untitled

Review 2007/2008

Terence Stewart Stores Supervisor

Robert Ryan Stores Assistant until 01/08

Kieron Wakeman Stores Assistant from 01/08

Learning and Access

Liz Smith Head of Learning and Access from 06/07

Liz Rideal Learning Manager – Art until 01/08,

Art Resources Developer from 01/08

Clare Gittings Learning Manager

Tanja Ganger Learning Manager – Art from 01/08

Rachel Moss Young People’s Programmes Manager

Janette Cullen Family Programmes Manager

on leave from 11/07

Kevina Khan Family Programmes Manager from 11/07

Sumi Ghose Adult Programmes Manager

Lucy Ribeiro Learning and Access Manager

Francesca Silvester Access and Outreach Assistant

on leave from 11/07

Kalliopi Liouta Access and Outreach Assistant from 11/07

Rosie Burley Access and Outreach Assistant from 09/07

Andrea Easey Interpretation Editor

Anna Bright Short Text Writer

Rebecca Connock Reaching Out Drawing In Project Manager

until 11/08

Phillippa Heath Learning Services Manager

Emma Middleton Learning Services Assistant

Amy Wedderburn Learning Services Assistant

Gabriel Thorp AV/Theatre Technician

Finance and Planning

Nick Hanks Head of Finance and Planning from 09/07

Barbara Jotham Head of Finance and Planning until 06/07

Nico Nicholas Finance Manager

Terence Greenwood Assistant Finance Manager

Jenny Dewhirst Management and Planning Accountant

Stella Muziya Assistant Management Accountant

Susan Deane Payroll Officer

Finance Assistants: Peter Beadle, Olamide Ogunlesi

Resources

Judith West Head of Resources

Louis Brady Head of Information Technology

Ann Lahiff IT Infrastructure and Development Manager

Martin Empson IT Systems Officer until 08/07

David Lloyd IT Support and Development Manager

Simon Jones IT Support Officer

Kevin Day IT Support Officer

Ron Hurtado IT Assistant from 08/07

Steve Ames Facilities Manager

Allan Tyrrell Engineering Manager

John Dawson Building Services Co-ordinator

Claire Zammit Head of Visitor Services and Security

Caroline Wynter Head of Personnel

Llorett Kemplen Training and Development Manager

Jagdish Sandhu Senior Personnel Officer

Lucy Evans Personnel Assistant

Melanie Pelletier Personnel Assistant

Elizabeth Fomin Contracts/Procurement Adviser from 12/07

Visitor Services

Visitor Services Managers:

Rafal Kennedy from 09/07, Heather Packham from 05/07,

Rosie Pagan, Colin Wood until 08/07

Assistant Visitor Services Managers:

Jennifer Hopkins from 07/07, Andrew Hudson,

Adriana Oliveira from 01/08, Mark Van Beurden

Visitor Services Assistants:

Roz Ah Thion, Henar Arevalo, Joseph Armstrong,

Stephen Atkins, Barbara Barnett, Michael Barratt

from 07/07, Linda Beadle until 06/07, Yamina Belkacemi,

Pierre Berthou until 02/08, Lynn Boothman,

Rosemary Brookes, Sarah Brown until 05/07,

Leonie Brumby from 07/07, Michelle Cajapin from 07/07,

Chia Han Chou from 07/07, Athanasia Christopoulou,

Kevin Clarke until 09/07, Eveline Coker, David Coomber,

Brenda Copleston, Victor Cruz, Fausta Cuboni from 07/07,

Anna Di Cesare, Margaret Drury, Stuart Evans,

Emma Fitzpatrick from 02/08, Andrea Giles, Davina Gregory,

Emma Halliday until 12/07, Annette Harrison, Carole Joyce,

Pooja Kalyan from 02/08, Martha King from 02/08,

Ji Lamey,

Magdelena Lewandowska, Yu-chu Liu from 02/08,

Giles Livsey, James MacDonald, Lanny Madhavan,

Carlos Maestre, Cassandra Makris, Philip Marsden,

Ruth Mason, Ashok Patel, Valerie Peppiatt, Simon Perry

until 08/07, Carl Prince, Aman Sagoo until 01/08,

Janelle St Bernard, Rebecca Seal, Katie Sharp from 02/08,

Urszula Skiba from 07/07, Lauren Skyers from 02/08,

Claire Softley from 07/07, Evelyne Sperling, Lee Summers,

Paul Taylor, Susan Taylor, Sarah Thompson, Andrea Toon,

Sonika Ummat from 02/08, Numvi Wallace,

Kathleen Wilkins

Nigel Phillips Senior Control Room Officer from 01/08

Control Room Officers:

Majeed Hyderkhan, Judith Lockyer, Nigel Phillips,

David Read, Konstantin Silkoff until 11/07, Garry Tyndall,

Michael Worsley until 02/08

The composition of the Gallery’s staffing is shown below:

89% White

11% Black and Minority Ethnic

33% Male

67% Female

1.4% Disabled

21% Part-time employees

The Review covers the Gallery’s

activities for the financial year

from April 2007 to March 2008

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

ISBN 13: 978 1 85514 402 6

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.

Project managed by Denise Ellitson

Edited by Elisabeth Ingles

Printed by Tradewinds London

Front cover artwork by David Hockney

‘Self-portrait with Charlie’, 2005

Oil on Canvas, 72 x 36in.

Back cover

John Fletcher (detail)

by an unknown artist, c.1620

Inside front cover

In the Car (detail)

by Roy Lichtenstein, 1963

featured in the Pop Art Portraits exhibition

Photograph © EMPICS

National Portrait Gallery Review 2007/8 incorporating Accounts

ordered to be printed by the House of Commons on 17 July 2008 as HC759

Review 2007/2008

2 Preface by the Chairman of the Trustees

3 Foreword by the Director

4 2007/2008 Highlights

6 Extending and Broadening Audiences

12 Developing the Collection

16 Increasing Understanding of Portraiture and the Collection

24 Maximising Financial Resources

29 Developing Staff

30 Improving Services

33 Supporters

36 Financial Report

40 Acquisitions

47 Exhibitions

48 Staff

The year opened with a special exhibition of

treasures from the Gallery’s Collection presented

in the renewed building of the National Portrait

Gallery of America in Washington, D.C. Entitled

Great Britons, it offered to American viewers

a microcosm of what is important about the

National Portrait Gallery in Britain – a panorama

of British history centred on the achievements

and lives of leaders, writers, reformers, scientists,

artists and all those who have contributed to

make ours such an extraordinary nation of

talents. Through the special qualities of the art

of portraiture, the Gallery offers, alongside other

collections, an engaging way of approaching

questions of culture, identity and nationhood.

The Gallery’s American links were further

consolidated with the announcement of an

outstanding gift from the Lerner family. This

£5 million donation offers the chance to extend

research, digital and outreach programmes over

the next three years. It will also help to build up

the Portrait Fund, a crucial goal for the Gallery.

The acquisition of the portrait of the writer

John Fletcher was supported by the Portrait Fund,

and through generous contributions from the

Art Fund (to which we offer continuing thanks)

and individual supporters, including Patrons,

Associates and Members.

Thanks to a mix of public and private support,

the Gallery goes from strength to strength,

and I am most grateful to all those trusts and

foundations, sponsors and corporate members,

as well as private individuals, who so wonderfully

support its programmes. We were pleased to

receive a positive increase in our Grant-in-Aid

following the government’s Comprehensive

Spending Review, but we will continue to make

the case that the present level of revenue funding

neither matches what the Gallery achieves, nor

yet invests appropriately in an institution that

holds such a central place in the life of the nation.

I want to thank my fellow Trustees for all they

do for the Gallery; their interest and engagement

are exemplary and much appreciated. During

the year Baroness Valerie Amos took up another

post and so completed her period as one of our

ex-officio Trustees. I am very grateful for her

support and wise counsel, and I am pleased to

welcome Baroness Cathy Ashton who, as the new

Lord President of the Council, has been appointed

in her place.

Finally, on behalf of the Trustees I should like

to offer my warmest thanks to all of the Gallery’s

staff and volunteers. As the pages of this Review

demonstrate, they are extraordinarily dedicated

to public service, and they offer their knowledge

and expertise on an unstinting basis.

Professor David Cannadine

Preface by the

Chairman of

the Trustees

David Cannadine

by Kristofer Dan Bergman

Board of Trustees

1 April 2007 to 31 March 2008

Professor David Cannadine, FBA, FRSL

Chairman

The Rt. Hon. Baroness Amos

Lord President of the Council

(until June 2007)

The Rt. Hon. the Baroness Ashton

of Upholland

Lord President of the Council

(from June 2007)

Zeinab Badawi

Sir Nicholas Blake

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

Sir Christopher Ondaatje, OC, CBE

David Ross

Chair of the Audit and

Compliance Committee

Professor Sara Selwood

Alexandra Shulman, OBE

Sir John Weston, KCMG

Foreword by

the Director

This is the second consecutive year in which the

Gallery has had more than 1.65 million visitors. Its

continuing popularity relates in part to the success

of exhibitions ranging from the BP Portrait Award

to Vanity Fair Portraits. Underpinning such interest

in our exhibitions are the changing displays, new

forms of interpretation and an expanding range

of learning programmes, which are increasingly

targeted at off-site audiences as well as those

visiting the Gallery itself. The successful National

Programme with partners around the country,

and the 14.8 million visits to the website, also

testify to the strength of interest in our work.

2007 marked the 200th anniversary of the first

Act of Parliament for the abolition of the slave

trade. The Gallery wanted to find an appropriate

way of commemorating this important

bicentenary in order to draw attention to those

who played a part in the trade; and then to

acknowledge the work of freed slaves and

activists, as well as the parliamentary reformers;

and finally, to show the achievements of those

working against slavery today. The special display

and trail was complemented with workshops and

music, and coincided with the Between Worlds

exhibition and the Devotional display, devised

by the artist Sonia Boyce.

Alongside the public programmes, it is essential

that the Gallery develops its research work,

whether through special programmes such as

Making Art in Tudor Britain and the catalogue of

Later Victorian Portraits, or through partnerships

with universities, or a scheme such as that

supported by the Leverhulme Trust, which

brings outstanding scholars to the Gallery. The

development of better access to the material

of the Heinz Archive and Library and cooperation

with other institutions through the Subject Specialist

Network on Portraiture have also made good

progress this year.

The 2007 Department of Culture, Media and Sport

review by Brian McMaster emphasised excellence

in the cultural sector. The Gallery supports his view,

but would stress the importance of excellence in

all of its work, including learning, outreach and

the essential support services for the long-term

care of a national collection. Training and staff

development work have increased, while efforts

continue to refine the Gallery’s processes,

particularly with the first year of the National

Portrait Gallery Trading Company.

A significant development was the planning for

the Cultural Olympiad 2008–2012, with which

we share an interest in achievement, diversity,

young people and international links. The Gallery

has made plans for three levels of activity including

displays at the Gallery itself, a commissions and

community programme entitled The Road to 2012,

and The National Portrait, a way of looking afresh

at the whole nation. Each of these strands will

help the Gallery fulfil its long-term goal of seeking

more engagement with audiences nationwide.

Sandy Nairne

by Eamonn McCabe, 2008

2007/2008

Highlights

There were over 1.65 million visits to St Martin’s

Place – and the Gallery was listed as the eleventh

most popular attraction in Britain in a survey by

the Association of Leading Visitor Attractions.

Of those sampled while visiting, 98.5% said

they would recommend a visit to a friend.

–

Successful exhibitions undertaken during the

year included Great Britons, Daily Encounters,

Pop Art Portraits and Vanity Fair Portraits. In

addition, the Gallery mounted a display and

special trail devised for the commemoration

of the 200th anniversary of the first Act of

Parliament for the abolition of the slave trade.

–

The BP Portrait Award 2007 exhibition attracted

over 195,000 visits. A record entry of 1,876 was

received, the highest ever for the competition

to date.

–

The 2007 Photographic Portrait Prize attracted

93,829 visitors – 6,000 more than in 2006 –

and also registered a record entry for this prize

of 6,072 prints.

–

The Gallery received a pledge from the Lerner

Foundation of a gift of £5 million over the next

three years. Half of the donation will go to the

Portrait Fund and half to extend learning,

outreach, research and digital work at the Gallery.

–

A number of important acquisitions were made,

among them David Hockney’s Self-portrait with

Charlie, acquired with help from the proceeds of

the 150th Anniversary Gala and Gift Aid from

visitor donations on their ticket purchase, and

the portrait of the Jacobean writer John Fletcher

with support from the Portrait Fund, the Art Fund

and a successful public appeal.

–

New commissions completed in the year included

photographs of leaders of ‘Faith and Church’

by Don McCullin and paintings of two scientists,

Sir Paul Nurse by Jason Brooks, supported by

JPMorgan through the Fund for New Commissions,

and Sir Peter Mansfield by Stephen Shankland,

winner of the BP Portrait Award 2004.

–

The communications campaign for Face of

Fashion won three major accolades in 2007:

gold award for an Exhibition Campaign in the

International Museum Communication Awards,

silver award in the Visit London Awards for

Marketing/PR Campaign of the Year and Highly

Commended in the Museums and Heritage

Awards for Excellence.

There were almost 15 million visits to the

website, making it the fourth most visited arts

website in the country.

–

The Gallery secured a three-year sponsorship

from Taylor Wessing for the Photographic

Portrait Prize. Herbert Smith became the

Gallery’s first Spring Season sponsor for 2008.

–

Research work continued on the detailed

catalogues of Later Stuart Portraits and

Later Victorian Portraits, and progressed with

the next phase of Making Art in Tudor Britain,

with two additional Leverhulme Foundation

Fellows being appointed.

–

Self-generated income will have exceeded the

target set by the DCMS by 20%.

–

There were 45,000 visits by school and college

participants, a 7% increase on the previous

year. Following the completion of Reaching Out,

Drawing In, funded by the Heritage Lottery Fund,

further outreach work was carried on with the

My Space exhibition and the development of

the new Facing Out project.

–

The digitisation of the Gallery’s Collection

continued, with over 100,000 portraits now

viewable online, of which 56,000 have images

available.

–

The Gallery received a grant from the

DCMS/Wolfson Capital Funding Scheme for

access improvements to the First Floor Landing.

–

The number of Members increased by 24%

to 4,348. The number of Patrons exceeded, for

the first time, the milestone of 100.

–

The Gallery’s new subsidiary, National Portrait

Gallery Trading Company, completed a successful

first year of trading.

–

200 children and young people took part in the

innovative Hospital Schools outreach programme,

developed in partnership with Pop Art Portraits

sponsors Lehman Brothers.

Artist Peter Blake and

Andrea Sullivan, Head of

European Philanthropy

and Client Marketing,

Lehman Brothers, take part

in the Hospital Schools

outreach programme

The Gallery once again welcomed over

1.65 million visitors during 2007/8, a figure

driven by a programme of popular exhibitions

and displays and a communications strategy that

successfully attracted key target audiences. Over

66,000 visitors saw Face of Fashion: 40% of them

had never been to the Gallery before and 41%

were aged under twenty-five. Pop Art Portraits

also encouraged a new, young audience; over

half were under thirty-four years old and 44%

were on their first visit. Between Worlds was seen

by 128,000 people, 49% of whom originated

overseas and 9% of whom came from minority

ethnic groups. The BP Portrait Award 2007

attracted over 195,000 for the second year

running. Following a special marketing campaign

promoting the family activities linked to the

exhibition, the number of children aged eleven

and under increased by 6% year on year.

The communications campaign for the Face of

Fashion exhibition won three major accolades.

