N AT I O N A L C o n t e n t s Trustees’ Fore w o rd 3 P O RT R A I T B o a rd of Tru s t e e s 3 G A L L E RY The Opening of the Ondaatje Wi n g 4 The Collections 4 The Galleries 6 REVIEW Photographs Collection 8 Heinz Archive and Library 9 2000/2001 C o n s e rv a t i o n 1 0 E x h i b i t i o n s 1 0 P a rtnerships outside 1 4 Education 1 6 Vi s i t o r s 1 7 Tr a d i n g 1 8 Financial Report 2 1 Fundraising and Development 2 5 List of Acquisitions 2 9 S t a ff 4 0 3

TRUSTEES’ FOREWORD

The year 2000 has been a memorable one in the Gallery’s history. From 4 May, the day B o a rd of Tru s t e e s of the Royal opening of the Ondaatje Wing, it was immediately evident that the new 2 0 0 0 – 2 0 0 1 H e n ry Keswick (Chairm a n ) wing would greatly increase the number of visitors coming to the Gallery, as well as The Rt. Hon. Marga r et Beckett, MP t r a n s f o rm their experience of it. Everyone has been impressed by the quality of the P rofessor David Cannadine building, awarded the Blueprint prize for the best public building refurbishment of the ( f rom December 2000) y e a r, and we were truly delighted that Christopher Ondaatje was awarded a CBE in Flora Fraser Mrs Tessa Gre e n recognition of his many charitable activities. The IT Gallery, including the Port r a i t Max Hastings E x p l o rer made possible by the Wo o d w a rd Charitable Trust, has demonstrated our P rofessor Ludmilla Jordanova commitment to making the collection accessible to visitors through the latest ( f rom December 2000) P rofessor Philip King, CBE, PRA t o u c h s c reen technology. The new Tudor Gallery, jointly funded by the Wo l f s o n The Lord Morris of Castle Morris, Foundation and the Drue Heinz Trust, has made the Tudor portraits come alive, lit by D.Phil. (Deputy Chairm a n ) the latest fib re-optic lighting and displayed against a backdrop of grey military overc o a t Tom Phillips, RA P rofessor The Russell, FBA material. And The Portrait Restaurant, run for us by Searcy’s, is described by the G o o d Sir David Scholey, CBE Food Guide as ‘exactly the sort of restaurant one ought to find in a gallery or ’. Alexandra Shulman C l a i re Tomalin, FRSL Alongside the new building, there have been other achievements. In May, as well as John Tusa (until November 2000) opening the new wing, we began to open the Gallery two evenings a week. In August Sir John Weston, KCMG we unveiled a new portrait of the Royal family by John Wonnacott in honour of H.M. Ba r oness Willoughby de Eres b y , DL Queen Elizabeth, the Queen Mother’s hundredth birt h d a y. In October we opened a major centennial exhibition, Painting the Century, consisting of 101 portraits from all over the world to mark each year of the century. This exhibition was a huge credit to our chief curator, Robin Gibson, who after thirt y - t h ree years at the Gallery took early re t i rement in January. He will be greatly missed by us all. In March we celebrated the fact that we had 1,219,167 visitors in the year, an increase of 22.32% on 1999. M o re o v e r, our activities have not been confined to London. We are in the process of planning the renovation of our displays at Bodelwyddan Castle in North . Our exhibition Tête-à-Tête: Portraits by Henri Cart i e r - B re s s o n has toured . During the autumn the best of our twentieth-century portraits were exhibited in the National P o rtrait Gallery in Canberra. In March our Snowdon exhibition opened at the Kunsthaus in Vienna. And our website now has more than a million hits a year.

We are delighted by the announcement of a change in VAT exemption in the budget. But, as with all other , our funding remains tight. In spite of the incre a s e d A page from the Gallery ’ s operating expenses for a much enlarged building open to the public for longer hours, our website, showing the map of its activities throughout the country grant-in-aid has remained fixed for many years with only a small incremental increase of less than 5% over five years for inflation. At the same time, over the last five years we have i n c reased our net self-generated income from 21% of grant-in-aid to 37%. With a possible slowdown of business looming, the climate for exhibition sponsorship re m a i n s challenging. We are, there f o re, ever more grateful to the individuals, companies, tru s t s and foundations who give the Gallery their support, as well as to the Trustees for their unpaid work. o p p o s i t e , S e l f - p o rt r a i t, 1951 (© the Heron Estate) H e n ry Keswick a c q u i red with assistance from the C h a i rman of the Board of Tru s t e e s National Art Collections Fu n d 4 5

THE OPENING OF THE ONDAATJE WING The Ondaatje Wing was opened on Thursday 4 May 2000 by HM The Queen, Other completed commissions include a silvered head of the architect Lord Foster by the accompanied by HRH The Duke of . On arriving at the Gallery they were met sculptor John Davies, a painting of Lord Wolfson by Andrew Festing and, breaking new by the Chairman and Director and escorted to the Main Hall, where the guests were g round in terms both of his own work and the Gallery’s collection, Tom Phillips’s a l ready assembled. These included the Rt. Hon. Chris Smith, Secre t a ry of State for e l e c t ronic portrait of the neuro-scientist Susan Gre e n field, the first female director of the C u l t u re, Media and Sp o rt, the Lord Mayor and Lady Mayoress of We s t m i n s t e r, . Given its first airing in the Gallery’s exhibition D e fining Feature s : re p resentatives of the Heritage Lottery Fund, the major donors, the architects (Sir S c i e n t i fic and Medical Portraits 1660–2000, the portrait is made up of drawings and short J e remy Dixon and Edward Jones) and the Gallery’s Trustees. Following the intro d u c t o ry sections of video which have been computer- p rocessed to create a continually changing a d d ress by Henry Keswick, both the Secre t a ry of State and HM The Queen made short image shown on a scre e n . speeches. The Royal party then met key re p resentatives of the building project before Exhibitions also provided the context for the acquisition of numerous photographs p roceeding to the Balcony Gallery. There they were introduced to some of the sitters and including over a hundred works by Lord Snowdon, many of them generously given by a rtists whose portraits are on display, among them Baroness Thatcher, Zandra the photographer. Rhodes, and Sir Edward Heath. The tour continued t h rough the Tudor Gallery and then on to tea in The Portrait Restaurant The Gallery has benefited from the generosity of the National Art Collections Fund in w h e re, in a more informal atmosphere, the Royal party met other guests contributing towards the purchase of Patrick Heron’s 1951 self-portrait. This beautiful including the Director and Chairman of the , some of semi-cubist head-and-shoulders is close in date and style to Heron’s portraits of T. S . S e a rcy’s catering management and a number of the Gallery’s own staff. The Eliot (1949) and (1950), already in the collection. Queen and the also had the opportunity to meet other Other modern acquisitions include the bequest from the sitter of a portrait of André G a l l e ry staff throughout their depart u re route, and on leaving the Gallery Deutsch by Leonard Rosoman, a gift from the sitter’s widow of a drawing by Hans Ern i Her Majesty was presented with a bouquet by Pippa Bailey. The dancer Cooper (left) of the trumpet player Philip Jones, and the purchase of two exquisite, tiny portraits of and the actor John Hurt On the two evenings prior to the Royal opening, the Gallery hosted the actor John Hurt and the dancer Adam Cooper by Stuart Pearson Wright, winner of with their portraits by Stuart Pearson Wr i g h t receptions throughout the new wing. The first evening, for staff and the BP Travel Aw a rd 1999. The Gallery has also benefited from gifts made by John (photo Robin Chanda) those associated with the project, included all the building teams. On the second, key B e n t o n - H a rris, Doloranda Pember, Te rence Pepper, John Swannell and John and Ann Her Majesty The Queen with H e n ry Keswick (left), Charles a rts re p resentatives, members of the government, sponsors, donors, arts press and a Tusa, and from a bequest by the late Howard Ferg u s o n . S a u m a rez Smith (right) and number of VIPs were among the guests celebrating the completion of the wing. A Pre s s Historical portraits acquired for the collection include a striking image of Charles I’s the Duke of Edinburgh at the B reakfast was organised for the morning of the official opening and the Chairman and opening of the Ondaatje Wing, physician, Sir Theodore Tu rquet de Mayerne, a powerful self-portrait drawing of the D i rector hosted a dinner in The Portrait Restaurant following the inaugural lecture in 4 May 2000 e i g h t e e n t h - c e n t u ry antiquary and collector Thomas Kerrich, purchased with genero u s (photo John Paul Stankowski) the Ondaatje Wing Theatre, with Lord Snowdon in conversation with Patrick Kinmonth. © help from the National Art Collections Fund, a collodion positive photograph of the The opening events were highly successful, and the new wing itself attracted considerable pioneer meteorologist Luke Howard and his son John Eliot Howard, generously given p ress coverage and extremely favourable reactions from media – including the by their descendant, Dr Stephen Howard Lloyd, and portraits by James Pryde of Sir ‘An irresistible delight’ a rchitectural and foreign press – and visitors alike. The Gallery benefited from being one H e n ry Irving and Dame Ellen Te rry, bequeathed by Sir . of the first Millennium projects to open in London and was frequently mentioned in Richard Cork, , The preparation of a new edition of the catalogue of the Gallery’s Primary Collection 5 May 2000 subsequent coverage of other openings. has led to a reappraisal of some items in the re f e rence collections, resulting in the transfer of fifty-four significant photographs ranging from William Kilburn’s 1847 d a g u e rreotype of the Gallery’s first dire c t o r, Sir , to various historic THE COLLECTIONS t w e n t i e t h - c e n t u ry photographs by Felix H. Man, Sir , and Madame Yevonde. Thirty-two items have been transferred from the Contemporary One of the Gallery’s grandest commissions, The Royal Family: A Centenary Port r a i t b y P o rtraits Collection, set up in 1973 for the acquisition of portraits of living sitters at the John Wonnacott, went on display in August 2000 to coincide with HM Queen D i rector’s discretion; these include such favourites as Peggy Angus’s large waterc o l o u r Elizabeth, the Queen Mother’s hundredth birt h d a y. Set in the white and gold of John Piper, Andy Wa rhol’s silkscreen of , Martin Rose’s oil of the athlete drawing room in , in deliberate echo of Sir John Lavery’s Ro y a l and self-portraits by John Bratby, Maggi Hambling and Jo Spence. p o rtrait painted for the Gallery nearly ninety years earlier, Wonnacott’s huge work is a tour de force not only of composition but of logistics – the sitters never, in fact, assembled Work has continued on the Gallery’s catalogue raisonné of the late eighteenth-century Sir Theodore Tu rquet de Mayern e (1573–1655) by an unknown for the art i s t . collection; this is being re s e a rched and written by John Ingamells, whose re s e a rches are a rtist, probably after 1625 6

being generously funded by the Paul Mellon Centre for Studies in British Art. Researc h on portrait illustrations for the New Dictionary of National Biography is now gre a t l y advanced, with almost 80% of recommendations complete. The most notable publication on the collections during the year was Aileen Ribeiro’s book The Gallery of Fashion. F i r s t steps have been taken to appoint a Leverhulme Fellow in the History of Portr a i t u r e to un d e r take res e a r ch at the Gallery, thanks to the great generosity of the Leverhulme Trus t .

The opening of the IT Gallery in May 2000 as part of the Ondaatje Wing has pro v i d e d Schoolgirls using the IT Gallery a new and wonderful way of accessing the collections through the Wo o d w a rd Port r a i t E x p l o re r, generously funded by the Wo o d w a rd Charitable Trust and developed by the ‘A lecture theatre G a l l e ry in conjunction with the -based company Cognitive Applications. The and computerised Wo o d w a rd Portrait Explore r, with its easy-to-use large touchscreens, allows visitors to IT gallery will make e x p l o re the collections by sitter, artist or portrait, or through special features such as a its unmatched Who’s Who for sitters in group portraits, videos of artists talking in their studios about resources available their portraits in the Gallery and focused studies on individual portraits enhanced by the to new audiences’ use of the latest interactive technology. Many Archive and Photographs Collection items The Times, 4 May 2000 have since been added to the system, so that now some 14,000 portraits can be viewed in great detail.

In November the Gallery launched a redeveloped and already much-visited website. Most of the catalogued collections, nearly 35,000 portraits in total, can be accessed on- line with an easy-to-use illustrated search mechanism, and much of the content of the Wo o d w a rd Portrait Explorer has been adapted for the site. A special BETSIE feature , funded by the Abbey National Charitable Trust, is available for visually impaired visitors to the website. The Home Page changes daily to display a portrait from the Gallery ’ s collections of someone who was born or died that day.

THE GALLERIES ‘With great clarity and The great event of the year was the opening of the Ondaatje Wing; it includes the grace, the scheme has Balcony Gallery, devoted to twentieth-century portraits of the 1960s, 1970s and 1980s, articulated processional and the Tudor Gallery, housing the collection of sixteenth-century portraits in a pro p e r l y routes and the formal a i r-conditioned environment. These new galleries provide striking display spaces for balance between open some of the Gallery’s most important collections. Our great debt to our donors is and enclosed and between acknowledged elsewhere in this re p o rt . main axes and laterals, As part of the process of completing the re-display of the existing top-floor space, the thereby aerating the G a l l e ry’s collection of miniatures was installed in purpose-designed new cases in the existing sequence of roo m s ’ seventeenth- and eighteenth-century rooms. To link up with the opening of the Architectural Review, 25 August 2000 Ondaatje Wing, new signage was installed throughout much of the Gallery. Furt h e r i m p rovements to signage are being made in the light of a re p o rt from the signage o p p o s i t e Thomas Kerrich, consultants Lord Cultural Resources Planning & Management Ltd. S e l f - p o rt r a i t, 1774 a c q u i red with assistance from the In September the Royal Landing was re-hung to incorporate John Wonnacott’s The Royal National Art Collections Fu n d Family: A Centenary Portr a i t , and in March 2001, following the successful Millennium 8 9

