by
25%. The department continues to be fully
engaged with the digital world. Internet
licensing sales were up 73% on last year and
nearly 80% of images are now being supplied
digitally. The availability of low-cost digital
prints and the disappearance of key suppliers in
the local area affected overall sales of premium
hand-finished prints, although black and white
print sales were more than 10% above target.
Commercial projects enable the Gallery to
support a wide range of academic and
educational work and significant examples in
2006/7 included an HBO television mini-series,
John Adams, and an anthology of British
literature for Broadview Press.
The Picture Library team provided support,
expertise and strategic guidance for colleagues
within and beyond the Gallery, most notably in
the context of the Museum Copyright Group’s
conference, held in January 2007. Among
projects being actively supported is an initiative
to develop service improvements to the academic
and educational sector, whilst maximising the
effectiveness of revenue-generating activities.
Further developments to the Picture Library’s
new integrated management software have
resulted in delays, but will pave the way for
a significant expansion of the department’s
public service and revenue-generating activities
when it is launched early in 2007/8.
Effectiveness and efficiency
The Gallery has been working towards
implementation of recommendations from
the National Audit Office’s 2005/6 study on
procurement, including representing smaller
museums on the DCMS Procurement Council
and introducing the Government Procurement
Card. The Gallery has achieved a number of
efficiencies in automating procedures,
upgrading IT systems and sustainable
procurement, which contributed to the targets
of the Efficiency Delivery Plan (in the 2005–8
Funding Agreement with DCMS) being
exceeded. There are further targets for cost
savings and efficiencies in 2007/8, including
evaluation of the potential to share services
with other museums and galleries.
29
Developing
Staff
Training and learning
In keeping with our revised training strategy,
we have sought to balance our programme to
best fit with Gallery-wide, departmental and
individual training needs.
Diversity
The Gallery is currently finalising a combined
Equality Scheme to meet its duties under the
Race Relations (Amendment) Act, new duties
arising from the Disability Discrimination Act
and legislation on gender equality enacted
An important area of action has been the roll-out in April 2007; the scheme also supports an
of the management development programme.
ongoing commitment to all diversity matters.
This started with managers completing a
Key actions arising from the scheme will include
Management Skills Framework Questionnaire
the introduction of goals for increasing numbers
to help identify priority areas and has continued of disabled, black and minority ethnic employees.
with a programme accredited by the Institute of
Leadership and Management (ILM). We now
The partnership with three local secondary
have twelve managers undertaking the ILM
schools has now been up and running for two
qualification, with a further course planned
years and has seen fifteen pupils participating
for next year. Besides this programme, the
in a two-week work-experience programme at
involvement with other leadership programmes
the Gallery. 40% of these pupils were from a
continues and the Gallery has managers
black or minority ethnic background.
participating in the Clore Leadership Fellowship,
Unilever’s ‘Catalyst Unleashed’ programme and The Gallery continues to support other
City University’s Cultural Leadership Programme. museum-focused career development schemes
for disadvantaged, black and minority ethnic
A significant number of Gallery staff have
students (Young Graduates) and an associate
attended IT ‘bite-size’ training sessions. These
curatorial fellowship (Arts Council Inspire
sessions were designed to improve IT skill levels Fellowship Programme).
in the main packages in use at the Gallery, and
followed the IT audit undertaken last year.
Development of a flexible working policy during
Other training initiatives during the year included 2007 will have benefits across the Gallery and
Data Protection to provide better awareness of
on its ability to attract a diverse workforce by
information security, as well as Visual Awareness ensuring that the institution has working
training with the RNIB, which coincided with the practices that do not exclude particular groups
Fame! exhibition, to support blind and partially
from employment.
sighted visitors to the Gallery.
Visitor Services Manager
Hugo Penning welcomes
Jennifer Maples, the 150th visitor
on the Gallery’s 150th ‘birthday’
31
Improving
Services
The year has seen the continuation of
a programme of small but significant
improvements to the appearance of the
Gallery and the flexibility of some of its
display spaces.
Lighting and refurbishment of the building’s
fine façades was completed with generous
financial support from British Land. The
lighting design emphasises the strong
Florentine characteristics of Ewan Christian’s
architecture and gives a new prominence
to the portrait busts of artists, historians and
statesmen that are a unique feature of the
building. The project allowed us the opportunity
to clean the exterior for the first time in twenty
years and to refurbish the windows that are
such a strong element of the façade.
Head of Administration,
John Wykeham inspects the
external refurbishment work
Sir John Ritblat, Chairman of
The British Land Company plc,
switches on the new lighting scheme
Opposite
New lighting scheme on
the Gallery’s façade
© EMPICS
After two decades of development and
refurbishment, the Gallery display spaces are
in good order. Nevertheless the continued
growth in visitor numbers, and above all the
staging of large temporary exhibitions within
the confines of the building, continue to be a
challenge. During 2006/7 a new lighting system
was introduced in part of the ground-floor
galleries that enabled us more easily to extend
the space suitable for temporary exhibitions; at
the same time the main special exhibitions
gallery was opened up and more space was
created by removing a redundant screen system.
Visitor services
In awarding the Gallery the Visit London
Large Visitor Attraction of the Year the judges
recognised the welcoming environment it
provides. The record number of visitors presents
its own challenge to the Visitor Services team
but recent research shows that enjoyment
and satisfaction levels remain high. The Gallery
actively encourages visitor feedback with both
general and exhibition-specific comment forms.
The Visitor Services team has continued to
develop the quality and range of its facilities
during 2006/7, with increased sales points for
exhibitions, printed information in several
languages, including Chinese, and audio guides
in French, Spanish and Japanese. The team
assisted with the individual giving campaign
in support of the John Donne appeal, to which
visitors contributed £18,000 in seven weeks,
after the Gallery adopted the new scheme of
recovering Gift Aid on exhibition admissions in
April 2006.
32
Improving
Services
Infrastructure
The continued development of a sound
infrastructure of skilled staff and up-to-date
systems and resources is key to the achievement
of the Gallery’s business plan objectives.
Records and information
The Gallery received nineteen requests under
the Freedom of Information Act, most of which
concerned the Collection. The Information
Commissioner issued a Decision Notice early
in 2007, finding against the Gallery for
Ambitions continue to outstrip staff resources
withholding a purchase price in January 2005,
required but through manpower planning we are but no action was required as the price was
able to prioritise. The Learning and Access team subsequently released. In November the
was strengthened to support the interpretation
Trustees agreed to include purchase prices in
policy and access work. We were also able to
the Board minutes on the Gallery’s website.
strengthen the Finance and Archive teams and
A report on the Archive and Library, presented
to make short-term improvements to the
to Trustees in May 2006, outlined an
Communications and Development department. information strategy for the department.
Following the 2005 staff survey, 2006/7 saw
In accordance with this, a business case was
work on flexible working policies and action to
prepared for an information management
tackle the ‘long hours’ working culture.
system to improve service delivery; policies
on records management and data protection
The main focus for the buildings team has and
were revised; and a plan was agreed for
will be the renewal of plant and services. 2006/7 developing electronic records management.
saw the installation of new steam boilers and
A feasibility study was commissioned for a
the renovations will now continue with a
web-based resource for British portraiture
planned programme of other plant replacement (a ‘Portrait Portal’) which the Gallery intends
and the renewal of systems such as telephones
to develop with a number of partner
and CCTV. Integral to this programme will be the organisations. Several stand-alone library
improvements in energy efficiency that are a key databases were merged to simplify conversion,
part of the Gallery’s sustainability action plan.
and cataloguing of historic records and indexing
of portraits were suspended pending
Investment in IT infrastructure and IT solutions implementation of the new system in 2007.
to achieve the efficiencies identified in the 2005
IT audit have continued. In 2006, a wireless
Governance
network was installed for training, while software The Gallery seeks to uphold the highest
and hardware upgrades were provided for the
standards of governance through the
ticket sales, digital imaging and publishing
accountability and transparency of its
teams. In terms of back-end operations, IT asset management processes, decision-making
management software was installed to improve and communications. This was endorsed in
systems support, server virtualisation software
2006/7 by an internal audit review of corporate
to provide flexibility in the server capacity, and
governance which had no high-priority
wake-up software to allow overnight Word and
recommendations. Actions taken during the
security updates.
year to improve governance included an
update to the Trustees’ Handbook, the renewal
Services to research and readers
of the financial regulations and policies for risk
The Heinz Archive and Library received 1,463
management, data protection, records
researchers in its public study room and
management, IT, security and communications.
responded to 1,692 telephone, letter and
email enquiries concerning British portraiture.