The marketing campaign achieved the gold award

for an Exhibition Campaign in the International

Museum Communication Awards 2007. The jury

felt that it was ‘well executed with high impact

and strong stand-out’. The Gallery was Highly

Commended in the 2008 Museums and Heritage

Awards for Excellence Marketing Campaign

category and received a silver award in the

Visit London Awards Marketing/PR Campaign

of the Year 2007; it was commended for its

‘successful combination of traditional media and

new media channels’ and was cited as ‘a great

example of carefully targeted marketing’.

The Gallery’s programme of audience research,

conducted by Morris Hargreaves McIntyre, has

continued with a year-round exit survey and a

major qualitative project incorporating focus

groups and segmentation analysis. Results

indicate that the Gallery continues to attract

a younger audience, with 49% of all visitors

aged under thirty-four. The visitor profile has

also become more diverse: 8% were from

black and minority ethnic groups, a 3% year

on year increase, and 42% were from overseas.

Enjoyment and satisfaction levels remain

very high, with 95% rating their visit as ‘good’

or ‘excellent’.

Extending and

Broadening

Audiences

Pop Art Portraits poster

Pim Baxter, Deputy Director and

Communications and Development

Director, receives the International

Museum Communication Award in

Brussels on behalf of the Gallery

Opposite

Pupils from St Paul’s Way Community

School in the ‘design4life’ workshop

Extending and

Broadening

Audiences

Late night opening

The focus on Thursday evenings are popular

high-profile talks, while on Fridays it is the

music series, which has built up considerable

momentum. Highlights during the year included

students from the Royal College of Music being

inspired by the Photographic Portrait Prize and a

composition based on a sermon by John Donne,

performed by Benjamin and Raphael Wallfisch.

Performances by young people also feature on

Friday evenings. Eleven young people took part

in a lyric writing course, inspired by Sonia Boyce’s

Devotional display. Their creative responses

resulted in a public performance. The Gallery

took part in the Greater London Authority (GLA)

‘Lates’ seasons during 2007. These evenings

were hugely popular, Fashionista Friday, for

example, brought in over 2,000 visitors. There

is still considerable scope for attracting visitors

to Thursday and Friday evening events and this

will be an aspiration for forthcoming initiatives

planned for 2008/9.

Families and young people

A new initiative for summer 2007 was the

introduction of child-friendly labels and a

portrait-making family interactive to encourage

more families to the BP Portrait Award exhibition,

using characters from award-winning illustrator

Lauren Child’s ‘Charlie and Lola’ books. Self-directed

resources for families will be developed in the next

year for use across the Gallery. These will assist

in supporting children and their adult carers in

understanding portraits, making connections and

telling stories associated with the people depicted.

A ‘write your own caption’ competition for

eleven- to twenty-one-year-olds was offered

online, with texts written by members of the

Gallery’s Youth Forum. This was the first

example of user-generated content, and it

served as a useful experiment in an area that

will be developed when the new website is

launched in autumn 2008.

The Forum now has twelve active members who

meet regularly. Some members have already

completed the Arts Award Bronze, a national

qualification for eleven- to twenty-five-year-olds

that develops and assesses both arts-related

skills (arts knowledge and understanding) and

transferable skills (creativity, communication,

planning and review, teamwork and leadership).

Visitors learn to vogue with

the ‘House of Egypt’ as part of

Fashionista Friday, May 2007

Family activities at the Gallery

Geraldine Albertha Morris

by Othello De Souza-Hartley, 2006

Part of the Four Corners exhibition

Drawing activity in the Early

20th Century galleries

Adults, schools and colleges

The schools programme had another successful

year providing primary and secondary

programmes and resources for history, art and

photography. The focus is on cross-curricular

teaching, citizenship and the new vocational

14–19 Diplomas, all factors that will be affecting

teaching and learning in secondary schools over

the coming year.

The Adult programme continues to evolve, with

Gallery talks, lunchtime or evening lectures and

performances to meet different interests and

encourage new and diverse ways to work with

the Gallery’s subjects, displays and exhibitions.

Highlights included artist Chuck Close on his

forty-year career at the forefront of contemporary

portraiture in conversation with the biographer

Christopher Finch, and the UK première of a

documentary on the Chinese-American movie

star Anna May Wong, which was screened as

part of our Chinese New Year Celebrations.

Partnerships with universities have brought

additional expertise to the Adult programme.

‘Inside and Outside the Codes of the

Photographic Archive’ was a popular study

day run in collaboration with the London

College of Communication.

Outside the Gallery

About 200 children and young people have taken

part in a new and innovative Hospital Schools

outreach programme launched to accompany

Pop Art Portraits. The exhibition inspired work

with artists, animators and photographers on

a multi-media project focusing on animation and

collage. The programme was launched with a

ten-day animation project at the Evelina Children’s

Hospital (part of Guy’s Hospital) in November.

Developed in partnership with exhibition sponsors

Lehman Brothers, the programme will result in

a report, which it is hoped will be a blueprint for

best practice for museums and galleries working

with hospital schools.

The Gallery worked in partnership with the

Wallace Collection to develop a one-day pilot

project with adults with mental health issues.

Training for Visitor Services staff to deliver touch

tours to partially sighted and blind visitors has

been arranged in partnership with the V&A

and the Royal National Institute of Blind People.

The Studio Gallery

The final exhibition in the Reaching Out, Drawing

In series, supported by the Heritage Lottery Fund,

ended in August 2007, following a positive

response from both project participants and

exhibition visitors. Four Corners, developed in

partnership with four London cultural venues

and four community groups, celebrated the rich

diversity of the city. Following the display at the

Gallery, the work toured to local venues across

London. Partnerships initiated as part of this

project are being developed by the young

people’s and access programmes. Over the

duration of the project 30,000 visitors viewed

the exhibitions.

Interpretation

Interpretation work is proceeding through the

effective use of digital media for temporary

exhibitions and permanent displays. The update

of the Gallery’s audio guide has fourteen new

audio entries for portraits on display. Five new

audio guide tours have also been produced,

including a ‘Highlights’ tour and thematic tours

featuring ‘Science and Discovery’, ‘Writers’,

‘Kings and Queens’ and ‘Fame and Celebrity’.

An exhibition audio guide was commissioned

for Pop Art Portraits, featuring Joan Bakewell

introducing a tour of the show with

Paul Moorhouse, the exhibition curator.

A second version of the audio guide was

available from the Gallery’s website and on

iTunes as a National Portrait Gallery podcast.

National programme

National partnerships

At Montacute House the portrait of Lady Anne

Carlton was reunited for a year with that of her

husband, and the Gallery has been working with

MA students from Bristol University on a display

project to take place in 2008 and run for the next

two years. A new Gallery publication, Tudor and

Jacobean Portraits, highlights many of the

portraits at Montacute House.

Making Faces, the displays at Beningbrough Hall,

continued to be extremely successful and involved

targeting new audiences with a range of activities.

The visiting portrait exhibition, celebrating the Act

of Union in 1707 between England and Scotland

was very well received.

Bodelwyddan Castle played host to the successful

Visitors to Venice exhibition, which included works

from the Gallery and key impressionist paintings

from the National Museum Wales.

Regional Museums hubs

The Partnership with the North East Museums

Hub produced North Face: Photographs from the

National Portrait Gallery (displayed at separate

venues throughout the region, with a special

connection to the sitter), and A Blueprint for Life:

Designers Photographed by Steve Speller at the

Shipley Art Gallery, Gateshead. The South West

Museums Hub was supported with loans at

Plymouth City Museum and Art Gallery and the

Royal Cornwall Museum, Truro.

People, Places and Portraits

The DCMS/DCSF National/Regional Museums

Partnerships Education programme created

programmes of activity with children at both

primary and secondary levels as well as community

audiences. 12,350 children and families took

part in activities at Montacute House and

Beningbrough Hall.

Collaborations involved Sunderland Museum

and Winter Gardens with Pop Stars: Photographs

from the National Portrait Gallery, which

included workshops for schools involving writers,

poets and young musicians. Sheffield Galleries

and Museums Trust worked with a group of

young people on an interpretation project called

The Diary Room: Characters of the 17th Century.

Activities included photographic portraits of the

young people based on the portraits on loan

and a murder-mystery-themed trail aimed at

young visitors. Plymouth City Museum and Art

Gallery worked with the Gallery, young people

and teachers on learning activities around the

2007 bicentenary of the Act of Parliament

abolishing the slave trade in Britain.

Extending and

Broadening

Audiences

Recreated portrait of Samuel Pepys

Museums Trust

Pop Stars: Photographs from the

National Portrait Gallery at Sunderland

Museum and Winter Gardens

Loans

The Gallery has lent to a range of exhibitions

and venues, reflecting both the diversity and

the importance of the collections. 631 works

were lent to 90 temporary exhibitions or displays,

while 541 were lent to 54 venues on a longer-term

basis. Portraits from the Collection featured

prominently in three of the major UK exhibitions

commemorating the 1807 Abolition of the

Slave Trade Act. The Gallery is now a pilot project

for the Effective Collections Scheme, funded by

the Museums Association and Esmée Fairbairn

Foundation to increase the numbers of works

on loan to venues around the country.

Subject Specialist Network: understanding

British portraiture

Following an implementation grant for the

Network from the Museums, Libraries and Archives

Council (MLA), the Gallery has worked on a range

of activities, with steering group partners the

National Trust, the North East Museums Hub,

the South West Museums Hub and the Oxford

Dictionary of National Biography. A seminar was

held at the Gallery for 70 museums and galleries

on regional portraiture; three online toolkits were

commissioned and a mapping exercise of portrait

collections and experts will be available online.

Media collaboration

Media coverage throughout the year was

extensive. A significant reach was achieved for

Vanity Fair Portraits: Photographs 1913–2008,

including many national news stories, an

eight-page exclusive in The Times magazine

and features in a number of broadsheets

including the Independent and the Guardian

Weekend. There were items on BBC 2’s

The Culture Show, BBC Radio 4’s Front Row

and BBC Radio 3’s Night Waves.

The BP Portrait Award 2007, with the newly

extended age limit, attracted news coverage

of the fifty-nine-year-old winner, Paul Emsley.

For the first time there was a five-page colour

feature on the work of a Travel Award winner,

Toby Wiggins, in The Times magazine.

Pop Art Portraits enjoyed significant coverage

including Newsnight Review, BBC TV’s 10 O’Clock

News and BBC Radio 4’s Front Row. The opening

private view saw the largest gathering of British

Pop artists for decades, captured for a picture

story in the next day’s Evening Standard.

Among displays, 21st Century Portraits, with a

photograph of the British actress Sienna Miller,

was covered in publications as diverse as the

Daily Mirror, the Daily Telegraph and the

Yorkshire Evening Post. Features on Devotional

ran in specialist magazines such as Trace, Pride

and Black History 36. Other coverage during the

year included items on the Gallery’s acquisition

of the David Hockney painting Self-portrait with

Charlie and the fund-raising appeal to acquire a

portrait of the Jacobean playwright John Fletcher.

In January, the announcement of the Lerner

Foundation’s gift to the Gallery of £5 million

was covered by exclusive interviews in The Times

and the Birmingham Post and an announcement

on BBC Radio 4’s Tod a y programme.

British Pop Artists at the Pop Art Portraits

Private View. L–R front row: Joe Tilson,

Richard Hamilton, Sir Peter Blake,

Richard Smith. L–R back row: Peter Gidal,

Gerald Laing, Mel Ramos, Allen Jones,

Colin Self

Developing

the Collection

Acquisitions

The outstanding historic acquisition of the year

was the panel portrait of the Jacobean dramatist

John Fletcher, painted in about 1620, acquired

after an appeal which was marked by the

generosity of numerous supporters, led by the

Art Fund. The outstanding modern acquisition was

David Hockney’s full-length painting Self-portrait

with Charlie, acquired with help from the proceeds

of the Gallery’s 150th Anniversary Gala.

Historic portraits included the political economist

David Ricardo, by Thomas Phillips, on loan from

Christopher Ricardo, a cabinet photograph of

Oscar Wilde taken in New York by Napoleon

Sarony, the historic Lafayette photograph,

The Dreadnought Hoax, taken in 1912, and two

photograph albums, one relating to the Rossetti

family, including images by Lewis Carroll, the

other to Sidney and Beatrice Webb.

Other photographs included Edward Steichen’s

Charles Laughton from 1935, a group of fine

mid-century vintage prints by Angus McBean,

a substantial collection of 1970s photographs

by the American photographer Bern Schwartz,

generously given with an endowment by the

Bernard Lee Schwartz Foundation, and works

by Corinne Day, Steven Klein, Paolo Roversi

and Mario Sorrenti, acquired as a result of the

Face of Fashion exhibition in spring 2007. Further

photographic acquisitions are described overleaf.

Twentieth-century acquisitions included portraits

from the 1950s, 1960s and 1970s: Henry Lamb’s

Self-portrait, James Gunn’s Marchioness of Reading,

Ruskin Spear’s Sid James, Raymond Skipp’s

Sir Siegmund Warburg and Maggi Hambling’s

Victor Musgrave. Particularly notable was

Sylvia Sleigh’s The Situation Group, 1961,

showing many of the leading figures involved in

abstract painting at the time. Among works by

Tom Phillips were composer Sir Harrison Birtwistle,

musician Brian Eno and zoologist Lord May.

Other modern works included four self-portraits:

paintings by Chris Ofili and Tony Bevan,

Julian Opie’s computer animation screen

portrait and Ian Breakwell’s stark Parasite and

Host, made in 2005, the year of his death.

Several of these works were acquired with

generous external support, as recorded in the

complete list of acquisitions on pages 41–46.

Two film works featuring in past exhibitions were

accessioned into the Collection, Peter Gidal’s

Heads, a film dating to 1969, and Marty St James

and Anne Wilson’s multi-monitor video portrait

of the swimmer Duncan Goodhew, commissioned

in 1990.

Audrey Hepburn

by Angus McBean, 1950

Self-portrait (‘Parasite and Host’)

by Ian Breakwell, 2005

Opposite

Self-portrait (detail)

by Chris Ofili, 1991

Victoria Miro Gallery, London

Commissions

Two portraits of Nobel Prize winners were

commissioned as part of a drive to improve

the representation of contemporary scientists

in the Collection. Physicist and MRI scanner

pioneer Sir Peter Mansfield was painted by

Stephen Shankland, winner of the First Prize

in the BP Portrait Award 2004. Biochemist and

cancer researcher Sir Paul Nurse was the subject

of Jason Brooks’s large-scale photo-realist

painting, made possible by JPMorgan through

the Fund for New Commissions.

A major group photographic commission, taken

by Don McCullin, of ten prominent Faith and

Church leaders was displayed in spring 2007.

Photographs

A wide variety of contemporary works were

acquired, including images of Tina Brown by

Emma Blau, Sienna Miller by Valerie Phillips

and Alexander McCall Smith by Eva Vermandel.

A successful new feature is a designated

‘Photograph of the Month’ focusing on topical

people such as Michael Eavis by Paul Stuart,

at the time of the Glastonbury Festival, and

Thandie Newton by Lorenzo Agius for Fashion

Week. Other contemporary acquisitions included

cricketer Monty Panesar by Henry Browne, writer

D.B.C. Pierre and animated-film-maker Nick Park

by Louis Quail, a group of Royal Academicians by

Dennis Toff and a study of Banksy by James Pfaff.

From the recent past were Walter Hanlon’s jazz

personalities of the 1950s and Roger Perry’s

portraits of the 1970s. A display to celebrate

the sixtieth anniversary of Camera Press resulted

in welcome additions of historic photographs

by the agency’s founder, Tom Blau, as well as

newly commissioned works from leading

photographers represented by the agency such

as Bryan Adams, Jillian Edelstein, Mary McCartney,

Perou, Lord Snowdon and John Swannell.

The earlier part of the twentieth century was

represented by two important group purchases:

fifteen photographs of Elisabeth Welch by

photographers such as Humphrey Spender,

Paul Tanqueray, Canons of Hollywood and

Kenneth Collins, and vintage prints by Gilbert Adams,

Bertram Park and Yvonne Gregory of subjects

such as Fay Compton, Isadora Duncan and the

Earl of Carnarvon.