HEINZ ARCHIVE AND LIBRARY exhibition Painting the Century: 101 Portrait Masterpieces, all the twentieth-century The Archive and Library is committed to making its unique re s o u rces available to galleries on the ground flo o r w e re re-hung and Tom Phillips’s electronic portrait of re s e a rchers and the general public. During the year the study room received over 2,000 Susan Gre e n field was re-installed. The new hang includes a room of recent acquisitions visitors; staff responded to more than 2,600 telephone, letter and e-mail enquiries. and a selection of photographs of newspaper editors and proprietors, another in the series The Archive has continued to seek ways to improve access to its re s o u rces. Almost 9,500 of special thematic displays. items from the re f e rence collection of prints and drawings are now included on the As usual the Gallery mounted a variety of displays devoted to works on paper from store. G a l l e ry’s database Multi-Mimsy. Catalogued items are being scanned so that they can be On the top floor in the new dedicated space in Room 16 there were two exhibitions, the accessed via the Wo o d w a rd Portrait Explore r, Portrait Printer and Gallery’s website. first opening in July 2000 on the subject of The and The House of Commons: A display of etchings from the Sketches by Sir George Hayter, the second in January, Po r traits in Profi le: The Dighton Family. Regency period by the Dighton On the first floo r , a showcase display of photographs devoted to Oscar Wilde was mounted f a m i l y, P o rtraits in Pro fil e, was curated to celebrate his centenary and, in the early twentieth-century galleries, commemorative by Jill Springall and opened to the displays were mounted in memory of Sir John Gielgud and Sir Alec Guinness. In addition, public in January 2001. A version th e r e were showcase displays of newly acquired drawings including works on paper by of the display is available on the Robin Guthrie and self-portraits by Ithel Colquhoun and Leon Underwood; there was also G a l l e ry’s website. a display of photographs relating to Katherine Mansfield and her circle. The screens in the With increasing demand for its public new Balcony Gallery were re-hung in March 2001 to include photographs of the Beatles s e rvices, the Archive has become more by Mike McCartn e y , photographs of women by Mayotte Magnus and Jorge Lewinski and dependent on a team of dedicated a selection of late twentieth-century caricatures . volunteers to undertake the essential tasks of indexing and filing information and images. Over the spring and summer Paul McCartney by his bro t h e r National Portrait Gallery Mike McCart n e y, early 1960s vacations this team was augmented by six students who participated in a range of E x t e n s i o n, cartoon by Michael ( Mike McCart n e y ) © PHOTOGRAPHS COLLECTION activities and embarked upon a project organised jointly with the twentieth-century Heath, Private Eye, June 2000 curator to collect statements from all living artists and sitters re p resented in the Primary A further 260 original prints have been added to the collection and all are viewable on- Collection. line on the Gallery’s website and in the IT Gallery. A number of these derive from re c e n t displays held in the basement Bookshop Gallery, such as Trevor Leighton’s During August the second and final phase of mobile racking was installed in the Arc h i v e c o n t e m p o r a ry photographs of comedians, The Jokers, and Donald MacLellan’s Ta rt a n basement, creating sufficient space for the growth and rationalisation of the Gallery ’ s A rmy – twenty-five photographs of Scottish-born film actors. institutional re c o rds and the special collections of rare books, grangerised volumes and manuscripts. Plans have been drawn up to improve storage arrangements for outsize F rom the gro u n d - floor exhibition Management To d a y, Management To m o rro w w e engravings, tracings and posters and to address urgent conservation needs. As a first step a c q u i red twenty portraits of young business entre p reneurs, and from Polly Borland’s the Archive has been fortunate to receive a grant of £5,000 from the Leche Tru s t exhibition, fifty pictures of London-based Australians. Works from various Millennium t o w a rds the repair of outsize engravings. p rojects were acquired from Carolyn Djanogly, Boo Beaumont, Ginny Jory and Laura Woolnough, while historic works from the 1960s and 1970s came from Mike To mark the completion of the Ondaatje Wing the Archive received the models and plans M c C a rt n e y, Bryan Wharton and John D. Green and in time will be shown in the Balcony p roduced by the architects Sir Jeremy Dixon and Edward Jones together with John G a l l e ry. The last project of the year was the assembly of a group of twenty-four Goto’s photographs of the site and people involved in the project. Michael Heath’s photographs of leading media barons and prominent editors, for which a number of c a rtoon depicting the Royal opening was purchased for the historic re c o rds. Gifts p reviously unre p resented and unshown photographers supplied pictures, including included a pencil drawing of Douglas Jerrold by E.M. Wa rd from Alex Halsall, Cinnamon Heathcote-Dru ry, Han Lee de Boer and Jason Bell. a print of Cardinal Newman by Thomas Barlow after Millais from Arundel Castle, a lithograph of the Honourable John Donohoe Fitzgerald transferred from the Museum The assistant curator of photographs managed much of the day-to-day work while the of London and sixty-four pencil sketches by Henryk Gotlib, generously donated by his curator of photographs re s e a rched and organised two ambitious exhibitions showing the widow Janet Gotlib. Natalie Imbruglia by work of the American photographers Rollie McKenna and Horst P. Horst. Polly Borland, 1999 H.G. Wells (1866–1946) by (© Polly Borland) With the help of several freelance staff, 14,000 further re c o rds have been added to the H e n ryk Gotlib, 1941 G a l l e ry’s viewable database. 10 11

C O N S E RVAT I O N In the early part of the year attention focused on preparing works for re-display in the Wolfson Gallery Exhibitions Ondaatje Wing. Following the opening, work concentrated on the preparation of The extremely popular exhibition Photographs by Snowdon: A Retro s p e c t i v e, curated by p o rtraits going out for exhibition loan as well as, over the summer recess months, a Robin Muir, launched the Wolfson Gallery into spring 2000. The design and installation t h o rough survey and treatment programme in relation to key long-term loan venues of the exhibition were directed by Lord Snowdon himself, who was specific about the such as the Palace of and the . way in which the prints should be mounted and displayed. The maze-like effect, density of hang and immediacy of the photographs, fixed directly on to foamboard with no The displacement of the later twentieth-century collection from the ground floor in mount or frame to protect them, added to the overall dramatic effect of the installation. September 2000, in order to accommodate Painting the Century: 101 Port r a i t M a s t e r p i e c e s, allowed these works to be processed through the studio, many for the fir s t The BP Portrait Aw a rd 2000 marked the twentieth year of the award at the Gallery and time, in a bid to ensure that full examination re p o rts are drawn up for every work in the its tenth year of sponsorship by BP. The competition received over 700 entries, of which collection. Alongside this, the paintings conservators have continued with the long-term 53 were selected for the exhibition by the judges: the sculptor Nicola Hicks, the pre v i o u s The exhibition Photographs by Snowdon: A Retrospective in the p roject involving the collection in store . year’s winner Clive Smith, Penny Johnson, Director of the Government Art Collection, Wolfson Gallery, spring 2000 Peter Jenkinson, Director of the New Art Gallery, Walsall, Sir John Browne, Group Chief P reparation for the R e t u rn to Life: A New Look at the Portrait Bust exhibition and tour (photo Graham Piggott) Executive, BP p.l.c., and our own Dire c t o r, . The competition involved sculpture conservation, while the paintings and frame conservators pro v i d e d was won by Victoria Russell with ‘Two Women in White’. At the same time, the B P full support for the Gallery’s exhibition programme, particularly with re g a rd to the many Travel Aw a rd 1999 w i n n e r, Jennifer McRae, exhibited the results of her project, the major works lent to Painting the Century. documentation of methods of teaching port r a i t u re at the Hogeschool St Lukas art Frame Conservation worked closely alongside the curators on the Ondaatje Wi n g school in Brussels. In 2000, the Travel Aw a rd was won by Si Sapsford with her pro p o s a l displays, developing new methods of display for small works on panel (such as port r a i t s to capture the motivation and commitment of lifeboat crews, in Salcombe and in t o p Queen Mary II of Henry VI and Edward IV) in the Tudor Gallery and undertaking major re s t o r a t i o n Reykjavik, Iceland. (1662–1694): the painting on a number of period frames, such as the Sunderland frame chosen for the portrait Following the Faces of the Century photographic exhibition last year, Painting the with its newly re s t o red frame of Mary II. a b o v e P a rt of the frame C e n t u ry: 101 Portrait Masterpieces was our second Millennium celebration show, one of b e f o re conserv a t i o n Over the year, 430 contemporary mount frames passed through the department, mainly the largest and most ambitious ever held at the Gallery. The in preparation for loans out and displays of works on paper throughout the Gallery. A exhibition, displayed throughout the ground flo o r, posed import a n t total of 235 period frames were treated and eight new frames were made for, among and challenging questions in its criteria for selection, the intention others, the recent acquisitions of portraits of John Hurt, Patrick Heron and Lord Simon, being to have a single portrait re p resent each year of the century; it and the Ondaatje Wing architects Sir Jeremy Dixon and Edward Jones by John Lessore . contained iconic portraits from major collections all around the world.

The Frame Conservation section continued to develop its commitment to its educational Horst Portraits: 60 Years of Style, curated by Ter ence Pepper, was a major role with the supervision of two internships: one in connection with the Arts Council of ret r ospective starting in March 2001, celebrating the evocative portr a i t s Indianapolis Creative Renewal Arts Fellowship Program, in which Jean Easter from the of Horst P. Horst, one of the great master photographers of the twentieth Indianapolis Museum of Art worked within the department for four months; and ce n t u r y, and the creator of some of the most glamorous and stylish images another with the City & Guilds School of Art, London. in photographic history. In his extraordi n a r y sixty-year career his sitters included a dazzling array of film stars and celebrities. This exhibition will travel to the Museum of Fine Arts in later in 2001.

E X H I B I T I O N S Studio Gallery Exhibitions The year began with De fi ning Features: Scientific and Medical Portr a i t s The year 2000/2001 was yet another very successful one for National Portrait Gallery 16 6 0–2 0 0 0 , curated by Professor Ludmilla Jordanova. The exhibition and exhibitions, both within and outside the institution. The completion of the Ondaatje the accompanying book brought art and science together, with a selection Wing allowed us to re-establish the Studio Gallery as an exhibition space, which enabled spanning more than three centuries. It charted changing attitudes towards the exhibition programme to re t u rn to full capacity, with a varied programme and the medical practice and scientific investigation, as well as exploring how notions of gender, added benefit of a new audience attracted by the opening of the new wing. he r oism, popularisation and celebrity have affected the public’s understanding of the way in Gabrielle ‘’ Chanel in Paris by Horst P. Horst, 1937 which res e a r chers do their work. ( c o u rtesy of Vo g u e, The Condé Nast Publications Inc.) 12

Escape to Eden: Five Centuries of Women and Gard e n s traced the contribution made by women to the history of gardens from the sixteenth century to the present day. The exhibition examined the role of women as gardeners, patrons, designers, plant collectors, writers, campaigners, artists and illustrators. Curated by Clare Gittings, one of our education officers, it included portraits in oils, photographs, drawings and engravings complemented by a small number of interactive elements, and beautifully designed feature s by Sofie Layton, such as a shell grotto, a maze and a lightbox illustrating the way in which G e rt rude Jekyll used colour when laying out her gard e n s .

Valerie Finnis in her garden shed, R e t u rn to Life: A New Look at the Portrait Bust was the result of a unique collaboration f rom Escape to Eden: Five between the National Portrait Gallery, the Institute, , and the Scottish Centuries of Women and Gard e n s National Portrait Gallery, based on a lengthy examination by the three curators (Peter (photo © Jan Baldwin) Funnell, Penelope Curtis and Nicola Kalinsky) of every bust in all three collections. The exhibition invited the visitor to look closely at a selection of these objects, and to engage in a face-to-face dialogue with portrait sculpture .

Photography Gallery Exhibitions Polly Borland: Australians was the first fully collaborative venture between the newest of the world’s national portrait galleries, in Canberra, and the oldest, in London. It celebrated the contribution made to British society by Australians living here and was part of the festivities for Australia’s Centenary of Federation in July 2000. The exhibition was visited by the Australian Prime Minister, John Howard. Through her photographs, Polly Borland, herself an Australian resident in Britain and a previous winner of the John Kobal Photographic P o rtrait Aw a rd, was able to demonstrate the range of Australians’ involvement in all aspects of British cultural, political and intellectual life. A full set of photographs was acquired by both the Gallery in London and the NPG in Canberra, with Canberra’s set of prints going on display in Febru a ry 2001.

The John Kobal Photographic Portrait Aw a rd 2000, judged by Heiko Tiemmann, Clive Fro s t and Jennie Ricketts, was won by Leon Steele.

Rollie McKenna: Artists and Wr i t e r s was the first museum re t rospective in of the American photographer’s work and featured black and white portraits of British and American poets and artists from the 1950s to the 1980s, among them W.H. Auden, T. S . Eliot, , and . A section was devoted to Dylan a b o v e Sylvia Plath and Te d Thomas and his family, with whom McKenna had a close relationship. The curator was Hughes, fro m Rollie McKenna: Te rence Pepper. A rtists and Wr i t e r s, 1959 (© Rollie McKenna) P o rter Gallery Exhibitions : A Photographic Celebration coincided with the star’s re t u rn to London to be made a Dame of the British Empire, as well as to receive a Fellowship of the British Film o p p o s i t e John Minton by Institute. This very popular exhibition, curated by Roger Harg reaves, was one of a series Lucian Freud, 1952, in the marking a London-wide celebration of the life and career of Elizabeth Ta y l o r, organised by exhibition Painting the Century : the Red Hot Aids Charitable Trust. 101 Portrait Masterpieces (© Lucian Freud, courtesy Royal College of Art Collections) 14 15

Bookshop Gallery Displays Touring Exhibitions Pro g r a m m e P o rtraits: Photographs by John Hedgecoe opened in March 2000, accompanying his book, This was another extremely busy year, with eleven exhibitions touring both in the UK published by Collins & Brown. This was followed by The Ta rtan Arm y, studies of and abroad. We continued to consolidate links with regional UK venues, many of which c o n t e m p o r a ry Scottish film actors by the photographer Donald MacLellan. Fro m we have worked with over the years, as well as venturing more boldly abroad, part i c u l a r l y October 2000 to January 2001, in tandem with the Escape to Eden exhibition in the into Australia where our long-term touring programme is beginning to develop well. Studio Gallery, a small selection of photographs by Tessa Traeger was mounted in T h e Faces of the Century: A Sainsbury’s Photographic Exhibition tour visited the Fere n s connection with her commission to photograph thirty contemporary British gard e n e r s . A rt Gallery, Hull, the Royal Photographic Society, Bath, and the Smith Art Gallery & The small re t rospective for Gemma Levine b rought together twenty-five portraits in Museum, Stirling, before coming to a close in September 2000. celebration of her twenty-five years as a professional photographer, focusing on her work in the 1980s and 1990s with British sitters such as the Rt. Hon. Betty Boothroyd, Cherie Tête-à-Tête: Portraits by Henri Cart i e r - B re s s o n moved on to the Art Gallery of We s t e rn Booth QC and Sir John Mort i m e r. Australia, Perth; the Art Gallery of Australia, Adelaide; the Bendigo Art Gallery, and the National Portrait Gallery, Canberr a . Exhibition Visitor Nu m b e r s

David Wilkie Wy n field: Princes of Victorian Bohemia Polly Borland: Australians Photographs by Snowdon: A Retro s p e c t i v e travelled to the City Art Centre, Edinburgh, and 28 January–14 May 2000 25 May–17 September 2000 the Kunsthaus, Vienna, going on to the Yale Center for British Art, New Ha v e n , 1 3 7 , 4 1 6 1 8 0 , 1 1 3 Connecticut, in June 2001.