Staff organised visits and presentations for MA
Costume History students from the Courtauld
Institute and a group of students from the
Introduction to Visual Sources for Historians
course at the Institute of Historical Research.
An introductory practical exercise based on
department resources was developed for staff
training and group visits. For developments in
the cataloguing process, see page 21.
33
Wolfson Gallery
BP Portrait Award 2006 and BP Travel Award 2005
15 June–17 September 2006
David Hockney Portraits
12 October 2006–21 January 2007
Face of Fashion: Mert Alas & Marcus Piggott,
Corinne Day, Steven Klein, Paolo Roversi and
Mario Sorrenti
15 February–28 May 2007
Porter Gallery
Angus McBean: Portraits
5 July–22 October 2006
Photographic Portrait Prize 2006
8 November 2006–18 February 2007
Between Worlds: Voyagers to Britain 1700–1850
8 March–17 June 2007
Studio Gallery
Exhibitions
April 2006–
March 2007
Reaching Out, Drawing In: Fame!
8 April–6 August 2006
Reaching Out, Drawing In:
Cherish: Chinese Families in Britain
23 September 2006–7 January 2007
Reaching Out, Drawing In: Four Corners
24 March–5 August 2007
Bookshop Gallery displays
Mostly Women: Photographs by Michael Ward
6 June–15 October 2006
Pet Shop Boys
30 October 2006–4 March 2007
Different Worlds: Contemporary Responses to Migration
5 March–17 June 2007
Selected gallery displays
Harley Granville-Barker and Lillah McCarthy
28 January–30 July 2006
A Picture of Health: Photographs by Julia Fullerton-Batten
6 June–10 September 2006
Benjamin’s Britain
13 June–10 September 2006
Pulling Faces: Caricature in Eighteenth-Century England
24 June–3 December 2006
The Beatles on the Balcony
5 July–22 October 2006
Francis Bacon:
Portrait of Gilbert De Botton Speaking, 1986
5 July–10 December 2006
John Gay
27 July–3 December 2006
Portraits on Paper: Recent Acquisitions
29 July–3 December 2006
Chartist Portraits
5 August 2006–14 January 2007
Sir Benjamin Stone’s Parliamentary Pictures
5 August 2006–14 January 2007
Exploring the Contemporary
16 September 2006–11 February 2007
Photographs 1965–2006
28 October 2006–8 April 2007
Women Writers
9 December 2006–17 June 2007
Walter Benington: Pictorial Portraits
9 December 2006–17 June 2007
Drawn from Nature and as Large as Life:
Thomas Frye’s Fancy Heads
9 December 2006–17 June 2007
Jim Dine: The Artist’s Face
16 December 2006–10 June 2007
Victorian Photographs by Elliott & Fry
20 January–22 July 2007
Faith and Church: Portraits by Don McCullin
3 February–7 May 2007
Individuals: 20 Portraits from the Gap Collection
12 February–28 May 2007
Clear Vision: Brockhurst, Frampton and Kelly
17 February–8 July 2007
Blair at War: Photographs by Nick Danziger
24 February–15 July 2007
Portraits, People and Abolition: A Journey through
the National Portrait Gallery’s Collection
17 March–22 July 2007
Touring exhibitions
Schweppes Photographic Portrait Prize 2005
Poole Centre for the Arts, 1 April–27 May 2006
Cecil Beaton Portraits
Christchurch Art Gallery, New Zealand,
27 May–10 September 2006
Norman Parkinson: Portraits in Fashion
Lady Lever Art Gallery, Liverpool,
10 June–24 September 2006
David Hockney Portraits*
Los Angeles County Museum of Art, CA, USA
11 June–4 September 2006
Searching for Shakespeare
Yale Center for British Art, New Haven, CT, USA,
23 June–17 September 2006
Icons and Idols
York Art Gallery, 8 July–24 September 2006
The World’s Most Photographed
Sunderland Museum and Winter Gardens,
30 September–19 November 2006
Bendigo Art Gallery, Australia,
9 December 2006–25 March 2007
BP Portrait Award 2006
Aberdeen Art Gallery, 25 November 2006–3 February 2007
Royal West of England, Bristol, 25 March–20 May 2007
Angus McBean: Portraits
Graves Art Gallery, Sheffield, 2 December 2006–12 March 2007
National Museums of Wales, 31 March–3 June 2007
Snowdon: Iconic Images*
Plymouth City Museum and Art Gallery,
10 February–7 May 2007
Photographic Portrait Award 2006
Sunderland Museum and Winter Gardens,
3 March–7 May 2007
Lady Mary Wortley Montagu:
An Extraordinary 18th-Century Woman*
Graves Art Gallery, Sheffield, 10 March–3 June 2007
* Collaborative exhibitions
34
The Gallery would like to thank the following
for their sponsorship, support and corporate
membership in 2006/7
The Gallery would like to thank the
following charitable trusts and foundations
for their support in 2006/7 and beyond
Anniversary Partner
Herbert Smith LLP
Displays and Exhibitions
Anniversary Media Partners
The Times and The Sunday Times
The ADAPT Trust (Beningbrough Hall)
Esmée Fairbairn Foundation (Inspire programme)
The Government of Canada
Heritage Lottery Fund (Studio Gallery programme)
BP Portrait Award 2006
Sponsored by BP
Frame Conservation Study Programme
Contemporary Photography Displays Partner 2003–2006
Deloitte
Friday Evening Music Programme
Face of Fashion
Co-sponsored by Gap
The Pilgrim Trust
Musicians’ Benevolent Fund
The PRS Foundation
The RVW Trust
Learning and Access
Face of Fashion
Co-sponsored by Taylor Wessing
David Hockney Portraits
Sponsored by Burberry
Supporters
The Gallery would like to
thank all members for
their continuing support
Donation for the lighting of the Gallery’s façade
The British Land Company plc
National Portrait Gallery Patrons’ Scheme
Supported by AXA Art
Thanks also to the Arts & Business New Partners Scheme for
the grants to support the partnerships with Herbert Smith
and Taylor Wessing
DCMS/DfES (National Museums Strategic Education
Development Fund)
Heritage Lottery Fund
John McAslan Family Trust
NADFAS (Children’s Art Day 2007)
Paul Mellon Centre for Studies in British Art
The Rayne Foundation
The Vodafone UK Foundation
Research and Cataloguing
The Bernard Lee Schwartz Foundation
EP Trust
The Getty Foundation
The Leverhulme Trust
Museums, Libraries and Archives Council
The Paul Mellon Centre for Studies in British Art
Regency Partners
BP
Herbert Smith LLP
Provident Financial
Swiss RE
Towers Perrin
Urenco
Corporate Members
American Express
Anglo American
BBA Aviation
BNP Paribas
Burberry
Citigroup
Deloitte
Deutsche Bank
Hazlitt, Gooden & Fox
JPMorgan
Lehman Brothers
Linklaters
Manning, Selvage & Lee
Mercer Delta Organisational Consulting
Société Générale
Taylor Wessing
WPP Group
Cultivation Event 19 February 2007
William Norris & Company
The Fresh Flower Company
inGenius
Kitty La Roar and Nick of Time
Ruinart
Making Art in Tudor Britain
(five-year research project)
The Idlewild Trust
The John S. Cohen Foundation
The Leche Trust
The Märit and Hans Rausing Charitable Foundation
The Mercers’ Company
PF Charitable Trust
Face of Fashion Learning and Access Work
Gap Foundation
General Donation
American Express Foundation
Fund for New Commissions
JPMorgan
35
The Gallery is grateful to the following Honorary
Patrons, Life Patrons, Annual Patrons, Associates,