Important Victorian acquisitions included the

novelist Dinah Craik by H.S. Mendelssohn,

Charles Dickens in America by Rockwood and

a self-portrait of the photographer Oliver Sarony.

Photographs taken by Nancy Hellebrand for her

book Londoners at Home, published in 1974,

were transferred to the Museum of London.

Developing

the Collection

Sir Paul Nurse

by Jason Brooks, 2008

Sienna Miller

by Valerie Phillips, 2006

The Heinz Archive and Library

Several important gifts were received, including

books from the estate of Sir Oliver Millar, papers

relating to Dr John Hayes (Director 1974–94),

donated by Dr Morag Timbury and Derek Watson,

and thirty-two albums of photographs of portraits

by Frank Salisbury, offered by Richard Norris

in 2007. A group of photographs relating to

Salisbury’s paintings for the Coronation of

George VI was donated by Lorraine Wilson.

Purchases included a portfolio of caricatures

relating to The Beggar’s Opera by Powys Evans

and a self-portrait etching by Celia Paul, 2002.

Gifts of portrait prints included a lithograph of

Frederick Delius by Jacob Kramer, 1932, from

John Stubbs; a mezzotint of Ann Catley by

Robert Dunkarton, 1777, from Ronald Crawley;

a Vanity Fair print of John Edward Redmond,

1904, by Sir Leslie Ward, from Terence Pepper;

and a lithograph of Philip Meadows Taylor by

Weld Taylor, c.1840, from John Shrive.

Care of the Collection

Programme activity this year has again been

at a high level and has involved the teams in

the preparation of a large number of works

for loan, display and exhibition. The Gallery

appointed a Collections Services Manager to

strengthen its resources and commitment to

care for the Collection.

The Collections Management team have

researched and implemented improved storage

for miniatures. The Art Handling team have

developed their skills and expertise by undertaking

a range of courier trips both in the UK and

abroad, working at Montacute House (seeing

the challenges faced by an historic house)

and assisting with the X-ray programme.

The Conservation studio has continued the

programme of treatments and examinations

as well as commencing a major project,

Making Art in Tudor Britain. Sir Joshua Reynolds’s

Dr Samuel Johnson, attacked by a visitor in

August 2007, is undergoing conservation, as is

Unknown man, formerly known as Richard Hooker,

which suffered accidental damage; this has led

to improvements in procedures.

Frame Conservation has made new frames for

Self-portrait by Tony Bevan and David Hockney’s

Self-portrait with Charlie. The studio also

completed the final phase of a preventative

conservation project at Montacute House,

providing a climate-buffered framing system

for sensitive panel paintings.

Work with Tate on the development of the

National Art Collections Centre continued and

will do so next year.

John Edward Redmond

by Sir Leslie Ward, published 1904

Karen Griffiths, Pilgrim Trust

Frame Conservation Intern,

gilding a picture frame

Self-portrait

by Celia Paul, 2002

Marlborough Fine Art

Exhibitions

The range and diversity of our exhibition

programme continue to reflect our ambitions

and have ensured significant press and

public responses.

Wolfson Gallery

The BP Portrait Award 2007, in its twenty-ninth

year, received a record number of 1,876 entries,

sixty of which were selected for the exhibition.

Paul Emsley painted the winning entry of

Michael Simpson. The BP Travel Award winner,

Toby Wiggins, spent four weeks travelling around

Wessex painting a farming community in crisis,

and produced a beautiful group of paintings of

a very topical subject.

Pop Art Portraits opened in October 2007,

and was shown in the Wolfson as well as the

ground-floor galleries. It received considerable

press interest and sparked a number of debates

about the position of portraiture in Pop Art. The

exhibition was designed by Stanton Williams

and lit by Lightwaves.

Vanity Fair Portraits: Photographs 1913–2008

provided a great end to a successful year. It

brought a close collaboration with Vanity Fair

magazine, renowned for commissioning some

of the best photographers in the field, and

showcased outstanding portraits.

Porter Gallery

Daily Encounters: Photographs from Fleet Street

opened in July 2007. The exhibition looked at the

stories and photographers that made Fleet Street

famous and included a wealth of vintage material

including rare negatives, original newspapers,

and film footage.

Jonathan Torgovnik won the Photographic

Portrait Prize this year for his photograph of a

mother and daughter in Rwanda who had

experienced the horrors of genocide carried out

in their country. The award received 6,072 entries,

of which sixty were selected for the exhibition.

Brilliant Women: 18th-Century Bluestockings

opened in March 2008. It explored the impact

of independent and creative women on

eighteenth-century British cultural and intellectual

development. The exhibition showcased the

personal artefacts as well as graphic satires

and portrait paintings of key figures of the

Bluestocking circle, including Elizabeth Montagu,

Catharine Macaulay and Hannah More.

The future

The Gallery is looking forward to a number of

key loan exhibitions including Annie Leibovitz:

A Photographer’s Life, 1990–2005 and

Gerhard Richter Portraits. Both exhibitions

will involve working closely with international

living artists.

Increasing

Understanding

of Portraiture

and the Collection

Michael Simpson

by Paul Emsley

Winner of the

BP Portrait Award 2007

Joseline Ingabire with her daughter

Leah Batamuliza, Rwanda

by Jonathan Torgovnik

Winner of the Photographic

Portrait Prize 2007

Opposite

Entrance to Brilliant Women

exhibition in the Porter Gallery

The galleries and displays

The programme of changing displays is designed

to reveal the hidden strengths of the Gallery’s

collection of drawings, prints and photographs,

and increasingly to show occasional visiting

portraits as a way of engaging with contemporary

portrait practice and widening the range of

portrait material.

There were several displays with an external

focus. Devotional, a new interpretation of a work

of art entitled Devotional Series by Sonia Boyce,

presented portraits of black British female singers

over the last century, with support from the

Esmée Fairbairn Foundation. Born 1947: Camera

Press at 60 celebrated the sixtieth anniversary of

the photo agency Camera Press. Shutting Up

Shop, a display of photographs by John Londei,

focused on images of traditional small shops.

The series of visiting portraits continued with

Anthony Caro Portraits, bringing together four

bronze heads of Sheila, the artist’s wife.

Displays drawing on the Gallery’s own Collection

included Making History: Printed Portraiture in

Tudor and Stuart Britain, featuring the earliest

of the Gallery’s portrait prints; John Kay’s

Curious Characters, in the form of prints of

Edinburgh society; Lives and Letters, one of

several displays drawing on the Victorian

collections; Caricatures by Barry Fantoni,

celebrating a recent gift from this cartoonist;

Diana, Princess of Wales, a photographic display

to mark the tenth anniversary of her death; and

Yousuf Karsh, a centenary display of photographs.

To enhance Gallery exhibitions, Private View:

British Pop and the 60s Art Scene used

photographs to complement the Pop Art Portraits

exhibition, while Victorian Women Historians,

along with Modern Muses, photographed by

Bryan Adams, coincided with the Brilliant Women

exhibition. Also notable were The Artist’s Process,

revealing how recently acquired contemporary

works were created, and Athletes and Olympians,

showing great twentieth-century athletes.

Further details of Gallery displays are given on

page 47.

Increasing

Understanding

of Portraiture

and the Collection

Diana, Princess of Wales

by David Bailey, 1988

Robert Carr, Earl of Somerset;

Frances, Countess of Somerset

by Reginold Elstrack, c.1615

Mica Paris

by Derrick Santini, early 2000s

Exhibited in Devotional

Digital Programmes

Website and media relations

Approximately 5 million visitors made 15 million

visits to the Gallery’s website, about 33% more

than last year. The online collection search facility

incorporates 106,228 portrait records (up 10%

from last year), 56,098 of which are illustrated.

4,231 online images can now be ‘zoomified’,

allowing intriguing details to be discerned online.

A ‘Who’s Who’ online feature uses ‘zoomify’

to allow every person in 811 group portraits to

be identified and seen in close-up.

Entry details related to 4,549 photographs were

submitted online for the Photographic Portrait

Award 2007, representing 65% of all submissions.

The BP Portrait Award 2008 saw 1,436 entries

made online – 83% of all entries. These online

facilities create great administrative efficiencies,

freeing up resources to be spent on improving

public access.

Digital Programmes participated in the

development of mini-sites for the Vanity Fair

Portraits and Pop Art Portraits exhibitions; a

BP Portrait Award 2007 blog (publishing public

comments on works in the exhibition); and

Learning and Access initiatives, such as online

audio describing in detail around 150 portraits.

2,445 journalists are registered to download

images for review of exhibitions and displays

(up 52%). Subscribers to the Gallery’s

e-newsletter increased to 36,000 (up 6%).

The Pop Art Portraits and Vanity Fair exhibitions

helped lift e-commerce income to £76,800

(up 35%).

Charlie and Lola electronic

‘Making Faces’ activity, alongside

the BP Portrait Award 2007

On-site access and partnerships

Visitors to the IT Gallery using the Portrait

Explorer can now discover 27,000 sitters and

artists in 50,000 portraits (up 10%).

Portrait Explorer developments included the

addition of a recent acquisitions feature;

transcriptions available side-by-side with

digitised archive documents; and filtering

options for search results, for example by

gender, era and medium type.

Development of e-learning resources is

proceeding in partnership with nine other

national cultural institutions, under the

auspices of the National Museums Online

Learning Project.

On-site projects undertaken included

Charlie and Lola (an electronic activity for

children visiting the BP Portrait Award 2007);

assistance with electronic aspects of the

My Space exhibition; set-up of Pop Art Portraits

projections; and implementation of electronic

visitor information in the Main Hall.

The Virtual Portrait activity at Beningbrough Hall

saw 9,177 virtual portraits created by visitors.

Portrait Explorer interactives were supplied to

Plymouth City Museum and Art Gallery for use

in association with the Human Cargo exhibition.

Digitisation

Standard digital images of over 6,000 previously

unillustrated portraits were created, while over

5,000 specialised digital images were created

on demand.

Information on 67,923 Photographs Collection

index cards has been captured electronically.

This project will result in 39,177 new records

being added to the Gallery’s collections

management database, a 36% increase in the

number of collection records available online.

49,252 portraits (up 9%) are available via the

Portrait Printer service.

The Gallery’s website

Following a competitive tendering process, the

Gallery’s website is being redesigned for the first

time since 2000 in response to changing

expectations among users. Key innovations will

be larger images, improved e-commerce, more

integrated learning and research resources, clearer

navigation, better promotion of exhibitions and

events, higher visibility of regional partners, tours

and loans, and better visitor information. The

project is due for completion in autumn 2008.

Increasing

Understanding

of Portraiture

and the Collection

Peter Gidal’s Heads projected in

the Pop Art Portraits exhibition

Research programmes

Good progress was made during the year on

both of the Gallery’s cataloguing projects, with

major steps towards final editing and publication.

Work on the art and architecture tranche of the

catalogue of Later Victorian Portraits neared

completion and entries are currently being edited.

Plans to release these as an online resource were

also further developed. Likewise the Later Stuarts

catalogue neared the stage of copy-editing.

Two scholars were appointed to the Leverhulme

Fellowship in the History of Portraiture.

Dr Kim Sloan, Curator of British Drawings and

Watercolours before 1880 and Francis Finlay

Curator of the Enlightenment Gallery at the

British Museum, joined the Gallery for four

months in the autumn to research an exhibition

and publication on British portrait drawings and

miniatures. Professor Marcia Pointon, formerly

Pilkington Professor of History of Art at the

University of Manchester, came to us in January

for a six-month Fellowship to work on a project

entitled The Persistence of Portraiture.

In May 2007 the Gallery began a major research

project called Making Art in Tudor Britain. This

project aims to explore the production of painted

imagery in the Tudor period and will undertake

detailed technical analysis on the Tudor and

Jacobean collections. In support of this project

the Arts and Humanities Research Council

funded a series of three academic workshops and

twenty-nine speakers presented papers on various

aspects of early Tudor artistic practice. Abstracts

of these papers can be found on the research

section of the Gallery’s website. We are currently

seeking funding for four further years of research

which will culminate in a major multi-author book,

web-based material and an exhibition in 2013.

This was a productive year for individual

members of the Gallery’s staff. Carol Blackett-Ord

wrote an article on the mezzotint publisher

Richard Tompson for the seventieth volume of

the Walpole Society (2008). Tarnya Cooper led

the Making Art in Tudor Britain project, giving

three papers at the AHRC workshops, and spoke

at a conference on ‘Material Culture’ at the

University of Birmingham. She also published

‘Predestined Lives? Portraiture and Religious

Belief in England and Wales 1560–1620’, in

Art Reformed: Re-assessing the impact of the

Reformation on the visual arts, edited by

Tara Hamling and Richard Williams, and A Guide

to Tudor and Jacobean Portraiture. Peter Funnell

published an article on ‘Display at the National

Portrait Gallery, London, 1968–1975’ in a special

issue of Art History, examined theses at the

Universities of Birmingham and Oxford, and

continued as a Consultant Editor to the Oxford

Dictionary of National Biography. Clare Gittings

gave a paper at the biennial international

conference on ‘Death, Dying and Disposal’ at Bath

and published ‘Eccentric or enlightened? Unusual

Burial and Commemoration in England, 1689–1823’

in the journal Mortality. Catharine MacLeod

co-edited, with Julia Marciari Alexander, a

collection entitled Politics, Transgression, and

Representation at the Court of Charles II, for

which they also jointly wrote a chapter: ‘The

“Windsor Beauties” and the Beauties Series in

Restoration England’. Paul Moorhouse researched

and wrote the Pop Art Portraits catalogue,

contributed an essay on Andy Warhol’s portraits

to Sotheby’s Preview magazine, and gave lectures

on Pop Art Portraits at the Gallery and the

Staatsgalerie, Stuttgart. He also wrote the

exhibition catalogue essay John Virtue Monotypes

for Marlborough Gallery and acted as adviser to

the Oxford Dictionary of National Biography on

twentieth-century art and design. Sandy Nairne

was awarded a Summer Fellowship at the Clark

Art Institute, Massachusetts, in July and August

2007, during which he pursued research relating

to high-value art theft. Lucy Peltz researched and

co-authored, with Elizabeth Eger, Brilliant Women:

18th-Century Bluestockings. Terence Pepper

researched and co-authored Vanity Fair Portraits

and Jacob Simon produced an online directory,

British picture framemakers, 1750–1950, and a

second revised and expanded edition of the

directory British artists’ suppliers, 1650–1950.

Elizabeth Vernon,

Countess of Southampton

by an unknown artist, c.1620

X-ray of portrait of

Elizabeth Vernon, showing

a painting of a man beneath

the image who may be

Henry Wriothesley, 3rd Earl

of Southampton

Cataloguing the Collection

The Gallery continues its substantial investment

in cataloguing and digitising the Collection.

106,228 portraits (10% more than last year’s

total) have been catalogued. The aim is to

have half the Collection – 160,000 portraits –

catalogued and available on the Gallery’s

database by 2009.

In the Heinz Archive and Library cataloguing

focused on the two largest collections of prints:

large-format engravings and an extra-illustrated

set of the Rev. James Granger’s A Biographical

History of England from Egbert the Great to the

Revolution. In total, 6,354 prints were digitised

and 12,186 portraits were recorded for the

image files and index in the study room.

In the Photographs Collection, a further

6,550 items have been catalogued. Priorities

have included the collection of Victorian

cartes-de-visite, in continuing support of the

forthcoming catalogue Later Victorian Portraits.

Among contemporary acquisitions added to the

collections database are groups of photographs

by Roger Perry and Dennis Toff, while earlier

twentieth-century additions include the

Strachey Trust collection, the Siegfried Sassoon

collection and platinum prints by Eveleen Myers.