Photographs by Snowdon: A Retro s p e c t i v e * John Kobal Photographic Portrait Aw a rd 2000 D e fining Features: Scientific and Medical Portraits 1660–2000 was shown at the 25 Febru a ry– 4 June 2000 12 September 2000 – 4 April 2001 7 6 , 7 9 8 1 5 2 , 6 3 4 S a i n s b u ry Centre for the Visual Arts at the University of East Anglia for three months, p roviding the basis for a range of educational events. De fi ning Features: Scientific and Medical Escape to Eden: Five Centuries of Women and Gard e n s Po r traits 1660–2 0 0 0 5 October 2000–21 January 2001 The BP Portrait Aw a rd 2000 a n d BP Travel Aw a rd 1999 t o u red to Aberdeen Art Gallery 14 April –17 September 2000 5 3 , 2 9 0 3 2 , 9 4 8 for the sixth year. The John Kobal Photographic Portrait Aw a rd 1999 travelled to Painting the Century: 101 Portrait Masterpieces* Bodelwyddan Castle, the Midland Art Centre, Birmingham, and Aberystwyth Art s Elizabeth Taylor: A Photographic Celebration 26 October 2000–4 Febru a ry 2001 C e n t re; the Kobal 2000 was exhibited at the Harley Gallery in Nottinghamshire and the 18 May–16 July 2000 7 8 , 8 6 2 7 9 , 1 4 0 Midland Art Centre in Birmingham in early 2001. *paying exhibition BP Portrait Aw a rd 2000 Saving Faces: Portraits by Mark Gilbert, due at the National Portrait Gallery in spring 22 May–1 October 2000 2002, began its six-venue tour at the Djanogly Art Gallery in Nottingham. Meanwhile, 1 7 1 , 8 0 8 our exhibition of Gerald Scarfe works travelled to the Potteries Museum & Art Gallery, Stoke on Trent, and the Royal Museum, Exeter. PA RTNERSHIPS OUTSIDE LONDON Icons of Pop: 1958–1999, still going strong, continued its tour with visits to the Brighton Museum & Art Gallery; Royal Albert Memorial Museum, Exeter; Derby Art Gallery ; At Bodelwyddan the Gallery has worked with the Bodelwyddan Castle Trust in pre p a r i n g Graves Art Gallery, Sheffield; Victoria Art Gallery, Bath; and the Piece Hall Gallery, a scheme to refurbish the fir s t - floor displays, with the intention of reaching out to new Halifax, with another four UK venues scheduled for 2001. audiences in North Wales and further afield. The partnership muf.arc h i t e c t u re / a rt was appointed after a competition and has collaborated with the Gallery and the Castle Tru s t Loans Pro g r a m m e in an exciting scheme for new displays and temporary exhibition spaces, ‘Making Over 130 portraits from our Pr i m a ry Collection remained on long-term loan to thirt y - P o rtraits’. In Febru a ry a bid was submitted to the Heritage Lottery Fund for support one public venues, twenty-five in the UK and six abroad. We were pleased to add the which, with a grant-in-aid from the DCMS, would allow the scheme to go ahead, Dock Museum, Barro w - i n - F u rness, to this list when two portraits by George Romney, opening in summer 2002. of William Cowper and of the 1st , were lent in September 2000.

At Montacute House in Somerset the displays were renewed in 1999. To complete this With 163 loans from our own collections going to temporary exhibitions around the world, the Gallery continued its policy of being as generous as possible in making works Bodelwyddan Castle, Drawing p rogramme of revitalising our existing regional partnerships there are plans to re f u r b i s h Room and Sculpture Gallery the top-floor exhibition at Beningbrough Hall, Yo r k s h i re, in winter 2003/4. available to other institutions. Paintings, miniatures, photographs, sculpture and engravings travelled to cities as far afield as Rome, Philadelphia, Frankfurt, Vienna, New 16 17

V I S I T O R S

York and Hanover. Major groups of loans were made to the Barbican’s The Wilde Yea r s The calendar year 2000 saw the highest visitor fig u res ever for the Gallery – 1,178,400. ‘The new wing breathes the exhibition and to the ’s Oscar Wil d e exhibition, to the two Ruskin travelling Two major factors contributed to these re c o rd numbers – the opening of the new confidence of an institution shows (one organised by the Gallery, the other by the Ruskin Library, Sheffield), the Ondaatje Wing and the Painting the Century exhibition, which surpassed expectations that is building on success, major Karsh ret r ospective in , to which we lent thirty - t h r ee photographs, and to the with 78,862 visitors. The increase has been sustained into 2001, and the total fig u re for not trying to stem decline’ Word s w o r th Trust, Dove Cottage English Poetry 850–1850 exhibition, which borrow e d April 2000/March 2001 is 1,219,167. Giles Worsley, Daily Telegraph, nineteen items depicting such poets as Shakespeare, Sir Philip Sidney, William Word s w o rt h 3 May 2000 Other exhibitions throughout the year also enjoyed excellent visitor numbers. The and Percy Bysshe Shelley. Thirty-two works from the twentieth-century collection, successful Snowdon exhibition had nearly 78,000 visitors, Polly Borland: Australians w a s displaced from the ground floor of the Gal l e r y while Painting the Century was on, travelled seen by 180,113 and Elizabeth Taylor: A Photographic Celebration, although only at the to the NPG, Canberra, as The Best of British (18 November 2000–18 Februa r y 2001). G a l l e ry for two months, had 79,140 visitors. Escape to Eden, with 53,290 visitors, did much to encourage people to the basement bookshop. During Painting the Century a n d Escape to Eden the Portrait Café had its highest turnover and number of visitors since E D U C ATION opening in November 1998. Once again the very popular BP Portrait Aw a rd had an i n c rease in visitor numbers, with 171,808 enjoying the 2000 exhibition. The Ondaatje Wing Theatre was inaugurated by Lord Snowdon on 4 May 2000, and is pr oving an excellent facility, enabling us to develop our existing schedule of daytime and The beginning of May 2000 saw the introduction of late-night opening on Thursdays weekend events, and to add a Thursday evening programme. We have offe r ed a wide range and Fridays. We anticipated that this might get off to a slow start, as has been other of formats: Open University Day Schools; conferences with the British Society for the galleries’ experience when first introducing extended hours. It has, however, proved to Hi s t o r y of Science and the Costume Society; evening talks and discussions on photographic be successful, with 41,755 visitors in total enjoying the opportunity to visit the Gallery subjects inspired by the John Kobal Photographic Portrait Awa r d and Horst P. Horst between 6.00pm and 9.00pm during the first eleven months of operation. Many of the exhibitions; and a series of platform perfo r mances celebrating famous women such as the special Thursday night lectures have been sold out, while the Friday night music, ranging f rom the twenty-fiv e - s t rong ensemble The Shout, who perf o rmed at the first evening The inaugural lecture at the new Ma r ys Shelley and Wollstonecraft and Mrs Beeton, and marking the centenary of Oscar Ondaatje Wing Theatre: Lord Wilde’s death. A strong theme running through our theatre events is literary; among the opening, to music suiting particular periods such as Handel and his Contemporaries, has Snowdon in conversation with talks and readings organised for us by the poet and anthologist Anne Harve y , a highlight developed a following of its own. Patrick Kinmonth was ‘Secret Gardens’, featuring Anne, Stephanie Cole and Patricia Brake. A major marketing campaign to raise awareness of evening openings at London’s These theatre-based events have been complemented by a varied programme of practical galleries was launched in March this year. The National Portrait Gallery and seven other activities in the Clore Studio, for formal student groups and young people. The Pa i n t i n g London art galleries, including , the National Gallery and the Barbican, the Century: 101 Portrait Masterpieces exhibition was supported by a series of workshops collaborated on the promotion, securing sponsorship from Time Out and Absolut Vo d k a , for secondary schools, led by practising artists, encouraging the students to explore in oil and successfully generating interest in the media and among visitors. paints some of the themes and techniques of the exhibition. Young people’s leisure- t i m e In May 2000 the Gallery introduced a computerised ticketing system and a central ticket sessions have ranged from photography to screen-printing, sculpture and comic book art. desk, located in the main hall. This allows the Gallery to track visitors and begin to build Pr i m a r y school children from the London Borough of Lambeth have enjoyed art and up a pro file of those who purchase tickets for temporary exhibitions and special lecture s . drama sessions. All these activities are products of partnerships between permanent and We have also continued our regular programme of market re s e a rch with MORI, fr eelance staff, the bedrock of the success of our direct-teaching approa c h . conducting three major surveys during the year. Research around the period of the A high-profi le aspect of this co-operation between October and December 2000 was The opening of the Ondaatje Wing showed that 48% of visitors were directly influenced to Ar t of Water Music project, in which permanent and freelance staff worked with educators visit as a result of the opening and 71% were ‘impressed’ by it after their visit. A surv e y and musicians from the Orchestra of the Age of Enlightenment and sixteen primary, of visitors to the Painting the Century: 101 Portrait Masterpieces e x h i b i t i o n se c o n d a r y and special needs schools to produce a musical and artistic interpretation of demonstrated the effectiveness of publicity campaigns and the positive reaction of Zo f fany’s Sharp Family po r trait. visitors, with 84% of those surveyed being aware of the exhibition prior to their visit, and 21% being recommended to visit by friends and family. General surveys were conducted On 28 October, we participated in National Drawing Day, with drawing materials and periodically throughout the year looking at demographics of our visitors, use of Gallery ex p e r t advice available to visitors, supported by a lecture on techniques, and a new slide- facilities such as The Portrait Restaurant and gift shops and awareness of marketing pack on drawings in the collection made possible by the Idlewild Trus t . A BP workshop run by Chris and PR initiatives. Of those surveyed, 65% were repeat visitors to the Gallery, and Stevens, September 2000 (photo Liz Rideal) 18 19

of those, 14% had visited the Gallery five or more times in the past twelve months; As in previous years, the publications department exhibited at the London Intern a t i o n a l 82% found their visit ‘very enjoyable’. The re s e a rch showed a small increase in the Book Fair and at Frankfurt, where foreign rights were successfully negotiated for a number of tourists compared to the previous year, with 24% of all visitors to the G a l l e ry number of forthcoming publications, most notably Horst P. Horst, Mario Te s t i n o, coming from overseas. Painted Ladies and an American paperback edition of Painting the Century, to be published later this year. Co-edition and trade sales of Gallery publications rose by 140% over the previous year. T R A D I N G In addition to our own publications and bought-in titles, the exhibition pro g r a m m e p rovided the opportunity to develop merchandise, both in-house and under licence. The opening of the Ondaatje Wing led to a sharp increase in visitor numbers, though not Painting the Century, S n o w d o n and Escape to Eden generated the second, fifth and eighth to a corresponding rise in retail sales, just 3% in the first six months of 2000/2001 highest gross pro fit respectively of any National Portrait Gallery exhibition, and E s c a p e co m p a r ed with 24% more visitors. Concerns that the main shop location might no longer to Eden became the Gallery’s most pro fitable ever non-charging exhibition. Catalogues be sufficiently central to maximise income prompted a continuing debate on alterna t i v e and merchandise contributed over 20% of total gross profit during the year. locations. Nevertheless, strong sales during the autumn and winter ensured that the shops Consequently the shops enjoyed their best Christmas ever, with a 51% increase between finished the year 46% up for the second six months (against 17% more visitors) and 25% up Some of the postcards and October and January over 1999. books on sale during the for the whole year. This outstanding perfo r mance was due largely to the exhibition Snowdon exhibition pr ogramme and in particular to Painting the Century and Escape to Eden (Five Centuries of Sixteen of the fifty-six new postcards published during the year were of photographs by (photo Graham Piggott) Women and Garde n s ) , with their associated high-quality publications and merch a n d i s e . L o rd Snowdon, the first of his works to be produced commerc i a l l y. These were highly popular in the Gallery, and are now being distributed in the USA and to the exhibition The Gallery published the following exhibition titles: Photographs by Snowdon, P o l l y tour venues. Merchandise rights negotiated on behalf of Lord Snowdon resulted in the Borland: Australians, Five Centuries of Women and Gard e n s, Painting the Century a n d G a l l e ry being able to offer a wide range of products including T- s h i rts, stationery, John Kobal Photographic Portrait Aw a rd 2000. Over 26,000 copies of these titles were j e w e l l e ry and five diff e rent calendars for 2001. A pack of eight postcards and a limited- sold in the book trade, including US and German co-editions of S n o w d o n. The Gallery edition photographic print were published for Elizabeth Taylor: A Photographic also co-published books to accompany D e fining Feature s and David Wilkie Wy n fie l d w i t h C e l e b r a t i o n and a total of 4,000 postcard packs, 1,800 portrait prints and 1,000 Reaktion Books and Prestel re s p e c t i v e l y. Over 12,500 exhibition titles were sold in the calendars were sold during the showing of the BP Portrait Aw a rd 2000. G a l l e ry during the life of the exhibitions, an increase of 25% on 1999, with two, Wo m e n and Gard e n s a n d Painting the Century, requiring reprints. The latter sold more copies The extension of Gallery opening hours in May necessitated a radical rescheduling of during the exhibition than any previous catalogue. shop staff hours. Staff also had to adapt to a substantial increase in mail-order business, mostly generated by the website. We expect full e-commerce to be running from mid- Two other titles, The National Portrait Gallery: An Architectural History by Graham 2001, and meanwhile sales to date of a limited range of books and products have been Hulme, Brian Buchanan and Kenneth Powell and The National Portrait Gallery: A encouraging. The majority of orders, however, have been for digital prints, with 9,000 Visitor’s Guide by John Cooper, were published to mark the opening of the Ondaatje works now on-line. Wing, while The National Portrait Gallery by Charles Saumarez Smith was reprinted for the second time. The Visitor’s Guide had sold over 5,000 copies by Christmas and in The illustrated website has been of primary benefit to the Picture Library, whose staff F e b ru a ry 2001 received the Best New Permanent Collection Publication Under £30 a w a rd have radically enhanced their service through this exciting innovation. In an estimated in the Museum Trading and Publishing Group Aw a rd s . 80% of enquiries, re s e a rchers now view and select images on-line, resulting in impro v e d e fficiency and customer satisfaction. Sales in the Picture Library rose by 7% in the year, Other new titles included Samuel Pepys and His Circ l e by Richard Ollard and O s c a r not least as income from agency business began to repay earlier investment. Wilde and His Circ l e by Simon Callow, both in the award-winning Character Sketches series; The Gallery of Fashion by Aileen Ribeiro, of which a US co-edition was sold to Princeton University Press; Chain Reactions by Adam Hart-Davis and The Royal Family: A Centenary Port r a i t by Martin Gayford. Finally, a larg e - f o rmat, hardback edition of the G a l l e ry’s best-selling paperback The Kings and Queens of England by David Wi l l i a m s o n was produced for the American market. Retail revenue derived from Gallery publications The cover of The National P o rtrait Gallery: A Visitor’s rose by 87% to over £312,000, and was responsible for almost 30% of sales. G u i d e by John Cooper 21

FINANCIAL REPORT

Although the Department for Culture, Media and Sport has begun announcing thre e - o p p o s i t e A n d ré Deutsch by year grant-in-aid settlements for museums and galleries, unfortunately the increase in L e o n a rd Rosoman, 1987 grant for 2000/2001 did not match the rate of inflation. The grant-in-aid for (© the art i s t ) 2001/2002 has been re s t o red to the 1999/2000 level in real terms and the govern m e n t has added a further £100,000 to help meet some of the costs of running the new Ondaatje Wing. But the Gallery’s operational costs have also risen by appro x i m a t e l y £300,000 as a result of extending opening hours.