Members, Major Donors, Patrons of the Portrait
Fund and Individual Donors for their support in
2006/7
Honorary Patrons
Lord and Lady Carrington
Mrs Drue Heinz, Hon. DBE
The Lord Weidenfeld
Life Patrons
Anonymous
Ms C. Allegra Berman
Dr and Mrs Mark Cecil
The Coral Samuel Charitable Trust
Dr Peter Corry – Honorary
Sir Harry Djanogly, CBE
Mr and Mrs Robin Fleming
Allan and Louise Hirst
Charles and Frances Jackson
Kathleen Lavidge and Edward McKinley
Mr and Mrs John Morton Morris
Philip Mould, OBE, and Catherine Mould
Sir Christopher Ondaatje, OC, CBE
Midge and Simon Palley
Sir David and Lady Scholey
Mr and Mrs Peter Soros
Jay and Deanie Stein
Sir Sigmund Sternberg, KCSG
Mr & Mrs Louis A. Tanner
Patti and George White
Annual Patrons
Anonymous
Agnew's
Sir Rudolph and Lady Agnew
Mr David Alexander, Hon. CBE, and Mrs Alexander
Mark Armitage Charitable Trust
Mr and Mrs Johny Armstrong
Edgar Astaire
Nicholas Ayre and Nicholas Creswell
The Estate of Francis Bacon
The Stephen Barry Charity Trust
John H. and Penelope P. Biggs
Tony and Gisela Bloom
Deborah Loeb Brice Foundation
The British Land Company plc
L. L. Brownrigg
Melinda Bullough
Peter and Laura Carew
Lord and Lady Carrington
Mr and Mrs Andrew Dalton
Mr David Dalziel
The De László Foundation
Simon C. Dickinson
Cory and Bob Donnalley Charitable Foundation
The Marchioness of Douro
Lord and Lady Egremont
Mark and Amanda Elder
Amelia Chilcott Fawcett, CBE
Michael and Clara Freeman
Hon. William Gibson
Gavin Graham
A.W.E.F. Grant
Sam Green
Toby and Jennifer Greenbury
Catherine D. and Guy L. Gronquist
Mrs Sue Hammerson, OBE
Catherine W. Hays and Piotr Karasinski
Lady Heseltine
Robert Holden Ltd
Sir Anthony and Lady Hooper
Glyn Hopkin
Mrs Penny Horne
Mr & Mrs J. Horsfall Turner
Sarah Jennings and Ron Else
Jennifer Johnson
Peter A.B. Johnson
Andrew and Caroline Joy
Dr Elisabeth Kehoe
Sir John and Lady Kemp-Welch
David Ker
Mark and Liza Loveday
Professor David Lowe
James and Béatrice Lupton
Marsh Christian Trust
Tony and Jennifer McAuliffe
Mr and Mrs Charles S. McVeigh
Alexandra Hahn Murphy and Tim Murphy
Juliet Nicholson
Sir Charles and Lady Nunneley
John O'Connor
Helen and Michael Palin
Mr Alan Parker
Leslie and Sanjay Patel
Robert M. Pickering
Joseph Porterfield
Mr and Mrs Andrew Power
Michael and Victoria Power
Lady Prosser
Christopher and Stella Reeves Charitable Trust
Lady Ripley
Lesley Robertson Allen
The Robey Family
Charles and Jans Rolls
Thomas and Elaine Schoch
Richard and Victoria Sharp
John and Susan Singer
Hugh and Catherine Stevenson
Robert and Patricia Swannell
The Swan Trust
Mrs Freda Taylor
The Hon. Barbara Thomas
Mr Peter Thompson, OBE, LLD
Lord and Lady Tugendhat
Jon Turner
Frederick and Kathryn Uhde
Sandi and Jake Ulrich
Johnny and Sarah Van Haeften
Mrs Lisa von Clemm
Bonnie J. Ward
Jane and Anthony Weldon
Emma Williams and Alex Evans
Associates
Jane Asher
Lady Bacon
Katy Barker
John Batten
Peter Bazalgette
Christopher Benson
Jane Benson, LVO, OBE
Arline D. Blass
Ken and Janet Boddington
Keith Bolderson
Sarah Bourne
Kathryn Campbell
Corin Campbell-Hill
Francis Carnwath, CBE
Peter Case
36
Denise Cohen
Ralph Congreve
Lin Cooper
Lee Croll
Loraine Cushway
Gordon and Marilyn Darling
Conrad Dehn, QC
Lady Syvia Dhenin
Lucy Dickens
Tessa Gaisman
Prue and Peter Gerrard
Piers Gough
Fiona Greenwood
Bendor Grosvenor
Jennifer Hall
Ian Hay Davison, CBE
Victoria Hislop
Dr Barry Hoffbrand
Gillian Humphreys
Jim Inglis
R.G. James
Gordon and Faith Johnson
Simon Jones
Jackie Keane
Jeremy King
Alastair Laing
George Law
Fiona MacCarthy
Anne B. Macfarlane
Jeremy Mark
Barbara Maxwell
Myles Mayall
Phanella Mayall
Jonathan Mussellwhite
Alexandra Nicol
Ann Norman-Butler
Alison Swan Parente
Chris and Judy Plant
Mike Potter
Dame Simone Prendergast
Cinzia Rendich
Michael Rich
C.D. Rolfe
Penny Sanders
Dudley Savill
Professor Sara Selwood
Lois Sieff, OBE
Lord and Lady Simon of Highbury
Rabinder Singh
Tania Sless
Andrew Spells
Lady Sandra Sullivan
Carl and Martha Tack
Jennifer Thorneycroft
Philip Turner
Mark Venrick
Sally Vere Nicoll
Charles Villiers
Gerry Wade
Lynne Walker
David Watson
E.A. Whitehead
Imelda Woodthorpe Browne
Shaun Woodward
Henry Wyndham
Dr Michael Yates
Jonny Yeo
Portrait Fund
Viscountess Eccles
Sir Christopher Ondaatje, OC, CBE, and Family
Lord Marcus Sieff
Patrons of the Portrait Fund
Amelia Chilcott Fawcett, CBE
Midge and Simon Palley
Major Donors
R. Lerner
Robert and Patricia Swannell
Colin Williams
Individual Donors
The Ancaster Trust
Monique and Sekhar Bahadur
Lil and Ken Goldsmith
Toby and Jennifer Greenbury
Sandra Charitable Trust
The Soros Family
Trusthouse Charitable Foundation
Harriet and Paul Weissman
E.A. Whitehead
Mrs Jayne Wrightsman
Development Board
Jane Benson, LVO, OBE ** (until July 2006)
Professor David Cannadine
Margaret Exley, CBE*
Amelia Chilcott Fawcett, CBE* (Chair)
Jennifer Greenbury (from September 2006)**
Johnny Hornby* (from January 2007)
Frances Jackson**
Jennifer Johnson**
Philip Mould, OBE** (until March 2007)
Rufus Olins*
Sir Christopher Ondaatje, OC, CBE**
Midge Palley**
Mark Paviour*
Michael Potter* (until March 2007)
Robert Swannell*
The Lord Tugendhat* (until July 2006)
Anthony Weldon**
*Member of Corporate Advisory Group
**Member of Individual Giving Advisory Group
Board of American Friends of the National
Portrait Gallery (London) Foundation Inc
David Alexander, Hon. CBE (President)
John Biggs
Bridget Colman (from January 2007)
Robert Donnalley
Frank Ellsworth
Richard M. Ticktin
Sandy Nairne
Pim Baxter (Secretary)
Mrs Drue Heinz, Hon. DBE (Founder Benefactor)
37
Acquisition of a Portrait of John Donne
The Gallery would like to thank all those who
have made the acquisition of this remarkable
portrait possible
Major Donors
National Heritage Memorial Fund for their significant grant
The Art Fund for their generous support
The Executors of the Estate of the late Lord Lothian for
agreeing, through Sotheby’s, to reduce the price of the portrait
Anonymous
L. L. Brownrigg
Mr and Mrs O. Damgaard-Nielsen
Sir Harry Djanogly, CBE
The Headley Trust
The Rt Hon. Lord Harris of Peckham
Pidem Fund
The Portrait Fund
Supporters
Anonymous
Nicholas and Diana Baring
Margaret Berwyn Jones
Elizabeth Birkett
The Lady Butterfield
Marion Cohen
Francis de Mars
David Donne
Jeremy Donne, QC
The Drapers’ Company
Mary Spearing Fleay
Bendor Grosvenor
Sir Richard Hanbury-Tenison
G. Laurence Harbottle
Paul and Kathrine Haworth
Glyn Hopkin
R.G. James
Professor Ludmilla Jordanova
Mr and Mrs William J. Kneisel
Elisabeth Lang Brown
George Law
Lowell Libson
Mark and Liza Loveday
Marjorie Macaulay
Jeremy Mark
Lady Marriner
Penny McCarthy
Alexandra Nicol
Oliver Pawle
Robert S. Pirie
Jeremy and Jackie Prescott
Mrs Lily Safra
Sir David and Lady Scholey
H.J. Sherman
Geraint Smith
Dr David Speller
James Stainton
The Swan Trust