Cataloguing of the Bassano studio negatives has

continued, with over 3,100 added, dating from

the late 1930s to 1942. The donation of 140

Bern Schwartz dye transfer prints from the 1970s

has been fully recorded with digitised images.

Increasing

Understanding

of Portraiture

and the Collection

Jennifer Durrant

by Dennis Toff, 2007

Richard Neville,

Earl of Warwick and Salisbury

by Edward Davis (Le Davis),

17th century

Publishing

The Gallery operates a successful publishing

operation in a competitive retail environment. Its

remit is to produce books that extend knowledge

and understanding of portraiture, and of British

history through portraits. The challenge is how

best to balance the need for books that support

the Gallery’s research profile with the desire to

reach wide audiences and generate revenue.

This year the Publications team completed

sixteen projects, including six exhibition

catalogues, five co-editions, two reprints, and

over 260,000 postcards. The percentage of

exhibition visitors who bought a catalogue

varied dramatically, with a pick-up rate of 0.6%

for Between Worlds compared with over 10%

for Vanity Fair Portraits. However, the strong

sales of both this and Face of Fashion, plus three

unforeseen co-editions, enabled the Department

to exceed the overall income forecast by 26%.

Four books, Pop Art Portraits, Vanity Fair Portraits,

Brilliant Women and A Guide to Tudor and

Jacobean Portraits, all contained new research

by the Gallery’s curators as well as external

contributors. Two of these titles were sold to

overseas publishers, and the National Trust shared

a joint print-run for the Tudor and Jacobean guide.

Publishing partnerships have been a defining

characteristic of the year, starting with the

production of a booklet to accompany the

Great Britons exhibition at the National Portrait

Gallery, Washington, D.C., followed swiftly by

the on-going collaboration with Vanity Fair

magazine, which will culminate with the launch

of a major trade edition of Vanity Fair Portraits

in September 2008. Likewise, strong links have

been maintained with exhibition tour venues,

including the Scottish National Portrait Gallery,

the Staatsgalerie in Stuttgart and the Newcastle

Regional Art Gallery, Australia.

The growth of the Gallery’s international

profile is reflected with co-edition publishing

partnerships: with Hardie Grant in Australia,

Hatje Cantz in Germany and Yale University

Press in North America. These co-editions

represent an important market for the Gallery,

and it is hoped that an exciting touring

programme will enable it to build on these

sales in future.

Next year we will focus on how to balance

successfully the development of a new range

of visitor guides alongside the programme of

exhibition and trade titles, all of which aim to

provide enjoyment and insights into portraiture.

The book cover for A Guide

to Tudor and Jacobean Portraits

The book cover for Vanity Fair

Portraits featuring Gloria Swanson

by Edward Steichen, 1928

Courtesy George Eastman House

Frankfurt Book Fair Stand

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 activities.

The overall income target was over-achieved

by 42%, replenishing reserves that enable the

Gallery to fulfil its plans for further investment

and growth.

Corporate supporters and sponsors

BP continued their invaluable support for the

BP Portrait Award, giving additional funding to

enable the Gallery to promote the new age

criterion, which opened up the Award to anyone

over the age of eighteen. The Gallery was

delighted to work once again with long-term

supporter Burberry on Vanity Fair Portraits.

Burberry helped to launch the exhibition in

style with a celebrity-studded opening event

in partnership with Vanity Fair magazine.

Herbert Smith LLP continued their support of the

Gallery in 2008 for a fifth year, this time as the

Spring Season sponsor. This successful partnership

saw a number of events focused on clients, staff

and community, including the annual Women’s

Breakfast. Building upon this well-established

partnership, the Gallery is delighted to announce

that Herbert Smith will be with us as Spring

Season sponsor in 2009 and 2010.

A newcomer to exhibition sponsorship was

Lehman Brothers, who supported Pop Art Portraits.

A multi-faceted sponsorship programme was

developed that included a Pop Art-themed

ten-month hospital schools outreach project,

funded by grants from Arts & Business and

the Lehman Brothers Foundation Europe. In

November 2007, the Gallery was delighted to

announce that Taylor Wessing, the European law

firm (which previously sponsored The World’s

Most Photographed and Face of Fashion), will

sponsor the Taylor Wessing Photographic Portrait

Prize from 2008 to 2010. We look forward to

working closely with them over the coming years

and building on the success of this world-class

photographic competition and exhibition.

Getty Images provided valuable in-kind support

for Daily Encounters by offering free-of-charge

use of images from their archive. BlackBerry®

sponsored Brilliant Women, and Modern Muses,

a display of photographs by Bryan Adams,

commissioned by BlackBerry, accompanied

the exhibition.

The Gallery continues to benefit from the support

of its Corporate Members and this year welcomed

three new or returning Corporate Members: Apax

Partners, BT and Freshfields Bruckhaus Deringer.

Venue hire

This year, many of the Gallery’s Corporate

Members and Regency Partners chose to hold

private events including BDG Workfutures

(WPP Group), Freshfields Bruckhaus Deringer,

JPMorgan, Linklaters, McKinsey, and Towers Perrin.

Sponsors BlackBerry, BP, Burberry, Gap, Herbert

Smith, Lehman Brothers and Taylor Wessing all

hosted events around our special exhibitions.

One-off receptions were held in different

galleries with a number of organisations,

ranging from the Greater London Authority

to architects Stanton Williams. The Russo-British

Chamber of Commerce, Business in the

Community and the Newspaper Marketing

Tony Hayward, Group Chief

Executive, BP, and Bianca Jagger

present Hynek Martinec with the

BP Young Artist’s Award 2008

Opposite

Entrance to the Vanity Fair Portraits

Private View hosted by Burberry

and Vanity Fair

Agency were among those who held dinners.

Individuals also hosted receptions and dinners

throughout the year, including weekend events

in the Portrait Restaurant.

Charitable trusts and foundations

Charitable trusts and foundations continue

to provide valuable support for important projects.

The Leverhulme Fellowship in the History

of Portraiture is in its fifth year, with two

academics undertaking research at the Gallery.

The Paul Mellon Centre for Studies in British

Art provided support for the catalogue of

Later Victorian Portraits and a conference

held as part of the Between Worlds exhibition.

Following accreditation by the Arts and

Humanities Research Council as an Independent

Research Organisation, the Gallery has been

awarded its first grant. This was under the

Research Networks and Workshops Scheme

for the creation of an open forum for debate

on the five-year research project Making Art

in Tudor Britain. The Gallery will hope to be

supported by this important source of funding

over the coming months.

We are delighted that the Vodafone UK

Foundation has renewed its support for the

Access Programme with a gift over three

years. This enables children and young

people with a wide range of needs to enjoy

tailor-made learning.

Individual support

Patrons

The Patrons’ group has continued to flourish

and a number of Annual Patrons upgraded to

Life Patrons during the year.

Patrons enjoyed an afternoon visit to Peter Blake’s

London studio, a special tour of Stratfield Saye

House with our Trustee Lady Douro, and a visit

to Charleston Farm House and Monk’s House in

East Sussex; the year closed with candlelit tours

of Sir John Soane’s Museum.

In April a group of thirty-five Patrons, donors

and their guests, and some of our Board of

American Friends, joined us to celebrate the

opening of Great Britons: Treasures from the

National Portrait Gallery, London at the

National Portrait Gallery in Washington, D.C.

The programme of events included a dinner

hosted by the British Ambassador and

Lady Manning, private tours of the National

Gallery of Art, the National Museum of Women

in the Arts, and Marc and Jacqueline Leland’s

stunning modern art collection in Georgetown.

The week culminated with a private tour and

reception to mark the opening of the exhibition.

This year, as part of their valued and continued

financial contribution to the Gallery, the Patrons

supported Daily Encounters: Photographs from

Fleet Street.

Associates

The Gallery now has 100 Associates and has

recently launched a new category of Joint

Associates for their partners.

A new annual event was an evening hosted by

Jacob Simon at which Associates and their guests

could explore the Collection. Guests toured either

the Tudors, the Regency or the Daily Encounters:

Photographs from Fleet Street exhibition.

Members

Following the success of recruitment during

David Hockney Portraits, we retained over 60%

of the new Members who joined at this time.

This high retention rate was due to the success

of direct debits, renewal incentives and changes

to the Members’ Events Programme.

During Vanity Fair Portraits, we combined a

temporary Members’ Desk with dedicated

Visitor Services Assistants to recruit visitors to

Membership. This focused recruitment approach,

and improved website communications, have

produced a positive response to becoming

Members from visitors to temporary exhibitions.

The Portrait Fund

The Portrait Fund benefited from substantial

support, thanks to the generous commitment

from the Lerner Foundation. This gift, to be

made over three years, will be used to build

up the Portrait Fund and to enrich specific vital

programmes. A celebratory event with members

of the Lerner family, friends and colleagues was

held in the Lerner Galleries.

The Portrait Fund to date has enabled the Gallery

to purchase key acquisitions for the Collection

including the portraits of John Donne and,

recently, John Fletcher.

Maximising

Financial

Resources

Member of Camden Society

‘Helter Skelter’ Summer Scheme

taking part in an animation

workshop funded by the

Vodafone UK Foundation

Development Board and

Board of American Friends

The Development Board, under the

Chairmanship of Amelia Fawcett, and the

Corporate and Individual Advisory Groups,

chaired respectively by Margaret Exley and

Frances Jackson, have done substantive work.

A number of Board members generously hosted

tables at the Vanity Fair Portraits fundraising

dinner. The Board was delighted to welcome

two new members, artist Jonathan Yeo and

Johnny Hornby, partner in the advertising

agency Clemmow Hornby Inge.

The Board of American Friends made several

grants under the Chairmanship of the President,

David Alexander. We were delighted that he was

able, together with Board members John Biggs,

Frank Ellsworth and Bridget Colman, to join us

in Washington for the opening of Great Britons.

Trading company

The Gallery’s subsidiary trading company,

which began trading on 1 April 2007, had a

successful first year, making profits of £509,000,

which it will gift-aid to the Gallery. The trading

company’s business comprises retail, venue hire

and the catering franchise. An internal audit

review provided assurance that all aspects

had been considered during the process of

incorporation. The review recommended that

the company should appoint an independent

member to its Board. A specification has been

agreed and an appointment will be made in

2008. The appointee will be someone with a

strong commercial background, ideally with

retail experience, and will be key in assisting

the company to identify, evaluate and develop

new commercial opportunities.

Retail

Careful preparation ensured that the transfer

to the National Portrait Gallery Trading Company

went smoothly and there was no disruption to

trading as a result.

Income from the shops is strongly influenced

by the exhibitions programme and this year was

no exception. Face of Fashion, Pop Art Portraits

and Vanity Fair Portraits all generated significant

income and all fall within the Gallery’s top ten

most profitable exhibitions. Vanity Fair Portraits

enjoyed one of the highest ever catalogue

pick-up rates.

For the first time, an exhibition shop was installed

in the Ondaatje Wing Main Hall during Pop Art

Portraits and this proved a worthwhile experiment.

A service was also introduced enabling visitors

to order prints of many works in the exhibition

in a variety of frames and finishes, for delivery

to the buyer’s home. This service was extended

to the website, and its popularity will ensure that

it is repeated.

Among several distinctive ranges of merchandise

was a set of ‘POP ART’ cufflinks, featured in the

Guardian’s ‘Best in museum shops’ selection in

the run-up to Christmas 2007.

Online sales continued to outstrip those in

previous years. Investment in online trading,

and in strengthening the buying and

operations teams, are among the priorities

for the coming year.

Pop Art Portraits cufflinks

Pop Art Portraits exhibition shop

in Ondaatje Wing Main Hall

Maximising

Financial

Resources

Picture Library

The Picture Library delivered sales of some

£400,000 during difficult conditions in publishing,

television and media markets. During this period

the first instalment of a new two-part computer

system was implemented, without interruption

to service.

Progress towards ambitious further development

has been achieved. A new business-to-business

website was commissioned for delivery in 2008

along with a review of business terms and

staffing, as well as planning towards a relaunch

and marketing of the Gallery’s services on rights

and images. A revised and refreshed bespoke

prints service will be relaunched in summer 2008,

with an expanded range of premium options for

collectors. These will include the use of new

technologies, as well as heritage processing for

archival and exhibition quality prints from the

Gallery’s collections.

Demand for these services among the academic

and educational community was significantly

increased. In addition, staff provided valuable

further training and support, on rights issues,

to colleagues across the Gallery. Tom Morgan,

Head of Rights and Reproductions, was elected

Chair of the Museums Copyright Group, extending

the Gallery’s sector leadership in this area.

Effectiveness and efficiency

Improving procurement across the Gallery has

remained one of our key aims. A major review

of contracts was undertaken and departmental

action plans, containing findings and

recommendations for improvement, were

drawn up. Contracts training and day-to-day

procurement advice have been provided to give

further support to staff. Some contracts have

been renegotiated to achieve greater commercial

protection and cash savings and existing

templates have been updated.

Electronic tendering has been introduced, making

the Gallery legally compliant with the EU Public

Procurement Regulations as well as supporting

the government’s sustainability and efficiency

schemes. In addition, to improve our spending

power and increase our collaborative working,

we have investigated the possibility of sharing the

delivery of certain services with other museums

and galleries. We work with our neighbour,

The National Gallery, on the procurement of

electricity, and the Natural History Museum,

which will be providing Health, Safety and Fire

advice from April 2008.

Developing

Staff

Training and learning

Around half of the Gallery’s managers have

now undertaken management and leadership

training through the Institute of Leadership and

Management (ILM) accredited programme.

Ensuring that we have adequate support from

senior managers for this was important in

embedding improved management practice

across the Gallery, and the managers have

undergone a coaching skills course to enable

these improvements.

To recognise the increasing complexities of

procurement, a significant number of staff

have now attended contracts training sessions,

designed to clarify the understanding of how

contracts are formed and give guidance on

the structure and content of a contract. Other

initiatives during the year included a Managers’

Guide to Health and Safety, run in collaboration

with the Natural History Museum, and

participation for the first time in the Learning

at Work Week run by the Campaign for Learning.

This programme involved staff conducting and

participating in a variety of sessions, such as a

live telecast on storytelling.

During January 2008 the Gallery undertook its

second employee survey, tracking staff views

against the previous survey. 71% of the staff

participated – not quite as high as last time but

still a good response rate. Overall, the results

were positive and indicate that progress has

been made in a number of areas.

Diversity

The Gallery now has a combined Equality Scheme,

setting out the actions that we will take to ensure

diversity across all departments. A component of

this has been the implementation of diversity

training for all staff, to ensure a high degree of

awareness of the scheme and the contribution

that staff and managers make to it.

Our partnership with local secondary schools to

offer work placement opportunities continues

and we have extended the number of schools

that we work with. These placements provide a

useful way of increasing awareness of possible

careers within the museums sector. Eddie Otchere,

an Inspire Programme Fellow, completed his two

year period with the Gallery, concluding with the

curatorship of the Devotional display. We also

participated for the first time with the Museums

Association Diversify scheme, which aims to

provide more ethnic-minority people who are

qualified as potential applicants for mid and

senior level positions in museums.

Lastly, our use of open days to see a wider

range of job applicants appears to be delivering

some improvements to the diversity of staff

within our Visitor Services team, where the

percentage of black and ethnic-minority staff

has increased from 16% to 20% (although at

the end of March 2008 10% of Visitor Services

posts remained unfilled).

Visitor Services staff

in the Main Entrance

Over the past year the Gallery has made a

number of improvements, some of which are

clearly visible, such as the painting of the exterior

of the library, archive and administration wing on

Orange Street. However, many improvements are

less visible, but equally important. In December

2007 we upgraded the core IT infrastructure by

installing new centralised storage and VMWare

servers. In addition to this over sixty desktop

personal computers were upgraded to the latest

model, leading to increased productivity for

Gallery staff. Other technical developments

included upgrading the Gallery’s intruder alarm

system and a project transferring the CCTV system

to digital, which has provided increased coverage

through additional cameras and higher resolution

imagery. Planning for the major project that

will extend lift access to the First Floor Landing,

the only area of the Gallery without wheelchair

access, has continued and the project is due to

commence in 2008.