The Gallery is one of the most effective of all galleries and museums in terms of the grant-in-aid per visitor: £4.21 in 2000/2001 (£5.12 in 1999/2000). If the visitors to our Regional Partnerships are added to the numbers visiting the St Martin’s Place galleries, this fig u re becomes: £3.57 in 2000/2001 (£4.19 in 1999/2000).

Net self-generated income, excluding donations for building projects, was 42% of the G a l l e ry’s total income in 2000/2001 (38% in 1999/2000). Net income is calculated after deducting the costs of trading activities.

The Gallery again allocated £305,000 of grant-in-aid to acquisitions and commissions. P u rchases during the year were, however, above this fig u re, largely as a result of genero u s s u p p o rt by the National Art Collections Fund and an anonymous donor.

E x p e n d i t u re during 2000/2001 on the Gallery’s new Ondaatje Wing, which was start e d in 1997/1998 and completed in May 2000, was funded by a £1.6 million grant from the Heritage Lottery Fund. The forecast of expenditure for future years allows for the i n c reased running costs as a consequence of opening the new wing.

Other capitalised building works in 2000/2001, which comprised the completion of the ro o fing works and the start of the upgrade of the Gallery’s IT systems, were funded fro m a combination of self-generated income during the year and re s e rves which had been retained for capital projects. The Gallery continues to be concerned that these re s e rv e s a re now exhausted, and it is there f o re exploring means of creating new funds to support f u t u re pro j e c t s .

In 2000/2001, retained surpluses in the General Fund were reduced by £70,700. This reduction had been anticipated because of the shortfall in grant-in-aid during 2000/2001 and the significantly increased operational costs of the new Ondaatje Wi n g , the extension of the Gallery’s opening hours, and the high costs of mounting and publicising the very successful exhibitions pro g r a m m e . 22 23

BALANCE SHEET at 31.3.01 at 31.3.00 A S S E T S Fixed assets ( £ 0 0 0 s ) ( £ 0 0 0 s ) The following fig u res have been extracted from the Gallery’s financial re c o rds. They do Tangible assets not purport to re p resent the audited Annual Accounts. For a full understanding of the Land and buildings 46,950 3 1 , 5 7 8 G a l l e ry’s financial affairs, re f e rence should be made to the Annual Accounts and the F u rn i t u re and equipment 4 8 9 9 1 Auditor’s re p o rt, obtainable from the Head of Finance at the National Portrait Gallery. Assets in the course of constru c t i o n 0 1 4 , 1 1 0 4 7 , 4 3 9 4 5 , 7 7 9 I n v e s t m e n t s 3 7 3 9 S TATEMENT OF FINANCIAL ACTIVITIES 2 0 0 0 / 2 0 0 1 1 9 9 9 / 2 0 0 0 Total fixed assets 4 7 , 4 7 6 4 5 , 8 1 8

I n c o m e for operations, acquisitions and capital ( £ 0 0 0 s ) ( £ 0 0 0 s ) C u rrent assets G r a n t - i n - A i d 5 , 1 3 8 5 , 1 1 5 S t o c k s 5 4 6 5 3 2 Exhibition charges and sponsorship 8 1 8 8 1 4 Debtors and pre p a y m e n t s 5 8 3 1 , 4 9 9 Trading (gro s s ) 1 , 8 3 1 1 , 5 0 0 Cash at bank and in hand 2 , 0 1 3 1 , 4 6 2 Evening hire 1 9 8 1 7 6 3 , 1 4 2 3 , 4 9 3 Corporate Members 1 2 7 1 1 5 C u rrent Liabilities Sponsorship and donations 2 1 0 5 4 4 Creditors falling due within one year - 1 , 9 5 1 - 2 , 0 3 9 Individual giving 9 9 4 3 Net current assets 1 , 1 9 1 1 , 4 5 4 Catering franchise 1 3 2 3 6 Heritage Lottery Fund 1 , 6 3 6 5 , 8 5 0 O t h e r 2 6 3 1 9 3 Net assets 4 8 , 6 6 7 4 7 , 2 7 2 1 0 , 4 5 2 1 4 , 3 8 6

E x p e n d i t u re excluding capital but including depre c i a t i o n F U N D S A c q u i s i t i o n s 3 1 7 6 5 0 U n restricted designated funds Collection management 2 , 5 1 4 1 , 9 7 4 Collection purc h a s e s 3 1 1 2 Curatorial and arc h i v e 4 4 1 4 0 3 Capital Project Fund 7 , 1 7 3 7 , 6 4 3 Exhibitions and displays 1 , 5 9 1 1 , 2 3 0 7 , 2 0 4 7 , 6 5 5 E d u c a t i o n 3 7 6 2 8 7 Public Relations 7 4 4 6 6 6 U n restricted general funds D e v e l o p m e n t 4 3 0 3 2 1 Retained surpluses 8 9 0 9 6 1 Tr a d i n g 1 , 6 6 5 1 , 4 2 8 NPG Trust Fund 0 1 7 S u p p o rt and accommodation 2 , 0 7 8 1 , 4 9 1 8 9 0 9 7 8 1 0 , 1 5 6 8 , 4 5 0 Restricted capital funds Net incoming/(outgoing) re s o u rc e s 2 9 6 5 , 9 3 6 Development Projects Fund 2 1 , 4 3 8 1 9 , 7 8 8 Gain on revaluation of land and buildings 1 , 0 8 3 8 1 6 Capital Reserve Fund 1 8 , 8 2 8 1 8 , 3 4 8 1 , 3 7 9 6 , 7 5 2 4 0 , 2 6 6 3 8 , 1 3 6 Gains on investment assets 1 6 0 Net movement in funds 1 , 3 9 5 6 , 7 5 2 Other restricted funds Development Appeal Fund 3 0 0 5 0 3 Dame Helen Gardner Bequest 7 0 C16/C17th Fund 0 0 3 0 7 5 0 3

Total funds 4 8 , 6 6 7 4 7 , 2 7 2 24 25

FUNDRAISING AND DEVELOPMENT

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 Last year’s Annual Review highlighted the importance of self-generated income to help Ondaatje Wing Donors 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 , 3 2 0 sustain the Gallery’s activities. This has become crucial over the last year. Fundraising Dr Christopher Ondaatje, CBE National Gallery† 4 , 5 0 0 5 , 0 0 0 4 , 9 0 0 4 , 9 0 0 4 , 9 0 0 4 , 9 0 0 4 , 9 0 0 D rue Heinz Tru s t 6 , 1 3 0 6 , 5 0 0 6 , 1 0 0 5 , 5 0 0 5 , 0 0 0 5 , 7 5 0 6 , 5 0 0 f rom the corporate sector has been particularly challenging, and we are delighted to have 29th May 1961 Charitable Tru s t Tate Gallery § 3 , 0 0 0 2 , 5 0 0 2 , 2 0 0 3 , 0 0 0 2 , 6 0 0 4 , 8 0 0 5 , 1 0 0 reached our target for corporate membership and to have continued to introduce new G a rfield Weston Foundation § 1 , 3 1 0 1 , 3 0 0 1 , 3 5 0 1 , 3 7 0 1 , 3 5 0 1 , 4 2 0 1 , 4 0 0 The Wolfson Foundation § companies to the Gallery. Science Museum 2 , 7 0 0 2 , 5 4 0 2 , 4 0 0 2 , 2 0 0 2 , 7 0 0 3 , 0 0 0 3 , 1 0 0 and a major award from the 1 6 0 1 8 0 1 8 0 1 9 0 1 9 0 2 0 0 2 1 0 The major autumn Wolfson Gallery exhibition Painting the Century was sponsored by Heritage Lottery Fund 4 0 0 4 7 0 4 8 0 7 5 0 7 0 0 7 0 0 7 0 0 Gallery Natural History Museum 1 , 4 6 0 1 , 8 0 0 1 , 8 2 0 1 , 8 6 0 1 , 6 5 0 1 , 6 5 0 1 , 6 5 0 Regional the Bradford-based company Provident Financial. They committed early to the Victoria & Albert Museum 1 , 5 3 0 1 , 5 9 0 1 , 4 5 0 1 , 5 0 0 1 , 2 8 0 1 , 6 9 0 1 , 7 5 0 Partners sponsorship and it proved a very successful partnership. A high-pro file first preview event N o t e s : The increase in 2000/01 is a result of the opening of the new Ondaatje Wing. Source: DCMS Annual Report 2000. *London plus Regional Partners †p recise fig u res not published § all venues gave Provident Financial the opportunity to invite key guests and opinion-form e r s . Figures for 01/02 to 03/04 are budgets. P rovident Financial also funded a specially created education pro g r a m m e , FACE TO FA C E, enabling schools from the Bradford area to enjoy and appreciate the exhibition.

Our good friends and close neighbours, Redwood, continue to be very supportive of the Grant-in-Aid (£0 0 0s ) 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 G a l l e ry and sponsored the spring exhibition Horst Portraits: 60 Years of Style. Dom 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 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 Pérignon generously supported the exhibition and provided champagne for over 600 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 guests at the private view. Tate Gallery 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 , 9 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 3 , 1 0 0 1 4 , 1 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 , 6 0 0 2 5 , 5 0 0 2 7 , 3 0 0 The sponsorship of Polly Borland: Australians was a particularly good fit for the global 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 6,262 re c ruitment company Robert Walters, who serve the majority of Australia’s top twenty- 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 , 8 0 0 Value today five corporate and financial services companies. This sponsorship was one of the first to 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 3 , 1 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 , 1 0 0 3 0 , 5 0 0 3 2 , 7 0 0 Grant-in-Aid gain an Arts & Business New Partners award, enabling us to increase the press and So u r ce: DCMS Annual Report 2000. marketing campaign for the exhibition and giving Robert Walters the opportunity to Figures for 01/02 to 03/04 are budgets. commission a portrait by Polly Borland for one of their clients.

Another appropriate partnership was with Floris who sponsored Escape to Eden: Five 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 National Portrait Gallery* 4 . 8 7 4 . 4 3 4 . 0 8 4 . 1 3 4 . 1 9 3 . 5 7 4 . 1 4 Centuries of Women and Gard e n s . The private view had a particular treat for the guests, National Gallery 4 . 0 7 3 . 7 4 3 . 7 3 3 . 8 2 3 . 9 8 3 . 9 2 4 . 0 6 who were each presented with a gift bag containing Floris pro d u c t s . British Museum 5 . 4 5 5 . 1 1 5 . 2 3 6 . 1 6 6 . 9 4 6 . 0 7 5 . 5 4 § Tate Gallery 6 . 3 0 7 . 5 2 8 . 5 0 6 . 4 0 7 . 5 8 5 . 1 9 5 . 2 7 Philip Mould, Historical Portraits sponsored R e t u rn to Life: A New Look at the Port r a i t Imperial War Museum§ 8 . 4 7 8 . 2 3 8 . 1 5 7 . 7 4 8 . 9 6 9 . 2 3 1 0 . 0 7 Science Museum§ 8 . 0 4 8 . 1 1 8 . 7 9 9 . 2 3 9 . 1 1 8 . 5 0 8 . 8 1 5.90 B u s t . Philip is a great personal supporter of the Gallery and we were delighted that he Wallace Collection 1 1 . 8 8 1 0 . 5 6 1 0 . 5 6 1 0 . 0 0 1 3 . 1 6 1 0 . 5 0 1 0 . 4 8 Value today chose to be associated with this exhibition. National Maritime Museum 2 6 . 2 5 2 2 . 3 4 2 1 . 8 8 1 3 . 6 0 1 5 . 5 7 1 6 . 7 1 1 8 . 2 9 of 95/96 Natural History Museum 1 9 . 7 3 1 5 . 2 8 1 5 . 2 2 1 4 . 5 2 1 7 . 9 4 1 8 . 4 2 2 0 . 0 6 Grant-in-Aid The major sponsor for the John Kobal Photographic Portrait Aw a rd 2000 was the Hulton Victoria & Albert Museum 2 0 . 6 5 1 9 . 3 7 2 0 . 6 2 1 9 . 4 0 2 3 . 5 2 1 8 . 0 5 1 8 . 6 9 per visitor So u r ce: DCMS Annual Report 2000. * London plus Regional Part n e r s § all venues A rchive. Hulton Getty, Archive Films and Archive Photos had also generously support e d Figures for 01/02 to 03/04 are budgets. our Elizabeth Taylor: A Photographic Celebration earlier in the year. In September 2000 BP hosted a dinner to celebrate ten years’ sponsorship of the B P P o rtrait Aw a rd. At the dinner Sir John Browne, the company’s Group Chief Executive, announced not only that they would continue to sponsor this annual exhibition until 2004 but also that the value of the first prize would be increased from £10,000 to

Self-generated net income for operations and acquisitions (£000s) £25,000. We are absolutely delighted and very grateful to BP for their extre m e l y N o t e s : 32% g e n e rous support and enthusiasm for the Aw a rd . 1. Comprises exhibition charges, sponsorship, net trading income, net Corporate Members Sir John Browne addressing the income, trusts and foundations, individual giving, gallery hire, catering franchise 20% Unallocated A re c o rd number of charitable trusts and foundations supported us this year in a range guests at a celebration dinner and investment income. net income for 10 years of BP sponsorship, 2. Excludes Appeal Fund income and HLF Grant for the Ondaatje Wing pro j e c t . of activities, from the education programme to the IT Gallery, from Friday evening as % of 25 September 2000 Figures for 00/01 are estimates and for 01/02 to 03/04 are budgets. Grant-in-Aid music to the website screen re a d e r. The Capital Group and various charitable tru s t s (photo Richard Price, courtesy enabled the development of an innovative education project for young homeless people BP p.l.c) 26 27

in collaboration with The London Connection, which continues this year. Glaxo The Gallery is grateful to the following for their sponsorship and support of exhibitions and corporate membership in 2000/2001:

