P O Rt R a I T Review 2002/2003

Home , Charles James Fox, Julia Margaret Cameron, Leon Underwood, Liz Rideal

N AT I O N A L C o n t e n t s P O RT R A I T F o re w o rd 3 B o a rd of Tru s t e e s 3 G A L L E RY The Collections 5 The Galleries 6 Photographs Collection 8 REVIEW Heinz Archive and Library 9 C o n s e rv a t i o n 1 0 2002/2003 E x h i b i t i o n s 1 1 Pa r tnerships and National Prog r a m m e s 1 3 E d u c a t i o n 1 6 I n f o rmation Te c h n o l o g y 2 0 Vi s i t o r s 2 3 Financial Report 2 5 R e s e a rc h 2 9 Tr a d i n g 3 1 Fundraising and Development 3 2 List of Acquisitions 3 9 S t a ff 4 4

F O R E W O R D

This was yet another year of pro g ress and change with the entire staff of the Gallery in B o a rd of Trustees all departments playing their full part in the enhancement of the Gallery’s work, 2 0 0 2 / 3 Sir David Scholey, CBE reputation and popularity. They have once again earned the Trustees’ congratulations (C h a i r man) and gratitude. P rofessor David Cannadine, FBA, FRSL (Vice Chair The year’s attendances started with the continuing momentum of Mario Te s t i n o : f rom Febru a ry 2003) P o rt r a i t s which proved to be a resounding popular and financial success. The elegant and The Rt. Hon. Robin Cook, MP scholarly G e o rge Romney exhibition was a fitting finale to our Regency Galleries’ decor, (to March 2003) Flora Fraser (Vice Chair to which after long service had indeed become well worn. Our American sister, the National F e b ru a ry 2003) P o rtrait Gallery in the Smithsonian Institution, Washington, DC, lent us a magnific e n t Tessa Green (to July 2002) selection of paintings and photographs which will not be seen again for three years while Sir Max Hastings P rofessor Ludmilla Jord a n o v a its gallery is re c o n s t ructed. Once again the BP Portrait Aw a rd was the central feature of P rofessor Philip King, our summer programme. We are delighted that BP has renewed its sponsorship until CBE, PRA 2006. We finished the year with a remarkable exhibition of Julia Marg a ret Camero n ’ s Sir Christopher Ondaatje, CB E , OC innovative photography. Tom Phillips, CBE, RA Pr ofessor The Earl Russell, FBA In an acquisitions programme increasingly constrained by financial pre s s u res, two of our Sara Selwood (from May 2002) commission highlights were the brilliant painting of the composer Thomas Adès by Alexandra Shulman Philip Hale and the experimental watercolour double portrait of Sir George and Lady C l a i re Tomalin, FRSL Christie of Glyndebourne, commissioned by the Gallery from David Hockney and (to September 2002) Sir John Weston, KCMG g e n e rously donated by him. Balancing that musical theme, our most dramatic and highly (Chair of Audit and s i g n i ficant purchase was the splendid portrait of Arthur Balfour, 1st Earl of Balfour, by Compliance Committee) John Singer Sargent. Its cost was almost three times our annual acquisition budget and B a roness Willoughby de Ere s b y , DL we were able to buy it only thanks to the ready response of several of our most staunch s u p p o rters. Our need for such enlightened genero s i t y, for which we are deeply grateful, is bound to increase if we are to maintain the high standards of the collection.

In June we bade farewell to Dr Charles Saumarez Smith after his tenure of more than eight years as our Dire c t o r. Charles’s contribution to the Gallery has been immense in e v e ry aspect. He retained and re c ruited curatorial staff of the highest calibre, he pre s i d e d over a pro l i ﬁc and popular programme of exhibitions, acquisitions and commissions, and above all he planned and largely executed a comprehensive refurbishment of the galleries including the remarkable creation, almost out of thin air, of the Ondaatje Wing. Over those years the Gallery’s attendance increased from about 800,000 to over 1.4 million. Charles went to the National Gallery with our grateful good wishes and we are pleased to have a neighbour who knows and understands us so well.

While we searched for a new Dire c t o r, our Chief Curator Jacob Simon assumed furt h e r responsibilities as Acting Dire c t o r, no mean addition to his already substantial burd e n . We are deeply grateful to him for the dedicated professionalism with which he oversaw the delicate period of transition, maintaining morale and momentum in the inevitable u n c e rtainty during an interre g n u m . o p p o s i t e Sir Brian Urq u h a rt, After a wide-ranging search which understandably attracted a large number of very well by Philip Pearlstein, 2002 Commissioned by the Trustees q u a l i ﬁed applicants, we secured Sandy Nairne, who assumed the post of Director in with substantial support from N o v e m b e r. His educational background in history and his extensive gallery management a group of private benefactors 4

experience at the Museum of Modern Art in Oxford and at the Tate during a period of dramatic growth and success have pre p a red him well for the task of building on the splendid legacy inherited from his predecessors. The energy and imagination with which Sandy has started bode well for the Gallery, our staff and our support e r s .

T h e re has also been change among our Trustees. Of the appointed Trustees we have lost two and gained one. Claire Tomalin left us after ten years of invaluable commitment, not only in her fields of special historical and literary expertise but in many other aspects of our work. Tessa Green was able to be with us for only a short time before the demands of her other public and private responsibilities deprived us of her counsels. We miss them both and thank them warm l y. There has also been change in our Ex-Officio members, with the Rt. Hon. John Reid succeeding the Rt. Hon. Robin Cook as Lord President of the Council. In welcoming Sara Selwood as a new Trustee we much look forw a rd to b e n e fiting from her extensive knowledge and experience in the British cultural sector and g a l l e ry management. Finally, Professor David Cannadine has become Vice Chairman of the Trustees in succession to Flora Fraser.

In the wake of last year’s Quinquennial Review on behalf of the DCMS, we awaited this year’s results of the government’s spending review with some anxiety. In the event we were as satisﬁed as we could reasonably have expected to be, with the promise of grant-in-aid increasing by 10% from April 2004. This of course still places great emphasis on the vital necessity of a successful external fundraising programme. We are admirably assisted in this endeavour by our assiduous and imaginative Development Board without whose very productive energies many aspects of our activity would not be possible. We thank them for all they do, under the stimulating chairmanship during the last thre e years of Charles McVeigh III who has now been succeeded by another devotee of the G a l l e ry, Amelia Chilcott Fawcett.

Whilst we welcomed the government’s acknowledgment of the Gallery’s achievements and aspirations, we will inevitably continue to operate under considerable pre s s u re and u n c e rtainty given the increasing expectations and numbers of visitors which rightly ensue f rom success, together with the diverse demands now made on national museums and galleries, not least by government itself. Nevertheless we shall persist with our strategy to widen access not only in London but also, import a n t l y, in many other parts of the c o u n t ry, living fully up to our name – the National Portrait Gallery.

David Scholey, CBE C h a i rman of the Board of Tru s t e e s 5

THE COLLECTIONS The outstanding acquisition of the year was John Singer Sargent’s great full-length p o rtrait of the Prime Minister, Lord Balfour, painted in 1908 for the Carlton Club. This masterpiece in the grand manner depicts the Conservative statesman Arthur Balfour, later Earl of Balfour, who was one of the pivotal ﬁg u res in British politics from the 1880s to the late 1920s. Prime Minister from 1902 to 1905, and Foreign Secre t a ry for much of the First World Wa r, he informed British policy at home and abroad during his exceptional period of twenty-seven years as a member of the Cabinet.

S a rgent’s portrait is a rich evocation of the period as well as being the most re m a r k a b l e re p resentation of this important fig u re in British history. The funding for the acquisition depended greatly on the continuing generosity of the National Art Collections Fund, which made up the outstanding balance on the appeal at the last possible moment, so p reventing the export of this highly significant work. The many supporters of the appeal, listed on page 37, were led by a munificent donation from the Gallery’s long-standing s u p p o rt e r, Sir Christopher Ondaatje.

We are also most grateful to the Art Fund, and especially to the National Heritage Memorial Fund, for support in the acquisition of a selection of important negatives and photographs by Lewis Carroll of Alice Liddell and her sisters, the inspiration for A l i c e ’ s A d v e n t u res in Wo n d e r l a n d. This collection of thirteen items, one of the few groups of

Alice photographs remaining in the United Kingdom, was secured for the nation jointly Claud Lovat Fraser, by Marion with the National Museum of Photography, Film and Television in Bradford, and will be Neilson, circa 1919 widely shown, initially at Bodelwyddan Castle, the Gallery’s regional partner in North Wal e s .

Other important photographic acquisitions included a choice selection of vintage prints of literary and art ﬁg u res from the early 1920s by the photographer Walter Benington, and photographs taken earlier in the century of the architects Mewes and Davis and the a rtist and designer Claud Lovat Fraser. Contemporary photography was re p resented by Maud Sulter’s imaginatively staged portrait of the cultural critic Bonnie Gre e r.

As usual a varied range of late nineteenth- and twentieth-century portraits was acquire d : an early painting of the psychologist Havelock Ellis by Henry Bishop, an early drawing of the sculptor Henry Moore by his fellow student Robert Lyon (purchased with help f rom the Henry Moore Foundation) and another of the writer Frieda Lawrence by Leon U n d e rwood, drawings of two art historians, Josef Hodin by Oskar Kokoschka and Eric Newton by Barnett Freedman, and re p resentations of three fig u res prominent in public life, Faith Tolkien’s bronze head of the statesman Roy Jenkins (Lord Jenkins of Hillhead), Graham Sutherland’s painting of the newspaper proprietor Cecil Harm s w o rt h King, and Kyffin Williams’s of the social work pioneer Dame Eileen Younghusband. We a re most grateful to the families of the sitters and artists who have given portraits, as re c o rded in the List of Acquisitions. The Gallery is also grateful for loans from private collections of an L.S. Lowry self-portrait, an imposing full-length portrait by Feliks Topolski of the dancer and choreographer Ram Gopal and, from the late eighteenth c e n t u ry, Joseph Nollekens’s fine marble bust of the Whig statesman Charles James Fox, inscribed as a gift to Fox’s wife Mrs Arm i t s t e a d . 6

C o n t e m p o r a ry portraits were acquired by two artists closely associated with the BP Portrait Aw a rd s. Christopher Thompson’s painting of the character actor Pete Postlethwaite was selected for the 2002 P o rtrait Aw a rd and subsequently donated by David Shapiro and Joseph Pigott. We were also pleased to be given a portrait of Lord S a i n s b u ry by the former P o rtrait Aw a rd winner Tai-Shan Schiere n b e rg .

The Gallery was delighted to receive as a gift from David Hockney his commissioned w a t e rcolour portrait of Sir George Christie and his wife Mary, Lady Christie, of G l y n d e b o u rne. This painting formed the centrepiece of a display in the Contemporary Galleries of ﬁve recent Hockney double portraits. Two other successful commissions have been completed this year. We are most grateful to the Jerwood Foundation for funding the striking portrait of the composer and pianist Thomas Adès by the BP Portrait Aw a rd prizewinner Phil Hale. A second exciting collaboration with the J e rwood Foundation is now under way. Thanks should also be extended to a group of private benefactors, listed on page 37, who helped fund the portrait of Sir Brian U rq u h a rt, former Under- S e c re t a ry General of the United Nations, commissioned fro m Philip Pearlstein, a leading artist of the American realist school.

E ff o rts continue to acquire William Parry’s great historical portrait, Omai, Sir Joseph Banks and Dr Daniel Solander, c .1775–6, jointly with the Captain Cook Memorial Museum, Whitby, and the National Museums & Galleries of Wales, with genero u s s u p p o rt from the Art Fund and private benefactors. The portrait forms the focus of a Sir Brian Urq u h a rt (right) in display at the National Portrait Gallery, Discovering New Wo r l d s, to help promote the f ront of his portrait by Philip campaign to raise funds. Pearlstein, together with Trustee Sir John Weston (left)

THE GALLERIES The main focus of the year has been the refurbishment of Rooms 17–20 on the top ﬂo o r, which were emptied to hang the exhibition G e o rge Romney, 1734–1802 in May 2002. This was a prelude to the complete renewal and imaginative redisplay of these galleries, with enhanced interpretation and IT facilities, a scheme developed by the Gallery, working with Piers Gough of CZWG Architects. The Regency in the Weldon Galleries, named after the major benefactors Jane and Anthony Weldon, opened in May 2003 and is the culmination of the process of redisplaying the collection over the last ten years.