The focus on sustainability and the Gallery’s

environmental impact has increased throughout

the year. Some progress had already been

made on energy consumption, but this year

the environmental savings have been enhanced

through such measures as installing energy-

monitoring equipment in some electrical switch

rooms, monitoring heating and improving timers,

and commencing a major project that will use

ambient temperature (when possible) to achieve

cooling. Efforts are being made, where possible,

to print Gallery marketing and corporate materials

on paper from sustainable sources, and the

quarterly Exhibitions, Talks & Events brochure,

Face to Face newsletter and the Annual Review

are now printed on Forest Stewardship Council

(FSC) approved stock. In addition we have

been raising staff awareness of how they can

make a difference – for example, by turning

off computer monitors and printers at the end

of every day.

Visitor services

A number of new initiatives have been

introduced during the past year with the aim

of enhancing the visitor experience. These have

included a temporary Information Desk on the

entrance landing, which has been used as a

collection point for pre-booked tickets, including

tickets for individual and corporate supporters.

The desk provides important information for

new visitors, and there they can collect leaflets

or buy the Visitor Guide. Ticket provision has

been improved over the year: the Thursday

evening adult programme, for instance, can

now be booked via the Gallery’s website. The

Visitor Services team has continued to support

the individual giving campaign by encouraging

on-site Gift Aid donations, and in addition

25% of those who bought tickets online added

Gift Aid to their purchase.

Finally, an LCD screen was added at the

Information Desk, showing a short programme

of Gallery highlights, temporary displays and

exhibitions, and details of talks and events on

that day. This has enhanced the provision of

information to visitors, an area reviewed regularly.

Improving

Services

Opposite

Main entrance with

Vanity Fair Portraits banners

Services to research and readers

The Heinz Archive and Library received

1,522 visitors and answered 1,644 enquiries.

Presentations were made to students from

the Courtauld Institute, King’s College and

the Institute of Historical Research. ISAD(G)

compliant catalogues were compiled for the

following record series: NPG Photographs,

Annual Reports and Education Records.

Records and information

A project manager was appointed in August 2007

to oversee the procurement and implementation

of information management systems. EOS

International Ltd was selected to supply library

software and DS Calm chosen for archives and

records management. Contracts were signed

in February and both systems were expected to

be operational by May 2008. In preparation for

this, options for indexing portraits were reviewed

and plans were made for transferring

bibliographical and archival data to the new

systems. A pilot project for developing electronic

records management practice, launched in 2007,

was postponed while this work continues.

Following an information audit, procedures for

providing public access to Gallery Records were

improved in line with record-keeping legislation.

Progress was also made with the portrait portal

initiative: the Gallery explored options for

harnessing portrait data from external sources

and, in particular, investigated the possibility of

collaboration with the Public Catalogue

Foundation. Fourteen Freedom of Information

requests were received and, following appeals

against the Gallery’s decision to withhold

some information, three requests were referred

to the Information Commissioner.

Governance

The Gallery seeks to uphold the highest standards

of governance through the accountability and

transparency of its management processes,

decision-making and communications. Actions

taken during the year to strengthen and

improve governance included an update of

the Exhibitions and Display policy and the

publication of an Intellectual Property Rights

Policy (both are viewable on the Gallery’s

website). A review of the Trading department

was also undertaken, as too was a review of

Health and Safety in the Gallery.

Improving

Services

Supporters

The Gallery would like to

thank all Members for

their continuing support

The Gallery would like to thank the following

for their sponsorship, support and corporate

membership in 2007/8

BP Portrait Award 2007 and BP Travel Award 2006

Sponsored by BlackBerry

Daily Encounters: Photographs from Fleet Street

Supported by the Patrons of the National Portrait Gallery

Additional support from Getty Images

JPMorgan

Fund for New Commissions

Access Industries

Portrait Gala 2009

Thanks also to Arts & Business for the Invest grant which

supported the partnership with Lehman Brothers

Regency Partners

Towers Perrin

Corporate Members

Apax Partners

American Express

BBA Aviation

Citigroup

Deutsche Bank

Freshfields Bruckhaus Deringer

Hazlitt, Gooden & Fox

JPMorgan

Linklaters

Société Générale

Taylor Wessing

WPP Group

The Gallery would like to thank the

following charitable trusts and foundations

for their support in 2007/8 and beyond

Acquisitions

The Art Fund

Displays and Exhibitions

Estate of Godfrey Argent

Canadian High Commission

Frame Conservation Study Programme

The Pilgrim Trust

Friday Evening Music Programme

Musicians Benevolent Fund

PRS Foundation

Learning and Access

Heritage Lottery Fund

John Lyon’s Charity

National Association of Decorative and Fine Arts Societies

Vodafone UK Foundation

Making Art in Tudor Britain

(five-year research project)

Arts and Humanities Research Council

The Leche Trust

New Commissions

Jerwood Charitable Foundation

Research and Cataloguing

The Getty Foundation

The Leverhulme Trust

The Paul Mellon Centre for Studies in British Art

MLA (Museums, Libraries and Archives Council)

Bernard Lee Schwartz Foundation

Coral Samuel Charitable Trust

The Gallery would like to thank all those who

have made the following acquisitions possible

John Fletcher by an unknown artist

Major Donors

The Art Fund

L.L. Brownrigg

Sir Harry Djanogly, CBE

Portrait Fund

Supporters

Mrs A. Campbell

Laurence Chase

The Dame Helen Gardner Bequest

The Fletcher Tearooms at Rye

The Garfield Weston Foundation

The Pidem Fund

E.A. Whitehead

And proceeds of the 150th Anniversary Portrait Gala

We are also grateful to the Gallery visitors and online donors

who supported the appeal

Self-portrait by Chris Ofili

Janet de Botton

Laura and Barry Townsley

Self-portrait ‘Julian with T-shirt’ by Julian Opie

Channel 4

The Gallery is grateful to the following

Major Donors, Patrons of the Portrait Fund,

Life Patrons, Annual Patrons, Associates and

Individual Donors for their support in 2007/8

Major Donors

The Lerner Foundation

Portrait Fund

Viscountess Eccles

The Lerner Foundation

Sir Christopher Ondaatje, OC, CBE,

and Family

Lord Marcus Sieff

Eileen Gray Waddock

Patrons of the Portrait Fund

Amelia Chilcott Fawcett, CBE

Midge and Simon Palley

Life Patrons

Anonymous

Mark Armitage Charitable Trust

Edgar Astaire

Ms C. Allegra Berman

Dr and Mrs Mark Cecil

Bridget and Mark Colman

Dr Peter Corry

Sir Harry Djanogly, CBE

Mr and Mrs Robin Fleming

Gavin Graham

Toby and Jennifer Greenbury

Catherine D. and Guy L. Gronquist

Allan and Louise Hirst

Charles and Frances Jackson

Dr Elisabeth Kehoe

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

The Coral Samuel Charitable Trust

Sir David and Lady Scholey

Mr and Mrs Peter Soros

Jay and Deanie Stein

Sir Sigmund Sternberg, KCSG

Mr & Mrs Louis A. Tanner

Johnny and Sarah Van Haeften

Bonnie J. Ward

Patti and George White

Annual Patrons

Anonymous

Agnew’s

Sir Rudolph and Lady Agnew

Mr David Alexander, Hon. CBE, and Mrs Alexander

Mr and Mrs Johny Armstrong

Nicholas Ayre and Nicholas Creswell

The Estate of Francis Bacon

Mrs Hélène Baines and Mr Max Baines

The Stephen Barry Charity Trust

John H. and Penelope P. Biggs

Tony and Gisela Bloom

Erica Boyer and Nicholas Illsley

Deborah Loeb Brice Foundation

L.L. Brownrigg

Melinda Bullough

Peter and Laura Carew

Lord and Lady Carrington

Lord and Lady Chadlington

Sir Ronald and Lady Cohen

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

Emma Williams and Alex Evans

Amelia Chilcott Fawcett, CBE

Michael and Clara Freeman

Mr Peter R. Fulham

The Robert Gavron Charitable Trust

Hon. William Gibson

Val Gooding and Crawford MacDonald

A.W.E.F. Grant

Sam Green

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

Ben Janssens Oriental Art

Sarah Jennings and Ron Else

Jennifer Johnson

Peter A.B. Johnson

Sir John and Lady Kemp-Welch

David Ker

Mark and Liza Loveday

Professor David Lowe

James and Béatrice Lupton

Sir David and Lady Manning

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

Helen and Michael Palin

Mr Alan Parker

Leslie and Sanjay Patel

Robert and Miho Pickering

Joseph Porterfield

Michael and Victoria Power

Mr and Mrs Andrew Power

Lady Prosser

Mrs Stella Reeves

Lady Ripley

Lesley Robertson Allen

Charles and Jans Rolls

Thomas and Elaine Schoch

Richard and Victoria Sharp

John and Susan Singer

Hugh and Catherine Stevenson

The Swan Trust

Robert and Patricia Swannell

Mrs Freda Taylor

The Hon. Barbara Thomas

Peter and Nancy Thompson

Lord and Lady Tugendhat

Jon Turner

Frederick and Kathryn Uhde

Sandi and Jake Ulrich

David and Emma Verey

Mrs Lisa von Clemm

Jane and Anthony Weldon

David and Karen White

Yvonne I-Ying Yang

Supporters

Individual Donors

Dr and Mrs Mark Cecil

Sir Ronald and Lady Cohen

The Soros Family

Harriet and Paul Weissman

Associates

Sir Antony Acland

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

Amanda Burden

Lilia Bylos

Kathryn Campbell

Corin Campbell Hill

Francis Carnwath, CBE

Peter Case

David Coffer

Denise Cohen

Ralph Congreve

Lin Cooper

Lee Croll

Loraine Cushway

Gordon and Marilyn Darling

Miel De Botton Aynsley

Conrad Dehn, QC

Lady Syvia Dhenin

Lucy Dickens

David Donne

Jeremy Donne, QC

Robyn Durie

Dr Frank L. Ellsworth

Mark Everett

Tessa Gaisman

Prue and Peter Gerrard

Christopher Goodhart

Piers and Rosemary Gough

Fiona Greenwood

Judy Grill

Bendor Grosvenor

Jennifer Hall

Mr Ian Hay Davison, CBE

Patsy Hickman

Victoria Hislop

Dr Barry Hoffbrand

Gillian Humphreys

Rosemary 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 Fine

Sophie Miller

Ms Irene Monios

Ms Jane Moore

Ms K. Mulville

Jonathan Mussellwhite

Alexandra Nicol

Ann Norman-Butler

Chris and Judy Plant

Mike Potter

Dame Simone Prendergast

Cinzia Rendich

Michael Rich

C.D. Rolfe

Pamela Sander

Penny Sanders

Dudley Savill

Professor Sara Selwood

Lois Sieff, OBE

Lord and Lady Simon of Highbury

Mr Paul Simons

Mrs Diane Simpson

Rabinder Singh

Tania Sless

Andrew Spells

Lady Sandra Sullivan

Alison Swan Parente

Carl and Martha Tack

Ms Caitlin Tebbit

Jennifer Thorneycroft

Philip Turner

Mr A.J.B. Vernon

Mark Venrick

Sally Vere Nicoll

Charles Villiers

Gerry Wade

Lynne Walker

Neville Walton

Elizabeth Ware

David Watson

E.A. Whitehead

Imelda Woodthorpe Browne

Shaun Woodward, MP

Henry Wyndham

Dr Michael Yates

Jonathan Yeo

Honorary Patrons

Lord Browne of Madingley

The Lord Carrington, KG

Mrs Drue Heinz, Hon. DBE

Lord Weidenfeld

Development Board

Professor David Cannadine

Margaret Exley, CBE*

Amelia Chilcott Fawcett, CBE (Chair)*

Jennifer Greenbury**

Johnny Hornby*

Frances Jackson**

Jennifer Johnson**

Rufus Olins*

Sir Christopher Ondaatje, OC, CBE **

Midge Palley**

Mark Paviour*

Robert Swannell*

Anthony Weldon**

Jonathan Yeo (from July 2007)**

* Member of Corporate Advisory Group

** Member of Individual Advisory Group

Board of American Friends of

the National Portrait Gallery

(London) Foundation Inc

Mrs Drue Heinz, Hon. DBE

(Founder Benefactor)

David Alexander, Hon. CBE (President)

John Biggs

Bridget Colman

Robert Donnalley

Dr Frank L. Ellsworth

Richard M. Ticktin

Sandy Nairne

Pim Baxter (Secretary)

Financial

Report

The Gallery received a 4.5% increase in revenue

grant-in-aid funding and £170,000 capital

funding from the DCMS in 2007/08. 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 2008/09. 2007/08 grant-in-aid per

visitor to St Martin’s Place was £4.27, less than

2% higher than the figure of £4.19 in 2006/07,

maintaining the Gallery as outstandingly effective

within the museums and galleries sector in terms

of this key performance indicator.

As Grant-in-Aid represents only 42% of total

income received in 2007/08, self-generated

income remains crucial to sustaining the

breadth and quality of the Gallery’s activities.

Gross self-generated income represented 58%

of total income, compared to 56% in 2006/07.

Self-generated income increased by 16%

compared to 2006/07 comprising healthy

increases in the majority of fundraising income,

exhibition sponsorship, venue hire, and catering.

Income earned by Retail, Publications and Picture

Library declined by 13% compared to 2006/07,

but this was because the 2006–07 Retail income

was boosted significantly by the highly successful

David Hockney Portraits exhibition.

The rise in the proportion of the Gallery’s

total income accounted for by self-generated

income has continued the trend of recent

years and renders the Gallery more dependent

on self-generated income than grant-in-aid.

The 16% increase in self-generated income,

compared to 2006/7, arose because the Gallery

received its first tranche of the £5 million

donation from the Lerner family. Further tranches

from the Lerner gift will be received over the

next two years. Self-generated income was

also boosted by the commercial success of the

exhibitions programme together with a good

first year of trading for the trading company,

which earned profit before tax of £0.5 million.

Overall resources expended fell by 2% compared

to 2006/07, mainly as a result of a reduction in

cost in the Gallery’s trading activities, where

Retail costs were about £300,000 lower than

in 2007–08. This too was a reflection of the

considerable retail activity generated by the

David Hockney Portraits exhibition in 2006–07,

where retail income – and therefore retail costs –

were significantly higher than in previous years.

Excluding capital reserves, unrestricted funds

increased overall in 2007/08 by £1.5 million.

There are £0.35 million General Funds at

31 March 2008 (compared to £0.4 million

at 31 March 2007) in accordance with the

reserves policy which ensures that the Gallery

has uncommitted reserves for its working capital

needs to cover three quarters of its average

stock levels. £0.7 million has been designated

for specific projects which have been deferred

from 2007/08 to 2008/09.

Since the Gallery has no other unrestricted

reserves, the Trustees have designated an

Investment and Contingency Fund for

investment in 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 2007/08 a total

of £0.9 million from the Fund was invested in

the Digital Programme, cataloguing and

research, upgrading the IT infrastructure, the

implementation of a purchase ordering system

and various building improvements. The Fund

stood at £2.8 million at 31 March 2008, of which

£0.25 million is reserved for fluctuations on

expenditure and as contingency, and £1.7 million

has been allocated in 2008/09 for investment

in programmes for further cataloguing work,

research, digitisation, building improvements,

Gallery-wide procurement support and IT

infrastructure. The Gallery’s remaining

unrestricted reserves provide minimal

contingency against unforeseen expenditure

and short-term losses of income within the

present economic climate.