Wellcome and the Paul Hamlyn Foundation both supported the joint project undert a k e n BP Portrait Aw a rd 2000 John Kobal Photographic Corporate Benefactors L i n k l a t e r s with the Orchestra of the Age of Enlightenment, The Art of Water Music, which was and Travel Aw a rd 1999 P o rtrait Aw a rd 2000 The Atlas Alliance Gro u p Paul Mitchell Ltd London and Aberd e e n s p o n s o red by the Hulton Archive in BP p.l.c. (Honorary) Redwood included in the String of Pearls Millennium Festival. In addition, we are grateful to the s p o n s o red by BP p.l.c. association with the John Kobal F re s h fields Bruckhaus Deringer R e u t e r s Foundation, Metro Imaging, the J . P. Morgan Chase & Co. To t a l F i n a l E l f L e v e rhulme Trust who have agreed to fund three annual fellowships in the history of Painting the Century: British Journal of Photography and P rovident Financial (Honorary ) W P P 101 Portrait Masterpieces the Complete Gro u p S c h roder Salomon Smith Barn e y p o rt r a i t u re, and to the Wellcome Trust for funding of an exciting scientific s p o n s o red by Provident Financial Development Board Towers Perr i n Escape to Eden: Jennifer d’Abo p o rtrait to be unveiled in the autumn. Horst Portraits: Five Centuries of Women and Gard e n s Corporate Members Tim Bre e n e 60 Years of Style s p o n s o red by Floris Andersen Consulting (Honorary ) Ma rg a r et Exley s p o n s o red by Redwood Individual support for the Gallery has increased this year. The number of Members has Aon Risk Serv i c e s Rt. Hon. The Lord Forsyth s u p p o rted by Dom Pér i g n o n R e t u rn to Life: A rnander Irvine Zietman of Drumlean, PC now reached over 1,000 and is growing on a daily basis. Recruitment of Members was A New Look at the Portrait Bust Elizabeth Taylor: B B A P i e rre Godec s p o n s o red by Philip Mould, p a rticularly successful around the period of the Painting the Century: 101 Port r a i t A Photographic Celebration B G Achilleas Kallakis Historical Port r a i t s M a s t e r p i e c e s and Horst Portraits: 60 Years of Style exhibitions. Members also enjoyed a s p o n s o red by Hulton Getty, Archive B i rcham Dyson Bell H e n ry Keswick Films and Archive Photos Rollie McKenna: Writers and Art i s t s B o o k e r Brian Larc o m b e s u p p o rted by the American Friends of De Beers Charles McVeigh III (Chairm a n ) number of special events, including afternoon private views of Wolfson Gallery Polly Borland: Australians the National Portrait Gallery Deloitte & To u c h e David Morg a n s p o n s o red by Robert Walters, exhibitions, an opportunity to meet the BP artists, and a special Christmas shopping E x x o n M o b i l Mark Paviour the global re c ruitment consultancy; S u p p o rt for Ondaatje Wing Goldman Sachs Michael Potter evening at the Gallery. with additional support from Tap e s t r y, opening events K o rn / F e rry Intern a t i o n a l Sir David Scholey, CBE Agfa, Arts & Business New Pa rt n e r s B I C C Lehman Brothers The Lord Tu g e n d h a t In November we re - f o rmed the Board of Patrons under the new Chairmanship of Sir John Weston, KCMG. A successful cultivation event was held at the beginning of The Gallery is grateful to the following charitable trusts, foundations and companies for their support with special projects in 2000/2001: December and we currently have four Life Patrons and thirty-eight Patrons (one Education pro j e c t s Access and education Wo o d w a rd Portrait Explorer and Pledges received for 2001/2002 and beyond anonymous). A programme of special events for Patrons has been planned for The Capital Gro u p Abbey National Charitable Trust associated IT pro j e c t s Foundation The Dulverton Tru s t L i m i t e d The Wo o d w a rd Charitable Tru s t ( e d u c a t i o n ) 2001/2002, including opportunities to learn more about what happens behind the The Ernest Cook Tru s t The Dorothy Burns Charity The Dorothy Burns Charity G e n e r a l Glaxo Wellcome plc (special needs workshops) scenes at the Gallery, a special concert with the London Symphony Orchestra and a visit Bodelwyddan Castle CHK Charities Limited The Golden Bottle Tru s t The Dulverton Trust (education) The Kirby Laing Foundation R o b e rt Fleming & Co. Ltd to the Gallery’s regional partnership in Somerset, Montacute House. The Idlewild Tru s t J e rwood Foundation The Mercers’ Company S c h roder Charity Tru s t Lloyds TSB Foundation for England ( J e rwood Portrait Commission) The Swan Tru s t The Development Board, under the Chairmanship of Charles McVeigh III, has been very and Wa l e s Friday evening music pro g r a m m e The Leche Trust The Paul Hamlyn Foundation The Britten–Pears Foundation In-kind support for education ( c o n s e rvation of engravings) s u p p o rtive and a number of new companies have been introduced to the Gallery. It has The Peter Minet Tru s t The Perf o rming Right Society Binney & Smith (Europe) Ltd The Leverhulme Trust The Royal Society F o u n d a t i o n ( L e v e rhulme Fellowship in the A c q u i s i t i o n s been a good year for corporate membership and we now have seven Benefactors and The Walcot Educational Foundation H i s t o ry of Port r a i t u re ) R e s e a rc h National Art Collections Fund The Wo o d w a rd Charitable Tru s t The Wellcome Trust nineteen Members. New supporters include Lehman Brothers, Aon Risk Services and The Paul Mellon Centre The Worshipful Company of Gro c e r s ( Wellcome Trust Port r a i t ) The Hollick Family Charitable Tru s t K o rn / F e rry Intern a t i o n a l . The Wo o d w a rd Charitable Trust ‘Now one of the most (IT projects and education) adventurous and Although losing Thursday evening to late night opening as an opportunity for corporate The Gallery is grateful to the following individuals for their support in 2000/2001: wide-ranging of h i re, we have continued to be a very popular venue. The addition of The Port r a i t British museums’ Restaurant to the portfolio has been well received, with a number of companies hosting Life Patro n s Mrs Sue Hammerson, OBE Mrs Lisa von Clemm The Lord Forsyth of Drumlean, PC Dr and Mrs Mark Cecil Claude Hankes-Drielsma Stanton D. Loring Flora Fraser Simon Callow, Sunday Times, a private view in one of the galleries followed by a reception overlooking the ro o f t o p s . Sir Harry Djanogly, CBE J. Horsfall Tu rn e r Mr and Mrs Jon Lovelace The Hon. Piers Gibson Mr and Mrs Robin Fleming Mr and Mrs Charles Jackson Mrs Tessa Gre e n Donations 15 April 2001 The restaurant became the venue for the Countdown to the Brit Aw a rds in Febru a ry. Mr and Mrs Peter Soro s Peter A.B. Johnson Mrs Frances Jackson t h rough the American Friends Sir John Kemp We l c h H e n ry Keswick Other special occasions to take place at the Gallery have been Festival P a t ro n s Mr and Mrs John Fairc h i l d Laura Lindsay The Lord Morris of Castle Morris, D.Phil. Edgar Astaire P rofessor and Mrs R. Sanders events, the Evening Standard Schools’ Aw a rds, the Hawthornden Prize and the Mitchell Brian Marsh Philip Mould Adrian Bridgewater Mrs Jayne Wr i g h t s m a n Mr and Mrs Neil Mendoza Dr Christopher Ondaatje, CBE Kate Bucknell and Bob Maguire t h rough the membership pro g r a m m e Prize for the . In May, final-year students of the BA (Hons) degree course L o rd and Lady Moore Sir David Scholey, CBE Roderic Bullough and Melinda Lady Annan Philip Mould Vanni Tre v e s in Costume Interpretation from Wimbledon School of Art paraded costumes inspired by B u l l o u g h In memory of Mrs Vera Fern a n d e z Mr and Mrs Charles Nunneley Anthony We l d o n Michael Campbell Thomas Seymour paintings in the Gallery’s collection. Alongside these the Gallery has held events in John Ritblat Sir John Weston, KCMG (Chairm a n ) Mrs Freda Ta y l o r The Lord Carrington, KG Sir David Scholey, CBE Mr and Mrs Philippe Chappatte American Friends of the National conjunction with the following charities: NSPCC, the Neuro-Muscular Society and the Sir Sigmund Stern b e rg, OStJ, KCSG H o n o r a ry Patro n s Mr and Mrs David Dalziel P o rtrait Gallery Vanni and Angela Tre v e s The Lord Carrington, KG, GCMG, CH, PC C e n t re for Accessible Enviro n m e n t s . Adrian Evans Mrs Drue Heinz, Hon. DBE The Lord Tu g e n d h a t The Lord We i d e n f e l d Mrs Kate Fleming (Founder Benefactor) Anthony We l d o n Mrs Drue Heinz, Hon. DBE L o rd and Lady Gibson Walter E. Ashley (Pre s i d e n t ) The Hon. Piers Gibson American Patro n s B o a rd of Patro n s P rofessor William Homer The Hon. William Gibson Mrs James Brice Sir Antony Acland, GCMG, GCVO Dr Charles Saumarez Smith Gavin Graham Linda Bro w n r i g g Mrs Jane Benson, LVO, OBE Mrs Pim Baxter (Secre t a ry ) 29

LIST OF ACQUISITIONS Single port r a i t s

R i c h a rd George (1920–) Dame Janet Abbott Baker (1933–) Sir (William) Lawrence Bragg Reginald Cotterell (‘Reg’) Butler N o v e l i s t S i n g e r ( 1 8 9 0 – 1 9 7 1 ) ( 1 9 1 3 – 1 9 8 1 ) P h y s i c i s t S c u l p t o r John Benton-Harris (1939–) L o rd Snowdon (1930–)* P788: bromide print, 334 x 228mm P800: vintage bromide print, William Dring (1904–1990) L o rd Snowdon (1930–)† 1 1 /2 ( 1 3 /8 x 9") signed, inscribed and 407 x 270mm (16 x 10 ") uneven, 6539: pastel, 571 x 388mm P797(8): bromide print, 365 x 239mm 1 1 3 3 dated on reverse, 1974 signed, with photographer’s credit ( 2 2 /2 x 15 /4") uneven, ( 1 4 /8 x 9 /8"), 5 March 1964 P u rchased 2000 on reverse, 18 November 1981 signed and dated, 1955 Given by the photographer 2000 P u rchased 2000 P u rchased 2000

Eric Ambler (1909–1998) Sir Anthony Alfred Caro (1924–) N o v e l i s t Sir Misha Black (1910–1977) S c u l p t o r A rchitect and industrial designer L o rd Snowdon (1930–)* L o rd Snowdon (1930–)† P798: vintage bromide print, John Hedgecoe (1937–) P797(9): bromide print, 1 1 3 /8 /4 323 x 306mm (12 /4 x 12") with P769: bromide print, 383 x 261mm (15 x 10 ") photographer’s credit on re v e r s e , 507 x 406mm (20 x 16"), 1975 with photographer’s credit and 25 March 1977 P u rchased 2000 dated on reverse, 10 October 1968 P u rchased 2000 Given by the photographer 2000 Anthony Frederick Blunt (1907–1983) M a rtin Amis (1949–) A rt historian and Soviet spy Helen Chadwick (1953–1996) A rt i s t Novelist; son of Sir L o rd Snowdon (1930–)† L o rd Snowdon (1930–)* P797(4): bromide print, 258 x 383mm S e l f - p o rtrait (‘Vanitas II’) 1 1 P799: vintage bromide print, (10 /8 x 15 /8"), 24 October 1963 P874: cibachrome print, 3 3 351 x 300mm (13 /4 x 11 /4") Given by the photographer 2000 509 x 510mm (20 x 20"), 1986 with photographer’s credit Given by Te rence Pepper 2001 on reverse, 9 June 1978 Helena Bonham Carter (1966–) P u rchased 2000 A c t re s s C a roline Charles (1942–) Fashion designer David Seidner (1957–1999) Michael Andrews (1928–1995) P876: colour print laid on card, L o rd Snowdon (1930–)* 3 5 P a i n t e r 603 x 498mm (23 /4 x 19 /8"), signed, P803: vintage bromide print, Catherine Bramwell-Booth 1/ L o rd Snowdon (1930–)† inscribed and dated on backing card, 1998 380 x 292mm (15 x 11 2") with ( 1 8 8 3 – 1 9 8 7 ) P797(1): bromide print, 327 x 212mm P u rchased 2001 photographer’s credit and dated 7 3 Salvation Army offic e r (12 /8 x 8 /8"), 7 December 1962 on reverse, 21 June 1993 Given by the photographer 2000 D e rek Boshier (1937–) L o rd Snowdon (1930–)* P u rchased 2000 A rt i s t P801: vintage bromide print, 3 300 x 304mm (11 /4 x 12") uneven, B ruce Chatwin (1940–1989) Kenneth Armitage (1916–) L o rd Snowdon (1930–)† with photographer’s credit on reverse, Wr i t e r S c u l p t o r P797(5): bromide print, 1 1 11 January 1979 383 x 258mm (15 /8 x 10 /8"), L o rd Snowdon (1930–)* L o rd Snowdon (1930–)† P u rchased 2000 P797(2): bromide print, 383 x 266mm 21 October 1963 P804: vintage bromide print, 3 3 1 1 /8 /8 ( 1 5 /8 x 10 /2"), 22 April 1964 Given by the photographer 2000 290 x 289mm (11 x 11 ") John Randall Bratby (1928–1992) Given by the photographer 2000 with photographer’s credit and P a i n t e r Frank Bowling (1936–) dated on reverse, 28 July 1982 P u rchased 2000 A rthur, (1486–1502) A rt i s t L o rd Snowdon (1930–)† Eldest son of Henry VII P797(7): bromide print, L o rd Snowdon (1930–)† 1 380 x 262mm (15 x 10 /4" ) P runella Clough (1919–1999) Unknown art i s t P797(6): bromide print, 340 x 238mm 3 3 Given by the photographer 2000 P a i n t e r L221: oil on panel, 363 x 264mm ( 1 3 /8 x 9 /8"), 21 March 1962 3 3 ( 1 4 /8 x 10 /8") arched top, Given by the photographer 2000 L o rd Snowdon (1930–)† Frank Bruno (1961–) early 16th century P797(10): bromide print, B o x e r 1/ 1/ Lent from a private collection 2000 Mark Boxer (1931–1988) 383 x 258mm (15 8 x 10 8" ) C a rt o o n i s t L o rd Snowdon (1930–)* Given by the photographer 2000 (1931–) P802: vintage bromide print, John Hedgecoe (1937–) 1 1 393 x 488mm (15 /2 x 19 /4") with Sir William Menzies Coldstream P a i n t e r P770: bromide print, photographer’s credit and dated on ( 1 9 0 8 – 1 9 8 7 ) 406 x 458mm (16 x 18"), 1958 L o rd Snowdon (1930–)† reverse, 11 Febru a ry 1983 P a i n t e r P u rchased 2000 P797(3): bromide print, 383 x 310mm P u rchased 2000 1 1 ( 1 5 /8 x 12 /4"), 10 April 1962 L o rd Snowdon (1930–)† Given by the photographer 2000 P797(11): bromide print, 7 Bainbrigg Buckeridge (1668–1733) 352 x 229mm (13 /8 x 9"), Poet, painter and first historian 16 April 1962 of British art Given by the photographer 2000 Michael Dahl (c i rc a 1 6 5 9 – 1 7 4 3 ) 6521: oil on canvas, feigned oval, 1 1 716 x 590mm (28 /4 x 23 /4") inscribed and dated on reverse, 1696 o p p o s i t e Cleo Laine by P u rchased 2000 John Benton-Harris (© the photographer) 30 31