On the top ﬂo o r, a display was mounted in March 2003 to mark the terc e n t e n a ry of the death of Samuel Pepys, focusing on portraits of the diarist and his circle from the G a l l e ry’s own collection. In addition we had the pleasure of showing the portrait of o p p o s i t e C o rnelia Sorabji, M a ry Ruthven by Van Dyck from the Prado, while our Somerset House Conference by an by Lafayette Ltd, June 1930. One of a selection of images unknown art i s t was on loan to Madrid. f rom the Gallery’s collections that featured in the display The programme of changing displays of works on paper from store shows the stre n g t h s B e f o re Wi n d rush: Images of Black of the Gallery’s holdings of drawings, prints and photographs. On the top ﬂo o r, the and Asian Figures, 1890s– 1 9 3 0 s, main display was devoted to portrait engravings of Mary Queen of Scots. Features in the as part of Black History Month

ﬁr s t - ﬂoor Early Tw e n t i e t h - C e n t u ry Galleries included art i st-in-close-up displays devoted to L.S. Lowry and Carel Weight, and selections of newly acquired or catalogued photographs by Pamela Chandler, Bassano and Vandyk. Other displays focused on Graham Sutherland’s destroyed portrait of Sir Winston Churchill, the centenary of the Burlington Magazine and, to mark Black History Month, B e f o re Wi n d rush: Images of Black and Asian Fi g u res, 1890s–1930s, a selection of photographs revealing unexpected depths to the collection.

T h e re were two Balcony Gallery displays: Anthony Buckley, featuring the work of this royal photographer, and Blow Up: Sixties Photography Exposed, showing newly acquire d photographs by David Bailey in the context of his contemporaries. The Royal Landing was used to show the Golden Jubilee portfolio of portrait photographs commissioned by Her Majesty The Queen, many of which have been acquired for the collection. Photographs shown on the ground ﬂoor included a collection of images of the art establishment, taken by Lucy Dickens and acquired for the Gallery, and Iconic Women in the Pre s s, captured by Reuters’ photographers, to coincide with the Julia Marga re t C a m e ro n e x h i b i t i o n .

Samuel Pepys, by John Hayls, 1666 PHOTOGRAPHS COLLECTION The varied photographic displays around the Gallery, ranging from crime-writers to British Bl o n d e s, women in pop of the last forty years, S h e - B o p , and personalities from the 1960s, Blow Up: Sixties Photography Exposed, once again helped stimulate and re ﬂect the recent acquisitions of photographs. A further 350 prints, with a strong contemporary bias, were added during the year. A sponsored commission brought twenty new photographs of business partnerships taken by Jillian Edelstein, Tom Miller and Dudley Reed, to which was added a generous donation of sixteen larg e - f o rmat black and white photographs of Authors of Murder by the photographer Nicola Kurtz after they were displayed in the Bookshop Gallery.

Other contemporary photographs came from Emily Andersen, Julian Anderson, Anderson and Low (six prints from their Commonwealth Games Contenders Port f o l i o ) , Alan Bergman (a series of dancers), Edmund Clark, Sean Cook, Te rry Day, Caro l y n Djanogly (several prints from a Millennium project), Jill Furm a n o v s k y, James Galloway, Toby Glanville, Sal Idriss, Nadav Kandar, Trevor Leighton, Eamonn McCabe, Pete Moss, Spiros Politis, Bruno Schre k e r, David Secombe (several prints including some by his father Sir Harry Secombe), Pennie Smith, Peter Everard Smith and Neil Wi l d e r.

Acquisitions of older works included prints of artists taking part in the 1951 Festival of Britain by Lola Marsden, works by Ronald Traeger given by Tessa Traeger and a miscellany of subjects, among them the Sitwells, given by Derek Parker.

The ﬁrst year of a cataloguing project funded by the Department for Culture, Media and David Adjaye, by Sal Idriss, 2002 S p o rt has made available to view online over 4,000 Bassano negatives taken between (© Sal Idriss) 9

1920 and 1923, adding to a total of over 20,000 photographic items now accessible in digital format on our website. An outline listing of all the major photographic holdings, plus over 200 albums, and a short history of the collection have also been posted on the Ga l l e r y’s site during the last year.

Other special cataloguing projects were facilitated by a grant from the EP Trust enabling us to employ a freelance cataloguer to spend four months organising a large archive of 24,000 transparencies and negatives taken by the Baron Studios between 1956 and 1976, from which a small number were selected for a special display in the Early Tw e n t i e t h - C e n t u ry Galleries.

HEINZ ARCHIVE AND LIBRARY The Archive and Library embarked on several important projects to improve access to its collections and to contribute to interpretation and display in the Gallery. Funding from the DCMS enabled over 1,000 mainly eighteenth-century satirical and portrait prints, including a ﬁne set of Gillray caricatures, to be catalogued and digitised. Many of these items now appear in the new Regency interactive feature. Digital photography for this work was undertaken by the National Gallery Photographic Studio. A project to res e a r ch the collections of mezzotints by Alexander Browne, Richard Tompson and John Smith commenced in April, with part-funding from the Paul Mellon Centre. A special feature on mezzotint production was compiled for the Gallery website and a display is planned for winter 2003. An article about these projects appeared in Print Quarte r l y in March 2003.

Other priorities included cataloguing engravings for the M a ry Queen of Scots and S p i r i t of the Age displays and over 100 prints for the Regency in the Weldon Galleries. The Changing Impre s s i o n s display last year and the conservation of twelve outsize engravings upon which it was based were short-listed for the UKIC Conservation Aw a rd 2002. A p roject to upgrade 2,000 skeleton catalogue re c o rds on the collections management system MultiMimsy was completed. Staff helped process images for the New Dictionary of National Biography and are presently assisting with illustrations for the catalogue of M i d - G e o rgian Port r a i t s. A Records Manager was appointed in January on a two-year contract and began a re c o rds survey that will enable effective management of all paper and electronic re c o rds in accordance with the Freedom of Information Act and the M o d e rnising Govern m e n t White Paper. A policy on re c o rds management was established and a Freedom of Information publication scheme approved and published.

The department continues to receive valuable support from a team of volunteers from the National Association of Decorative and Fine Arts Societies among others, and provided work experience placements for ﬁve graduates. An article about the work of volunteers in the Archive and Library was published in the NADFAS Review in March 2003.

Sir Ernst Gombrich, by Livio Ceschin, 2000 (© Livio Ceschin) 10

The public study room received 1,621 visitors, a slight fall from the previous year, but the number of telephone, postal and e-mail enquiries increased and staff responded to 2,843 requests for information about British port r a i t u re. The Archive and Library web pages were revised and useful sources of information added about port r a i t u re and the G a l l e ry’s history and collections. The department hosted a visit from the Art Libraries Society and gave presentations on the visual re s o u rces for British port r a i t u re to MA students from the Courtauld Institute, Queen Mary College and University of Westminster and PhD students from the Institute of Historical Researc h .

Dr Kenneth Garlick, re t i red Keeper of We s t e rn Art at the Ashmolean Museum, Oxford , v e ry generously donated his substantial archive of photographs and corre s p o n d e n c e relating to his re s e a rch and his catalogue raisonné of the portraits of Sir Thomas L a w rence. This is a signiﬁcant addition to the re s o u rces of the department. Other gifts included an aquatint photogravure of Howard Shakespeare after the portrait by Wi l l i a m John Wainwright donated by Sheila Cro s s l e y, an aquatint of Sir Ernst Gombrich by Livio Ceschin given by the artist, and three drawings by Paule Vézelay related to the painting Sir Eugene Goossens conducting Richard Tauber rehearsing at the Prince’s T h e a t re, Bristol donated by the artist’s niece Sally Jarman. The Archive and Library p u rchased a caricature of Elizabeth, Marchioness of Conyngham by William Heath.

Elizabeth, Marchioness of Conyngham, by Wi l l i a m C O N S E RVAT I O N Heath, 1829 E n e rgies this year were focused on three major projects: the Regency Galleries refurbishment, the subsequent USA tour of Romantics and Revolutionaries, and the redisplay at our regional partner in Wales, Bodelwyddan Castle.

Work began in earnest in early April 2002 when the Regency Galleries were closed in advance of the George Romney exhibition, and it continued actively after the exhibition ended. The closure of the Galleries allowed the Conservation department (paintings, sculpture and frames) the opportunity to examine thoroughly the works normally on display in these rooms, and to examine and conserve those works which we anticipated rehanging in the newly upgraded galleries. Over 100 Regency paintings passed through the conservation studio between April 2002 and April 2003 and underwent varying degrees of conservation. In addition, over twenty-ﬁve sculptures were cleaned and new ﬁxing techniques developed to attach the works to their plinths.

One of the larger paintings in the collection was removed from its stretcher, rolled and sent to Bush & Berry Conservation Studio near Bristol for attention. The Anti-Slaver y Society Convention, 1840 required extensive cleaning and structural repair.

As a result of our generous loan programme, large numbers of works pass through our c o n s e rvation studio for loan-out re p o rts (written re p o rts giving an accurate description of the condition of the object), for minor work in preparation for loan outside the 11

institution and for checks on re t u rn. On average, the conservators process twenty-ﬁv e such works through the studio in any ten-week period.

The conservators were also largely involved with the preparation of recent acquisitions for display, for example the portrait of Cecil Harm s w o rth King and the commissioned p o rtrait of Thomas Adès supported by the Jerwood Foundation, recently unveiled in the transept on the ground ﬂo o r, which re q u i red re - s t retching and a loose lining in ord e r to support the very delicate canvas.

E X H I B I T I O N S The Gallery’s exhibition programme continues to strengthen, particularly this year t h rough successful collaborations with other leading institutions. The Regency Galleries refurbishment programme off e red a wonderful opportunity to display G e o rge Romney, 1 7 3 4 – 1 8 0 2, a collaboration with the Walker Art Gallery, Liverpool. In addition, a variety of loan exhibitions were held in the Wolfson, Porter and Bookshop galleries, with the use of Gallery 41 on the ground floor to display the photographic element of the touring View of the exhibition Americans: Paintings and show A m e r i c a n s f rom Washington, DC. Photographs from the National P o rtrait Gallery, Wa s h i n g t o n Wolfson Gallery Exhibitions The popular reputation of the BP Portrait Aw a rd, in its twenty-second year and twelfth year of sponsorship by BP, was re i n f o rced with the exhibition of fif t y - five selected works in 2002. The winner of the first prize, Catherine Goodman, submitted A n t o n y, her p o rtrait of the Headmaster of Downside School. The winner of the BP Travel Aw a rd 2 0 0 1, Alan Parker, exhibited his series of paintings and sketches of the Leicestershire c o n s t a b u l a ry of which he was a member. The display off e red a delightful insight into the daily activities of his police colleagues, from arrests on the beat to character portraits of cellmates and family scenes at the end of a day’s work.

Americans: Paintings and Photographs from the National Portrait Gallery, Wa s h i n g t o n, the major winter presentation of 2002, was a touring exhibition from our sister institution, celebrating Americans and American history through paintings and photographs. The exhibition, created through the closure of the Washington gallery as a result of a major refurbishment project, was unique, showcasing the highlights of this i m p o rtant portrait collection. A remarkable pair of paintings of George and Mart h a Washington was specially included for our showing, as well as a display of photographic subjects ranging from Abraham Lincoln shortly before his assassination to Te n n e s s e e Williams and Audrey Hepburn . The Prime Minister and Sir David The spring exhibition Julia Marg a ret Cameron: 19th Century Photographer of Genius, Scholey in front of a portrait curated by Colin Ford, brought together the romantic and personal elements of Mrs of John C. Calhoun during J P M o rgan’s private preview C a m e ron’s life as one of the ﬁrst great female photographers. Her own camera lens, of the A m e r i c a n s e x h i b i t i o n a photograph of a beautiful young Ellen Te rry and rare portraits of life on the Camero n s ’ (Exhibition from National Port r a i t Ceylonese plantation were just some of the works on display. The exhibition, G a l l e ry, Smithsonian Institution. Photograph © Z o w n i r ) 12

a collaborative venture with the National Museum of Photography, Film and Te l e v i s i o n , B r a d f o rd, drew from great collections such as the Royal Photographic Society and the J. Paul Getty Museum, Los Angeles, as well as our own and Bradford’s extensive collections of works by this remarkable photographer.

P o rter Gallery Exhibitions An extremely popular exhibition in 2002, Beatrix Potter to Harry Potter: Portraits of Children’s Writers, appealed to both adult and young visitors. The exhibition successfully brought together a selection of British writers to demonstrate their inﬂuence on children’s literature throughout the twentieth century. An accessible design scheme complemented exhibition loans such as an original Peter Rabbit model and Enid Blyton’s typewriter. Moreover, interactive elements such as a ‘listening’ tree and a reading corner created friendly and educational aspects to the show. Readings by contemporary writers, such as Michael Rosen, featured in the show, and actors relating scenes from Beatrix Potter’s Tale of Peter Rabbit were some of the events organised for school groups and families.

This was the last year in which the John Kobal Foundation administered the John Kobal Photographic Portrait Aw a rd. The winner of the 2002 Aw a rd was James Day, whose P o rtrait of Doug was displayed with forty-eight other selected portraits. To celebrate the ten years of the Aw a rd itself, a special exhibition featured one example of current work Beatrix Potter to Harry Potter: P o rtraits of Children’s Wr i t e r s f rom each of the winners of the past ten years alongside re p roductions of the re s p e c t i v e winning entries. This not only re ﬂected the history of the Aw a rd but revealed the development of each artist’s work. The Aw a rd is an important event in the photography exhibition calendar, and the Gallery will continue the tradition in autumn 2003 with the recently launched Schweppes Photographic Portrait Prize.