The Portrait Fund received significant donations

during 2007–08, from Sir Christopher Ondaatje

and half of the first tranche of the Lerner

donation which had been designated for the

Fund. The balance on the Portrait Fund now

stands at £3.2 million.

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 2008, available on the

Gallery’s website www.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

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



Governance

458

1,366

717

4,117

2,914

7,038

359

1,542

1,080

2,788

3,227

7,031

2007/8 £000s 2006/7 £000s

4,669

450

2,690

106

2,447

3,620

4,141

494

2,917

102

2,878

3,678

2006/7 £000s

2007/8 £000s

Consolidated

statement

of financial

activities

2007/8 2006/7

£000s £000s

Incoming resources

Grant-in-Aid 7,038 7,031

Incoming resources from generated funds

Activities from generating funds 2,914 2,788

Voluntary income 4,117 3,227

Investment income 367 221

Incoming resources from charitable activities

Exhibitions admissions and touring income 1,324 1,504

Exhibition and programme sponsorship income 717 1,080

Learning & access income 42 38

Other income 91 138

Total incoming resources

16,610 16,027

Resources expended

Costs of generating funds

Costs of generating voluntary income 450 494

Fundraising trading: cost of goods sold and other costs 2,447 2,878

Total costs of generating funds 2,897 3,372

Resources expended on charitable activities

Extending and broadening audiences 2,690 2,917

Developing the Collection 3,620 3,678

Increasing understanding and engagement with the Collection 4,669 4,141

Governance costs 106 102

Total resources expended

13,982 14,210

Net incoming resources before other

recognised gains and losses 2,628 1,817

Gains/(loss) on investments (1) –

Gain on revaluation of fixed assets for charity’s own use 4,202 2,195

Net movement in funds

6,829 4,012

Consolidated

balance sheet

at 31 March 2008 at 31 March 2007

£000s £000s

Fixed assets

Heritage assets 7,471 6,618

Tangible assets 54,165 50,935

Investments 37 38

Total fixed assets

61,673 57,591

Current assets

Stock 322 396

Debtors and prepayments 799 806

Cash at bank and in hand 8,628 5,198

9,749 6,400

Current liabilities

Creditors falling due within one year (2,171) (1,569)

Net current assets

7,578 4,831

Net assets 69,251 62,422

Represented by:

Restricted funds 57,556 52,208

Unrestricted funds

Designated funds 11,345 9,814

General funds 350 400

Total Funds

69,251 62,422

Acquisitions

Single and double portraits

James Evershed Agate (1877–1947)

Drama critic

By Angus McBean (1904–1990)

P1298: vintage bromide print, 14

⁄4 x 11

⁄4 in.

(375 x 285 mm), signed and inscribed on mount, and on

reverse of mount, inscribed and dated, 1946

Purchased 2008

Sir David Attenborough (1926–)

Naturalist and broadcaster; brother of Baron Attenborough

By Richard Boll (1977–)

P1296: digital black and white fibre print, 22 x 18 in.

(559 x 456 mm), signed and dated on reverse,

7 February 2007

Commissioned in association with the BBC 2007

Cecil Beaton (1904–1980)

Photographer, designer and writer

By Angus McBean (1904–1990)

P1294: vintage bromide print, 9

⁄2 x 7

⁄8 in.

(241x 188 mm), 1949

Purchased 2007

Tony Bevan (1951–)

Painter

Self-portrait

6818: oil and pigment on canvas, 34

⁄8 x 29

⁄4 in.

(878 x 757 mm), signed (twice) on reverse and on

stretcher, 1992

Purchased with help from John Morton Morris and

Ben Brown Fine Arts 2007

Sir Harrison Birtwistle (1934–)

Composer

By Tom Phillips (1937–)

6822: oil on canvas, 20

⁄8 x 20

⁄8 in. (510 x 510 mm), 1995

Purchased 2007

Anthony Charles Lynton (‘Tony’) Blair (1953–)

Prime Minister

By Nick Danziger (1958–)

P1297: bromide print, 14 x 9

⁄8 in. (357 x 239 mm),

3 April 2003

Purchased 2007

David Bowie (1947–)

Singer and performer

By Steven Klein

P1277: C-type colour print, 30 x 44

⁄2 in. (762 x 1130 mm),

signed with initials, inscribed and dated on reverse, 2003

Purchased with help from the proceeds of the 150th

Anniversary Gala 2007

Ian Breakwell (1943–2005)

Artist

Self-portrait (‘Parasite & Host’)

P1291: digital print, 45

⁄8 x 37

⁄8 in. (1160 x 950 mm),

inscribed on backboard, 2005

Purchased 2007

Quentin Crisp (Dennis Charles Pratt) (1908–1999)

Writer

By Angus McBean (1904–1990)

P1299: vintage bromide print, 17

⁄8 x 13

⁄2 in.

(434 x 344 mm), signed, inscribed and dated on mount,

and on reverse of mount, inscribed and dated, 1941

Purchased 2008

Mary Ellis (1897–2003)

Actress

By Angus McBean (1904–1990)

P1300: vintage bromide print, 11

⁄4 x 9

⁄2 in.

(287 x 240 mm), inscribed on reverse of mount

Purchased 2008

Brian Eno (1948–)

Musician and artist

By Tom Phillips (1937–)

6823: oil on board, 11

⁄8 x 10 in. (301 x 255 mm),

1984–1985

Purchased 2007

Brian Eno (1948–)

Musician and artist

By Tom Phillips (1937–)

6824: oil on canvas, 14 x 10 in. (355 x 255 mm),

1984–1985

Purchased 2007

Sir David Attenborough

by Richard Boll, 2007

Portrait Gallery, London

Sir Harrison Birtwistle

by Tom Phillips, 1995

Opposite

Self-portrait (detail)

by Tony Bevan, 1992

John Fletcher (1579–1625)

Dramatist

Unknown artist

6829: oil on oak panel, 36

⁄8 x 28 in. (918 x 710 mm),

c.1620

Purchased with help from the Portrait Fund, The Art Fund,

L.L. Brownrigg, Sir Harry Djanogly, Laurence Chase, the

Garfield Weston Foundation, the Fletcher tearooms at Rye,

E.A. Whitehead, the Dame Helen Gardner Bequest, Mrs A.

Campbell, the Pidem Fund, proceeds of the 150th Anniversary

Gala, and numerous supporters of a public appeal 2008

John Charles Galliano (1960–)

Fashion designer

By Paolo Roversi (1947–)

P1278: pigment print, 9

⁄2 x 7

⁄8 in. (240 x 187 mm),

signed, inscribed and dated on reverse, 2005

Given by Paolo Roversi 2007

Duncan Alexander Goodhew (1957–)

Swimmer

By Marty St James (1954–) and Anne Wilson (1955–)

6815: multi-monitor video portrait, 1990

Commissioned for the National Portrait Gallery by KPMG

Peat Marwick Actuarial Services, 1990, and partly given by

Marty St James and Anne Wilson and accessioned 2007

Len Harvey (1907–1976)

Boxer

By Thomas Burke (1886–1945)

6832: oil on canvas, 43

⁄4 x 34 in. (1112 x 865 mm),

signed, c.1938

Purchased 2008

Polly Jean (‘P.J.’) Harvey (1969–)

Singer

By Mario Sorrenti (1971–)

P1275: digital colour print, 27 x 22

⁄8 in.

(685 x 575 mm), 1995

Purchased, partial gift of the artist, with help from the

proceeds of the 150th Anniversary Gala 2007

Leslie Lincoln Henson (1891–1957)

Actor-manager

By Angus McBean (1904–1990)

P1301: vintage bromide print, 19

⁄4 x 14

⁄8 in.

(503 x 378 mm), signed, inscribed and dated on mount,

and on reverse of mount, inscribed, 1938

Purchased 2008

Audrey Hepburn (1929–1993)

Actress

By Angus McBean (1904–1990)

P1295: vintage bromide print, 19

⁄2 x 15 in.

(495 x 380 mm) uneven, 1950

Purchased with help from Gift Aid visitor ticket

donations 2007

David Hockney (1937–)

Artist

Self-portrait (‘Self-portrait with Charlie’)

6819: oil on canvas, 72 x 36 in. (1829 x 914 mm), 2005

Purchased with help from the proceeds of the 150th

Anniversary Gala and Gift Aid donations on tickets

purchased by visitors 2007

Sir Bruce Stirling Ingram (1877–1963)

Editor of the Illustrated London News

By Angus McBean (1904–1990)

P1302: vintage bromide print, 11

⁄2 x 9

⁄2 in. (291 x 241 mm)

Purchased 2008

Louis Jacobs (1920–2006)

Theologian

By Suzi Malin (1950–)

6814: pen and ink with Chinese white, 31

⁄2 x 21

⁄2 in.

(800 x 545 mm) uneven, signed and dated, 2007

Given by Suzi Malin 2007

Sid James (1913–1976)

Actor

By Ruskin Spear (1911–1990)

6820: oil and collage on canvas, 48 x 35

⁄8 in.

(1220 x 912 mm), signed, 1962

Purchased 2007

Henry Lamb (1883–1960)

Painter

Self-portrait

6838: oil on canvas, 22 x 18

⁄8 in. (560 x 460 mm),

signed and dated, 1950

Bequeathed by 5th Baron Kenyon and accessioned 2008

Charles Laughton (1899–1962)

Actor

By Edward Steichen (1879–1973)

P1309: silver gelatin print, 10 x 8 in. (254 x 203 mm), 1935

Purchased 2008

Tony B l a i r

by Nick Danziger, 2003

Len Harvey

by Thomas Burke, c.1938

Acquisitions

David Bowie

by Steven Klein, 2003

Jude Law (1971–)

Actor

By Paolo Roversi (1947–)

P1279: pigment print, 9

⁄8 x 7

⁄2 in. (239 x 190 mm),

signed, inscribed and dated on reverse, 2006

Given by Paolo Roversi 2007

Beatrice Gladys Lillie (Lady Peel) (1894–1989)

Actress

By Angus McBean (1904–1990)

P1303: vintage bromide print, 15

⁄4 x 11

⁄2 in.

(399 x 291 mm), signed, inscribed and dated on mount,

and on reverse of mount, inscribed, 1958

Purchased 2008

Angus McBean (1904–1990)

Photographer

By Robert Mapplethorpe (1946–1989)

P1308: vintage bromide print, 19

⁄8 x 15

⁄4 in.

(487 x 387 mm), signed, inscribed and dated on

reverse, 1988

Given by David Ball 2008

Sir Peter Mansfield (1933–)

Physicist

By Stephen Shankland (1971–)

6836: oil on board, 57

⁄8 x 31

⁄8 in. (1470 x 790 mm),

signed in monogram, and on reverse, signed, inscribed

and dated, 2008

Commissioned as part of the First Prize,

BP Portrait Award 2004

Robert McCredie May, Baron May of Oxford (1936–)

Zoologist

By Tom Phillips (1937–)

6825: oil on panel, 6 x 3

⁄8 in. (151 x 100 mm), 2005

Purchased 2007

Oliver Hilary Sambourne Messel (1904–1978)

Designer

By Angus McBean (1904–1990)

P1304: vintage bromide print, 19

⁄8 x 14

⁄2 in.

(504 x 368 mm), signed and inscribed on mount,

and on reverse of mount, inscribed, 15 March 1950

Purchased 2008

Richard Edward Morphet (1938–)

Art historian

By Tom Phillips (1937–)

6826: pastel, 22

⁄8 x 15 in. (561 x 380 mm) uneven,

1972–1973

Given by Tom Phillips 2007

Kate Moss (1974–)

Fashion model

By Corinne Day (1965–)

P1274: bromide print, 59

⁄2 x 51

⁄8 in. (1510 x 1305 mm),

11 December 2006

Commissioned with help from the proceeds of the 150th

Anniversary Gala 2007

Kate Moss (1974–)

Fashion model

By Mario Sorrenti (1971–)

P1276: digital print, 39

⁄8 x 33

⁄2 in. (1000 x 850 mm), 1993

Purchased, partial gift of the artist, with help from the

proceeds of the 150th Anniversary Gala 2007

Victor Musgrave (1919–1984)

Art dealer and collector; founder of Gallery One

By Maggi Hambling (1945–)

6816: oil on canvas, 36 x 28 in. (914 x 712 mm), signed,

inscribed and dated on reverse, 1977

Purchased 2007

Sir Paul Maxime Nurse (1949–)

Biochemist; Chief Executive Officer of Cancer Research UK

By Jason Brooks (1968–)

6837: acrylic on canvas, 67

⁄8 x 106

⁄4 in. (1710 x 2710 mm),

signed, inscribed and dated on stretcher, 2008

Commissioned by the Trustees and made possible by

JPMorgan through the Fund for New Commissions 2008

Chris Ofili (1968–)

Artist

Self-portrait

6835: oil on canvas, 40

⁄8 x 17

⁄8 in. (1019 x 442 mm), 1991

Purchased with help from Laura and Barry Townsley and

Janet de Botton 2008

Julian Opie (1958–)

Artist

Self-portrait

6830: continuous computer animation displayed on

LCD screen, 2005

Purchased with help from Channel 4 2007

Berto Pasuka (died 1963)

Jamaican dancer and choreographer

By Angus McBean (1904–1990)

P1305–P1306: vintage bromide prints, two photographs

on one mount, 14

⁄4 x 11

⁄4 in. (374 x 299 mm) or larger,

signed and inscribed on mount, and on reverse of mount,

inscribed, January 1946

Purchased 2008

Marc Quinn (1964–)

Artist

Self-portrait

6828: hand-coloured pigment transfer print on aluminium

panel, 10

⁄4 x 7

⁄8 in. (261 x 200 mm), signed, numbered

3/10 and dated on reverse, 2006

Purchased 2007

Luise Rainer (1910–)

Actress and painter

By Angus McBean (1904–1990)

P1307: vintage bromide print, 15

⁄2 x 19

⁄2 in.

(394 x 494 mm), signed, inscribed and dated on mount,

and on reverse of mount, inscribed and dated, 1938

Purchased 2008

Stella Isaacs, Marchioness of Reading (1894–1971)

Chairman and founder of the Women’s Royal

Voluntary Service

By Sir James Gunn (1893–1964)

6833: oil on canvas, 44

⁄8 x 36 in. (1120 x 914 mm),

signed, 1961–1962

Given by the Women’s Royal Voluntary Service 2008

David Ricardo (1772–1823)

Political economist

By Thomas Phillips (1770–1845)

L241: oil on canvas, 36

⁄8 x 28 in. (917 x 710 mm), c.1821

Lent by Christopher Ricardo, 2007

Sir David Scholey (1935–)

Businessman

By Rupert Bathurst (1964–)

6813: pencil, 29

⁄8 x 22

⁄8 in. (758 x 568 mm), signed with

initials and dated, 2005

Given by Sir David Scholey

Tilda Swinton (1961–)

Actress

By Paolo Roversi (1947–)

P1280: pigment print, 9

⁄2 x 7

⁄2 in. (240 x 189 mm), signed,

inscribed and dated on reverse, 2005

Given by Paolo Roversi 2007

Berto Pasuka

by Angus McBean, 1950

Sir Peter Mansfield

by Stephen Shankland, 2008

Self-portrait

‘Julian with T-shirt’

by Julian Opie, 2005

Acquisitions

Sir Siegmund George Warburg (1902–1982)

Banker

By Raymond Leslie Skipp (1921–2001)

6821: tempera grassa on paper on panel, 37

⁄8 x 30 in.