Adam Cooper (1971–) Dame Edith Mary Evans (1888–1976) N o rman Robert Foster, Patrick Garland (1935–) Hugh Denis Charles Fitzro y, Adrian Heath (1920–) Roger Hilton (1911–1975) Sir Henry Irving (1838–1905) Ballet dancer A c t re s s B a ron Foster (1935–) T h e a t re dire c t o r 11th Duke of Grafton (1919–) A rt i s t P a i n t e r as Dubosc in ‘Lyons Mail’ A rc h i t e c t Administrator and patron of the arts; A c t o r - m a n a g e r S t u a rt Pearson Wright (1975–) L o rd Snowdon (1930–)* L o rd Snowdon (1930–)* L o rd Snowdon (1930–)† L o rd Snowdon (1930–)† Vi c e - C h a i rman of the Trustees of the 6542: oil on gesso on oak panel, P806: vintage bromide print, John Davies (1946–) P810: vintage bromide print, P797(18): bromide print, P797(23): bromide print, 384 x 258mm James Ferrier Pryde (1866–1941) 3 3 7 5 National Portrait Gallery 1 1 1 153 x 97mm (6 x 3 /4") signed in 380 x 306mm (15 x 12") with 6530: bronze head, 465mm (18 /4") 352 x 296mm (13 /8 x 11 /8") 383 x 303mm (15 /8 x 12"), ( 1 5 /8 x 10 /8"), 21 November 1963 6567: pencil and gouache on monogram and dated, and signed, photographer’s credit on reverse, high, signed, inscribed and dated, 1999 with photographer’s credit and dated John Ralph Merton (1913–) 8 August 1963 Given by the photographer 2000 paper laid on board inscribed and dated on reverse, 2000 27 Febru a ry 1976 Commissioned 2000 on reverse, 10 September 1969 6537: silverpoint on board, circular Given by the photographer 2000 Bequeathed by Sir John Gielgud 2001` 3 3 P u rchased 2000 P u rchased 2000 P u rchased 2000 /4 /4 image, 679 x 679mm (26 x 26 "), Ivon Hitchens (1893–1979) inscribed and dated, 1992 Sir (1900–1980) P a i n t e r Sir Alec Issigonis (1906–1988) James Gordon (‘J.G.’) Farrell Stella Dorothea Gibbons (Mrs A.B. Commissioned 1992 and A rt historian; Director of E n g i n e e r L o rd Snowdon (1930–)† ( 1 9 3 5 – 1 9 7 9 ) Webb) (1902–1989) accessioned 2000 the National Gallery P797(24): bromide print, 290 x 290mm L o rd Snowdon (1930–)* N o v e l i s t Novelist and poet 3 3 L o rd Snowdon (1930–)† ( 1 1 /8 x 11 /8"), 28 Febru a ry 1963 P818: vintage bromide print, Susan Adele Gre e n field (1950–) 7 L o rd Snowdon (1930–)* John Hedgecoe (1937–) P797(19): bromide print, 257 x 383mm Given by the photographer 2000 407 x 303mm (16 x 11 /8"), 26 July 1979 P rofessor of synaptic pharm a c o l o g y 1 1 P807: vintage bromide print, P772: bromide print, 353 x 354mm ( 1 0 /8 x 15 /8"), 10 December 1963 P u rchased 2000 3 1 7 7 315 x 285mm (12 /8 x 11 /4") ( 1 3 /8 x 13 /8"), 1988 Tom Phillips (1937–) Given by the photographer 2000 (1937–) with photographer’s credit on reverse, P u rchased 2000 6526: computer- p rocessed drawings A rt i s t Roland Joffe (1945–) 21 March 1974 and video, 1999–2000 Dame (1903–1975) Film dire c t o r P u rchased 2000 L o rd Snowdon (1930–)† R i c h a rd Patrick Ta l l e n t y re Gibson, Commissioned 2000 Sculptor; second wife of Ben Nicholson P797(25): bromide print, 371 x 250mm L o rd Snowdon (1930–)* B a ron Gibson (1916–) 5 7 John Hedgecoe (1937–) ( 1 4 /8 x 9 /8"), 16 April 1963 P820: vintage bromide print, James Fitton (1899–1982) Businessman; Chairman of G e rmaine Greer (1939–) 1 P773: cibachrome print, Given by the photographer 2000 332 x 293mm (13 x 11 /2 "), 1985 Painter and designer the National Tru s t Writer and journ a l i s t 405 x 305mm (16 x 12") P u rchased 2000 John Benton-Harris (1939–) L o rd Snowdon (1930–)* L o rd Snowdon (1930–)* P u rchased 2000 Sir Howard Hodgkin (1932–) P790: bromide print, 318 x 214mm P811: vintage bromide print, P813: vintage bromide print, P a i n t e r David Jones (1895–1974) 1 3 1 7 3 ( 1 2 /2 x 8 /8") signed, inscribed and 304 x 293mm (12 x 11 /2") with /8 /4 278 x 272mm (10 x 10 "), 1971 Dame Barbara Hepworth (1903–1975) Poet and art i s t dated on reverse, 9 May 1966 photographer’s credit and dated L o rd Snowdon (1930–)† P u rchased 2000 Sculptor; second wife of Ben Nicholson P u rchased 2000 on reverse, 17 November 1988 P797(26): bromide print, 299 x 188mm L o rd Snowdon (1930–)† R i c h a rd Stanley (‘Dick’) Francis 3 3 P u rchased 2000 L o rd Snowdon (1930–)† ( 1 1 /4 x 7 /8"), 13 Febru a ry 1963 P797(27): bromide print, 383 x 264mm ( 1 9 2 0 – ) Joyce Irene Grenfell (1910–1979) 1 3 P797(20): bromide print, 245 x 368mm Given by the photographer 2000 ( 1 5 /8 x 10 /8"), 4 August 1964 Jockey and writer A c t re s s 5 1 ( 9 /8 x 14 /2) with photographer’s cre d i t Given by the photographer 2000 Penelope Mary Fitzgerald (1916–2000) A l f red Newman Gilbey (1901–1998) John Benton-Harris (1939–) L o rd Snowdon (1930–)* on reverse, 26 Febru a ry 1964 N o v e l i s t Roman Catholic Chaplain John Hurt (1940–) P792: bromide print, 271 x 276mm Sir Robert Ve re (‘Robin’) Darw i n P814: vintage bromide print, Given by the photographer 2000 A c t o r Philip Mark Jones (1928–2000) 5 7 to Cambridge University 3 3 Jillian Edelstein (1957–) ( 1 0 /8 x 10 /8") signed, inscribed /4 /4 ( 1 9 1 0 – 1 9 7 4 ) 248 x 196mm (9 x 7 "), 1950s M u s i c i a n P768: bromide print, 455 x 360mm and dated on reverse, 26 March 1982 L o rd Snowdon (1930–)* P u rchased 2000 S t u a rt Pearson Wright (1975–) 7 1 Josef Herman (1911–2000) L o rd Snowdon (1930–)† ( 1 7 /8 x 14 /8"), signed and Given by the photographer 2000 P812: vintage bromide print, 6541: oil on gesso on oak panel, Hans Erni (1909–) P a i n t e r 3 1 3/ 3/ P797(12): bromide print, inscribed on reverse, July 1999 390 x 294mm (15 /8 x 11 /2") with 110 x 96mm (4 8 x 3 4"), signed in 6536: pencil, 384 x 284 mm 1/ Joyce Irene Grenfell (1910–1979) 1 1 383 x 303mm (15 8 x 12") P u rchased 2000 photographer’s credit and dated on L o rd Snowdon (1930–)† monogram and dated, and signed, ( 1 5 /8 x 11 /8") uneven, signed, John French (1906–1966) A c t re s s Given by the photographer 2000 reverse, 20 June 1991 P797(21): bromide print, inscribed and dated on reverse, 2000 inscribed and dated, 2000 P h o t o g r a p h e r 1 1 L o rd Snowdon (1930–)* 383 x 266mm (15 /8 x 10 /2"), P u rchased 2000 Given by Ursula Jones 2000 F rederick Forsyth (1938–) P u rchased 2000 Robyn Denny (1930–) L o rd Snowdon (1930–)* P815: vintage bromide print, 5 August 1964 N o v e l i s t 5 5 P a i n t e r P809: vintage bromide print, 195 x 246mm (7 /8 x 9 /8"), 1950s Given by the photographer 2000 3 M e rcedes Gleitze (1900–1979) Thomas Kerrich (1748–1828) John Benton-Harris (1939–) 306 x 238mm (12 x 9 /8") P u rchased 2000 S w i m m e r Cambridge University Librarian, L o rd Snowdon (1930–)† P791: bromide print, 339 x 226mm with photographer’s credit and dated 3 7 Patrick Heron (1920–1999) a n t i q u a ry and draughtsman P797(13): bromide print, 383 x 292mm ( 1 3 /8 x 8 /8"), signed, inscribed on reverse, 1957 J . P. Bamber of Blackpool 1 1 R i c h a rd Hamilton (1922–) P a i n t e r ( 1 5 /8 x 11 /2"), 10 April 1964 and dated on reverse, 1972 P u rchased 2000 P872: vintage print, S e l f - p o rt r a i t 3 1 P a i n t e r Given by the photographer 2000 Given by the photographer 2000 146 x 108mm (5 /4 x 4 /4") S e l f - p o rt r a i t 6531: chalk, 433 x 300mm 3 L o rd Snowdon (1930–)† 6540: oil on canvas, 508 x 406mm (17 x 11 /4") uneven, signed, Lucian Freud (1922–) with photographer’s blind stamp André Deutsch (1917–2000) Given by the sitter’s daughter, P797(17): bromide print, 383 x 264mm (20 x 16"), signed and dated, 1951 inscribed and dated on reverse, 1774 N o rman Robert Foster, P a i n t e r 1 3 ( 1 5 /8 x 10 /8"), 6 January 1963 P u rchased with help from the National Art P u rchased with help from the P u b l i s h e r B a ron Foster (1935–) Doloranda H. Pember, 2001 L o rd Snowdon (1930–)† Given by the photographer 2000 Collections Fund 2000 National Art Collections Fund 2000 A rc h i t e c t L e o n a rd Rosoman (1913–) P797(14): bromide print, 370 x 287mm 1 1 Sir Lawrence Gowing (1918–1991) 6535: oil on canvas, 1220 x 1220mm John Swannell (1946–) ( 1 4 /2 x 11 /4"), 17 June 1963 Painter and art historian Francis James Herbert Haskell Anthony Hill (1930–) Philip King (1934–) (48 x 48"), signed and dated, 1987 P783: bromide print, 439 x 583mm Given by the photographer 2000 1 ( 1 9 2 8 – 2 0 0 0 ) A rt i s t S c u l p t o r Bequeathed by the sitter 2000 (17 /4 x 23"), signed, inscribed L o rd Snowdon (1930–)† A rt historian L o rd Snowdon (1930–)† L o rd Snowdon (1930–)† and dated on reverse, 1999 Lucian Freud (1922–) P797(16): bromide print, 328 x 266mm 7 1 Maria Edgeworth (1768–1849) Given by the photographer 2000 ( 1 2 /8 x 10 /2"), 30 June 1964 L o rd Snowdon (1930–)* P797(22): bromide print, 262 x 383mm P797(29): bromide print, 383 x 263mm P a i n t e r 1 1 1 3 Novelist; daughter of Richard Given by the photographer 2000 P816: vintage bromide print, ( 1 0 /4 x 15 /8"), 22 April 1964 ( 1 5 /8 x 10 /8"), 22 April 1964 1 1 L o rd Snowdon (1930–)† 383 x 283mm (15 /8 x 11 /8"), Given by the photographer 2000 Given by the photographer 2000 Lovell Edgewort h Sir Julian Sorell Huxley (1887–1975) P797(15): bromide print, 255 x 382mm 16 June 1966 Biologist and writer Unknown art i s t (10 x 15") with photographer’s credit P u rchased 2000 6532: pencil, 221 x 185mm and dated on reverse, 17 June 1963 Mark Gertler (1891–1939) 3/ 1/ ( 8 4 x 7 4"), signed with initials Given by the photographer 2000 6534: oil on canvas, 635 x 533mm and inscribed, c i rc a 1 8 1 9 – 1 8 2 1 (25 x 21"), signed and dated, 1927 P u rchased 2000 P u rchased 2000 32 33

