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THE NATIONAL GALLERY Review of the Year 2016 –2017 CONTENTS THE NATIONAL GALLERY Review of the Year 2016 –2017 CONTENTS 4 The National Gallery Board: Committees and Advisory Groups 5 Purpose and Objectives 6 Trustees’ Introduction 9 Director’s Foreword COLLECTION 10 Acquisitions 18 Loans CONSERVATION 24 Conservation 28 Framing 32 Gallery B 34 EXHIBTIONS 51 LEARNING RESEARCH AND PARTNERSHIPS 54 Scientific Research 57 Research and Publications 59 Regional Partnerships 61 THE NATIONAL GALLERY THROUGH THE YEAR SUPPORTING THE GALLERY 69 Public and Private Support of the Gallery 73 Credit Suisse: Partner of the National Gallery 74 FINANCE AND STATISTICS 76 NATIONAL GALLERY COMPANY LIMITED For a full list of loans, staff publications and external commitments between April 2016 and March 2017, see www.nationalgallery.org.uk/about-us/organisation/annual-review REVIEW OF THE YEAR THE NATIONAL GALLERY REVIEW OF THE YEAR April 2016 – March 2017 Published by Order of the Trustees of the National Gallery London 2017 THE NATIONAL GALLERY BOARD PURPOSE AND OBJECTIVES COMMITTEES AND ADVISORY GROUPS TRUSTEES FINANCE COMMITTEE The National Gallery was established by Parliament in 1824 for the (with dates of appointment) Gautam Dalal (Chair) benefi t of the public. It houses a uniquely important collection of Hannah Rothschild 2009 (Chair) Hannah Rothschild Caroline Thomson 2008 (until August 2016) Charles Sebag-Montefi ore (from November 2016) some 2,400 pictures which tell a coherent story of European art Gautam Dalal 2009 (until March 2017) John Singer spanning seven centuries, from Cimabue to Degas. The Board of Professor Anya Hurlbert 2010 Sir Colin Southgate (until November 2016) John Nelson 2010 Trustees of the National Gallery holds the pictures in trust on behalf Lance Batchelor 2011 GOVERNANCE COMMITTEE of the nation. Professor Dexter Dalwood 2011 Charles Sebag-Montefi ore The Gallery’s objectives are to preserve the collection by John Singer (Chair) 2012 Gautam Dalal (until March 2017) maintaining the highest standards of care and conservation, to enhance Charles Sebag-Montefi ore 2012 John Singer The Lord King of Lothbury KG GBE 2014 the collection by acquiring great pictures and to display it in a sensitive *Lisa Milroy 2015 NOMINATIONS COMMITTEE Katrin Henkel manner for the enjoyment and understanding of the public. The 2016 Hannah Rothschild Rosemary Leith 2016 (Chair) Gallery undertakes high-level research that it publishes through David Marks Dexter Dalwood (from March 2017) Anya Hurlbert a variety of media and as a national and international leader in its *Tate liaison Trustee fi eld it works in partnership with museums and academic institutions REMUNERATION COMMITTEE AUDIT COMMITTEE in the UK and overseas. The Gallery aims to engage the widest Hannah Rothschild (Chair) possible audience in the experience of its collection by opening free Gautam Dalal (Chair) Lance Batchelor (from July 2016) Hannah Rothschild Rosemary Leith (from July 2016) of charge every day to everyone, by lending some of its works to Charles Sebag-Montefi ore (from November 2016) Caroline Thomson (until July 2016) John Singer temporary exhibitions, through special public programmes and by Sir Colin Southgate (until November 2016) NATIONAL GALLERY SCIENTIFIC digital means. It aims to be a resource on art for the whole world to CONSULTATIVE GROUP inspire present and future generations. DEVELOPMENT COMMITTEE Professor Anya Hurlbert (Chair) John Nelson (Chair) Professor Dr Andreas Burmester Timothy Clark Professor Richard Evershed Carolyn Eadie Professor Julia Higgins Katrin Henkel (from February 2017) Professor Laurence T. Maloney James Leigh-Pemberton Professor David Phillips Sir Ian Powell Dr Ashok Roy Tim Wise Dr David Saunders Dr Paul Williams (until December 2016) TRUSTEES’ INTRODUCTION The National Gallery has enjoyed a successful and busy with a work by the Swiss artist Alexandre Calame entitled year, recording its second highest number of visitors, 6.2 At Handeck. The Board was naturally disappointed that the million; expanding its schools and education programmes; matching offer bid, which the Gallery made to acquire opening three major critically acclaimed exhibitions; and Jacopo Pontormo’s Portrait of a Young Man in Red Cap, strengthening its joint programmes with regional and was rejected by the owner of the painting, but is grateful international museums and institutions. Completing his to all those who supported the campaign which made the fi rst full year as Director, Gabriele Finaldi is working to offer possible. deliver his vision of a National Gallery for all, present and We are delighted to announce that, in the course future. Under his leadership, the Board is looking forward of the year, the Gallery’s partnership with Credit Suisse, to an exciting period ahead, with