Mad, Bad and Dangerous: The Cult of Lord Byro n was scheduled to coincide with the publication of the curator Fiona MacCarthy’s new biography of the poet. A varied display of items from over two centuries brought to life the character of the man, from the well- known painting of him in Albanian dress, shown alongside the costume itself, to prints and letters, all contributing to the creation of his romantic image. John Murr a y, Byro n ’ s p u b l i s h e r, generously supported the exhibition with a large number of loans from its a rchive. The second part of the exhibition focused on the legacy of the Byronic tradition and examined the re p resentations of ﬁg u res such as Benjamin Disraeli, Oscar Wi l d e , James Dean and Mick Jagger in the Byronic manner.

Bookshop Gallery Displays The year began with a series of photographs featuring the deﬁnitive top twenty women in pop from the 1960s to the present day. S h e - B o p f e a t u red such icons as Dusty S p r i n g ﬁeld, Marianne Faithfull, Annie Lennox and Madonna.

Authors of Murder: Photographs by Nicola Kurt z opened in early November and p resented images of well-known crime writers such as P.D. James, Ian Rankin and

The tenth year of the John Kobal Photographic Portrait Aw a rd 13

M a rtina Cole, alongside texts provided by the writers in which they gave details of their ‘ l i t e r a ry kill’ totals and their favoured means of murd e r.

The display British Blondes then followed in November. Coinciding with the publication of Joanna Pitman’s book On Blondes, and greeted by a significant degree of pre s s attention, the display contained twenty-two photographs re p resenting some of the most famous blondes of the twentieth century such as Diana Dors, Tw i g g y, Marg a re t T h a t c h e r, Patsy Kensit and Diana, Princess of Wa l e s . The exhibition Mad, Bad and D a n g e rous: The Cult of Lord Byro n, which opened in November 2002 PARTNERSHIPS AND NATIONAL PROGRAMMES Regional Part n e r s At Bodelwyddan Castle in North Wales, the imaginative scheme developed by the G a l l e ry and Bodelwyddan Castle Trust with muf art / a rc h i t e c t u re was installed ready for opening in April 2003. The project has been generously supported by the Heritage L o t t e ry Fund and DCMS capital funding. Requiring extensive redesign of the fir s t - flo o r rooms, the scheme consists of two principal elements. The first has created three themed rooms containing new permanent, interactive displays that will enhance visitors’ enjoyment and understanding of the portraits on show at the Castle. The second part of the project has provided temporary exhibition space that can be accessed separately fro m the Castle through a new entrance and shop. The inaugural exhibition, especially cre a t e d for the occasion, is entitled The National Portrait Gallery Collects and consists of key recent acquisitions.

In the Gallery’s recently reviewed National Strategy the reinvigoration of the part n e r s h i p a rrangements with the National Trust is highlighted, with a view to making the displays m o re active, raising the visibility of the National Portrait Gallery’s contribution, i n c reasing the education programmes provided on-site, and working with the Trust to identify mutually beneﬁcial locations and occasions for collaboration. As part of this a p p roach it is proposed to use the forthcoming refurbishment of the second ﬂoor at B e n i n g b rough Hall, North Yo r k s h i re, scheduled to start late in 2004, to explore new options, such as the use of the Wo o d w a rd Portrait Explore r, and ‘visiting portraits’ each s u m m e r. Following the unfortunate period in 2001 when Beningbrough was unable to open due to foot and mouth disease, last year attendance exceeded all expectations with m o re than 94,000 visitors to the Ha l l .

Montacute House in Somerset received 95,000 visitors. With a view to resolving on-going co n c e r ns about environmental conditions in the recently revitalised displays within the Lon g Gal l e r y and side rooms, a programme of preventative conserva t i o n has been underta k e n . Pa i n t i n g s di s p l a y e d in the side rooms have been re-hung so as to allow increased airﬂow behind portraits on exterior walls, and low-level heating and de-humidiﬁers have been installed in two of the rooms. The results will be evaluated next winter.

Montacute House in Somerset (© N T P L / R u p e rt Tru m a n )

Touring Exhibitions Pro g r a m m e As part of the Gallery’s commitment to making available its exhibitions and collection a c ross the UK and abroad, a total of nine exhibitions travelled to seventeen venues in the period concern e d .

The BP Portrait Awa r d 2002 to u r ed to Aberdeen Art Gallery in December, with the Jo h n Kobal Photographic Portrait Awa r d 2001 going to the Midland Arts Centre, Birmi n g h a m , in May and ﬁnishing its tour at the University of Hertf o rd s h i r e in March 2003.

G e o rge Romney, 1734–1802, after a successful opening in Liverpool, was exhibited in our Regency Galleries in May and travelled to its ﬁnal venue at the end of the year, the Huntington Art Gallery, Californ i a .

M i rro r, Mirror: Self-portraits by Women Art i s t s t o u red to Leeds City Art Gallery, Vi c t o r i a A rt Gallery, Bath, and the Royal Museum and Art Gallery, Canterbury, where it closed in November.

Mad, Bad and Dangerous: The Cult of Lord Byro n travelled to the Scottish National P o rtrait Gallery, Edinburgh, in March 2003.

In December 2002, Durham Art Gallery was the ﬁrst tour venue for Beatrix Potter to H a rry Potter: Portraits of Children’s Wr i t e r s and the show continued its tour to Kingston Museum in early 2003.

Mario Testino: Port r a i t s opened during Milan Fashion Week at the Palazzo Reale in September and toured to FOAM in Amsterdam in early 2003.

Saving Faces: Portraits by Mark Gilbert, following its extensive tour of the UK, came to a close after a successful run at Leeds City Art Gallery from 20 June until 31 August 2002, and ﬁnally at the Royal Albert Memorial Museum, Exeter, in March 2003.

Seventy of the Regency portraits toured the USA in the exhibition Romantics and Revolutionaries. Regency Portraits from the National Portrait Gallery, London, which received a warm welcome at the Georgia Museum of Art, Athens, Georgia, in July 2002 and at the Center for British Art, Yale University, New Haven, Connecticut, in January 2003.

Loans Pro g r a m m e As in previous years the Gallery remains a signiﬁcant lender to museums and galleries both abroad and in the UK. Sixty-eight individual loans were made to exhibitions and displays in the UK organised by twenty-seven museums and galleries of all types, among them the National Gallery’s Fabric of Vi s i o n exhibition; the Imperial War Museum’s s u rvey of the War Poets of the First World Wa r, Anthem for Doomed Yo u t h; the University of East Anglia’s School for World Studies and Museology student exhibition Days of the D e a d; Pickpocketing the Rich, a survey of artists working in eighteenth-century Bath o rganised by the Holburne Museum, Bath; the Ben Uri Museum of Jewish Art’s M a r k G e rt l e r exhibition; and the examination of the work of the post-war designer Peggy o p p o s i t e William Powell Frith, Angus at the Museum of Domestic Design and Arc h i t e c t u re, Tile Style. S e l f - p o rt r a i t, 1867, now on display at Bodelwyddan Castle 16

o p p o s i t e Alice, Lorina, Harry L o n g - t e rm loans were maintained with a wide range of museums and other public and Edith Liddell, 1860, institutions. Longstanding partnerships with the National Trust at Montacute House photographed by Charles and Beningbrough, and with the Bodelwyddan Trust at Bodelwyddan, allow the Gallery Lutwidge Dodgson (Lewis Carroll), acquired to display some 371 historical works in a period context. for the collection jointly with the National Museum of N i n e t y - t h ree items from across the whole range of our collections were lent to seventeen P h o t o g r a p h y, Film and venues in the USA, Japan, the Netherlands, Germ a n y, France, and Italy. Part i c u l a r l y Television, and ﬁrst shown n o t e w o rthy was the loan of the seventy portraits in the exhibition Romantics and at Bodelwyddon Castle R e v o l u t i o n a r i e s shown in the USA; the loan of the spectacular 1604 group portrait of the delegates to the Somerset House Conference to the exhibition El Almoneda del Siglo (The Sale of the Century) at the Museo del Prado, Madrid; and the compre h e n s i v e s u rvey of British art in the twentieth century, F rom Blast to Fre e z e, shown in Wo l f s b u rg and Toulouse, to which we lent our Vanessa Bell portrait of David Garn e t t .

G a l l e ry-owned works have been shown widely throughout the UK as part of the G a l l e ry’s touring exhibitions such as Beatrix Potter to Harry Potter and Mad, Bad and D a n g e rous: The Cult of Lord Byro n (see E x h i b i t i o n s). Building upon experience, furt h e r collaborative ventures have been developed as a more active form of cooperation with other galleries in the selection and organisation of exhibitions. Living Lives, co-org a n i s e d with Nottingham Castle Museum, allowed members of the Nottingham community to make their own choices from the Gallery’s collections. Further projects such as B e h i n d the Mask, which was developed with the Hatton Gallery, Newcastle, and the Bowes Museum, Co. Durham, have clearly indicated the mutual beneﬁts in facilitating loans and developing exhibitions in this way.

E D U C AT I O N The Education department plays a crucial role in engaging with visitors to the Gallery and, through outreach activities, with groups regionally and nationally. Giving visitors both physical and intellectual access to the Gallery and its displays and enhancing understanding of the collections underpin the work of the depart m e n t .

In addition to the re g u l a r, busy education programmes there have been several innovative projects, such as the A m e r i c a n s school workshops, the development of video c o n f e rencing and the Self Portrait UK p roject. With the arrival of two new staff – an Access Ofﬁcer and a Public Programmes and Adult Education Ofﬁcer – 2002/3 saw an i n c rease in activities and programmes for a broader range of audiences.

S c h o o l s The number of school groups visiting the Gallery continues to increase. Over 1,000 g roups (30,000 pupils and students) used the services of the department for talks, activities or learning re s o u rces. Particular highlights include:

Workshop at Great Orm o n d S t reet Hospital School

•A family learning project with schools from the London Borough of Wa n d s w o rth based on the exhibition Beatrix Potter to Harry Potter: Portraits of Children’s Wr i t e r s. Family g roups worked with the writer Michael Rosen to produce their own children’s books.

• A series of photography workshops for schools linked to the Americans exhibition, including a close link with Great Ormond Street Hospital School.

•Visual literacy workshops for pupils with special education needs and training for their teachers.

•One-day seminars on photography for A Level and GNVQ students.

•A new Education Pack on the port r a i t u re of Elizabeth I, devised to link with the E l i z a b e t h exhibition at the National Maritime Museum.

O u t re a c h The Education Department continues to work beyond St Martin’s Place, including:

•Video conferencing which provides an ideal vehicle for linking schools and other g roups across the UK to the work of the Education department. From September 2002 a pilot project delivered taught sessions to over 600 pupils in twenty schools.

• Self Portrait UK, an innovative project encouraging people across the UK – from One of the images resulting schools and community groups to practising artists – to engage in self-port r a i t u re. The f rom the A m e r i c a n s y o u n g persons’ photographic workshop G a l l e ry worked on this initiative in partnership with Arts Council England – North East, Channel 4 and Media 19. The Education department ran a series of linked workshops and produced educational re s o u rces for the Self Portrait UK website ( w w w. c h a n n e l 4 . c o m / s e l f p o rtraituk). Over 5,000 people submitted entries which f o rmed the basis for a touring exhibition, starting at the Gallery, from April 2003.

Public Pro g r a m m e s The programme of lectures, conferences and Gallery talks continues to be popular. Attendance has grown for the Thursday evening lecture series, including regular lecture s by eminent contemporary photographers, bringing new audiences to the Gallery. Some of the talks have been accompanied by British Sign Language interpretation. Part i c u l a r highlights of the public programme have included:

•An extensive lecture series accompanying the exhibition Mad, Bad and Dangerous: The Cult of Lord Byro n. Speakers included Mark Steel, Sir John Mortimer and the exhibition curator Fiona MacCart h y.

• To coincide with Beatrix Potter to Harry Potter, readings by popular children’s o p p o s i t e John Green and Mark H o a rg, Road Gang, Wa t e r l o o authors, such as Jacqueline Wilson and Dick King-Smith. 2002. One of a number of p o rtraits made by the young •C o n f e rences held on: Facing Port r a i t u re , o rganised jointly with the University people who attend the St John’s of Westminster and the National Portrait Gallery, Smithsonian Institution, Wa s h i n g t o n , Youth Club, Waterloo. The DC; B y ron: The Image of the Poet; Wa r, Art and Medicine, with University College p roject was one element of the Local Hero e s c o m m u n i t y London in association with the University of Westminster; and Black and Asian p rogramme which culminated R e p resentation in Port r a i t u re. As well as the Facing Port r a i t u re c o n f e rence, the in a Studio Gallery exhibition 20

A m e r i c a n s exhibition was celebrated by a meeting of the Directors and senior staff of Portrait Galleries and like-minded institutions from around the world, with the Gallery acting as host to re p resentatives from Australia, Canada, Denmark, Scotland, Sweden and the United States.

•Talks and discussions linked to the BBC G reat Britons s e r i e s .

•Regular family activities, including Ga l l e ry talks and practical workshops.

Studio Gallery The Education department organised two exhibitions in the Studio Gallery. These aimed to show how our audiences respond to the Gallery’s collections as well as to showcase examples of some of the work done in collaboration with the depart m e n t .