Oskar Kokoschka (1886–1980) John Lessore (1939–) James Mason (1909–1984) Sir Claus Adolf Moser (1922–) Benedict Nicolson (1914–1978) Jonathan Pryce (1947–) Sue Ryder, Baroness Ryder Dame Marg a ret Natalie (‘Maggie’) A rtist and writer P a i n t e r A c t o r Social statistician, businessman and A rt historian A c t o r of Warsaw (1923–2000) Smith (1934–) administrator for the art s Founder of Homes for the A c t re s s L o rd Snowdon (1930–)† Marketa Luskacova (1944–) L o rd Snowdon (1930–)* L o rd Snowdon (1930–)† L o rd Snowdon (1930–)* Sick and Disabled P797(30): bromide print, 265 x 245mm P848: bromide print, 402 x 304mm P827: vintage bromide print, L o rd Snowdon (1930–)* P797(34): bromide print, 383 x 261mm P835: vintage bromide print, L o rd Snowdon (1930–)* 3 5 3 5 3 1/ 1/ 1/ ( 1 0 /8 x 9 /8") with photographer’s cre d i t ( 1 5 /4 x 12"), December 1996 243 x 197mm (9 /8 x 7 /4") with P829: vintage bromide print, ( 1 5 8 x 10 4"), 25 March 1964 342 x 305mm (13 2 x 12") with L o rd Snowdon (1930–)* P839: vintage bromide print, 3 7 3/ 1/ on reverse, 7 October 1970 P u rchased 2000 photographer’s credit on reverse, 1950s 366 x 302mm (14 /8 x 11 /8") with Given by the photographer 2000 photographer’s credit on reverse, P837: vintage bromide print, 247 x 368mm (9 4 x 14 2" ) 1 1 Given by the photographer 2000 P u rchased 2000 photographer’s credit on reverse, 19 November 1978 370 x 294mm (14 /2 x 11 /2"), 1984 P u rchased 2000 10 Sir Eduardo Luigi Paolozzi (1924–) P u rchased 2000 P u rchased 2000 Dame Clementine Dinah Sir Theodore Tu rquet de Mayern e P u rchased 2000 Sculptor and graphic art i s t Peter Snow (1927–) (‘Cleo’) Laine (1927–) ( 1 5 7 3 – 1 6 5 5 ) ( R o b e rt) Oliver Reed (1938–1999) Victoria Mary (‘Vita’) A rt i s t L o rd Snowdon (1930–)† S i n g e r Physician and chemist Sir Nevill Mott (1905–1996) A c t o r S a c k v i l l e - West (1892–1962) P797(35): bromide print, L o rd Snowdon (1930–)† P h y s i c i s t 1 3 Writer and gardener; wife of John Benton-Harris (1939–) Unknown art i s t 383 x 273mm (15 /8 x 10 /4"), John Benton-Harris (1939–) P797(44): bromide print, 310 x 304mm Sir Harold Nicolson 1 P793: bromide print, 320 x 214mm 6538: oil on canvas, feigned oval, John Benton-Harris (1939–) 23 June 1964 P796: bromide print, ( 1 2 /4 x 12"), 24 November 1964 5 3 3 3 3/ 7/ ( 1 2 /8 x 8 /8"), signed, inscribed 757 x 604mm (29 /4 x 23 /4"), P795: bromide print, 340 x 228mm Given by the photographer 2000 339 x 227mm (13 8 x 8 8"), John Hedgecoe (1937–) Given by the photographer 2000 3 and dated on reverse, 1972 inscribed, probably after 1625 ( 1 3 /8 x 9"), signed, inscribed and signed and inscribed on re v e r s e P775: bromide print, P u rchased 2000 P u rchased 2000 dated on reverse, October 1977 (1908–1998) P u rchased 2000 408 x 330mm (16 x 13"), 1958 Sir Basil Urwin Spence (1907–1976) P u rchased 2000 A rt i s t P u rchased 2000 A rc h i t e c t R o b e rt Cliff o rd Latham (1912–1995) R o b e rt Medley (1905–1994) Sir Norman Robert Reid (1915–) L o rd Snowdon (1930–)† L o rd Snowdon (1930–)† Pepys Librarian and Fellow of Magdalene P a i n t e r Dame Iris Murdoch (1919–1999) D i rector of the Tate Gallery H a rold Samuel (1879–1937) P797(36): bromide print, 371 x 255mm P797(45): bromide print, 383 x 262mm College, Cambridge Novelist and philosopher 5 P i a n i s t 1 1 L o rd Snowdon (1930–)† ( 1 4 /8 x 10"), 16 April 1962 L o rd Snowdon (1930–)† ( 1 5 /8 x 10 /4"), 18 September 1964 L o rd Snowdon (1930–)* P797(32): bromide print, L o rd Snowdon (1930–)* Given by the photographer 2000 P797(39): bromide print, Edmond Xavier Kapp (1890–1978) Given by the photographer 2000 5 5 1/ 1/ P821: vintage bromide print, 297 x 296mm (11 /8 x 11 /8"), P830: vintage bromide print, 304 x 383mm (12 x 15 8"), 6527: pencil, 413 x 314mm (16 4 x 7/ 1/ 3/ 7/ 3/ 404 x 282mm (15 8 x 11 8") 16 April 1963 391 x 303mm (15 8 x 11 8"), Sir Roland Algernon Penrose 6 August 1964 1 2 8") uneven, signed and dated, 1931 Ralph Iris Steadman (1936–) with photographer’s credit Given by the photographer 2000 20 November 1980 ( 1 9 0 0 – 1 9 8 4 ) Given by the photographer 2000 Bequeathed by Howard Ferguson 2000 Caricaturist and illustrator on reverse, 14 April 1983 P u rchased 2000 P a i n t e r, art collector and writer on art L o rd Snowdon (1930–)* P u rchased 2000 G a ry Lineker (1960–) G e o rge Melly (1926–) Lionel Charles Robbins, Paul David Schofield (1922–) F o o t b a l l e r L o rd Snowdon (1930–)† P840: vintage bromide print, Jazz singer R u p e rt Murdoch (1931–) B a ron Robbins (1898–1984) A c t o r 5 1 P797(37): bromide print, 297 x 368mm (11 /8 x 14 /2") John Le Carré L o rd Snowdon (1930–)* Publisher and newspaper pro p r i e t o r 1 Administrator and patron of the art s L o rd Snowdon (1930–)† 304 x 383mm (12 x 15 /8"), L o rd Snowdon (1930–)* with photographer’s credit on reverse, (David John Moore Cornwell) (1931–) P824: vintage bromide print, P797(33): bromide print, 367 x 243mm L o rd Snowdon (1930–)* 28 June 1963 L o rd Snowdon (1930–)† P838: vintage bromide print, 28 May 1968 3/ 1/ N o v e l i s t 391 x 292mm (15 8 x 11 2") with 1 1 7/ 3/ ( 1 4 /2 x 9 /2"), 9 June 1964 P831: vintage bromide print, Given by the photographer 2000 P797(40): bromide print, 383 x 259mm 278 x 273mm (10 8 x 10 4") P u rchased 2000 photographer’s credit and dated on 1 7 1/ 1/ L o rd Snowdon (1930–)* Given by the photographer 2000 363 x 303mm (14 /4 x 11 /8") ( 1 5 8 x 10 4"), 5 November 1963 with photographer’s credit and dated reverse, 10 April 1991 P822: vintage bromide print, with photographer’s credit on reverse, John Egerton Christmas Piper Given by the photographer 2000 on reverse, 25 March 1983 (Francis) George Steiner (1929–) 1 1 P u rchased 2000 /2 /2 P u rchased 2000 292 x 292mm (11 x 11 ") with Samuel Alexander 8 May 1982 ( 1 9 0 3 – 1 9 9 2 ) Writer and scholar photographer’s credit and dated on (‘Sam’) Mendes (1965–) P u rchased 2000 A rt i s t Brian Robertson, 1st Baron John Hedgecoe (1937–) reverse, 1 March 1989 Norah Lofts (1904–1983) T h e a t re director and fil m - m a k e r R o b e rtson (1896–1974) William George Scott (1913–1989) P u rchased 2000 N o v e l i s t L o rd Snowdon (1930–)† P778: bromide print, 407 x 312mm Sir Vidiadhar Surajprasad (‘V. S . ’ ) M i l i t a ry commander and administrator A rt i s t 1 L o rd Snowdon (1930–)* P797(38): bromide print, 383 x 258mm (16 x 12 /4"), 1977 John Benton-Harris (1939–) Naipaul (1932–) 1 1 P828: vintage bromide print, ( 1 5 /8 x 10 /8"), 16 October 1963 Sir David Low (1891–1963) L o rd Snowdon (1930–)† P u rchased 2000 (1919–) P794: bromide print, 325 x 216mm 1 1 N o v e l i s t 7/ 7/ 384 x 259mm (15 /8 x 10 /4") with Given by the photographer 2000 6569: chalk, 301 x 224mm (11 8 x 8 8" ) P797(42): bromide print, 3 1 N o v e l i s t ( 1 2 /4 x 8 /2"), signed and inscribed on 1 photographer’s credit and dated on L o rd Snowdon (1930–)* signed, and autographed by sitter 303 x 292mm (12 x 11 /2"), 8 April 1962 reverse, April 1974 Gladys Bertha (‘G.B.’) Stern L o rd Snowdon (1930–)* reverse, 21 November 1989 P832: vintage bromide print, Anthony Dymoke Powell (1905–2000) Given by John and Ann Tusa 2001 Given by the photographer 2000 ( 1 8 9 0 – 1 9 7 3 ) P u rchased 2000 7/ 3/ P823: vintage bromide print, P u rchased 2000 302 x 300mm (11 8 x 11 4"), Wr i t e r N o v e l i s t 1/ 1/ 292 x 290mm (11 2 x 11 2") with 16 July 1979 R i c h a rd George Rogers, H a rtley William Shawcross, Baro n L o rd Snowdon (1930–)* John Hedgecoe (1937–) photographer’s credit and dated on Ian McEwan (1948–) H e n ry Moore (1898–1986) P u rchased 2000 B a ron Rogers (1933–) S h a w c ross (1902–) reverse, 25 Febru a ry 1992 Novelist, short story and P833: vintage bromide print, P777: bromide print, 406 x 404mm S c u l p t o r 7 A rc h i t e c t A t t o rn e y - G e n e r a l 7 s c reenplay writer 307 x 303mm (12 x 11 /8"), (16 x 15 /8"), 1960 P u rchased 2000 Joseph Needham (1900–1995) John Hedgecoe (1937–) 16 January 1978 L o rd Snowdon (1930–)* Sir David Low (1891–1963) P u rchased 2000 Scientist and sinologist L o rd Snowdon (1930–)* P774: bromide print, P u rchased 2000 P836: vintage bromide print, 6570: chalk, 426 x 313mm Helen Lessore (1907–1994) P825: vintage bromide print, 1 1 3/ 7/ 1/ 3/ 312 x 383mm (12 /4 x 15 /8" ) Yolanda Sonnabend (1935–) 338 x 303mm (13 8 x 11 8"), ( 1 6 2 x 12 8") uneven, signed, and A rtist; founder of Beaux Arts Gallery 7/ Sir James Fraser Stirling (1926–1992) 404 x 304mm (15 8 x 12") with P u rchased 2000 6571: oil on canvas, 610 x 508mm 20 July 1984 autographed by sitter, published 1952 photographer’s credit on reverse, Patrick Procktor (1936–) A rc h i t e c t L o rd Snowdon (1930–)† (24 x 20"), signed, and on stre t c h e r, A rt i s t P u rchased 2000 Given by John and Ann Tusa 2001 29 June 1978 L o rd Snowdon (1930–)* P797(31): bromide print, Hannah More (1745–1833) signed and dated, 1988 3 3 P u rchased 2000 366 x 289mm (14 /8 x 11 /8"), P u rchased 2001 L o rd Snowdon (1930–)* P841: vintage bromide print, Religious writer Sir John Rothenstein (1901–1992) (1928–) 1 7 30 September 1963 P834: vintage bromide print, 337 x 303mm (13 /4 x 11 /8") 3 5 D i rector of the Tate Gallery; Wr i t e r Unknown art i s t 392 x 271mm (15 /8 x 10 /8") with with photographer’s Given by the photographer 2000 Alistair Maclean (1922–1987) R o b e rt Malise Bowyer Nichols son of Sir William Rothenstein N o v e l i s t 6533: pencil, 90 x 66mm photographer’s credit and John Hedgecoe (1937–) c redit and dated on reverse, 1 5 ( 1 8 9 3 – 1 9 4 4 ) ( 3 /2 x 2 /8") uneven, inscribed dated on reverse, 1979 L o rd Snowdon (1930–)† P776: bromide print, 406 x 319mm 13 September 1984 L o rd Snowdon (1930–)* P o e t 1 and dated below image, 1805 P u rchased 2000 P797(41): bromide print, 303 x 403mm (16 x 12 /2"), 1959 P u rchased 2000 P826: vintage bromide print, 7 P u rchased 2000 Malcolm Arbuthnot (1874–1968) (12 x 15 /8") with photographer’s cre d i t P u rchased 2000 7/ 5/ 302 x 346mm (11 8 x 13 8"), P785: platinotype mounted on on reverse, 29 September 1963 10 November 1981 photographer’s card, Given by the photographer 2000 P u rchased 2000 1 5 205 x 143mm (8 /8 x 5 /8"), signed below image, c i rc a 1 9 1 5 P u rchased 2000 34 35

T R A N S F E R S Double and group portr a i t s Single port r a i t s A rranged by acquisition number Transfers to Pri m a r y Col l e c t i o n