a particularly full and which has run since 2008, was renewed for a further term diverse programme of exhibitions and other activities of three years. This exceptional partnership helps fund in store. many of the Gallery’s exhibitions and other programmes, In October 2016, the twenty-fi fth anniversary of the and we thank Credit Suisse for their invaluable and opening of the Sainsbury Wing was marked with a con- imaginative support for so much of our work. ference attended by Lord Sainsbury of Preston Candover The Board also wishes to extend its warm thanks to who, together with his brothers Sir Timothy Sainsbury our Royal Patron, HRH The Prince of Wales, to all our and the late Simon Sainsbury, made the project possible. donors, supporters and staff, without whom the work of Our heartfelt thanks go out again (and again) to this the Gallery would not be possible. extraordinarily philanthropic family who remain close supporters and friends of the National Gallery. Until this year, the Sainsbury Wing was the last new HANNAH ROTHSCHILD (CHAIR) LANCE BATCHELOR picture hanging space created in the Gallery but thanks to DEXTER DALWOOD an imaginative reconfi guration of the area, a new ground KATRIN HENKEL fl oor Gallery B has been created and opened. Designed ANYA HURLBERT by Purcell Architects and generously supported by the MERVYN KING Wolfson Foundation, these new rooms enable an unin- ROSEMARY LEITH terrupted route through the whole of the Ground Floor DAVID MARKS Galleries and will host a wide range of special displays and LISA MILROY exhibitions as well as education programme activities. The JOHN NELSON inaugural display of paintings by Rubens and Rembrandt CHARLES SEBAG-MONTEFIORE enabled visitors to gain new insights into the works by JOHN SINGER these two great masters of the seventeenth century. Our donors underpin every area of the Gallery’s activities. This year we have been fortunate to receive four additions to the collection in the form of gifts and bequests. Maternal Affection by Louis Jean François Lagrenée, an exquisite and beautifully preserved oil painting on copper, was a gift from the Estate of the late Brian Sewell, the eminent art critic. Also this year, a generous gift by Peter Hecht in memory of the late Erika Langmuir (a former Head of Education at the Gallery) of Oetzthal by Vilhelm Petersen represented a welcome addition to the Gallery’s small group of works by Danish artists. This part of the collection was further strengthened by a gift from Mr Asbjørn Lunde (through the American Friends of the FRAY JUAN BAUTISTA MAÍNO (1581–1649) Detail from The Adoration of the Shepherds, 1612 – 14 National Gallery, London) of The Lower Falls of the Labrofoss Oil on canvas, 314.4 × 174.4 cm by Johan Christian Dahl, which was presented together MUSEO NACIONAL DEL PRADO, MADRID 6 THE NATIONAL GALLERY REVIEW OF THE YEAR 2016 –2017 DIRECTOR’S FOREWORD Paintings from the National Gallery were seen in many painter, Juan Bautista Maíno, for a special display entitled different venues in Great Britain during the course of the Maíno’s Adorations: Heaven on Earth. In March The Credit year: Botticelli in Wakefi eld, Bruegel in Bath and Turner Suisse Exhibition: Michelangelo & Sebastiano (which was in Margate. Rembrandt’s Self Portrait at the Age of 63 only shown in London) was the fi rst to explore the artistic completed its Masterpiece Tour at the Bristol City Museum and personal relationship between these two great artists and Art Gallery in the summer of 2016 and on my visit of the High Renaissance and it brought together an there to inaugurate the exhibition I was delighted to learn impressive selection of paintings, sculptures, drawings that the loan had been the spur to the refurbishment of and letters from France, Italy, Spain, Denmark, the Czech the picture galleries. The Sunley Room exhibition George Republic, the UK and the USA. Shaw: My Back to Nature, which marked the culmination The innovative Young Producers programme was of George’s two-year residency as the Gallery’s Associate started in 2016. Led by the Education Department, it Artist, is currently touring and will have been shown in involves training a group of ten young people between fi ve venues around the country by September 2018. the ages of 18 and 25 to promote the National Gallery The National Gallery established a special relationship to their peers through talks, special visits and making with the Ferens Art Gallery in preparation for Hull’s short fi lms. The ‘Dancing Museums’ project has brought celebrations as UK City of Culture in 2017. We assisted a variety of dance activities into the gallery spaces, the Ferens in its public campaign to acquire Pietro providing the public with an unexpected and often exhil- Lorenzetti’s Christ between Saints Peter and Paul, and,
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