• In the Picture (May to September 2002): a display of work resulting from a number of p rojects, showing the wide range of audiences the department works with.

• Local Hero e s (September 2002 to March 2003): part of the London String of Pearls festival, this exhibition was the culmination of a community and outreach project, working with ﬁve groups across London, including primary and special schools, youth and community groups. Participants photographed people whom they saw as hero e s

Another image from the within their communities. Their photographs were displayed, thanks to funding from A m e r i c a n s young persons’ J P M o rgan, alongside those of Jonas Karlsson, whose images of New Yorkers in the photographic workshop a f t e rmath of September 11, 2001 were on public display in London for the ﬁrst time.

I N F O R M ATION TECHNOLOGY Imaginative and expert use of information technology lies at the centre of our activities and our cost-effectiveness. Maintaining and extending relatively new public access and ‘behind-the-scenes’ systems while continuing to work on the development of new s e rvices for the public and ofﬁce staff have been the main priorities over the last year. T h ree new positions within the department have been created to meet these demands: the appointment of a second Digital Imaging Assistant, funded by the DCMS, to help extend online and other public access to our Photographs and Archive Collections; the c reation of a new position of Collections Database Manager to enhance the Gallery ’ s ability to catalogue its collections and use the technology most effectively as a collections management tool; and the appointment of an IT Assistant to help provide more day-to- day internal support and training for Gallery staff .

A new computerised booking system was installed in the Education department to enable it to handle all school and other group bookings for visits to the Gallery and attendance at sessions and workshops. The Artifax Event system allows the scheduling of g roups and guides around the Gallery. 21

A new Retail and Publishing system, Aries, was installed to replace an older, less fle x i b l e system, while the Gallery’s new finance package, PS Financials, was enhanced by web re p o rting tools. Infrastru c t u re improvements were also made through a project to link c e rtain key Apple Macintosh computers on the network and e-mail security was upgraded with a new fire w a l l .

In conjunction with the Collections Management department, work has begun on developing and expanding the role of the MultiMimsy collections management database, in order to improve the electronic re c o rds of the Gallery’s activities. The process of setting standards and maintaining consistency has continued in line with acquisitions and ongoing cataloguing pro j e c t s .

The department has been working closely with the curatorial teams and the multimedia company Cognitive Applications on two major public access developments. First, the Wo o d w a rd Portrait Explorer system has been integrated into Bodelwyddan Castle in N o rth Wales on two touchscreens, and an innovative Silvy Photograph Activity allows visitors to dress up in Victorian costume and create their own c a rt e - d e - v i s i t e to be e-mailed to family and friends. Secondly, a version of the Wo o d w a rd Portrait Explore r has been developed for four touchscreens with new features for the Regency display, including an item on a miniature of George IV and another on court circles, three major g roup portraits of the period, a section on James Gillray and a Regency timeline.

Enhanced cataloguing and scanning rates have helped deliver over 9,000 more port r a i t s on the Wo o d w a rd Portrait Explore r, which now has nearly 15,000 sitters and art i s t s re p resented in 23,000 portraits, and over 10,000 more portraits have been added to the online illustrated search mechanism, now with over 43,000 portraits. A major p rogramme of accessing the collection by keyword continues, ranging from simple self- p o rtraits and group portraits to nudes, jewellery or eating and drinking, and pro v i d i n g t h o u g h t - p rovoking insights into the collections that cut across date boundaries.

The online shop, Wo o d w a rd Portrait Explorer on CD-ROM and digital Portrait Printer s e rvice provide a continuous revenue stream for the Gallery. We shall continue to invest in relevant information technology to the maximum extent of our ﬁnancial and management re s o u rc e s .

VISITORS Having predicted that we would receive 1.3 million visits in the financial year 2002/3, o p p o s i t e Pandit Ram Gopal we were gratified to achieve 1,319,000. The calendar year 2002 saw 1,484,000 visits. (1920–) by Feliks To p o l s k i , 1973. A new loan to the Both of these fig u res of course embraced the Mario Testino: Port r a i t s exhibition, which collection (© estate of Feliks attracted our re c o rd number of visitors to a paying temporary exhibition, at 168,000. Topolski; private collection, Quantitative re s e a rch showed that the exhibition had a considerable impact on audience on loan to the National Port r a i t G a l l e ry, London) p ro file. Many more women than men attended the exhibition, 68% to 32%, compared to the Gallery’s normal pro file which is much closer to equal. The exhibition was successful in attracting a younger audience, with only one third of visitors over the age of thirt y - five compared to more than half during 2001. The range of social categories of visitors was much bro a d e r, with 47% from the C1 grouping compared to 36% in 2001. This b roader pro file was re flected in the number of visitors to this particular exhibition fro m ethnic minorities, 11% as compared with the overall fig u re of 6% in 2001.

In addition to quantitative information, MORI were also commissioned to carry out an extensive programme of qualitative res e a r ch. This focused on visitors’ experience of the Testino exhibition and their perceptions of the Gallery in general. The overriding feature of this res e a r ch was how exciting and vibrant visitors found the exhibition and the Gallery as a whole. This was especially the case for new attenders who, until visiting, had imagined the Ga l l e r y to be ‘stuffy’ or only ‘for the most serious of people’.

Other quantitative MORI re s e a rch throughout the year looked at the general demographic make-up of the audience, ﬁnding that the visitor pro ﬁle of the Gallery during 2002 was consistent overall with that of recent years.

The number of foreign visitors continues to increase. Our programme of freelance PR work overseas, with European journalists in particular attending Press Previews, has resulted in increased coverage for our temporary exhibitions. Relevant features have a p p e a red in a range of newspapers and magazines, predominantly French and Belgian, among them Le Monde, Le Figaro, La Libre Belgique, Vo g u e, B e a u x - A rt s and L’ O e i l, as well as television and radio coverage in France and Spain.

P ress coverage has been virtually continuous throughout the year. The Julia Marga re t C a m e ron exhibition had a large amount of space devoted to it, including major feature s in the G u a rd i a n Weekend, Ti m e s Weekend and Sunday Times C u l t u re sections. Other s i g n i ﬁcant successes have been British Blondes, the unveiling of a new self-portrait by Frank Auerbach, and the display of ﬁve new double portraits by David Hockney, all of which achieved extensive coverage.

The number of visitors taking up the Sound Guide is still relatively modest, but those who use the facility have nothing but praise for its content. During the year over 12,000 visitors used the Sound Guide: 10,584 English, 897 French, 771 Japanese and 580 Spanish. 77% of those using the guides made a contribution towards their cost. Furt h e r re c o rdings have been added for the opening of the new display of the Regency in the Weldon Galleries. 24

Visitors to the Gallery’s website continue to increase, with 1,430,000 user sessions. 40% of all visits to the site are linked to searching the collection, making it by far the most popular feature .

T h ree years after the opening of The Portrait Restaurant, it remains one of the most popular venues in London, attracting a wide clientèle, from Gallery visitors and local businesses to discerning celebrities and members of both Houses of Parliament.

Numbers of visitors to other temporary exhibitions throughout the year have flu c t u a t e d . G e o rge Romney, 1734–1802 and the BP Portrait Aw a rd 2002, shown simultaneously, attracted fewer visitors than had been estimated. However, they coincided with the most d i s ruptive phase of the Trafalgar Square pedestrianisation, directly outside the Gallery. It was also the first time that two major exhibitions had been shown together during the summer months. The A m e r i c a n s exhibition came in very close to visitor target and the marketing strategy, to promote it to the widest possible American audience within London, drew in a significant number of American visitors, especially during the opening weeks. R i c h a rd E. Grant presenting the BP Portrait Aw a rd The use of the extended Porter Gallery as the second temporary exhibition space pro v e d Photograph by Te rry Beasley v e ry successful during 2002. Beatrix Potter to Harry Potter: Portraits of Childre n ’ s (© BP p.l.c.) Wr i t e r s, with 107,000 visitors, succeeded in its aim of attracting a family audience. The tenth anniversary and final year of the John Kobal Photographic Portrait Aw a rd c o n t i n u e d to demonstrate the popularity of this photographic exhibition and Mad, Bad and D a n g e rous: The Cult of Lord Byro n, with 76,000 visitors, confirmed the appeal of the G a l l e ry’s biographical shows.

The many varied displays and smaller exhibitions, as well as new acquisitions, continue to complement the main collection and temporary exhibitions, giving visitors the o p p o rtunity to see a wide range of port r a i t u re, from the David Bailey display on the Balcony Gallery to the David Hockney watercolour double portraits, British Blondes, the Frank Auerbach self-portrait, Local Heroes in the Studio Gallery, and the Churchill and Samuel Pepys displays, to name but a few.

The year ended with two contrasting photographic exhibitions: Julia Marg a re t C a m e ron: 19th Century Photographer of Genius, already proving highly attractive, and the extraord i n a ry You Look Beautiful Like That of two West African photographers. These two, together with the frequently changing displays make the gro u n d - ﬂo o r c o n t e m p o r a ry galleries a rich and varied experience for visitors, who can now also enjoy the recently opened display of the Regency in the completely refurbished Weldon Galleries. 25

FINANCIAL REPORT In spite of the difﬁcult economic and international climate, 2002/3 has been another sound year in terms of meeting internal ﬁnancial targets as well as the statistical targ e t s a g reed with the De p a rtment for Cu l t u re, Media and Sport .

The baseline grant-in-aid from the DCMS remains at £5.5m for the three years fro m 2001/2 to 2003/4. During 2002/3 however it was announced that the Gallery will b e n e ﬁt from a 10% increase to its grant in 2004/5. Capital grants totalling £0.35m are receivable in 2002/3 and 2003/4 for refurbishment at Bodelwyddan Castle and B e n i n g b rough Hall, the Gallery’s regional partners, and £0.17m has been received in 2002/3 to continue the cataloguing and digitisation of the re f e rence collections.

Net self-generated income, boosted by the success of the G reat Britons publication and the Mario Te s t i n o and Julia Marg a ret Camero n exhibitions, re p resented 36% of the G a l l e ry’s total net income in 2002/3 (37% in 2001/2, when Mario Te s t i n o opened). Net income is calculated after deducting the costs of trading and fundraising activities and excludes donated acquisitions and donations for building projects. Total fundraising income including that for the Regency Galleries and acquisitions increased by 51% to exceed £2m.

Excluding capital re s e rves, unrestricted funds increased by £0.5m to £2.7m. Retained surpluses in General Funds were maintained at £0.9m in 2002/3 in accordance with the re s e rves policy which ensures that the Gallery has uncommitted re s e rves to cover thre e - q u a rters of its average stock levels and to counter any reduction in self-generated income. £0.6m has been designated for speciﬁc projects which have been d e f e rred to 2003/4.

Since the Gallery had no other unrestricted re s e rves, a £1.2m Investment and Contingency Fund now exists for investment in one-off expenditure which addresses risk to the achievement of the Gallery’s strategic objectives and for the management of ﬂuctuations in cyclical expenditure spanning several years, such as the exhibitions programme. However, the Gallery has already allocated a total of £0.7m for 2003/4 from this new Fund for overdue one-off investment and, in order to avoid further budget cuts, for bridging monies to the 2004/5 increase in grant-in-aid. The Gallery’s remaining unrestricted reserves provide minimal contingency within the present international and economic climate.