Mr and Mrs Louis A. Tanner
Lord and Lady Tugendhat
Philip Turner
William Zachs
We are also grateful to the Gallery visitors and online donors
who supported the appeal
38
Financial
Report
The Gallery received a 4% increase in revenue
grant-in-aid funding (excluding one-off projects)
and £437,000 capital funding from the DCMS
in 2006/7. However, it remains essential for the
Gallery to increase its self-generated income
in order to support its existing resource base
while embarking on new initiatives. The Gallery
also received an allocation of £160,000 from
the Strategic Commissioning Fund (jointly
sponsored by the DCMS and the DfES) with
a further equivalent amount committed for
2007/8 only. 2006/7 grant-in-aid per visitor
to St Martin’s Place was £4.22, little more
than the figure of £4.18 in 2005/6, maintaining
the Gallery as outstandingly effective within
the museums and galleries sector in terms
of this key performance indicator.
Gross self-generated income, boosted by
the commercial success of the exhibitions
programme and another excellent year for
trading and fundraising, represented 56%
of total income (excluding income for building
projects), again rendering the Gallery more
dependent on self-generated income than
grant-in-aid. Net self-generated income
represented 47% of the Gallery’s total net
income in 2006/7 (compared to 41% in the
previous year) and an increase of 40% on
2005/6. Net income is calculated after
deducting the direct costs of trading and
fundraising activities and excludes donated
acquisitions and donations for building projects.
Excluding capital reserves, unrestricted funds
decreased overall in 2006/7 by £0.56 million
reflecting a movement of £1.087 million
designated for the Portrait Fund from
unrestricted funds upon completion of a
Declaration of Trust restricting the use of the
Fund. There are £0.4 million General Funds at
31 March 2007 (compared to £0.6 million at
31 March 2006) in accordance with the 2006/7
reserves policy, which ensures that the Gallery
has uncommitted reserves for its working capital
needs to cover three quarters of its average
stock levels. £3.9 million has been designated
for specific projects which have been deferred
from 2006/7 to 2007/8. The balance on the
new Portrait Fund now stands at £1.21 million.
Since the Gallery has no other unrestricted
reserves, the Trustees have designated an
Investment and Contingency Fund for
investment in one-off projects that contribute
to the Gallery’s strategic objectives and for
the management of fluctuations in cyclical
expenditure spanning several years, such as
the exhibitions programme. In 2006/7 a total
of £0.4 million from the Fund was invested in
the relaunch at Beningbrough Hall, upgrading
the IT infrastructure, digitisation and replacing
boilers. The Fund stood at £2.2 million at
31 March 2007, of which £0.25 million is
reserved for fluctuations on expenditure and
£1.2 million has been allocated in 2007/8 for
investment in programmes for families, research,
development of the website, digitisation, new
software for the Library and IT infrastructure; a
further £0.5 million has been reserved to invest
in digitisation and research projects during
2008–10. The Gallery’s remaining unrestricted
reserves provide minimal contingency against
unforeseen expenditure and short-term losses
of income within the present security and
economic climate.
The following figures have been extracted
from the Gallery’s financial records. For a full
understanding of the Gallery’s financial affairs,
reference should be made to the Annual Report
and Accounts for the year ended 31 March 2007,
available on the Gallery’s website npg.org.uk.
Income
For operations, acquisitions and capital
Grant-in-Aid
Activities for generating funds
Voluntary income
Income from exhibitions, learning and access
Sponsorship
Other
1,080
359
820
292
874
1,542
7,031
2006/7 £000s
2,491
6,426
2005/6 £000s
2,788
2,975
3,227
Expenditure
Excluding capital but including depreciation
Extending and broadening audiences
Developing the Collection
Increasing understanding and engagement
with the Collection
Fundraising trading: cost of goods sold and other costs
Costs of generating voluntary income
Support and accommodation
Depreciation
1,377
1,294
2,224
1,787
2,803
3,205
2006/7 £000s
2,635
2,564
2005/6 £000s
395
358
2,240
2,171
2,116
2,028
40
Statement
of financial
activities
Income for operations, acquisitions and capital
Grant-in-Aid
Activities for generating funds
Corporate members
Gallery hire
Trading (gross)
Catering franchise
Voluntary income
Fundraising dinners
Individual giving
Grants and donations
Donations for acquisitions
Heritage Lottery Fund/National Heritage Memorial Fund
Legacies
Other fundraising and donations (including donated acquisitions)
Income from exhibitions, learning & access
Sponsorship
Other (including investment income)
Expenditure excluding capital and acquisitions
but including depreciation
Extending and broadening audiences
Publicity and information
National programme
Learning and access
Developing the Collection
Collections management
Increasing understanding and
engagement with the Collection
Curatorial and archive
Exhibitions and displays
Fundraising trading: cost of goods sold and other costs
Costs of generating voluntary income
Support and accommodation
Depreciation
Net incoming resources
Indexation adjustments/revaluation
Gain/(loss) on investment assets
Net movement in funds
2006/7
£000s
2005/6
£000s
7,031
6,426
149
309
2,506
263
141
346
2,261
227
55
257
741
677
859
82
117
1,542
1,080
359
16,027
499
234
347
233
143
583
452
874
820
292
13,878
1,233
255
736
870
300
617
2,635
2,564
899
1,272
806
1,222
2,240
358
3,205
1,377
14,210
2,116
395
2,803
1,294
12,987
1,817
2,195
4,012
4,012
891
2,533
3,424
4
3,428
at 31 March 2007
£000s
at 31 March 2006
£000s
40,909
9,687
339
6,618
57,553
38
57,591
39,780
9,271
379
4,627
54,057
38
54,095
396
806
5,198
6,400
736
1,019
4,276
6,031
Current liabilities
Creditors falling due within one year
Net current assets
(1,569)
4,831
(1,637)
4,394
Long term liabilities
Creditors falling due after one year
Net assets
62,422
(79)
58,410
7,121
2,614
9,735
44
1,087
6,907
2,061
10,099
400
600
43,814
6,618
50,432
42,523
4,627
47,150
1,214
633
8
1,855
556
5
561
62,422
58,410
Balance sheet
Assets
Fixed assets
Tangible and heritage assets
Land and buildings
Plant and machinery
Furniture and equipment
Acquisitions (since 2001/2)
Investments
Total fixed assets
Current assets
Stocks
Debtors and prepayments
Cash at bank and in hand
Reserves
Capital reserves represent the
net book value of tangible assets,
including acquisitions, purchased
with unrestricted or restricted funds
as well as £23m in relation to the
main Gallery vested with Trustees;
these funds are not available
for spending.