(942 x 763 mm), signed and dated, 1972

Given by UBS AG 2007

Oscar Wilde (1854–1900)

Wit and dramatist

By Napoleon Sarony (1821–1896)

P1133: albumen cabinet print, 5

⁄8 x 4 in. (143 x 102 mm),

inscribed below image on photographer’s mount, 1882

Purchased 2007

Humbert Wolfe (1886–1940)

Poet and civil servant

By Sir William Rothenstein (1872–1945)

6831: chalk, 14

⁄8 x 9

⁄4 in. (379 x 249 mm), inscribed and

dated, 1931

Given by the sitter’s daughter, Ann Wolfe, 2008

Group portraits

The Situation Group

Lawrence Alloway (1926–1990)

Art dealer and critic,

Gillian Ayres (1930–) Painter, mural artist and teacher,

Bernard Cohen (1933–) Painter and teacher, Roger Coleman

Painter, Peter Coviello (1930–) Painter, potter and teacher,

Robyn Denny (1930–) Painter, Gordon House (1932–2004)

Printmaker, painter, designer and teacher, Gwyther Irwin

(1931–)

Painter, designer and teacher, Henry Mundy

(1919–)

Painter and teacher, John Plumb (1927–) Painter

and teacher,

Peter Stroud (1921–) Artist, William Turnbull

(1922–)

Sculptor

By Sylvia Sleigh (1916–)

6817: oil on linen, mounted on canvas, 48 x 72 in.

(1219 x 1829 mm)

Signed and dated, 1961

Purchased 2007

Heads

Francis Bacon (1909–1992)

Painter, John Blake Sculptor;

friend of Peter Gidal,

Rufus Collins (1935–) American actor

and director,

Jim Dine (1935–) American artist,

Stephen Dwoskin (1939–) Film-maker, Marianne Faithfull

(1946–)

Singer and actress, Jane Furst Friend of Peter Gidal,

David Gale Actor; friend of Peter Gidal, Andrew Garnett-

Lawson

Set designer; friend of Peter Gidal, Carol Garnett-

Lawson

Sculptor; friend of Peter Gidal, Richard Hamilton

(1922–)

Painter, David Hockney (1937–) Artist,

Marsha Hunt (1947–) Model, singer, actress and

writer,

Vivian Kurtz Actress; friend of Peter Gidal,

Gregory Markopoulos (1928–1992) American film-maker,

Dieter Meier (1945–) Swiss musician and performance

artist,

Thelonius Monk (1917–1982) American jazz pianist,

Adrian Munsey Friend of Peter Gidal, Claes Thure Oldenburg

(1929–)

Artist, Anita Pallenberg (1944–) Model, actress

and fashion designer,

Prenai Friend of Peter Gidal,

Patrick Procktor (1936–2003) Artist, Winston Roeth

Artist; friend of Peter Gidal, Carolee Schneemann (1939–)

American performance artist, Rosie Schwarz Friend of

Peter Gidal,

Leslie Smith Friend of Peter Gidal, Linda Thorson

(Linda Robinson) (1947–)

Canadian actress, Peter Dennis

Blandford (‘Pete’) Townshend (1945–)

Musician, performer

and composer; publisher and author,

Frances Vaughan

Friend of Peter Gidal, Charles Robert (‘Charlie’) Watts

(1941–)

Member of the Rolling Stones, Bill West Friend of

Peter Gidal

By Peter Gidal (1946–)

6827: 16 mm silent, black and white film, 1969

Transferred 2007

The House of Commons, 24 July 1986

Leo Abse (1917–)

Lawyer and writer, Jack Ashley,

Baron Ashley (1922–)

Politician, Anthony Wedgwood

(‘Tony’) Benn (1925–)

Politician, (William) John Biffen,

Baron Biffen (1930–2007)

Politician, Sir John Alec

Biggs-Davison (1918–1988)

Politician, and 82 other figures,

see www.npg.org.uk for full listing

By Christopher John (‘Chris’) Orr (1943–)

6834: aquatint and etching, 13

⁄8 x 21

⁄8 in.

(340 x 542 mm), 1986

Purchased 2008

The Dreadnought Hoax

Anthony Buxton (1881–1970)

Writer and naturalist,

(William) Horace De Vere Cole (1881–1936) Practical joker,

Duncan Grant (1885–1978) Artist, Guy Ridley (1885–1947)

Solicitor, Adrian Stephen (1883–1948) Psychoanalyst; son of

Sir Leslie Stephen,

Virginia Woolf (née Stephen)

(1882–1941)

Novelist and critic; sister of Vanessa Bell

By Lafayette (Lafayette Ltd) (1880–)

P1293: albumen print, 6

⁄8 x 8

⁄4 in. (176 x 223 mm),

10 February 1910

Purchased 2007

Oscar Wilde

by Napoleon Sarony, 1882

The Dreadnought Hoax

by Lafayette (Lafayette Ltd), 1910

The Situation Group

by Sylvia Sleigh, 1961

Collections

Faith and Church: photographs by Don McCullin, 2006:

By Don McCullin (1935–)

Gelatin silver prints, 18

⁄8 x 15

⁄4 in. (481 x 388 mm) or more,

signed on reverse

Commissioned 2007

P1281:

Anthony Michael (‘Tony’) Bayfield (1946–)

Rabbi; Head, Movement for Reform Judaism, 5 September

2006

P1282:

Esmé Christiana Beswick (née Coleman) (1938–)

Pentecostal minister; Secretary General, Joint Council for

Anglo Caribbean Churches, 8 September 2006

P1283:

Cormac Murphy-O’Connor (1932–)

Cardinal Archbishop of Westminster, 14 September 2006

P1284:

Syed Aziz Pasha (1930–)

Secretary General, Union of Muslim Organisations,

21 September 2006

P1285:

Kathleen Margaret Richardson (née Fountain),

Baroness Richardson (1938–)

Teacher and ecumenicist; Moderator, Free Church Federal

Council, 4 September 2006

P1286:

Sir Jonathan Henry Sacks (1948–)

Chief Rabbi, United Hebrew Congregations of the British

Commonwealth of Nations, 8 November 2006

P1287:

Sir Iqbal Sacranie (1952–)

Secretary General, Muslim Council of Great Britain,

6 September 2006

P1288:

Om Parkash Sharma (1929–)

Businessman; President, National Council of Hindu Temples,

29 September 2006

P1289:

Indarjit Singh (1932–)

Founding Director, Network of Sikh Organisations,

7 September 2006

P1290:

Rowan Douglas Williams (1950–)

Archbishop of Canterbury, 13 September 2006

Photographs by Bern Schwartz, 1975–8:

By Bern Schwartz (1914–1979)

P1134–P272: dye transfer prints, 7

⁄8 x 6

⁄8 in.

(195 x 155 mm) or more

Given by the Bernard Lee Schwartz Foundation 2007

Lawrence Cecil (‘Larry’) Adler (1914–2001), Constance

Mary Katherine Applebee (1873–1981), Robert Armstrong,

Baron Armstrong of Ilminster (1927–), Dame Edith

Margaret Emily (‘Dame Peggy’) Ashcroft (1907–1991),

Sir Frederick Ashton (1904–1988), Sir Alfred Jules Ayer

(1910–1989), Dame Janet Abbott Baker (1933–),

Anthony Wedgwood (‘Tony’) Benn (1925–), Aline Elisabeth

Yvonne (née De Gunzbourg), Lady Berlin (1915–),

Sir Isaiah Berlin (1909–1997), Sidney Lewis Bernstein,

1st Baron Bernstein of Leigh (1899–1993), Alma Lillian

Birk, Baroness Birk of Regent’s Park (1917–1996),

Claire Bloom (1931–), Richard Austen Butler, 1st Baron

Butler of Saffron Walden (1902–1982), James Callaghan,

Baron Callaghan of Cardiff (1912–2005), Richard Michael

Power (‘Mike’) Carver, Baron Carver (1915–2001),

Sir Hugh Maxwell Casson (1910–1999), Lord David Cecil

(1902–1986), Prince Charles (1948–), Kenneth Clark, Baron

Clark (1903–1983), Donald Coggan, Baron Coggan

(1909–2000), Alistair Cooke (1908–2004), Fleur Cowles

Meyer (c.1915–), Douglas Albert Vivian Allen, Baron

Croham (1917–), John Curry (1949–1994), Sir Clifford

Michael Curzon (1907–1982), Sir Colin Rex Davis (1927–),

Alfred Thompson (‘Tom’) Denning, Baron Denning

(1899–1999), Dame Ninette de Valois (Edris Stannus)

(1898–2001), Sir Anthony Dowell (1943–), (Charles)

Garrett Ponsonby Moore, 11th Earl of Drogheda

(1910–1989), (Israel) Maurice Edelman (1911–1975),

Sir Geraint Llewellyn Evans (1922–1992), Dame Margot

Fonteyn (1919–1991), Charles Forte, Baron Forte

(1908–2007), (John) Barry Foster (1927–2002), Clare Mary

Francis (1946–), Dame Elisabeth Jean Frink (1930–1993),

Gerald Austin Gardiner, Baron Gardiner (1900–1990),

Sir John Gielgud (1904–2000), Sir William Frederick Glock

(1908–2000), Arnold Abraham Goodman, Baron Goodman

(1913–1995), Sir Alec Guinness (1914–2000), Quintin

McGarel Hogg, 1st Baron Hailsham of St Marylebone

(1907–2001), George Henry Hubert Lascelles, 7th Earl

of Harewood (1923–), (William) Michael Berry, Baron

Hartwell (1911–2001), Jacquetta Hawkes (1910–1996),

Sir Edward Heath (1916–2005), David Hockney (1937–),

Sir Alan Lloyd Hodgkin (1914–1998), Alexander Frederick

Douglas-Home, Baron Home of the Hirsel (1903–1995),

Lesley Hornby (‘Twiggy’) (1949–), (George) Basil Hume

(1923–1999), John Hunt, Baron Hunt (1910–1998),

Immanuel Jakobovits, Baron Jakobovits (1921–1999),

Roy Harris Jenkins, Baron Jenkins of Hillhead (1920–2003),

Ann Maureen Jenner (1944–), Dame Gwyneth Jones

(1936–), James Larkin (‘Jack’) Jones (1913–), Jennifer

(‘Gemma’) Jones (1942–), Sir Osbert Lancaster

(1908–1986), Janet (‘Jennie’) Lee, Baroness Lee of

Asheridge (1904–1988), (Norman) Harold Lever, Baron

Lever (1914–1995), Dame Moura Lympany (née Mary

Johnstone) (1916–2005), Sir Fitzroy Hew Royle Maclean,

1st Bt (1911–1996), Donald Whyte MacLeary (1937–),

Sir Robert Mark (1917–), Dame Alicia Markova

(1910–2004), John George Vanderbilt Spencer-Churchill,

11th Duke of Marlborough (1926–), Rosita Spencer-

Churchill, Duchess of Marlborough (1943–), Sir Robert

Mayer (1879–1985), Sir Peter Brian Medawar

(1915–1987), Yehudi Menuhin, Baron Menuhin

(1916–1999), Henry Moore (1898–1986), Claus Adolf

Moser, Baron Moser (1922–), Louis Mountbatten, Earl

Mountbatten of Burma (1900–1979), (Thomas) Malcolm

Muggeridge (1903–1990), Benedict Nicolson (1914–1978),

Diana, Viscountess Norwich (Lady Diana Cooper)

(1892–1986), Rudolf Hametovich Nureyev (1938–1993),

Laurence Kerr Olivier, Baron Olivier (1907–1989), David

Anthony Llewellyn Owen, Baron Owen (1938–), Vijaya

Lakshmi Pandit (1900–1990), Dame Merle (Florence) Park

(1937–), Sir (Ernest) John Partridge (1908–1982), Lester

Piggott (1935–), John Egerton Christmas Piper

(1903–1992), Sir John Harold Plumb (1911–2001),

Carmichael Charles Peter (‘Michael’) Pocock (1920–1979),

John Boynton (‘J.B.’) Priestley (1894–1984), William Rees-

Mogg, Baron Rees-Mogg (1928–), Zandra Lindsey Rhodes

(1940–), Gordon William Humphreys Richardson, Baron

Richardson of Duntisbourne (1915–), Sir Ralph David

Richardson (1902–1983), Angela Rippon (1944–), Lionel

Charles Robbins, Baron Robbins (1898–1984), Eric Roll, 1st

Baron Roll of Ipsden (1907–2005), Amschel Mayor James

Rothschild (1955–1996), Dorothy Mathilde de Rothschild

(1895–1988), Nathaniel Mayer Victor Rothschild, 3rd

Baron Rothschild (1910–1990), Nathaniel Charles Jacob

Rothschild, 4th Baron Rothschild (1936–), Sir Francis Edwin

Prescott Sandilands (1913–1995), Bernard Lee Schwartz

(1914–1979), (David) Paul Scofield (1922–2008), Dame

Antoinette Sibley (1939–), Eloise Sibley (1975–), Marcus

Joseph Sieff, Baron Sieff (1913–2001), Charles Percy Snow,

Baron Snow (1905–1980), Sir David Edward Charles Steel

(1916–2004), Isaac Stern (1920–2001), Sir Roy Strong

(1935–), Michael Meredith Swann, Baron Swann

(1920–1990), Dame Kiri Janette Te Kanawa (1944–),

Margaret Hilda Thatcher (née Roberts), Baroness Thatcher

(1925–), Alexander Robertus Todd, Baron Todd

(1907–1997), Burke Frederick St John Trend, Baron Trend

(1914–1987), Humphrey Trevelyan, Baron Trevelyan

(1905–1985), Sir Siegmund George Warburg (1902–1982),

Arthur George Weidenfeld, Baron Weidenfeld (1919–),

Shirley Vivien Teresa Brittain Williams, Baroness Williams

of Crosby (1930–), (James) Harold Wilson, Baron Wilson of

Rievaulx (1916–1995), Sir Isaac Wolfson, 1st Bt

(1897–1991), Alexander Zakin (1903–1990), Solly

Zuckerman, Baron Zuckerman (1904–1993)

Rowan Williams,

Archbishop of Canterbury

by Don McCullin, 2006

Margaret Thatcher,

Baroness Thatcher

by Bern Schwartz, 1977

Rossetti Family Photograph Album, 1853–1902:

P1273 album, 61 pages with 98 photographs,

⁄8 x 10

⁄8 in. (372 x 270 mm)

Purchased 2007

Dante Gabriel Rossetti (1828–1882) Painter and poet,

Christina Georgina Rossetti (1830–1894) Poet,

William Michael Rossetti (1829–1919) Critic and writer,

Maria Francesca Rossetti (1827–1896) Writer; sister of

Dante Gabriel,

William and Christina Rossetti, Frances Mary

Lavinia Rossetti (née Polidori) (1800–1886)

Mother of

Dante Gabriel,

William Michael and Christina Rossetti,

Mary Rossetti (b.1881)

Daughter of William Michael

Rossetti,

Michael Rossetti (b.1881) Son of William

Michael Rossetti

10 photographs of the above by Lewis Carroll

(Charles Lutwidge Dodgson) (1832–1898), Lisa Stillman

and (Henry) Mark Anthony (1817–1886)

Also represented:

Alphonse Legros (1837–1911) Painter,

sculptor and etcher,

Swynfen Stevens Jervis (1798–1867)

MP and occasional poet, John Lucas Tupper (c.1824–1879)

Sculptor and anatomical draughtsman, contributor to the

Germ,

George Brimley (1819–1857) Essayist and critic for

the Spectator,

Marie Stillman (née Spartali) (1844–1927)

Painter and artist’s model, Euphrosyne (‘Effie’) Stillman

(1872–1911)

Sculptor; daughter of Marie Stillman (née

Spartali),

Robert Stephen Rintoul (1787–1858) Journalist,

editor and founder of the Spectator,

Henrietta Rintoul

(died 1860)

Wife of Robert Stephen Rintoul, Robert Rintoul

Lieutenant, 4th Dragoon Guards; son of Robert Stephen

Rintoul,

Henrietta Rintoul (c.1825–1904) Daughter of

Robert Stephen Rintoul; amateur photographer

Photographs of works of art featured in this album are listed

on the Gallery website at www.npg.org.uk

Sidney and Beatrice Webb Family Photograph Album,

1863–1942:

P1292 album, 57 pages with 92 photographs, 11

⁄4 x 9

⁄8 in.