The following unaudited fig u res have been extracted from the Gallery’s financial re c o rd s . For a full understanding of the Gallery’s financial affairs, re f e rence should be made to the Annual Report and Accounts for the year ended 31 March 2003, to be made available on the Gallery’s website, www. n p g . o rg . u k . 26

S TATEMENT OF FINANCIAL ACTIVITIES 2 0 0 2 / 3 2 0 0 1 / 2 ( £ 0 0 0 s ) ( £ 0 0 0 s ) I n c o m e for operations, acquisitions and capital G r a n t - i n - A i d 5 , 7 3 2 5 , 4 6 2 Exhibition charges and sponsorship 1 , 4 3 6 1 , 2 7 5 Trading (gro s s ) 2 , 4 7 5 2 , 4 1 1 Evening hire 1 6 0 2 0 4 Corporate members 9 4 1 3 9 Donations for building pro j e c t s 5 0 8 1 9 1 Other donations (including donated acquisitions) 1 , 2 0 4 5 1 0 Individual giving 1 2 4 1 0 7 L e g a c i e s 5 0 1 5 3 Heritage Lottery Fund 3 0 4 2 4 0 Catering franchise 1 5 1 1 6 0 O t h e r 2 1 3 2 3 4 1 2 , 4 5 1 1 1 , 0 8 6

Ex p e n d i t u r e excluding capital but including deprec i a t i o n Collection management 2 , 5 5 9 2 , 2 8 8 Curatorial and arc h i v e 6 2 0 6 1 4 Exhibitions and displays 1 , 7 3 0 1 , 6 4 5 E d u c a t i o n 5 0 0 3 9 8 Publicity and inform a t i o n 7 9 4 8 9 6 F u n d r a i s i n g 3 8 9 3 2 0 Tr a d i n g 1 , 9 5 4 1 , 7 4 4 S u p p o rt and accommodation 2 , 1 5 4 2 , 0 3 3 1 0 , 7 0 0 9 , 9 3 8

Net incoming re s o u rc e s 1 , 7 5 1 1 , 1 4 8 Gain on revaluation of land and buildings 5 8 5 1 , 1 7 2 2 , 3 3 6 2 , 3 2 0 Losses on investment assets ( 3 ) ( 2 ) Net movement in funds 2 , 3 3 3 2 , 3 1 8 27

BALANCE SHEET at 31.3.03 at 31.3.02 A S S E T S ( £ 0 0 0 s ) ( £ 0 0 0 s ) Fixed assets Tangible assets Land and buildings 46,741 4 6 , 8 8 3 F u rn i t u re and equipment 2 7 4 4 3 4 Assets in the course of constru c t i o n 1 , 1 4 5 4 6 Acquisitions (since 1 April 2001/2) 2 , 0 9 6 8 2 8 5 0 , 2 5 6 4 8 , 1 9 1 I n v e s t m e n t s 3 2 3 5 Total ﬁxed assets 5 0 , 2 8 8 4 8 , 2 2 6

C u rrent assets I n v e s t m e n t s 1 1 6 1 , 0 4 3 S t o c k s 7 0 8 6 6 4 Debtors and pre p a y m e n t s 8 7 6 1 , 2 9 5 Cash at bank and in hand 2 , 1 1 9 2 , 1 8 0 3 , 8 1 9 5 , 1 8 2 C u rrent liabilities Creditors falling due within one year ( 7 9 0 ) ( 2 , 4 2 4 ) Net current assets 3 , 0 2 9 2 , 7 5 8 Net assets 5 3 , 3 1 7 5 0 , 9 8 4

RE S E RV E S U n restricted designated re s e rves Collection purc h a s e s 6 5 4 9 Capital re s e rv e 8 , 0 8 1 7 , 6 3 5 Investment & Contingency and D e f e rred Project Funds 1 , 7 8 1 1 , 2 9 9 9 , 9 2 7 8 , 9 8 3

U n restricted general funds Retained surpluses 8 7 7 8 7 7

Restricted capital re s e rves Capital re s e rves (including vested assets) 4 0 , 0 7 9 3 9 , 7 2 8 Capitalised acquisitions re s e rv e 2 , 0 9 6 8 2 8 4 2 , 1 7 5 4 0 , 5 5 6

Other restricted funds Development Appeal Fund 0 3 4 2 Capital re s e rves re p resent the Other grants and donations 3 2 2 2 1 3 net book value of tangible assets, Dame Helen Gardner Bequest 1 6 1 3 including acquisitions, purc h a s e d with unrestricted or re s t r i c t e d 3 3 8 5 6 8 funds as well as £19m in re l a t i o n to the main Ga l l e ry vested with Total funds 5 3 , 3 1 7 5 0 , 9 8 4 Trustees; these funds are not available for spending. 28

Visitor numbers (000s) 9 5 / 9 6 9 6 / 9 7 9 7 / 9 8 9 8 / 9 9 9 9 / 0 0 0 0 / 0 1 0 1 / 0 2 0 2 / 0 3 0 3 / 0 4 National Portrait Gallery* 1 , 0 4 0 1 , 1 1 0 1 , 1 8 0 1 , 2 1 0 1 , 2 2 0 1 , 4 4 0 1 , 6 3 0 1 , 5 2 0 1 , 4 7 0 National Gallery† 3 , 9 0 0 4 , 0 0 0 4 , 2 0 0 4 , 3 0 0 4 , 5 0 0 4 , 6 0 0 4 , 6 0 0 4 , 6 0 0 4 , 6 0 0 Ta te§ 3 , 0 0 0 2 , 5 0 0 2 , 2 0 0 3 , 0 0 0 2 , 5 0 0 6 , 7 0 0 5 , 5 0 0 5 , 2 0 0 5 , 1 0 0 British Museum 6 , 1 3 0 6 , 5 0 0 6 , 1 0 0 5 , 5 0 0 5 , 5 0 0 4 , 6 0 0 4 , 8 0 0 4 , 4 0 0 4 , 4 0 0 Science Museum§ 2 , 7 0 0 2 , 5 4 0 2 , 4 0 0 2 , 2 0 0 2 , 8 0 0 2 , 8 0 0 3 , 1 0 0 3 , 1 0 0 3 , 8 5 0 Imperial War Museum§ 1 , 3 1 0 1 , 3 0 0 1 , 3 5 0 1 , 3 7 0 1 , 3 7 0 1 , 6 0 0 1 , 6 0 0 1 , 9 0 0 1 , 9 0 0 Wallace Collection 1 6 0 1 8 0 1 8 0 1 9 0 1 9 0 2 6 0 2 3 0 2 3 0 2 3 0 National Maritime Museum 5 8 0 4 0 0 4 7 0 4 8 0 8 6 0 8 0 0 1 , 0 0 0 1 , 1 8 0 1 , 0 0 0 Gallery Natural History Museum 1 , 4 6 0 1 , 8 0 0 1 , 8 2 0 1 , 8 6 0 1 , 7 0 0 1 , 6 6 0 2 , 1 4 0 2 , 8 0 0 2 , 8 0 0 Regional Victoria & Albert Museum 1 , 5 3 0 1 , 5 9 0 1 , 4 5 0 1 , 5 0 0 1 , 2 8 0 1 , 4 0 0 1 , 8 6 0 2 , 4 0 0 2 , 2 0 0 Partners Source: DCMS Annual Report 2003. *London plus Regional Partners. †p recise ﬁg u res not published. § all venues. The Gallery’s ﬁg u res for 03/04 are an estimate.

Grant-in-Aid (£000s) 9 5 / 9 6 9 6 / 9 7 9 7 / 9 8 9 8 / 9 9 9 9 / 0 0 0 0 / 0 1 0 1 / 0 2 0 2 / 0 3 0 3 / 0 4 National Portrait Gallery 5 , 0 6 5 4 , 9 1 5 4 , 8 0 9 4 , 9 9 7 5 , 1 1 5 5 , 1 3 8 5 , 4 6 2 5 , 7 3 2 5 , 7 1 2 National Gallery 1 8 , 3 0 0 1 8 , 7 0 0 1 8 , 3 0 0 1 8 , 7 0 0 1 9 , 5 0 0 1 9 , 2 0 0 1 9 , 9 0 0 2 0 , 4 0 0 2 0 , 4 0 0 Tate 1 8 , 9 0 0 1 8 , 8 0 0 1 8 , 7 0 0 1 9 , 2 0 0 1 9 , 7 0 0 2 4 , 9 0 0 2 6 , 8 0 0 2 7 , 8 0 0 3 0 , 3 0 0 British Museum 3 3 , 4 0 0 3 3 , 2 0 0 3 1 , 9 0 0 3 3 , 9 0 0 3 4 , 7 0 0 3 4 , 9 0 0 3 6 , 0 0 0 3 6 , 0 0 0 3 6 , 4 0 0 Science Museum 2 1 , 7 0 0 2 0 , 6 0 0 2 1 , 1 0 0 2 0 , 3 0 0 2 4 , 5 0 0 2 5 , 5 0 0 2 8 , 0 0 0 2 5 , 5 0 0 3 7 , 1 0 0 Imperial War Museum 1 1 , 1 0 0 1 0 , 7 0 0 1 1 , 0 0 0 1 0 , 6 0 0 1 2 , 1 0 0 1 1 , 9 0 0 1 3 , 1 0 0 1 6 , 3 0 0 1 6 , 5 0 0 Wallace Collection 1 , 9 0 0 1 , 9 0 0 1 , 9 0 0 1 , 9 0 0 2 , 5 0 0 2 , 1 0 0 2 , 2 0 0 2 , 5 0 0 3 , 0 0 0 5,973 National Maritime Museum 1 0 , 5 0 0 1 0 , 5 0 0 1 0 , 5 0 0 1 0 , 2 0 0 1 0 , 9 0 0 1 1 , 7 0 0 1 2 , 6 0 0 1 3 , 7 0 0 1 3 , 9 0 0 Value in 02/03 Natural History Museum 2 8 , 8 0 0 2 7 , 5 0 0 2 7 , 7 0 0 2 7 , 0 0 0 2 9 , 6 0 0 3 0 , 4 0 0 3 2 , 4 0 0 3 8 , 1 0 0 3 9 , 6 0 0 of 95/96 Victoria & Albert Museum 3 1 , 6 0 0 3 0 , 8 0 0 2 9 , 9 0 0 2 9 , 1 0 0 3 0 , 0 0 0 3 0 , 5 0 0 3 2 , 4 0 0 3 4 , 6 0 0 3 4 , 8 0 0 Grant-in-Aid So u r ce: DCMS Annual Report 2003. The Gallery’s ﬁg u res for 02/03 to 03/04 are estimates; 02/03 and 03/04 each include £0.25m project funding.

Grant-in-Aid per visitor (£) 9 5 / 9 6 9 6 / 9 7 9 7 / 9 8 9 8 / 9 9 9 9 / 0 0 0 0 / 0 1 0 1 / 0 2 0 2 / 0 3 0 3 / 0 4 National Portrait Gallery* 4 . 8 7 4 . 4 3 4 . 0 8 4 . 1 3 4 . 1 9 3 . 5 7 3 . 3 5 3 . 7 7 3 . 8 9 National Gallery 4 . 6 9 4 . 6 8 4 . 3 6 4 . 3 5 4 . 3 3 4 . 1 7 4 . 3 3 4 . 4 3 4 . 4 3 Ta te§ 6 . 3 0 7 . 5 2 8 . 5 0 6 . 4 0 7 . 8 8 3 . 7 2 4 . 8 7 5 . 3 5 5 . 9 4 British Museum 5 . 4 5 5 . 1 1 5 . 2 3 6 . 1 6 6 . 3 1 7 . 5 9 7 . 5 0 8 . 1 8 8 . 2 7 Science Museum§ 8 . 0 4 8 . 1 1 8 . 7 9 9 . 2 3 8 . 7 5 9 . 1 1 9 . 0 3 8 . 2 3 9 . 6 4 Imperial War Museum§ 8 . 4 7 8 . 2 3 8 . 1 5 7 . 7 4 8 . 8 3 7 . 4 4 8 . 1 9 8 . 5 8 8 . 6 8 5.74 Wallace Collection 1 1 . 8 8 1 0 . 5 6 1 0 . 5 6 1 0 . 0 0 1 3 . 1 6 8 . 0 8 9 . 5 7 1 0 . 8 7 1 3 . 0 4 Value in 02/03 National Maritime Museum 1 8 . 1 0 2 6 . 2 5 2 2 . 3 4 2 1 . 2 5 1 2 . 6 7 1 4 . 6 3 1 2 . 6 0 1 1 . 6 1 1 3 . 9 0 of 95/96 Natural History Museum 1 9 . 7 3 1 5 . 2 8 1 5 . 2 2 1 4 . 5 2 1 7 . 4 1 1 8 . 3 1 1 5 . 1 4 1 3 . 6 1 1 4 . 1 4 Grant-in-Aid Victoria & Albert Museum 2 0 . 6 5 1 9 . 3 7 2 0 . 6 2 1 9 . 4 0 2 3 . 4 4 2 1 . 7 9 1 7 . 4 2 1 4 . 4 2 1 5 . 8 2 per visitor So u r ce: DCMS Annual Report 2003. * London plus Regional Partners. § all venues. The Gallery’s ﬁg u res for 02/03 to 03/04 are estimates; 02/03 and 03/04 each include £0.25m project funding.

Self-generated net income for operations and acquisitions (£000s) N o t e s : Unallocated 1. Comprises exhibition charges, net trading income, sponsorship, corporate members income, trusts and net income foundations, individual giving, gallery hire, net of fundraising costs, catering franchise and investment income. 31% as 56% of 2. Excludes donations and HLF grants for building projects, donated acquisitions and depre c i a t i o n . Grant-in-Aid 20% in 02/03 Figures for 02/03 are estimates and for 03/04 are budgets. 29

RESEARCH As usual the Gallery was particularly glad to work on a variety of re s e a rch projects in cooperation with external partners. A long-term project, in collaboration with Oxford University Press, was completed with the selection of more than ten thousand port r a i t s to illustrate the New Dictionary of National Biography, to be published as the O x f o rd D i c t i o n a ry of National Biography in print and online formats in autumn 2004. Begun in autumn 1996, the re s e a rch work was conducted by Carol Blackett-Ord and Arianne B u rnette under the direction of Peter Funnell, the Gallery’s curator of nineteenth- c e n t u ry port r a i t s .

The Leverhulme Trust has generously funded three one-year post-doctoral research fellowships in the history of portraiture. Dr Matthew Craske, the ﬁrst of the Leverhulme Fellows in the History of Portraiture, focused on servants’ portraits, completing his fellowship in July 2002, and is contributing an essay on portraits of outdoor servants to the Below Stairs exhibition catalogue. Jan Marsh followed him in October; she is working on the representation of racial diversity in nineteenth-century Britain and has focused on two of the Gallery’s most signiﬁcant group portraits, Thomas Jones Barker’s The Secret of England’s Greatness and Benjamin Robert Haydon’s The Anti-Slavery Society Convention.