Unrestricted designated reserves
Collection purchases
The Portrait Fund
Capital reserve
Investment & Contingency and Deferred Projects Fund
Unrestricted general funds
Retained surpluses
Restricted capital reserves
Capital reserves (including vested assets)
Capitalised acquisitions reserve
Other restricted funds
The Portrait Fund
Other grants and donations
Dame Helen Gardner Bequest
Total reserves
43
Acquisitions
Single and double portraits
John Astley (circa 1507–1596)
Courtier
Unknown artist
6768: oil on canvas, 66 7⁄8 x 34 1⁄2 in. (1700 x 875 mm),
dated with later inscription, circa 1555
Purchased 2006
Johnson Gideon Beharry (1979–)
Soldier
Emma Wesley (1979–)
6803: acrylic on panel, 31 5⁄8 x 13 1⁄4 in. (804 x 336 mm),
signed, inscribed and dated on reverse, 2006
Commissioned 2006
Mary Eleanor (‘Nelly’) Benson (1863–1890)
Social worker and writer
Grace Black (later Grace Human) (1863–1934)
6770: pencil on paper, 8 1⁄8 x 6 1⁄2 in. (207 x 165 mm),
inscribed and dated, 1881
Purchased 2006
William Butterfield (1814–1900)
Architect
Jane Fortescue (Seymour), Lady Coleridge
(1824 or 1825–1878)
6792: black chalk, 22 3⁄4 x 16 3⁄4 in. (577 x 426 mm),
signed and dated, 1874
Purchased 2006
Gilbert Keith (‘G.K.’) Chesterton (1874–1936)
Poet, novelist and critic
James Craig Annan (1864–1946)
P1129: sepia platinotype, 5 3⁄8 x 4 in. (140 x 101 mm),
photographer’s blind stamp on mount, 1912
Purchased with help from the Dame Helen
Gardner Bequest 2007
John Astley
by an unknown artist, c.1555
William Butterfield
by Jane Fortescue (Seymour),
Lady Coleridge, 1874
Opposite
Sir George Rooke (detail)
by Michael Dahl, c.1703–1708
Joseph Conrad (1857–1964)
Novelist
James Craig Annan (1864–1946)
P1130: chlorobromide print, 5 3⁄8 x 3 7⁄8 in. (137 x 99 mm),
photographer’s blind stamp on mount, 1923
Purchased with help from the Dame Helen
Gardner Bequest 2007
John Donne (circa 1572–1631)
Poet and divine
Unknown artist
6790: oil on panel, 30 3⁄8 x 24 5⁄8 in. (771 x 625 mm),
inscribed, circa 1595
Purchased with help from the National Heritage Memorial
Fund, The Art Fund, Lord Harris of Peckham, L.L. Brownrigg,
the Portrait Fund, Sir Harry Djanogly, the Headley Trust,
the Eva & Hans K. Rausing Trust, The Pidem Fund,
Mr O. Damgaard-Nielsen, Sir David and Lady Scholey
and numerous Gallery visitors and supporters 2006
Dame Vivien Louise Duffield (1946–)
Administrator; Chairman, the Clore Foundation
Charlotte Harris (1981–)
6765: oil on canvas, 38 1⁄4 x 28 5⁄8 in. (970 x 728 mm),
signed, inscribed and dated on reverse, 2005
Commissioned as part of the First Prize,
BP Portrait Award 2003
Thomas Stearns (‘T.S.’) Eliot (1888–1965)
Poet
Powys Evans (1899–1981)
6762: watercolour and pencil, 22 7⁄8 x 14 5⁄8 in. (580 x 370 mm)
Given by Michael Meredith 2006
Arnold Abraham Goodman, Baron Goodman (1913–1995)
Lawyer
Sir Anthony Alfred Caro (1924–)
L240: bronze head, 14 3⁄4 in. (375 mm) high, 1988
Lent by Sir Anthony Alfred Caro 2007
Lady Jane Grey (1537–1554)
Proclaimed Queen 1553
Unknown artist
6804: oil on panel, 33 3⁄4 x 23 3⁄4 in.
(857 x 604 mm), inscribed, 1590s?
Purchased with help from the proceeds of the 150th
Anniversary Portrait Gala 2006
Stephen William Hawking (1942–)
Theoretical physicist
Frederick George Rees Cuming (1930–)
6764: oil on board, 24 x 24 in. (610 x 610 mm),
signed, and signed, inscribed and dated on
reverse of frame, 2005
Given by Stephen William Hawking 2006
44
Sir Edward Heath
by Derek Hill, 1972
© Derek Hill Foundation
Acquisitions
Sir Edward Heath (1916–2005)
Prime Minister
Derek Hill (1916–2000)
L239: Oil on canvas, 20 x 26 in. (508 x 660 mm),
signed with initials, 1972
Lent by the Trustees of the Sir Edward Heath
Charitable Foundation 2006
Dame Myra Hess (1890–1965)
Pianist
Carl Van Vechten (1880–1964)
P1124: vintage silver gelatin print, 13 1⁄4 x 9 3⁄8 in.
(335 x 238 mm), photographer’s wet stamp,
inscribed and dated on reverse, 5 April 1937
Purchased 2006
Charles Holden (1875–1960)
Architect
Benjamin Nelson (1874–1922)
6808: oil on canvas, 14 7⁄8 x 20 7⁄8 in.
(377 x 531 mm), inscribed and dated on reverse, 1910
Given by Jean Lomax Ward 2007
Edward McKnight Kauffer (1890–1954)
Artist and designer
Carl Van Vechten (1880–1964)
P1125: vintage silver gelatin print, 8 x 9 1⁄2 in.
(203 x 241 mm), photographer’s wet stamp, inscribed
and dated on reverse, 27 May 1934
Purchased 2006
William Thomson, Baron Kelvin (1824–1907)
Mathematician, physicist and inventor
Unknown photographer
P1123: albumen print, 9 3⁄8 x 7 3⁄8 in.
(238 x 186 mm), arched top, inscribed in pencil
below image on mount, 1850s
Purchased 2006
R.B. Kitaj (1932–)
Painter
Self-Portrait (‘Hockney Pillow’)
6791: oil on canvas, 40 x 20 in.