(300 x 245 mm)

Purchased 2007

(Martha) Beatrice Webb (née Potter), Lady Passfield

(1858–1943)

Social reformer and diarist, Sidney James

Webb, Baron Passfield (1859–1947)

Social reformer and

politician

33 photos of the above by George T. Millichap (floruit

1855–1874), Martin & Sallnow (floruit 1885–1895), Sport

& General Press Agency Ltd, Bassano (floruit 1902–1979),

Lafayette (Lafayette Ltd) (1880–), Sheila Cameron

Meinertzhagen (née Macnamara)

Also represented:

George Bernard Shaw (1856–1950)

Playwright, Barbara Drake (née Meinertzhagen)

(1876–1963)

Political activist and writer; niece of

Beatrice Webb,

Ivan Mikhailovich Maisky (1884–1975)

Russian Ambassador to London and writer, M. Novikov

Counsellor to the Russian Embassy, Luke Meinertzhagen

The Rossetti Family

by Lewis Carroll

(Charles Lutwidge Dodgson), 1863

Acquisitions

Exhibitions

April 2007–

March 2008

Wolfson Gallery

BP Portrait Award 2007 and BP Travel Award 2006

14 June–16 September 2007

Pop Art Portraits

11 October 2007–20 January 2008

Vanity Fair Portraits: Photographs 1913–2008

14 February–26 May 2008

Porter Gallery

Daily Encounters: Photographs from Fleet Street

5 July–21 October 2007

Photographic Portrait Prize 2007

8 November 2007–24 February 2008

Brilliant Women: 18th-Century Bluestockings

13 March–15 June 2008

Studio Gallery

Four Corners

24 March–5 August 2007

(Reaching Out, Drawing In project supported by

the Heritage Lottery Fund)

My Space

20 October 2007–24 February 2008

(In partnership with Commission for Architecture

and the Built Environment)

Bookshop Gallery

In the Making: Fashion and Advertising

2 July–14 October 2007

Shutting Up Shop

5 November 2007–4 June 2008

Selected gallery displays

Sir Leslie Stephen

5 April–9 December 2007

Artists and Sitters, New Display

of the Collection: 1960–90

From 21 April 2007

Devotional

16 June–25 November 2007

Caricatures by Barry Fantoni

23 June–23 September 2007

Making History: Printed Portraiture in

Tudor and Stuart Britain 1580–1640

7 July–9 December 2007

Diana, Princess of Wales

14 July 2007–14 January 2008

W.H. Auden

28 July–2 December 2007

Lives and Letters

15 September 2007–9 March 2008

Private View: British Pop and the 60s Art Scene

24 September 2007–6 March 2008

Joseph Conrad

28 September 2007–12 February 2008

Alexandra of Denmark

28 September 2007–13 January 2008

Born 1947: Camera Press at 60

30 October 2007–20 April 2008

The Artist’s Process

4 December 2007–29 June 2008

John Kay’s Curious Characters

15 December 2007–13 July 2008

Yousuf Karsh

15 January–6 July 2008

Jazz in London: Photographs by Walter Hanlon

21 January–20 July 2008

The Search for the Source of the Nile

28 January–27 July 2008

Men of the Day: Caricatures from Vanity Fair

14 February–31 August 2008

Modern Muses

13 March–15 June 2008

Victorian Women Historians

13 March–31 August 2008

Athletes and Olympians

20 March–28 September 2008

Anthony Caro Portraits

20 March–7 September 2008

Touring exhibitions

BP Portrait Award 2007 and BP Travel Award 2006

Laing Art Gallery

13 October–2 December 2007

Scottish National Portrait Gallery, Edinburgh

14 December 2007–16 March 2008

Photographic Portrait Prize 2006

Aberystwyth Arts Centre

19 May–7 July 2007

The World’s Most Photographed

Newcastle Regional Art Gallery, Australia

7 April–24 June 2007

Pop Art Portraits

Staatsgalerie, Stuttgart

23 February–8 June 2008

Great Britons

National Portrait Gallery, Washington, D.C.

27 April–2 September 2007

Cecil Beaton: Portraits

Chrysler Museum, Norfolk, Virginia

16 October 2007–4 January 2008

National programmes

Pop Stars: Photographs from

the National Portrait Gallery*

Sunderland Museum and Winter Gardens

30 June–27 August 2007

Human Cargo: The Transatlantic Slave Trade,

its Abolition and Contemporary Legacies

in Plymouth and Devon*

Plymouth City Museum and Art Gallery

22 September–24 November 2007

A Blueprint for Life: Designers

Photographed by Steve Speller

Shipley Art Gallery, Gateshead

19 January–8 March 2008

The Diary Room: Characters of the 17th Century*

Graves Art Gallery, Sheffield

5 March–31 May 2008

North Face: Photographs from

the National Portrait Gallery*

Ten locations across the North East, ranging from

Hexham Old Gaol to Segedunum in Wallsend

29 March–26 May 2008

* Collaborative exhibition

Sandy Nairne Director

Alexandra Finch Manager, Director’s Office

Louise Ledger Administrative Assistant

Curatorial and Collections

Jacob Simon Chief Curator and Deputy Director

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

Rab MacGibbon Assistant Curator

Patricia Hardy Assistant Curator from 02/08

Elizabeth Heath Assistant Curator (Research) from 02/08

Magda Keaney Assistant Curator of Photographs

(Exhibitions and Displays)

Jan Marsh Researcher

Carol Blackett-Ord Researcher

Georgia Atienza Cataloguer

Constantia Nicolaides Cataloguer

Susanna Brown Photographs Documentation Assistant

until 01/08

Eddie Otchere Arts Council England Inspire Fellow

John Ingamells Research Fellow

Seraphina Coffman Secretary on leave from 08/07

Catherine Stanton Curatorial and Secretarial Assistant

Digital Programmes

David Saywell Head of Digital Programmes

on leave from 07/07

José Robertson Head of Digital Programmes from 09/07

Jonathan Williamson Collections Database Manager

Sylvain Giraud New Media Manager

Richard Edwards New Media Assistant until 08/07

Hanal Patel New Media Assistant from 09/07

Emma Cavalier Digital Imaging Officer

Amy Scott Digital Imaging Assistant

Zaheen Qaiser IT Gallery Co-ordinator

Inga Fraser Data Entry Cataloguer until 01/07

Exhibitions and Collections Management

Sarah Tinsley Head of Exhibitions and

Collections Management

Claire Everitt Exhibitions Manager until 11/07

Sophie Clark Exhibitions Manager

Rosie Wilson Exhibitions Manager

Flora Fricker Exhibitions Manager (Competitions)

Alexandra Willett Exhibitions Assistant until 11/07

Michelle Greaves Exhibitions Assistant from 11/07

Penny Hughes Collections Services Manager from 11/07

Laura Down National Programmes Manager

Delphine Allier National Programmes Assistant

David McNeff Loans Manager

Tim Moreton Collections Manager

Juliet Simpson Collections Assistant

Caroline Pegum Researcher/Co-ordinator for Subject

Specialist Network from 09/07

Annabel Champion Loans Assistant until 10/07

Ruth Cribb Loans Assistant from 11/07 to 02/08

Richard Hallas Head of Frame Conservation

Stuart Ager Assistant Manager, Frame Conservator

Stephen Williams Frame Conservator

Karl Lydon Art Handling Manager

Art Handlers: Neil Andrews, Julian Buchan,

Danny Horner, Ulrike Waschmann

Jude Simmons Head of Design

Ian Gardner Designer

Leonora Daltrey Assistant Designer

Sophie Plender Senior Paintings Conservator

Sally Marriott Assistant Paintings Conservator from 05/07

Heinz Archive and Library

Robin Francis Head of Archive and Library

Gabriele Popp Librarian on leave from 06/08

Joseph Ripp Assistant Librarian from 09/07

Paul Cox Assistant Curator (Archive and Library)

Erika Ingham Assistant Curator (Archive and Library)

Archive Assistants: Lisa Burke from 06/07, Bryony Millan,

Francesca Odell, Emma Williams

Andrew Allen Cataloguer

Charlotte Brunskill Archivist/Records Manager

Paul Shackleton Library Project Manager from 08/07

Communications and Development

Pim Baxter Communications and Development Director

and Deputy Director

Denise Ellitson Marketing Manager

Jonathan Rowbotham Marketing Officer

Neil Evans Senior Press Officer

Catherine Bromley Press Officer

Helen Corcoran Communications Assistant

Naomi Conway Head of Corporate Development

Stephanie Weissman Major Donor Development Manager

Tilani Guy De FontGalland Development Researcher

Kirsty Sprawson Trusts Fundraising Manager

on leave from 05/07

Carol Trevor Fundraising Manager until 04/07

Susie Holden Trusts Fundraising Manager from 04/07

Catherine Yexley Trusts Fundraising Manager from 05/07

Charlotte Savery Individual Giving Manager

Emma Black Membership Officer

Sarah Moir Corporate Development Manager

Mairi Sinclair Corporate Development Manager until 11/07

Sara Bunting Corporate Development Manager from 12/07

Annie Davies Events Manager until 11/07

Nicola Martin Events Manager from 11/07

Maddie Gibson Events Officer from 12/07

Alex Kidston Music Co-ordinator

Trading

Robert Carr-Archer Head of Trading

Shirley Ellis Retailing and Publications Assistant

Celia Joicey Publishing Manager

Susie Foster Editor

Caroline Brooke Johnson Editor on leave from 01/08

Rebeka Cohen Editor from 11/07

Claudia Bloch Assistant Editor

Ruth Müller-Wirth Production Manager

Pallavi Vadhia Publications Sales and Marketing Manager

Tom Morg a n Head of Rights and Reproductions

Bernard Horrocks Copyright Officer

Matthew Bailey Acting Assistant Picture Library Manager

Picture Librarians: Melissa Atkinson, Emma Butterfield,

Helen Trompeteler

Shop

Denise Dean Retail Manager, Buyer

Linda Fu Assistant Retail Manager

Victoria Barnes Buying Assistant until 01/08

Senior Sales Assistants: Sylvia Gallotti until 08/07,

Martin Steininger

Sales Assistants: Joanna Aitken, Suzanne Allatt until 01/08,

Maiven Bergeron, Julie Crawford from 08/07,

Olivia Forder-White, Sean Harris from 06/07,

Victoria Healy, Anthea Henderson, Matthew Jones

from 10/07, Rebecca Lord from 02/08, Freya Macknight

until 02/08, Giles Morgan, Maria Nillson until 06/07,

Hayley Pimblott until 09/07, Amber Sinclair Ray until 05/07

Staff

Terence Stewart Stores Supervisor

Robert Ryan Stores Assistant until 01/08

Kieron Wakeman Stores Assistant from 01/08

Learning and Access

Liz Smith Head of Learning and Access from 06/07

Liz Rideal Learning Manager – Art until 01/08,

Art Resources Developer from 01/08

Clare Gittings Learning Manager

Tanja Ganger Learning Manager – Art from 01/08

Rachel Moss Young People’s Programmes Manager

Janette Cullen Family Programmes Manager

on leave from 11/07

Kevina Khan Family Programmes Manager from 11/07

Sumi Ghose Adult Programmes Manager

Lucy Ribeiro Learning and Access Manager

Francesca Silvester Access and Outreach Assistant

on leave from 11/07

Kalliopi Liouta Access and Outreach Assistant from 11/07

Rosie Burley Access and Outreach Assistant from 09/07

Andrea Easey Interpretation Editor

Anna Bright Short Text Writer

Rebecca Connock Reaching Out Drawing In Project Manager

until 11/08

Phillippa Heath Learning Services Manager

Emma Middleton Learning Services Assistant

Amy Wedderburn Learning Services Assistant

Gabriel Thorp AV/Theatre Technician

Finance and Planning

Nick Hanks Head of Finance and Planning from 09/07

Barbara Jotham Head of Finance and Planning until 06/07

Nico Nicholas Finance Manager

Terence Greenwood Assistant Finance Manager

Jenny Dewhirst Management and Planning Accountant

Stella Muziya Assistant Management Accountant

Susan Deane Payroll Officer

Finance Assistants: Peter Beadle, Olamide Ogunlesi

Resources

Judith West Head of Resources

Louis Brady Head of Information Technology

Ann Lahiff IT Infrastructure and Development Manager

Martin Empson IT Systems Officer until 08/07

David Lloyd IT Support and Development Manager

Simon Jones IT Support Officer

Kevin Day IT Support Officer

Ron Hurtado IT Assistant from 08/07

Steve Ames Facilities Manager

Allan Tyrrell Engineering Manager

John Dawson Building Services Co-ordinator

Claire Zammit Head of Visitor Services and Security

Caroline Wynter Head of Personnel

Llorett Kemplen Training and Development Manager

Jagdish Sandhu Senior Personnel Officer

Lucy Evans Personnel Assistant

Melanie Pelletier Personnel Assistant

Elizabeth Fomin Contracts/Procurement Adviser from 12/07

Visitor Services

Visitor Services Managers:

Rafal Kennedy from 09/07, Heather Packham from 05/07,

Rosie Pagan, Colin Wood until 08/07

Assistant Visitor Services Managers:

Jennifer Hopkins from 07/07, Andrew Hudson,

Adriana Oliveira from 01/08, Mark Van Beurden

Visitor Services Assistants:

Roz Ah Thion, Henar Arevalo, Joseph Armstrong,

Stephen Atkins, Barbara Barnett, Michael Barratt

from 07/07, Linda Beadle until 06/07, Yamina Belkacemi,

Pierre Berthou until 02/08, Lynn Boothman,

Rosemary Brookes, Sarah Brown until 05/07,

Leonie Brumby from 07/07, Michelle Cajapin from 07/07,

Chia Han Chou from 07/07, Athanasia Christopoulou,

Kevin Clarke until 09/07, Eveline Coker, David Coomber,

Brenda Copleston, Victor Cruz, Fausta Cuboni from 07/07,

Anna Di Cesare, Margaret Drury, Stuart Evans,

Emma Fitzpatrick from 02/08, Andrea Giles, Davina Gregory,

Emma Halliday until 12/07, Annette Harrison, Carole Joyce,

Pooja Kalyan from 02/08, Martha King from 02/08,

Ji Lamey,

Magdelena Lewandowska, Yu-chu Liu from 02/08,

Giles Livsey, James MacDonald, Lanny Madhavan,

Carlos Maestre, Cassandra Makris, Philip Marsden,

Ruth Mason, Ashok Patel, Valerie Peppiatt, Simon Perry

until 08/07, Carl Prince, Aman Sagoo until 01/08,

Janelle St Bernard, Rebecca Seal, Katie Sharp from 02/08,

Urszula Skiba from 07/07, Lauren Skyers from 02/08,

Claire Softley from 07/07, Evelyne Sperling, Lee Summers,

Paul Taylor, Susan Taylor, Sarah Thompson, Andrea Toon,

Sonika Ummat from 02/08, Numvi Wallace,

Kathleen Wilkins

Nigel Phillips Senior Control Room Officer from 01/08

Control Room Officers:

Majeed Hyderkhan, Judith Lockyer, Nigel Phillips,

David Read, Konstantin Silkoff until 11/07, Garry Tyndall,

Michael Worsley until 02/08

The composition of the Gallery’s staffing is shown below:

89% White

11% Black and Minority Ethnic

33% Male

67% Female

1.4% Disabled

21% Part-time employees

The Review covers the Gallery’s

activities for the financial year

from April 2007 to March 2008

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

ISBN 13: 978 1 85514 402 6

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.

Project managed by Denise Ellitson

Edited by Elisabeth Ingles

Printed by Tradewinds London

Review 2007 /2008