The Paul Mellon Centre for British Art has continued to provide generous support for John Ingamells’s res e a r ch on the collection, and his Mi d - G e o r gian Portr a i t s catalogue raisonné is now in production. Work has commenced on a further catalogue, devoted to later Stuart po r traits, an important collection that has not been catalogued since the 1960s.

Sandy Nairne took up his appointment as Director in November 2002. He gave a l e c t u re at the New York Academy of Art in January 2003 entitled ‘Images, Histories and A rtists: Why have a National Portrait Gallery?’ He has given seminars for the London Business School and the Institute of Advanced Legal Studies in London and contributed a short text on Sir Godfrey Kneller’s portrait of Sir Christopher Wren to The Folio Society Book of 100 Greatest Port r a i t s.

Colin Ford, former Keeper of Photography at the National Portrait Gallery and guest curator for the exhibition Julia Marg a ret Cameron: 19th Ce n t u ry Photographer of Ge n i u s, p re p a red an illustrated biography to accompany the exhibition in Febru a ry 2003; he also p roduced, with Julian Cox, a complete catalogue raisonné of Cameron’s work, published by the J. Paul Getty Museum, Los Angeles.

Jacob Simon, Chief Curator, gave a paper, ‘Van Dyck and picture framing’, at a conference at New York University in April 2002, and contributed a feature on Gainsborough for the research section of the Gallery’s website on picture framing. His paper on the life of Thomas Johnson is to be published in Furniture History in 2003.

Dr Tarnya Cooper, Curator, 16th Century, came to the Gallery part-time in October 2002, initially as maternity cover for Catharine MacLeod, Curator, 16th and 17th Centuries. Before joining she had been employed as a guest curator on the National Maritime Museum’s Elizabeth exhibition, for which she has written catalogue entries and an essay, ‘The Queen’s Visual Presence’, to be published in May 2003. She presented a 30

p a p e r, ‘The Artists and Patrons of Non-court Port r a i t u re in England c.1600’, at a conference on S h a k e s p e a re’s Likeness in To ronto in November 2002, and contributed to the book S h a k e s p e a re’s Face, compiled by Stephanie Nolen, a chapter entitled ‘A Painting with a Past, Locating the Artist and the Sitter’. She continues to be employed p a rt-time at University College London as Assistant Curator.

Catharine MacLeod, now Curator, 17th Century, gave a paper on Richard Gibson and the re p roduction of portrait miniatures at the conference in Edinburgh, ‘The Port r a i t M i n i a t u re c.1500–1850’, and pre p a red three biographies for the forthcoming O x f o rd D i c t i o n a ry of National Biography. She was away on maternity leave for much of the year.

Dr Lucy Peltz, Curator, 18th Century, delivered a paper, ‘Hydra-Headed Monsters: p o rtrait print collecting and the rise of extra-illustration in the late eighteenth century ’ , at Facing the Eighteenth Century, a two-day conference at the Huntington Library, Art G a l l e ry and Botanical Gardens, California, in October 2002. Her work, ‘Engraved P o rtrait Heads and the Rise of Extra-illustration. The Eton Correspondence of the R e v. James Granger and Richard Bull, 1769–1774’, is to be published by the Wa l p o l e Society in 2004.

Dr Peter Funnell, Curator, 19th Century, gave a paper on the state of research into nineteenth-century portrait painting at the symposium in New Haven, Connecticut, Histories of British Art: Where Next?, mounted to celebrate the twenty-ﬁfth anniversary of the Yale Center for British Art in November 2002, and contributed to the conference on Biographical Knowledge at Cambridge in March 2003, organised jointly by the Centre for Research in the Arts, Social Sciences and Humanities and the Getty Research Institute.

Roger Harg reaves and Peter Hamilton’s book, The Beautiful and the Damned: The C reation of Identity in 19th Century Photography, published by Lund Humphries for the G a l l e ry’s exhibition of the same name in 2001, won the Kraszna-Krausz Book Aw a rd in Photography Book Publishing in Febru a ry 2003 for the best book in the craft, technology and scientiﬁc category. Two other exhibition publications, G e o rge Romney and Painted Ladies, were shortlisted for the William M.B. Berger Prize for British Art H i s t o ry in December 2002.

A g reement has been reached between the Gallery’s Education department and the University of Westminster to establish a re s e a rch partnership, with the aim of creating a range of projects based on press photography, initially over a three-year period.

Contributions to the Museums Association conference in Manchester in October 2002 w e re made by Sandy Nairne, Stephen Allen, Clare Gittings, Liz Rideal and Kathleen Soriano, while Kate Eustace, Robin Francis, Peter Funnell, Roger Harg reaves, Sarah Howgate, Te rence Pepper and Kathleen Soriano led sessions for the University of Westminster’s ongoing MA course in Visual Culture in Febru a ry 2003. In addition, Stephen Allen chaired the 2002 conference of the Group for Education in Museums as the outgoing chair of the Gro u p . 31

T R A D I N G In commercial terms the past two years have been the most successful in the Gallery ’ s h i s t o ry. Mario Testino: Port r a i t s generated the highest level of income for an exhibition and, with over 48,000 copies of the book and 160,000 postcards printed, was also our most ambitious publishing project to date.

In March 2002 the BBC approached the Pi c t u re Li b r a ry with a view to ﬁlming in the G a l l e ry for their forthcoming series G reat Britons. Further discussions resulted in full collaboration between the two organisations and included a Gallery trail, ﬁl m i n g o p p o rtunities and lectures, as well as the book to accompany the series. The success of the publication owed a great deal to John Cooper, former Head of Education at the G a l l e ry, who wrote the majority of the text in a very short period of time. The book became a Christmas bestseller in the book trade, and re q u i red three reprints between October and mid-December. A total of 45,000 copies were sold into the trade and t h rough the Gallery in just three months, a re c o rd for a non-exhibition title.

P i c t u re Library turnover reached a re c o rd level, exceeding £0.5 million. In part this was achieved through the culmination of work on the New Dictionary of National Biography. Work on this long-term project entailed rights clearance for print and online publication P a rt of the merchandise display in of the 10,000 images re s e a rched and provided. This was an extraord i n a ry achievement the Wolfson Gallery Shop for the for all involved. Julia Marg a ret Cameron: 19th C e n t u ry Photographer of Genius The Pi c t u re Li b r a ry team accommodated this activity while continuing to deliver a ﬁr s t - e x h i b i t i o n class service to its clients and to plan further developments. Consultation concerning an integrated web-based picture library consortium pro g ressed, in co-operation with the National Gallery and National Galleries of Scotland, towards the completion of a business plan in 2003/4.

Scholarly catalogues of the collection continued to be pre p a red for publication. The Complete Illustrated Catalogue is on course for publication in autumn 2003, while the M i d - G e o rgian Portraits catalogue will be published in spring 2004.

For the ﬁrst time each of the Gallery’s exhibitions was accompanied by a publication. Beatrix Potter to Harry Potter: Portraits of Children’s Writers and George Romney, 1734–1802, which was shortlisted for three book awards, were followed by the ﬁrst ever BP Portrait Award catalogue. Mad, Bad and Dangerous: The Cult of Lord Byron and the John Kobal Photographic Award were supported by bought-in titles, while Americans and Julia Margaret Cameron provided further evidence of the versatile approach to formats and content, as well as high-quality print and production, for which our publications have become known. Co-editions were sold of George Romney (Princeton University Press), Americans (Watson Guptill) and Julia Margaret Cameron (Getty).

The success of so many publications was achieved at a time when two editors went on m a t e rnity leave, while the third re t u rned part-time from hers. Even so, several new p rojects were begun, including the collaboration with Gerald Scarfe on a book of The American Classics CD which accompanied the exhibition c a r i c a t u res of people featured in our collection. Entitled H e roes and Vi l l a i n s, the book Americans: Paintings and will feature text written by a number of high-pro ﬁle contributors and is to be published Photographs from the National in autumn 2003. P o rtrait Gallery, Wa s h i n g t o n 32

Retail sales in 2002/3 started and ended stro n g l y, re flecting the popularity of the exhibition programme. A temporary shop was constructed at the entrance to the G e o rg e R o m n e y exhibition on the first floor and a large section of the gro u n d - floor shop was c o n v e rted into a children’s toy and bookshop to re flect the large and varied output of authors featured in Beatrix Potter to Harry Potter and the merchandise generated by their l i t e r a ry creations. The success of specially commissioned merchandise compensated for less than buoyant sales for A m e r i c a n s due to slightly lower than anticipated visitor numbers. However, Julia Marg a ret Camero n contributed the second highest trading income of any previous exhibition (only Mario Testino has generated more). Elsewhere , the main shop succeeded in converting 8% more visitors into customers, while visitor spending there increased by nearly 10%.

New merchandise was developed to accompany the George Romney, Americans and Julia Margaret Cameron exhibitions while others, based on the permanent collection, included two well-produced postcard packs, published to mark the death of Queen Elizabeth, the Queen Mother, and to celebrate The Queen’s Golden Jubilee. Other new products included items for children. An educational resource pack on Elizabeth I was produced in collaboration with the National Maritime Museum in Greenwich to coincide with their major exhibition, Elizabeth.

The cover of the G reat Trading department staff continue to re p resent the Gallery on the councils of such Britons b o o k p rofessional bodies as the Museum Trading Association, the Museums Copyright Gro u p and the British Association of Picture Libraries and Agencies.

FUNDRAISING AND DEVELOPMENT The overall fundraising target for the Development department was not only achieved but modestly exceeded. Even though corporate membership was affected by the economic climate, exhibition sponsorship and evening hire more than compensated. A Fundraising Review was undertaken during the year by THINK Consulting, who looked at the Gallery’s previous and current fundraising achievements and identiﬁed areas for development in the future .

J P M o rgan, as well as giving a very generous £150,000 donation towards the setting up of a Fund for New Commissions, sponsored the A m e r i c a n s exhibition. They committed additional funds for extra marketing, which included advertising over and above the G a l l e ry spend, taxi-side advertising and a client booklet sent out to promote the exhibition. A successful application was made to the Arts & Business New Part n e r s scheme for education projects based on workshops for primary, secondary and higher education students and an access project with the Great Ormond Street Hospital School. A&B matched JPMorgan’s contribution and the resulting project We Can Be Hero e s, for which a video was commissioned, was hugely successful. Work done by some of the p a rticipants, including staff from JPMorgan, was shown at a reception at the sponsor’s o p p o s i t e Pete Postlethwaite (1945–) by Christopher o fﬁces in the City at which Baroness Blackstone, Minister of State for the Arts, and the Thompson, 2002 C h a i rman of JPMorgan, Walter Gubert, were pre s e n t .

J P M o rgan also gave a splendid dinner to mark the opening of the A m e r i c a n s e x h i b i t i o n , attended by the Prime Minister and various other VIP guests.

The Paciﬁc Group of Companies generously supported the Ge o r ge Romney exhibition. A successful fundraising dinner was held during the opening week of the exhibition. The Development Board were very supportive in promoting and patronising this event. During the evening the actress Harriet Walter read from the letters of Emma Hamilton to Charles Greville, with an introduction by Flora Fraser.

Reuters generously sponsored the Julia Marga r et Cameron exhibition, and were given the op p o r tunity to display the work of some of Reuters’ photographers in a linked exhibition, Iconic Women in the Pres s . Classic FM, following a previous generous in-kind sponsorship for the Painted Ladies exhibition, also lent support to the Ca m e ro n exhibition, with many on-air mentions.

Beatrix Potter to Harry Potter: Portraits of Children’s Writers was supported by Pearson, who as the parent company for Penguin Books also provided a number of books for the The photographer Roger Mayne, Reading Corner and Beatrix Potter merchandise for the Children’s Day. 1957, by John Deakin British Blondes in the Bookshop Gallery was enthusiastically supported by Schwarz k o p f .

BP announced during the year that they were extending their sponsorship of the B P P o rtrait Aw a rd and Travel Aw a rd until 2006. BP’s generous ﬁnancial commitment to and enthusiasm for the Gallery are greatly appre c i a t e d .

Individual donors and Trusts and Foundations continue to provide essential support. The most signiﬁcant achievement of the past year was securing the £1.2m req u i r ed for the refurbishment of the Regency in the Weldon Galleries. This project was supported by a number of generous donors, in particular Anthony and Jane Weldon, after whom the galleries have been named, and a major contribution from the Heritage Lottery Fund.

Funds from the bequest of Lord Sieff, a former Trustee of the Gallery, also contributed to both the Regency and Balfour Portrait appeals. A bequest from Dr Clementine Wheeler, an American supporter of the Gallery, funded the purchase of an historic photograph of Roger Mayne by John Deakin. Bequests to the Gallery are greatly valued and we are seeking to encourage support in this area .

Other Trust and Foundation support during the year included a donation from the ADAPT Trust and the Guide Dogs for the Blind Association for Braille, audiotape and CD information materials. The Vodafone UK Foundation made a commitment to s u p p o rt the Gallery’s Access Programme, and in particular outreach work for special educational needs groups and for the deaf or hard of hearing. The Access Pro g r a m m e was supported by the John Ellerman Foundation for a second year, and we look forw a rd to their continued support in 2003/4.