(1016 x 508 mm), signed, inscribed and
dated on tacking edge, 1993–1994
Purchased with help from The Art Fund 2006
Dame Myra Hess
by Carl Van Vechten, 1937
© Estate of Carl Van Vechten
John Aubrey Clarendon Latham (1921–2006)
Artist
Peter Wardle (1929–)
6763: red chalk, 18 3⁄8 x 14 3⁄4 in. (467 x 376 mm)
uneven, signed, inscribed and dated, 2005
Purchased 2006
(Jenny Julia) Eleanor Marx (Marx-Aveling) (1855–1898)
Socialist writer and activist
Grace Black (later Grace Human) (1863–1934)
6771: pencil on paper, 8 1⁄8 x 6 1⁄2 in. (207 x 165 mm),
inscribed and dated, 1881
Purchased 2006
(Keith) Rupert Murdoch (1931–)
Publisher and newspaper proprietor
Jonathan Yeo (1970–)
6789: oil on canvas, 16 1⁄8 x 24 in. (410 x 611 mm),
signed and dated on reverse, 2005–2006
Purchased 2006
Laurence Kerr Olivier, Baron Olivier (1907–1989)
Actor, producer and director
Carl Van Vechten (1880–1964)
P1126: vintage silver gelatin print, 13 1⁄4 x 10 5⁄8 in.
(335 x 270 mm), photographer's wet stamp, inscribed
and dated on reverse, 17 June 1939
Purchased 2006
Sir Christopher Ondaatje (1933–)
Financier, writer, philanthropist and patron of the arts
Sarath Chandrajeewa (1955–)
6809: bronze bust, 27 3⁄4 in. (705 mm) high, 1990
Given by Sir Christopher Ondaatje 2007
Thomas Paine (1737–1809)
Author of ‘The Rights of Man’
Laurent Dabos (1761–1835)
6805: oil on canvas, 29 1⁄4 x 23 1⁄4 in.
(743 x 591 mm), circa 1791
Purchased with help from Philip Mould Ltd 2006
45
(Keith) Rupert Murdoch
by Jonathan Yeo, 2005–2006
Sir Steven Geoffrey Redgrave (1962–)
Oarsman and sports consultant
Dryden Goodwin (1971–)
6767 and 6766 (1-25): video animation continuous
loop and 25 drawings of the same photograph, 2006
video and pencil, 9 3⁄4 x 6 3⁄8 in. (249 x 161 mm)
Commissioned by the Trustees and made possible by
JPMorgan through the Fund for New Commissions in 2006
Sir George Rooke (circa 1650–1709)
Admiral
Michael Dahl (1659–1743)
6769: oil on canvas, 49 3⁄4 x 39 5⁄8 in. (1265 x 1005 mm)
inscribed, circa 1703–1708
Purchased 2006
George Bernard Shaw (1856–1950)
Playwright
James Craig Annan (1864–1946)
P1131: sepia platinotype, 7 3⁄4 x 5 7⁄8 in. (197 x 150 mm),
photographer’s blind stamp on mount, 1910
Purchased with help from the Dame Helen
Gardner Bequest 2007
Philip Wilson Steer (1860–1942)
Painter
Edward Stott (1859–1918)
6806: chalk, 9 3⁄8 x 6 1⁄2 in.
(238 x 165 mm) uneven, 1890s
Given by Arthur Grogan 2007
Sir Leslie Stephen (1832–1904)
Writer, literary critic and first editor of
the Dictionary of National Biography
George Frederic Watts (1817–1904)
L238: oil on canvas, 26 x 20 7⁄8 in.
(660 x 530 mm), 1878
Lent by Matthew Synge 2006
Edward Stott (1859–1918)
Painter
Philip Wilson Steer (1860–1942)
6807: chalk, 13 1⁄8 x 10 7⁄8 in. (334 x 276 mm)
uneven, signed, inscribed and dated, 1894
Given by Arthur Grogan 2007
Thomas Paine
by Laurent Dabos c.1791
Herbert George Wells (1866–1946)
Novelist and social commentator
James Craig Annan (1864–1946)
P1132: sepia platinotype, 7 3⁄4 x 5 7⁄8 in. (140 x 101 mm),
photographer’s blind stamp on mount, 1907
Purchased with help from the Dame Helen
Gardner Bequest 2007
Dame Rebecca West (Cicily Isabel Andrews
(née Fairfield)) (1892–1983)
Writer and journalist
Carl Van Vechten (1880–1964)
P1127: vintage silver gelatin print, 6 1⁄2 x 9 1⁄2 in.
(166 x 242 mm), photographer's blind stamp, and
photographer's wet stamp, inscribed and dated
on reverse, 28 May 1934
Purchased 2006
Oscar Wilde (1854–1900) and
Lord Alfred Bruce Douglas (1870–1945)
Wit and dramatist; Poet
Gillman & Co.
P1122: silver gelatin print, 5 3⁄8 x 3 7⁄8 in.
(136 x 97 mm), inscribed on reverse, May 1893
Purchased 2006
46
Chef's Last Supper
by John Reardon, 2003
© John Reardon
Acquisitions
Ronnie Barker and Ronnie Corbett
by Barry Ernest Fantoni, 1976
Group portraits
Collections
Chef's Last Supper
Tom Aikens (1970–) Chef, Raymond René Blanc (1949–)
Chef and restaurateur, Michael Caines (1969–) Chef,
Eric Chavot (c.1970–) Chef, Angela Hartnett (1968–)
Restaurateur, Atul Kochhar (1969–) Chef and restaurateur,
Giorgio Locatelli (1964–) Chef and restaurateur, Shane
Osborn (1970–) Chef, John Burton Race (1957–) Chef
and broadcaster, Gordon James Ramsay (1966–) Chef
and restaurateur, Gary Rhodes (1960–) Television chef,
Michel Roux Jr (1960–) Chef and restaurateur,
Marcus Wareing (1970–) Chef and restaurateur
John Reardon (1951–)
P1121: digital colour print, 30 x 50 1⁄4 in.
(761x 1276 mm), 2003
Purchased for the Photographs Collection and
transferred 2006
Figures from the media:
caricatures by Barry Fantoni, 1960s and 1970s:
Barry Ernest Fantoni (1940–)
pencil and gouache, 10 1⁄4 in. x 10 1⁄4 in.
(261 mm x 260 mm) or more
Given by Barry Ernest Fantoni 2006
6772: Dave Allen (David Tynan O'Mahoney) (1936–2005)
Comedian
6773: Arthur Askey (1900–1982)
Actor and entertainer, 1970
6774: Ronald William George (‘Ronnie’) Barker
(1929–2005) and
Ronald Balfour ('Ronnie') Corbett (1930–)
Actor and comedian; Actor and comedian,1976
6775: Antony Kenneth ('Tony') Blackburn (1943–)
Singer and DJ, 1975
6776: Richard Austen Butler, 1st Baron Butler of Saffron
Walden (1902–1982)
Politician
6777: Kenneth Arthur (‘Ken’) Dodd (1931–)
Comedian, singer and actor, 1978
6778–6779: Richard Gilbert ('Dick') Emery (1915–1983)
Actor and comedian
6780: Bruce Forsyth
(Bruce Joseph Forsyth-Johnson) (1928–)
Actor and entertainer
6781: Russell Harty (1934–1988)
Journalist and broadcaster
6782: Sir Edward Heath (1916–2005)
Prime Minister
6783: Frankie Howerd (Francis Alex Howard) (1922–1992)
Comedian, 1978
6784: Sir Ludovic Henry Coverley Kennedy (1919–)
Writer and broadcaster, 1978
6785: Sir Freddie Laker (1922–2006)
Chairman of Laker Airways
6786: Sir James Wilson Vincent (‘Jimmy’) Savile (1926–)
Television and radio personality
6787: Alan Donald Whicker (1925–)
Television broadcaster and writer, 1975
6788: (James) Harold Wilson,
Baron Wilson of Rievaulx (1916–1995)
Prime Minister
47
Sir Iain Geoffrey Chalmers
by Julia Fullerton-Batten, 2006
© Julia Fullerton-Batten
Quiz Caricatures: drawings by Powys Evans, 1922–1925:
Powys Evans (1899–1981)
pen and ink, 13 7⁄8 x 10 in. (352 x 254 mm) or more
some signed 'QUIZ' and inscribed on mount
Purchased from the Elizabeth Weisz Fund 2006
6793: Lilian Mary Baylis (1874–1937)
Theatre manager, 1924
6794: Sir Ernest Alfred Thompson Wallis Budge
(1857–1934)
Orientalist; keeper of the Egyptian and Assyrian
antiquities at the British Museum, 1923
6795: Frederic John Napier Thesiger, 1st Viscount
Chelmsford (1868–1933)
Viceroy of India, 1924
6796: Howell Arthur Gwynne (1865–1950)
Journalist, 1924
6797: Douglas McGarel Hogg, 1st Viscount Hailsham
(1872–1950)
Statesman and Lord Chancellor, 1923
6798: Edward Frederick Lindley Wood, 1st Earl of Halifax
(1881–1959)
Viceroy of India, 1925
6799: Arthur Henderson (1863–1935)
Labour leader and politician, 1924
6800: Thomas Henry Marlowe (1868–1935)
Journalist, 1922
6801: James Edward Hubert Gascoyne-Cecil,
4th Marquess of Salisbury (1861–1947)
Politician, 1923
Studies for the portrait of Stephen Hawking (NPG 5799)
by Yolanda Sonnabend, 1985
Yolanda Sonnabend (1935–)
pencil, 11 5⁄8 x 7 3⁄4 in. (296 x 197 mm) or more
Purchased 2006
6802 (1–3): Stephen William Hawking (1942–)
Theoretical physicist, 1985
Frederic John Napier Thesiger,
1st Viscount Chelmsford
by Powys Evans, 1924
© Estate of Powys Evans
Figures in the Health Sector:
colour photographs by Julia Fullerton-Batten, 2006:
Julia Fullerton-Batten (1970–)
C-type colour print, 30 x 40 in. (762 x 1016 mm)
Commissioned 2006, funded through
the Deloitte Acquisition Fund
P1128(1): Dame Carol Mary Black (1939–)
Rheumatologist; President of the Royal College of Physicians,
2 March 2006
P1128(2): Sir Iain Geoffrey Chalmers (1943–)
Physician and health care administrator; Co-Founder of the
Cochrane Collaboration, 27 February 2006
P1128(3): Sir Cyril Chantler (1939–)
Paediatric nephrologist and health care administrator;
Chairman, Great Ormond Street Hospital for Sick Children
NHS Trust, 18 January 2006
P1128(4): Christine Hancock (1943–)
Nursing administrator, 13 March 2006
P1128(5): Nola Ishmael (1943–)
Nursing Officer, Department of Health, 9 February 2006
P1128(6): Sir Brian Jarman (1933–)
Epidemiologist and health care administrator,
23 February 2006
P1128(7): Sir Ian McColl Kennedy (1941–)
Lawyer, health care administrator and ethicist,
28 February 2006
P1128(8): Sheila Kitzinger (1929–)
Writer, social anthropologist and birth educator,
27 February 2006
P1128(9): Nick Partridge (1955–)
Health care administrator; Chief Executive,
Terrence Higgins Trust, 9 February 2006
P1128(10): Claire Rayner (1931–)
Writer, broadcaster, nurse and health campaigner,
13 February 2006
P1128(11): Ray Shannon (1951–)
Health care administrator; Chief Executive, South Yorkshire
Ambulance Service NHS Trust, 23 February 2006
P1128(12): Jill Stringer (1955–)
Health care administrator; first NHS Direct National
Clinical Advisor, 16 March 2006
P1128(13): Marjorie Wallace (Countess Skarbeck) (1943–)
Writer and journalist; founder of SANE mental health charity,
22 March 2006
P1128(14): Sir Derek Wanless (1947–)
Banker and financial policy adviser; author of the Wanless
Reports, 3 March 2006
P1128(15): Robert Maurice Lipson Winston,
Baron Winston (1940–)
Obstetrician; pioneer of fertility treatment, 15 March 2006
P1128(16): Sir Magdi Habib Yacoub (1935–)
Cardiothoracic surgeon, 14 March 2006
48
Sandy Nairne Director
Alexandra Finch Director’s Assistant
Louise Ledger Administrative Assistant
Curatorial and Collections
Jacob Simon Chief Curator
Staff
Curators
Tarnya Cooper 16th Century
Catharine MacLeod 17th Century
Lucy Peltz 18th Century
Peter Funnell 19th Century and Head of Research Programmes
Paul Moorhouse 20th Century
Sarah Howgate Contemporary
Terence Pepper Photographs
Clare Freestone Assistant Curator of Photographs
Rosie Broadley Assistant Curator
Helen Wyld Assistant Curator until 06/2006
Rab MacGibbon Assistant Curator
Magda Keaney Assistant Curator (Research)
Jan Marsh Researcher
Carol Blackett-Ord Researcher
Georgia Atienza Cataloguer
Constantia Nicolaides Cataloguer
Susanna Brown Photographs Documentation Assistant
Eddie Otchere Inspire Fellow
John Ingamells Research Fellow
Exhibitions and Collections Management
Sarah Tinsley Head of Exhibitions and
Collections Management from 04/2006
Beatrice Hosegood Exhibitions Manager until 07/2006
Claire Everitt Exhibitions Manager
Sophie Clark Exhibitions Manager on leave from 12/2006
Rosie Wilson Acting Exhibitions Manager
Alex Willett Exhibitions Assistant from 12/2006
Laura Down National Programmes Manager
Delphine Allier National Programmes Assistant
David McNeff Loans Manager
Tim Moreton Collections Manager
Juliet Simpson Collections Assistant
Annabel Champion Loans Assistant from 07/2006
Richard Hallas Head of Frame Conservation
Stuart Ager Assistant Manager, Frame Conservator
Stephen Williams Frame Conservator
Karl Lydon Head of Art Handling
Art Handlers: Neil Andrews, Julian Buchan,
Danny Horner, Ulrike Waschmann
Jude Simmons Head of Design
Ian Gardner Assistant Designer
Naomi Conway Head of Corporate Development
Sarah Moir Corporate Development Manager on leave
Mairi Sinclair Corporate Development Manager from 12/2006
Emily Agg-Manning Events Manager until 12/2006
Rebecca Roberts Acting Events Manager until 05/2006
Annie Davies Acting Events Manager
Mary Byrne Acting Events and Development Officer until 12/2006
Nicola Martin Events Officer from 01/2007
Kirsty Sprawson Trusts Fundraising Manager
Carol Trevor Fundraising Manager
Stephanie Weissman Major Donor Development Manager
Charlotte Savery Individual Giving Manager
Emma Black Membership Officer
Sarah Frain Development Researcher until 12/2006
Alex Kidston Music Co-ordinator
Trading
Robert Carr-Archer Head of Trading
Shirley Ellis Retailing and Publications Assistant
Celia Joicey Publishing Manager