One of our eighteenth-century galleries has been named after Life Patrons Sir Harry and Lady Djanogly, following their generous donation. 35

Successful fundraising enabled us to make a number of new acquisitions (see page 39).

We were delighted to introduce, during the course of the year, the new post of Individual Giving Manager to look after the Patrons. Patrons’ membership remains steady, with many Patrons attending Gallery events, particularly the early evening previews of new t e m p o r a ry exhibitions such as G e o rge Romney, A m e r i c a n s and Julia Marg a ret Camero n. The Annual Lecture in May, given by David Starkey on ‘The Two Elizabeths’, was very p o p u l a r, as were two open evenings at the Gallery, one on frame conservation and the other an introduction to photography in the Photography Studios. At the end of the y e a r, the Patrons lent their support to Mad, Bad and Dangerous: The Cult of Lord Byro n.

The A m e r i c a n s exhibition gave the opportunity to host a very enjoyable evening, a rranged by Development Board member Frances Jackson and her support committee to i n t roduce Americans living in London to the National Portrait Gallery.

Membership had seen a huge increase with the Te s t i n o exhibition. Although that volume of support was not forthcoming again during the year, there was nevertheless a steady i n t e rest in membership, particularly around the opening of new exhibitions. The Gallery n e w s l e t t e r, Face to Face, has changed considerably in style and content during the year and its pro ﬁle will continue to be developed.

Amelia Chilcott Fawcett, Vice Chairman of Morgan Stanley Dean Wit t e r , became the new Ch a i r man of the Development Board. The support, enthusiasm and leadership of Charles Mc V eigh III as the Chairman for the past few years has been greatly appreciated, as is the invaluable support and advice from members of the Development Board to the Head of Public Relations and Development and her team in generating income for the Gallery.

The Gallery has maintained a close association with a group of Corporate Partners who continued their support during the year, including Anglo American, Aon Risk Serv i c e s Redwood, BBA Group, Chubb Insurance, Citigroup, Deloitte & Touche, Fre s h ﬁe l d s B ruckhaus Deringer, Goldman Sachs, JPMorgan, Korn / F e rry International, Lehman B rothers, Linklaters, Reuters, TotalFinaElf, Towers Perrin, and WPP Gro u p .

Corporate supporters have taken advantage of their beneﬁts throughout the year, hosting a number of exciting events. A notably imaginative event was a recital and dinner hosted by Schroder Salomon Smith Barney in June, which featured a perf o rmance by one of the world’s leading violinists, Joshua Bell.

The Gallery ran staff workshops for Corporate Partners, including Korn / F e rry I n t e rnational’s staff framing and photography workshop away-day in September. Other special occasions included the launch of Jaeger- L e C o u l t re’s new range of watches; the launch of Dixon Jones by Ian Latham, a book on the work of Jeremy Dixon and Edward Jones, the architects of the Ondaatje Wing; and an event hosted by the Keats Shelley Association, at which the Countess of Wessex was guest of honour. We were delighted that both the Evening Standard Schools’ Aw a rds and the Hawthornden Prize were again p resented at the Ga l l e ry. 36

Corporate Partnership Programme The Gallery is grateful to the following for their sponsorship and support of exhibitions and corporate membership in 2002/3:

Beatrix Potter to Harry Potter: Portraits of Children’s Wr i t e r s M e m b e r s s u p p o rted by Pearson Anglo American Aon Risk Serv i c e s G e o rge Romney, 1734–1802 BBA Gro u p s p o n s o red by The Paciﬁc Group of Companies Chubb Insurance BP Portrait Aw a rd 2002 a n d BP Travel Aw a rd Deloitte & To u c h e s p o n s o red by BP p.l.c. F re s h ﬁelds Bruckhaus Deringer Goldman Sachs Americans: Paintings and Photographs from the National J P M o rg a n P o rtrait Gallery, Wa s h i n g t o n K o rn / F e rry Intern a t i o n a l s p o n s o red by JPMorg a n Lehman Bro t h e r s We can be Heroes L i n k l a t e r s Education/access programme supported by JPMorgan R e u t e r s and Arts & Business New Part n e r s To t a l F i n a E l f WPP Gro u p John Kobal Photographic Portrait Award 2002: A Ten-Year Celebration Development Board s p o n s o red by Getty Images, the British Journal of Jane Benson, LVO, OBE P h o t o g r a p h y, Flash Photo Digital, the Robert M a rg a ret Exley, CBE H o rne Group, St Ives We s t e rham Press and the Amelia Chilcott Fawcett, CBE John Kobal Foundation ( C h a i rman of the Board from December 2002) The Rt. Hon. the Lord Forsyth of Drumlean, PC Mad, Bad and Dangerous: The Cult of Lord Bryon (until December 2002) s u p p o rted by the Patro n s Flora Fraser (until December 2002) Julia Margaret Cameron: 19th Century Photographer of Genius P i e rre Godec (until December 2002) s p o n s o red by Reuters, recommended by Classic FM, Frances Jackson s u p p o rted by Dom Pérignon Achilleas Kallakis Charles McVeigh III (Chairman of the Board British Blondes until December 2002) s p o n s o red by Schwarz k o p f Philip Mould Corporate Partnership Programme 2002/3 Sir Christopher Ondaatje, CBE, OC B e n e f a c t o r s Mark Paviour The Atlas Alliance Group (Honorary ) Michael Potter BP p.l.c. (Honorary ) Sir David Scholey, CBE C i t i g ro u p Vanni Tre v e s R e d w o o d The Lord Tu g e n d h a t Towers Perr i n Anthony We l d o n Sir John Weston, KCMG

The Gallery is grateful to the following charitable trusts, foundations and individual donors for their support in 2002/3 and beyond:

The Regency in the Weldon Galleries: Renewal of the nineteenth-century displays at Bodelwyddan Castle Major donors D e p a rtment for Culture, Media and Sport Heritage Lottery Fund Heritage Lottery Fund Jane and Anthony We l d o n The Kirby Laing Foundation CHK Charities Limited The Mercers’ Company L o rd Marcus Sieff (bequest) Frame conservation internship programme G a rﬁeld Weston Foundation The Radcliffe Tru s t The Wolfson Foundation 29th May 1961 Charitable Tru s t Friday music programme Pioneer Charitable Donations Group Additional donors to The Regency The John S. Cohen Foundation J e rwood Portrait Commission Heritage of London Tru s t J e rwood Charitable Foundation Marsh Christian Tru s t P o rter Galleries PF Charitable Tru s t The John Porter Foundation The Trusthouse Charitable Foundation The Porter Foundation Access and education S u p p o rt for the collections, re s e a rch and cataloguing The ADAPT Trust and The Guide Dogs D e p a rtment for Culture, Media and Sport for the Blind Association EP Tru s t Carlton Television Trust The Henry Moore Foundation The Dulverton Tru s t The Leverhulme Trust Heritage Lottery Fund The Paul Mellon Centre for Studies in British Art The John Ellerman Foundation The Vodafone UK Foundation 37

Sir Brian Urq u h a rt Portrait Appeal Acquisition of the portrait of Arthur Balfour, 1st Earl of Balfour Mr and Mrs Koﬁ A n n a n Ancaster Trust Mrs Walter Annenberg Anonymous donors Anonymous Sir Harry Djanogly, CBE Mr Va rtan Gre g o r i a n C l o re Dufﬁeld Foundation Dr David Hamburg The Headley Tru s t Mrs Drue Heinz, Hon. DBE The Linbury Tru s t Christian Lady Hesketh National Art Collections Fund (with a contribution Mr Robert Pirie f rom The Wolfson Foundation) Mr David Rockefeller Sir Christopher Ondaatje, CBE, OC Mrs Nelson Rockefeller L o rd Rothschild Mr Arthur Ross Sir Evelyn de Rothschild Mr John Whitehead L o rd Marcus Sieff (bequest) The Sir Sigmund Stern b e rg Charitable Foundation With particular thanks to Sir John Weston, KCMG, one of our Trustees, for organising this appeal. We are indebted to Lord Heseltine and Lord Hindlip for their help in this appeal.

The Gallery is grateful to the following Honorary Patrons, Life Patrons and Patrons for their support in 2002/3: Mr and Mrs Jon Lovelace Honorary Patrons Mr and Mrs James McNaught-Davies The Lord Carrington, KG, GCMG, CH, PC Mr and Mrs Charles S. McVeigh III Mrs Drue Heinz, Hon. DBE Brian Marsh The Lord We i d e n f e l d L o rd and Lady Moore Life Patro n s Mr and Mrs Philip Mould Ms C. Allegra Berm a n Mr and Mrs Charles Nunneley Dr and Mrs Mark Cecil Midge and Simon Palley The Coral Samuel Charitable Tru s t Mr and Mrs Robert Pickering Sir Harry Djanogly, CBE The Pippbrook Charity Tru s t Mr and Mrs Robin Fleming Mr and Mrs Andrew Power Ms Flora Fraser and Mr Peter Soro s Christopher and Stella Reeves Allan and Louise Hirst Lady Ripley Sir Christopher Ondaatje, CBE, OC Mr and Mrs Derald H. Ruttenberg Sir David Scholey, CBE, and Lady Scholey Mr and Mrs Michael Samuel Mr and Mrs Thomas Schoch Pa t ro n s R i c h a rd and Victoria Sharp Sir Rudolph and Lady Agnew John Smith Mr David Alexander, Hon. CBE, and Mrs Alexander Sir Robert and Lady Smith Dr M.G. Archer Sir Sigmund Stern b e rg Mark Arm i t a g e Hugh and Catherine Stevenson Mr and Mrs Johny Arm s t ro n g R o b e rt and Patricia Swannell Edgar Astaire The Swan Tru s t Ms D. Bert o l u c c i Mr and Mrs Louis A. Ta n n e r Mrs James Brice Mrs Freda Ta y l o r The British Land Company p.l.c. Vanni and Angela Tre v e s Linda Bro w n r i g g The Lord Tu g e n d h a t Michael Campbell Johnny Van Haeften Ltd Mrs Lisa von Clemm Anthony We l d o n Mr and Mrs David Dalziel G e o rge and Patricia White Mr and Mrs Robert Donnalley Amelia Chilcott Fawcett, CBE Individual Donors The Fine Family Foundation A n o n y m o u s The Hon. Piers Gibson Miss Amanda Sebestyen The Hon. William Gibson Mrs Jayne Wrightsman Gavin Graham Board of American Friends of the National Portrait Gallery Mrs Sue Hammerson, OBE Mr David Alexander, Hon. CBE Claude Hankes-Drielsma Walter E. Ashley (Pre s i d e n t ) R i c h a rd Hayden Ms Pim Baxter (Secre t a ry ) Mr and Mrs Robert Helms Mrs Drue Heinz, Hon. DBE (Founder Benefactor) Mr and Mrs Gerald Hines P rofessor William Homer R o b e rt Holden Sandy Nairne (from November 2002) Mr and Mrs Jonathan Horsfall Tu rn e r Dr Charles Saumarez Smith Mr and Mrs Charles Jackson Peter A.B. Johnson Sir Paul and Lady Judge Sir John and Lady Kemp-We l c h Stanton D. Loring

LIST OF ACQUISITIONS Single and double port r a i t s

Thomas Joseph Edmund Adès (1971–) A u b rey Thomas de Ve re (1814– 1 9 0 2 ) Pandit Ram Gopal (1920–) Thomas Hughes (1822–1896) C o m p o s e r Poet, critic and writer on church matters D a n c e r, choreographer and teacher Author of ‘Tom Brown’s Schooldays’ Philip Oliver Hale (1963–) Julia Margaret Cameron (1815–1879) Feliks Topolski (1907–1989) Julia Margaret Cameron (1815–1879) 6619: oil on canvas, 2138 x 1073 mm P984: albumen print, 242 x 191 mm L225: watercolour, gouache and P986: albumen print, 274 x 209 mm 1/ 1/ 1 1 3/ 1/ (84 8 x 42 4 in), 2002 (9 /2 x 7 /2 in), inscribed below image, 1864 silkscreen on paper, 2368 x 1012 mm (10 4 x 8 4 in), signed and inscribed 1 7 Commissioned by the Trustees Transferred from the Reference (93 /4 x 39 /8 in), signed twice below image on mount, 1865 with support from the Jerwood Collection 2003 and inscribed twice, circa 1973 Transferred from the Reference Foundation 2002 Lent by the sitter 2002 Collection 2003