Anjali Bulley Senior Editor until 09/2006
Susie Foster Editor on leave
Caroline Brooke Johnson Editor
Ruth Müller-Wirth Production Manager
Pallavi Vadhia Publications Sales and Marketing Manager
Lucy Robinson-Tillet Publications Sales and Marketing
Assistant until 07/2006
Tom Morgan Head of Rights and Reproductions
Bernard Horrocks Copyright Officer
Matthew Bailey Acting Assistant Picture Library Manager
Picture Librarians: Melissa Bromley, Emma Butterfield,
Helen Trompeteler
Shop
Denise Dean Retail Manager, Buyer
Linda Fu Assistant Retail Manager
Ingrid Oosterhuis Buying Assistant until 04/2006
Victoria Barnes Buying Assistant from 05/2006
Senior Sales Assistants: Sylvia Gallotti, Amy Mason
from 07/2006
Martin Steininger Acting Senior Sales Assistant from 11/2006
Sales Assistants: Suzanne Allat from 11/2006, Sonya Barber,
Maiven Bergeron, Penelope Chapelain-Midy until 07/2006,
Emma Fenton until 01/2007, Olivia Forder-White, Anthea
Henderson from 12/2006, Victoria Healy from 12/2006,
Lydia Julien until 11/2006, Thomas Mehew, Giles Morgan,
Maria Nillson, Christopher Rowntree until 11/2006, Wendy
Russell, Victoria Turnbull until 09/2007, Ingrid Uhlen
Terence Stewart Stores Supervisor
Robert Ryan Stores Assistant
Learning and Access
Heinz Archive and Library
Robin Francis Head of Archive and Library
Gabriele Popp Librarian
Paul Cox Assistant Curator (Archive and Library)
Erika Ingham Assistant Curator (Archive and Library)
Archive and Library Assistants: Alex Hepburn until 08/2006,
Todd Kelly until 01/2007, Bryony Millan from 11/2006,
Francesca Odell, Emma Williams from 06/2006
Emily Talbot Cataloguer until 10/2006
Andrew Allen Cataloguer from 01/2007
Charlotte Brunskill Records Manager
Communications and Development
Pim Baxter Communications and Development Director
Denise Ellitson Marketing Manager
Jonathan Rowbotham Marketing Assistant
Neil Evans Press Officer
Catherine Bromley Press Officer, Projects from 05/2006
Sarah Crompton Communications Assistant until 11/2006
Helen Corcoran Communications Assistant from 12/2006
Joanna Banham Head of Learning and Access
Liz Rideal Learning Manager – Art
Clare Gittings Learning Manager
Lisa Yates Young People’s Programmes Manager until 08/2006
Rachel Moss Young People’s Programmes Manager
from 02/2007
Janette Cullen Family Programmes Manager
Sylvia Lahav Adult Programmes Manager until 06/2006
Sumi Ghose Adult Programmes Manager from 09/2006
Lucy Ribeiro Learning and Access Manager
Francesca Silvester Access and Outreach Assistant
Toni Parker Reaching Out, Drawing In Project Manager
until 11/2006
Rebecca Connock Reaching Out, Drawing In Project Manager
Andrea Easey Interpretation Editor from 09/2006
Deborah Challis Learning Services Manager until 01/2007
Phillippa Heath Learning Services Manager from 01/2007
Emma Middleton Learning Services Assistant
Amy Wedderburn Learning Services Assistant from 07/2006
Gabriel Thorp AV/Theatre Technician
Administration
John Wykeham Head of Administration
David Saywell Head of Information Technology
Ann Lahiff Infrastructure and Development Manager
Martin Empson IT Systems Officer
David Lloyd IT Support and Development Manager
Simon Jones IT Support Officer
Kevin Day IT Support Officer
Theodora Mavromatakis Senior Digital Imaging Officer
until 12/2006
Emma Cavalier Digital Imaging Officer
Zaheen Qaiser IT Gallery Co-ordinator
Jonathan Williamson Collections Database Manager
Sylvain Giraud New Media Officer
Inga Fraser Data Entry from 01/2007
Allan Tyrrell Engineering Manager
John Dawson Building Services Co-ordinator
Michael New Facilities Manager until 05/2006
Shika Bell Facilities Manager from 01/2007
Andrew Lunt Head of Visitor Services and Security
until 07/2006
Claire Zammit Head of Visitor Services and Security
from 10/2006
Penny Dearsley Secretary until 09/2006
Seraphina Coffman Secretary
Caroline Wynter Head of Personnel
Llorett Kemplen Training and Development Manager
Jagdish Sandhu Senior Personnel Officer
Lucy Evans Personnel Assistant
Margaree Cotton Personnel Assistant
Finance
Barbara Jotham Head of Finance and Planning
Nico Nicholas Finance Manager
Terence Greenwood Assistant Finance Manager
from 07/2006
Jenny Dewhirst Management and Planning Accountant
Stella Muziya Assistant Management Accountant
from 02/2007
Susan Deane Payroll Officer
Accounts Assistants: Ubalda Gaston-Armantrading
until 09/2006, Olamide Ogunlesi
Visitor Services
Rosie Pagan, Hugo Penning, Colin Wood
Visitor Services Managers
Andrew Hudson, Alex Macrae until 09/2006, Ruth Mason
(Acting), Mark Van Beurden
Assistant Visitor Services Managers
Ian Lamont Supervisor until 04/2006
Front of House Assistants
Krzysztof Adamiec, Roz Ah Thion, Matilda Allen
from 12/2006, Thomas Ardill, Henar Arevalo,
Joseph Armstrong, Stephen Atkins, Emma Barrow
until 06/2006, Barbara Barnett, Linda Beadle,
Yamina Belkacemi, Arthur Bell, Beverley Bennett,
Pierre Berthou, Edmund Bing, John Bourke,
Rosemary Brookes, Sarah Brown, Athanasia Christopoulou,
Kevin Clarke, Eveline Coker, David Coomber,
Brenda Copleston, Anna Di Cesare, Margaret Drury,
Stuart Evans, Darren Gardiner, Andrea Giles,
Annette Harrison, Victoria Hogarth until 10/2006,
Jennifer Hooper until 08/2006, Adam James until 07/2006,
Vivian Johnson until 07/2006, Carole Joyce,
Lateef Kareem, Aline Kuyvenhoven until 10/2006,
Ji Lamey, Andrew Le Bas, Magdelena Lewandowska,
James Lindley, Giles Livsey, Zoila Lothian, Blue Macaskill,
James MacDonald, Lanny Madhavan, Carlos Maestre,
Cassandra Makris, Philip Marsden, Ruth Mason,
Alan McQuillan, Max Moir until 10/2006, Adriana Oliveira,
Ashok Patel, Valerie Peppiatt, Simon Perry, Carl Prince,
Gisela Radant until 02/2006, Aman Sagoo,
Janelle St Bernard, Rebecca Saville, Evelyne Sperling,
Catherine Stanton, Lee Summers, Paul Taylor, Raili Taylor
until 09/2006, Susan Taylor, Sarah Thompson,
Heather Tilley, Andrea Toon from 12/2006, Joanna Trezise
until 09/2006, Numvi Wallace from 07/2006,
Alexandra Westbrook from 12/2006, Kathleen Wilkins
Control Room Warders
Andrew Boulderstone until 06/2006, Majeed Hyderkhan,
Judith Lockyer, Nigel Phillips, David Read,
Konstantin Silkoff, Garry Tyndall, Michael Worsley
The composition of the Gallery’s staffing is shown below:
91%
9%
39%
61%
1%
21%
White
Black and Minority Ethnic
Male
Female
Disabled
Part-time employees
The Review covers the Gallery’s
activities for the financial year
from April 2006 to March 2007
Published by
National Portrait Gallery
St Martin’s Place
London WC2H 0HE
T 020 7306 0055
F 020 7306 0056
The National Portrait Gallery website
can be visited at www.npg.org.uk
Copyright
© National Portrait Gallery 2007
ISBN 13: 978 1 85514 380 6
All rights reserved. No part of this
publication may be reproduced, stored
in a retrieval system or transmitted in
any form or by any means, electronic
or mechanical, including photocopying,
recording or otherwise, without prior
permission in writing from the publisher.
All images are copyright of the
National Portrait Gallery unless otherwise
stated. The National Portrait Gallery
would like to thank the copyright holders
for granting permission to reproduce
works in this publication.
Designed by Anne Sørensen
Project managed by Denise Ellitson
Edited by Elisabeth Ingles
Printed by Tradewinds London