H e n ry Havelock Ellis (1859–1939) Elizabeth (Berkeley), Margravine Physician and psychologist Bonnie Greer (1948–) Roy Jenkins, Baron Jenkins of Anspach (1750 – 1 8 2 8 ) B ro a d c a s t e r, playwright and critic of Hillhead (1920– 2 0 0 3 ) Henry Bishop (1868–1939) D r a m a t i s t 6626: oil on canvas, 583 x 610 mm Maud Sulter (1960–) P o l i t i c i a n Ozias Humphry (1742–1810) (23 x 24 in), signed lower left, 1890s P965: colour polaroid print, 804 x 560 Faith Lucy Tilly Tolkien (1928–) 5/ 3 L223: oil on canvas, 605 x 506 mm Bequeathed by François Laﬁtte 2003 mm (31 8 x 22 in), uneven, 2002 6616: bronze head, 324 mm (12 /4 in) 3 (23 /4 x 20 in), circa 1780–1783 Purchased 2002 high, signed, 1981, cast 2002 Lent by the Tate Gallery 2002 Purchased 2002 E d w a rd John Eyre (1815–1901) G o v e rnor of Jamaica Thomas Harnett (‘Tom’) Harr i s s o n A rthur James Balfour, ( 1 9 1 1 – 1 9 7 6 ) Julia Margaret Cameron (1815–1879) 1st Earl of Balfour (1848–1930) P985: albumen print, 342 x 257 mm Tr a v e l l e r, explorer and scholar 1 1 Prime Minister (13 /2 x 10 /8 in), signed and Humphrey Spender (1910–) John Singer Sargent (1856–1925) inscribed below image on mount, 1867 P960: modern archival bromide print, 1 7 6620: oil on canvas, 2600 x 1500 mm Transferred from the Reference 242 x 353 mm (9 /2 x 13 /8 in), 3 (102 /8 x 59 in), signed and dated, 1908 Collection 2003 with photographer’s blind stamp, Purchased with support from the National inscribed and dated below image, 1937 Art Collections Fund, Sir Christopher Purchased 2002 Charles James Fox (1749–1806) Ondaatje, the Lord Sieff Bequest, the Wolfson Foundation through the Art Fund, Whig statesman Josef Paul Hodin (1905–1995) Lord Rothschild, Sir Evelyn de Rothschild, Joseph Nollekens (1737–1823) the Headley Trust, the Linbury Trust, Sir L226: marble bust, circa 1792–1793 A rt historian Harry Djanogly, the Clore Dufﬁeld Lent from a private collection 2003 Oskar Kokoschka (1886–1980) Foundation, the Ancaster Trust, the 6615: charcoal, 630 x 485 mm 3 1 Sternberg Charitable Foundation and (24 /4 x 19 /8 in), signed, several other donations 2002 inscribed and dated, 1964 Purchased 2002 (copyright estate of Josef Paul Hodin) Sir George William Langham Christie (1934–) and his wife (Patricia) Mary, Lady Christie A rts administrator; Chairman of G l y n d e b o u rne Pro d u c t i o n s Cecil Harm s w o rth King (1901–1987) David Hockney (1937–) Newspaper proprietor and publisher 6624: watercolour, 1220 x 915 mm Graham Sutherland (1903–1980) (48 x 36 in), 2002 6613: oil on canvas, 920 x 731 mm 1 3 Commissioned by the Trustees (36 /4 x 28 /4 in), signed and dated, 1969 and given by the artist 2002 Bequeathed by the sitter’s widow, Dame Ruth King, 2002 A rthur Joseph Davis (1878–1951) A rc h i t e c t Henry (H.) Walter Barnett (1862–1934) P961: sepia-toned platinotype, 7 7 202 x 149 mm (7 /8 x 5 /8 in), with photographer’s blind stamp below the image, autographed, inscribed Claud Lovat Fraser (1890–1921) and dated below image by sitter, 1912 A rtist and designer Given by the sitter’s daughter, Marion Neilson Ann J. Davis Thomas, 2002 P966: vintage print, 162 x 115 mm 3 1 (6 /8 x 4 /2 in), inscribed on mount below image, circa 1919 Purchased 2003

Frieda Emma Johanna Maria Lawre n c e L a u rence Stephen (‘L.S.’) Lowry H e n ry Moore (1898–1986) John Davan Sainsbury, Baron Sainsbury (née von Richthofen) (1879–1956) ( 1 8 8 7 – 1 9 7 6 ) S c u l p t o r of Preston Candover (1927–) Writer; wife of D.H. Lawre n c e P a i n t e r Robert Lyon (1894–1978) Businessman; patron of the art s Leon Underwood (1890–1975) Self-portrait 6625: pencil, 347 x 252 mm Tai-Shan Schierenberg (1962–) 5 7 6614: black chalk, 352 x 233 mm L224: oil on canvas, 535 x 435 mm (13 /8 x 9 /8 in) uneven, signed, 6623: oil on canvas, 1220 x 1121 mm 7 1 1 1 (13 /8 x 9 /4 in), inscribed, circa 1934 (21 x 17 /8 in), signed and dated, 1938 inscribed and dated four times, (48 x 44 /8 in), 2002 Given by the artist’s son, Garth Lent from a private collection 2002 inscribed and dated on reverse, 1923 Given by the sitter 2002 Underwood, 2002 (Copyright Rothschild Trust Canada Purchased with support from the Henry Inc/National Portrait Gallery, London) Moore Foundation 2002 (Copyright estate of Robert Lyon) Sir Henry Taylor (1800– 1 8 8 6 ) Poet, essayist and civil serv a n t Julia Margaret Cameron (1815–1879) P990: albumen print, 252 x 200 mm 7 7 (9 /8 x 7 /8 in), signed and inscribed below image on mount, 1865 Transferred from the Reference Collection 2003

Sir Brian Edward Urq u h a rt (1919–) U n d e r - S e c re t a ry General, United Nations Philip Pearlstein (1924–) 6618: oil on canvas, 1116 x 915 mm (44 x 36 in), signed and dated, 2002 Commissioned by the Trustees with substantial support from a group of private benefactors 2002

Charles Frederic Mewes (1860–1914) Dame Eileen Louise Yo u n g h u s b a n d A rc h i t e c t ( 1 9 0 2 – 1 9 8 1 ) Pioneer of social work Langfier Ltd Eric Newton (1893–1965) William Edward Hartpole Lecky P962: sepia carbon print, 196 x 148 mm Sir (John) Kyffin Williams (1918–) 3 7 A rtist, art historian and critic ( 1 8 3 8 – 1 9 0 3 ) (7 /4 x 5 /8 in), with photographer’s 6621: oil on canvas, 915 x 711 mm Historian and essayist printed credit below image on Barnett Freedman (1901–1958) (36 x 28 in), signed with initials card mount, circa 1906 6622: pen, ink and wash, Given by the National Institute Julia Marg a ret Cameron (1815–1879) 1 Given by Ann J. Davis Thomas 2002 382 x 267 mm (15 x 10 /2 in), for Social Work 2002 P987: albumen print, 281 x 232 mm signed and dated lower right, 1943 1 (11 x 9 /8 in), signed and inscribed Given by the executors of the estate below image on mount, 1868 Charles Frederic Mewes (1860–1914) of Stella Mary Newton 2002 Tr a n s f e rred from the Reference A rc h i t e c t Collection 2003 Langfier Ltd Peter (‘Pete’) Postlethwaite (1945–) P963: sepia carbon print, 196 x 148 mm 3 7 A c t o r (7 /4 x 5 /8 in), with photographer’s Alice Pleasance Liddell (1852–1934) printed credit below image on car d Christopher Thompson (1969–) Inspiration for ‘Alice’s Adventures mount, circa 1906 6617: oil on canvas, 1218 x 912 mm in Wo n d e r l a n d ’ Given by Ann J. Davis Thomas 2002 (48 x 36 in), 2002 Given by David Shapiro and Julia Margaret Cameron (1815–1879) Joseph Pigott 2002 P988: albumen print, 324 x 237 mm Charles Frederic Mewes (1860–1914) 3/ 3/ (12 4 x 9 8 in), signed and A rc h i t e c t inscribed below image on mount H e n ry Thoby Prinsep (1792–1878) Transferred from the Reference Unknown photographer Civil servant; brother-in-law to Julia Collection 2003 P964: red-toned carbon print, 7 M a rg a ret Camero n 152 x 201 mm (6 x 7 /8 in), circa 1900 Given by Ann J. Davis Thomas 2002 Julia Margaret Cameron (1815–1879) P989: albumen print, 375 x 285 mm 3 1 (14 /4 x 11 /4 in), 1866 Transferred from the Reference Collection 2003

o p p o s i t e Cecil Harm s w o rth King, by Graham Sutherland, 1969

C o l l e c t i o n s

P967–P983 Vintage photographs P981: Bertram Priestman (1868–1951) P991(4): Edith Mary Liddell by Walter Benington, 1920s Painter (1854 –1876), Lorina Charlotte (Ina) P982: Alfred Aaron Wolmark Liddell (1849–1930), Alice Pleasance Walter Benington (1872–1936) (1877–1961) Artist Liddell (1852–1934) Vintage chlorobromide prints, 1 3 Members of the Liddell family 181 x 145 mm (7 /8 x 5 /4 in) Albumen print, 156 x 176 mm or more, 1920s 1 7 (6 /8 x 6 /8 in), summer 1858 Purchased 2003 P991(5): Alice Pleasance Liddell Listed numerically: (1852–1934) Inspiration for P967: Arthur Applin (d. 1949) ‘Alice’s Adventures in Wonderland’ Actor, playwright and novelist Wet collodion glass plate negative, P968: John Logie Baird (1888–1946) 126 x 152 mm (5 x 6 in), spring 1860 Television pioneer P991(6): Edith Mary Liddell (1854 –1 8 7 6 ) P969: Philip Alexius de László Sister of Alice Pleasance Liddell (1869–1937) Portrait painter Albumen print, 148 x 177 mm 7 P970: Philip Alexius de László (5 /8 x 7 in) uneven, spring 1860 (1869–1937) Portrait painter P991(7): Alice Pleasance Liddell P971: Shaw Desmond (1877–1960) (1852–1934), Lorina Charlotte (Ina) Novelist and writer; Founder, Liddell (1849–1930), Edward Henry International Institute (Harry) Liddell (1847–1911), for Psychical Research Edith Mary Liddell (1854 –1876) P972: Sir William Russell Flint Members of the Liddell family (1880–1969) Artist Albumen print, 145 x 188 mm 3 3 P973: Laurence Housman (1865–1959) (5 /4 x 7 /8 in) uneven, spring 1860 Writer P991(8): Alice Pleasance Liddell P974: Sydney Lee (1866 –1949) (1852–1934) Inspiration for Painter, etcher and wood engraver ‘Alice’s Adventures in Wonderland’ P975: Hugh Cecil Lowther, 5th Earl Albumen print, 95 x 54 mm P983: Unknown man 3 1 of Lonsdale (1857–1944) Sportsman (3 /4 x 2 /8 in), July 1860 P991(9): Edith Mary Liddell P991(1–13) Alice Liddell and her (1854–1876), Lorina Charlotte sisters and brother: photographs by (Ina) Liddell (1849–1930), Alice Pleasance Liddell (1852–1934) Lewis Carroll, 1858–1870 Members of the Liddell family Lewis Carroll (Charles Lutwidge Wet collodion glass plate negative, Dodgson) (1832–1898) 254 x 203 mm (10 x 8 in), July 1860 Purchased jointly with the National P991(10): Lorina Charlotte (Ina) Museum of Photography, Film and Liddell (1849–1930), Alice Pleasance Television, Bradford, with support from the Liddell (1852–1934), Edith Mar y National Heritage Memorial Fund and the Liddell (1854–1876) National Art Collections Fund 2003 Members of the Liddell family Albumen prints, triptych, 100 x 76 mm P991(1): Alice Pleasance Liddell (4 x 3 in) each, inscribed below each (1852–1934) Inspiration for ‘Alice’s image on mount in pencil, 1858–1860 Adventures in Wonderland’ P991(11): Alice Pleasance Liddell Wet collodion glass plate negative, (1852–1934) Inspiration for 152 x 127 mm (6 x 5 in), summer 1858 ‘Alice’s Adventures in Wonderland’ P991(2): Lorina Charlotte (Ina) Albumen carte-de-visite, 91 x 58 mm Liddell (1849–1930) Sister of Alice 1 1 (3 /2 x 2 /4 in), inscribed on reverse Pleasance Liddell of mount in pencil, 25 June 1870 Albumen print, 150 x 126 mm 7 P991(12): Lorina Charlotte (Ina) (5 /8 x 5 in), summer 1858 P976: Sir (Edward Montague) Compton Liddell (1849–1930) P991(3): Edith Mary Liddell Mackenzie (1883–1972) Writer Sister of Alice Pleasance Liddell (1854 –1876), Lorina Charlotte P977: Henry Canova Vollam (‘H.V.’) Albumen print, 151 x 130 mm (Ina) Liddell (1849–1930), Alice 1 Morton (1892–1979) Travel writer (6 x 5 /8 in) uneven, inscribed Pleasance Liddell (1852–1934) P978: He n r y Woodd Nevinson (1856–1941) on reverse of mount in pencil, Members of the Liddell family Journalist and war cor respondent numbered in ink, 25 June 1870 P979: Robert Malise Bowyer Nichols Wet collodion glass plate negative, 1 P991(13): Alice Pleasance Liddell 154 x 181 mm (6 x 7 /8 in), (1893–1944) Poet (1852–1934) Inspiration for summer 1858 P980: Julius Olsson (1864–1942) ‘Alice’s Adventures in Wonderland’ Painter Unknown photographer Albumen print, 89 x 62 mm 1 1 (3 /2 x 2 /2 in)

o p p o s i t e John Logie Baird, by Walter Benington, 1920s 44

S TA F F

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