Adrian Durham Stokes (1902–1972) John Ronald Reuel Tolkien Sir Clough Williams-Ellis (1883–1978) Isolde Menges (1893–1976) Vi o l i n i st; Luke Howard (1772–1864) Thomas Agnew & Sons, Gallery James Francis Ivory (1928–) The following portraits were transferred Painter and writer on art ( 1 8 9 2 – 1 9 7 3 ) A rchitect and writer H a rold Samuel (1879–1937) P i a n i s t M e t e o ro l o g i s t, with his son D i rectors: Richard Kingzett; Colin Film dire c t or; Ismail Merchant to the Primary Collection from Anglo-Saxon scholar and writer the Contemporary Portraits Collection L o rd Snowdon (1930–)† John Hedgecoe (1937–) Edmond Xavier Kapp (1890–1978) John Eliot Howard Agnew; Hugh Agnew; Sir Geoff re y ( 1 9 3 6 – ) Film pro d u c e r and the Photographs Collection P797(46): bromide print, 383 x 259mm L o rd Snowdon (1930–)* P780: cibachrome print, 6528: lithograph, 564 x 429mm (1807–1883) Q u i n o l o g i s t William Gerald Agnew (1908–1986); L o rd Snowdon (1930–)* in November 2000 1/ 1/ 1/ 7/ Evelyn Joll (1925–2001) A rt dealers ( 1 5 8 x 10 4"), 30 October 1963 P843: vintage bromide print, 508 x 406mm (20 x 16"), 1969 (22 4 x 16 8"), signed with initial on Unknown photographer P819: vintage bromide print, 3 5 Given by the photographer 2000 273 x 270mm (10 /4 x 10 /8"), 1972 P u rchased 2000 stone, and below image, signed, numbere d 1 5 P784: collodion positive on glass, L o rd Snowdon (1930–)† 308 x 294mm (12 /8 x 11 /8"), P u rchased 2000 ‘1/20’, inscribed and dated, 1932 1 1 James Evershed Agate (1877–1947) 89 x 64mm (3 /2 x 2 /2"), P797(54): bromide print, 284 x 382mm 9 Febru a ry 1983 Bequeathed by Howard Ferguson 2000 1 Drama critic Sir (1937–) Peter Cecil Wilson (1908–1987) a rched top (sight) ( 1 1 /8 x 15"), 25 October 1963 P u rchased 2000 Playwright and scre e n w r i t e r William Tucker (1935–) A rt dealer Given by Stephen Howard Lloyd 2000 Given by the photographer 2000 Sir Cecil Beaton (1904–1980)§ S c u l p t o r Dame Elizabeth Taylor (1932–) Ac t re s s , P869(1): vintage bromide print on L o rd Snowdon (1930–)* L o rd Snowdon (1930–)† John Campbell Wells (1936–1998) with her children Michael Wilding Jr Ronald B. Kitaj (1932–) P a i n t e r, Wr i t e r, actor and dire c t or ; (Gladys) white card mount, 243 x 191mm P842: vintage bromide print, L o rd Snowdon (1930–)† P797(52): bromide print, 384 x 238mm 5 1 /8 /2 1 3 1 3 (1953–), Christopher Wilding (1955–) ( 9 x 7 "), 1944 383 x 299mm (15 /8 x 11 /4") P797(49): bromide print, 383 x 261mm ( 1 5 /8 x 9 /8"), 5 November 1963 with his wife Elsi Kitaj (née Roessler) M a ry Wilson (née Baldwin), Lady 1 1 and Liza Todd (1957–) Given by the photographer 1968 with photographer’s credit on reverse, ( 1 5 /8 x 10 /4"), 9 October 1963 Given by the photographer 2000 (d. 1969) A rt i s t, and son Wilson Poet; wife of Baron Wilson 10 July 1966 Given by the photographer 2000 Arnold (1913–) Lem Kitaj (1958–) of Rievaulx Sir Frederick Ashton (1904–1988) P u rchased 2000 Sir John Clermont Witt (1907–1982) P767: bromide print, 355 x 239mm L o rd Snowdon (1930–)† L o rd Snowdon (1930–)* 3/ F o u n d e r - c h o reographer and Director William Tu rnbull (1922–) Administrator and patron of the art s (14 x 9 8"), signed, inscribed and P797(55): bromide print, 381 x 293mm P845: vintage bromide print, dated on reverse, 1963 1 5 of the Royal Ballet Denys Miller Sutton (1917–1991) S c u l p t o r (15 x 11 /2") with photographer’s cre d i t 408 x 271mm (16 x 10 /8"), with L o rd Snowdon (1930–)† A rt critic and editor Given by the photographer 2000 and dated on reverse, 6 December 1962 photographer’s credit on reverse, Sir Cecil Beaton (1904–1980)§ L o rd Snowdon (1930–)† P797(53): bromide print, 383 x 262mm 1 1 Given by the photographer 2000 3 June 1980 P869(2): vintage bromide print on L o rd Snowdon (1930–)† P797(50): bromide print, 383 x 264mm ( 1 5 /8 x 10 /4"), 10 December 1963 Dame Agatha Christie (1890–1976) P u rchased 2000 white card mount, 187 x 185mm 1/ 3/ P797(47): bromide print, 294 x 383mm ( 1 5 8 x 10 8"), 7 January 1963 Given by the photographer 2000 3 1 /8 /4 5 1 Wr i t e r, with her husband Sir Max ( 7 x 7 "), 1950 ( 1 1 /8 x 15 /8"), 16 April 1964 Given by the photographer 2000 Five art critics: David Morg a n Edgar Lucien Mallowan (1904–1978) Thompson (1929–1988) A rt critic; Pamela, Lady Harlech (née Ta l m e y ) Given by the photographer 1968 Given by the photographer 2000 L e o n a rd Gordon Wolfson, A rc h a e o l o g i s t (John) Edward McKenzie Lucie-Smith (1934–) J o u rnalist and administrator Sid Vicious (John Simon Ritchie) B a ron Wolfson (1927–) (1933–) A rt critic and writer; Robert for the art s, with Jeremy Gilbert Wystan Hugh (‘W.H.’) Auden Dame Elizabeth Taylor (1932–) ( 1 9 5 7 – 1 9 7 9 ) Businessman and patron of the art s John Hedgecoe (1937–) Melville A rt critic; Jasia Reichardt A rt and Paul Nicholas Jennes, Ballet dancers ( 1 9 0 7 – 1 9 7 3 ) A c t re s s M u s i c i a n P771: bromide print, 339 x 350mm A n d rew Festing (1941–) 3/ 3/ c r i t i c; Norbert Casper Lynton (1927–) P o e t ( 1 3 8 x 13 4"), 1969 L o rd Snowdon (1930–)* Peter Basch (1921–) Bob Gruen (1946–) 6529: oil on canvas, A rt historian P u rchased 2000 P847: vintage bromide print, Sir Cecil Beaton (1904–1980)§ 7/ P786: vintage bromide print, P875: cibachrome print, 810 x 657mm (32 x 25 8"), 2000 Roald Dahl (1916–1990) Wr i t e r, with 1 L o rd Snowdon (1930–)† 281 x 293mm (11 x 11 /2"), P869(3): vintage bromide print 407 x 506mm (16 x 20"), 508 x 406mm (20 x 16"), signed, Commissioned 2000 his wife Patricia Neal (1926–) A c t re s s Playwrights: Sir John Cliff o rd P797(56): bromide print, 262 x 383mm 19 December 1990 on white card mount, 240 x 195mm signed and inscribed on reverse, 1955 inscribed and dated, 1978 3 1 5 M o rtimer (1923–) B a rr i s t e r, John Benton-Harris (1939–) (10 /8 x 15"), 9 April 1963 P u rchased 2000 ( 9 /2 x 7 /8"), 1930 P u rchased 2000 P u rchased 2001 playwright and writer; P789: bromide print, 341 x 228mm Given by the photographer 2000 Given by the photographer 1968 3 N o rman Frederick Simpson (1919–) ( 1 3 /8 x 9"), signed, inscribed and The Rolling Stones: Charles (‘Charlie’) Dame Elizabeth Taylor (1932–) Leslie Waddington (1934–) P l a y w r i g h t; H a rold Pinter (1930–) dated on reverse, July 1976 Britt Ekland (1942–) A c t re s s, with Watts (1941–); Michael (‘Mick’) Jagger ( R o b e rt) , A c t re s s A rt dealer Playwright, actor and dire c t o r P u rchased 2000 her husband Richard Henry (‘Peter’) (1943–); Bill Wyman (1936–); Brian 1st Earl of Avon (1897–1977) B e rt Stern (1929–) L o rd Snowdon (1930–)† John Hedgecoe (1937–) Sellers (1925–1980) A c t o r Jones (1942–1969); Keith Richard Prime Minister P787: Iris print, 1064 x 812mm P797(51): bromide print, 383 x 262mm P781: bromide print, 406 x 507mm John Kasmin (1934–) A rt dealer; (1943–) Members of the Rolling Stones 1 1 L o rd Snowdon (1930–)* Sir Cecil Beaton (1904–1980)§ (42 x 32"), photographer’s cre d i t , ( 1 5 /8 x 10 /4"), 10 July 1964 Sheridan Frederick Te rence (16 x 20"), 1960 P805: vintage bromide print, 345 x 257 Michael Joseph (1897–1968) P869(4): vintage bromide print on white inscribed and dated on reverse, 1962 Given by the photographer 2000 P u rchased 2000 H a m i l t o n - Temple-Blackwood, 5 1 5 3 mm (13 /8 x 10 /8"), dated on card P877: Iris Kodalith print, c a rd mount, 245 x 196mm (9 /8 x 7 /4" ) , P u rchased 2000 5th Marquess of Dufferin 7 mount, 24 January 1967 531 x 483mm (20 /8 x 19"), 1968 possibly April 1955 ( 1 9 3 8 – 1 9 8 8 ) A rt dealer Sir William Tu rner Walton The Humanist Society: Basil Kingsley P u rchased 2000 P u rchased 2001 Given by the photographer 1968 Dame (Alice) Ellen Te rry (1847–1928) (1902–1983) M a rtin (1897–1969) J o u rnalist and L o rd Snowdon (1930–)† A c t re s s C o m p o s e r w r i t e r; Leo Abse (1917–) Lawyer and P797(28): bromide print, Lady Antonia Fraser (née Pakenham) James Graham (‘J.G.’) Ballard (1930–) 3 3 w r i t er; Sir Ludovic Henry Coverley /4 /4 James Ferrier Pryde (1866–1941) L o rd Snowdon (1930–)* 374 x 250mm (14 x 9 "), (1932–) Wri t e r ; Michael Holroyd (1935–) N o v e l i s t Kennedy (1919–) Writer and 6568: oil and varnish on card P844: vintage bromide print, 21 May 1963 Writer and biographer 1 5 b ro a d c a s t er; Edward Francis Wi l l i a m s , Given by the photographer 2000 Brigid Marlin (1936–) laid on board, 495 x 340mm 367 x 297mm (14 /2 x 11 /8") L o rd Snowdon (1930–)* 6557: oil and tempera on board, 1/ 3/ B a ron Francis-Williams (1903–1970) ( 1 9 2 x 13 8), 1906 with photographer’s credit 3 1 J o u rnalist and writer; Sir Alfred Jules P808: vintage bromide print, 1026 x 775mm (40 /8 x 30 /2"), Bequeathed by Sir John Gielgud 2001 on reverse, 7 April 1980 Jack Smith (1928–) A rt i s t, 7 1 Ayer (1910–1989) P h i l o s o p h er; Brigid 303 x 384mm (11 /8 x 15 /8"), signed and dated, 1987 P u rchased 2000 with his wife Susan Antonia Brophy (1929–1995) N o v e l i s t 29 April 1980 P u rchased 1989 Ronald Stuart (‘R.S.’) Thomas L o rd Snowdon (1930–)† ( 1 9 1 3 – 2 0 0 0 ) Dame Rebecca West (Cicily Andre w s John Hedgecoe (1937–) P797(43): bromide print, 304 x 383mm John Boynton (‘J.B.’) Priestley * From the collection ‘Photographs by Sir Henry Maximilian (‘Max’) P782: bromide print, 508 x 354mm 1 P o e t [née Fairfield]) (1892–1983) * From the collection ‘Photographs by /8 (12 x 15 "), 9 May 1963 (1894–1984) Wr i t e r, with his wife L o rd Snowdon, 1950s to 1980s’; Beerbohm (1872–1956) Writer and journ a l i s t Lo r d Snowdon, 1950s to 1980s’; Antony (20 x 14"), 1966 John Hedgecoe (1937–) Given by the photographer 2000 Jacquetta Hawkes (1910–1996) Antony Charles Robert Arm s t rong Writer and caricaturist Charles Robert Arm s t rong Jones, 1st P u rchased 2000 P779: bromide print, 305 x 409mm L o rd Snowdon (1930–)* A rchaeologist and author Jones, 1st Earl of Snowdon (1930–) 1 Earl of Snowdon (1930–) (Alexander Bell) Filson (12 x 16 /8"), 1966 P846: vintage bromide print, Philip John Sutton (1928–) P a i n t e r, 7 L o rd Snowdon (1930–)* Young (1876–1938) P u rchased 2000 308 x 303mm (12 x 11 /8"), with his wife Heather † From the collection ‘Private View’: † From the collection ‘Private View’: P817: vintage bromide print, P864: bromide print, 297 x 224mm 9 Febru a ry 1982 5 photographs from the 1960s by 3 7 photographs from the 1960s L o rd Snowdon (1930–)† 305 x 371mm (12 x 14 /8"), ( 1 1 /4 x 8 /8"), signed with initials L o rd Snowdon; Antony Charles by Lord Snowdon; Antony Charles P797(48): bromide print, 255 x 38mm with photographer’s credit and inscribed below image, 1916 R o b e rt Arm s t rong Jones, R o b e rt Arm s t rong Jones, (10 x 15"), 10 January 1962 on reverse, 29 May 1980 P u rchased 1975 1st Earl of Snowdon (1930–) 1st Earl of Snowdon (1930–) Given by the photographer 2000 P u rchased 2000 36

Steven Berkoff (1937–) Sir Cyril Astley Clarke (1907–2000) Sir Adrian Carton de Wi a rt Leslie Evershed-Martin (1903–1994) P l a y w r i g h t P h y s i c i a n ( 1 8 8 0 – 1 9 6 3 ) Ophthalmic optician; founder of G e n e r a l the Chichester Theatre Yolanda Sonnabend (1935–) Stanley Reed (1908–1978) 6560: oil on canvas, 454 x 355mm 6548: oil on panel, 610 x 508mm Sir Cecil Beaton (1904–1980)§ Zsuzsi Roboz (1939–) 7 ( 17 /8 x 14"), 1983 (24 x 20"), signed, 1973 P869(10): vintage bromide print 6546: pencil, 642 x 521mm 1 1 Given by the artist 1984 Given by the artist 1975 on white card mount, ( 2 5 /4 x 20 /2"), signed, 1963 7 1 252 x 207mm (9 /8 x 8 /8"), 1943 Given by the artist 1975 C l a i re Bloom (1931–) Sebastian Coe, Lord Coe (1956–) Given by the photographer 1968 A c t re s s Athlete and politician (1912–1953) Nell Mary Dunn (1936–) S i n g e r Vintage prints by Dorothy Wilding, M a rtin Rose (1946–) Novelist and playwright mid-1920s to 1957 6565: oil on canvas, 2135 x 1676mm Sir Cecil Beaton (1904–1980)§ 1 D o rothy Wilding (1893–1976) ( 8 4 /8 x 66"), 1984 Sir Cecil Beaton (1904–1980)§ P869(13): vintage bromide print P870(1): chloro b romide print on P u rchased 1985 P869(11): vintage bromide print on white card mount, 242 x 194mm 1 5 white card mount, 295 x 370mm on white card mount, ( 9 /2 x 7 /8"), inscribed ‘Beaton’ 5/ 5/ 1/ 3/ ( 1 1 8 x 14 8"), 1957 (1903–1974) 192 x 196mm (7 2 x 7 4"), in red below image, c i rc a 1 9 5 0 Given by the photographer’s sister, Writer and journ a l i s t July 1954 Given by the photographer 1968 Susan Morton, 1976 Given by the photographer 1968 Sir Cecil Beaton (1904–1980)§ Ian Lancaster Fleming (1908–1964) P869(7): vintage bromide print Elizabeth Bowen (1899–1973) Thomas Stearns (‘T.S.’) Eliot A u t h o r on white card mount, Novelist and writer 3 1 ( 1 8 8 8 – 1 9 6 5 ) 172 x 240mm (6 /4 x 9 /2"), 1942 Sir Cecil Beaton (1904–1980)§ P o e t Sir Cecil Beaton (1904–1980)§ Given by the photographer 1968 P869(14): vintage bromide print on P869(5): vintage bromide print on white Sir Cecil Beaton (1904–1980)§ white card mount, 244 x 240mm 5/ 1/ c a rd mount, 237 x 170mm Indira, Maharanee of Cooch Behar P869(12): vintage bromide print ( 9 8 x 9 2"), signed in pencil below 3/ 3/ ( 9 8 x 6 4 "), 1943 ( 1 8 9 2 – 1 9 6 8 ) on white card mount, 239 x 243mm image, c i rc a 1 9 6 0 3/ 5/ Given by the photographer 1968 S o c i a l i t e ( 9 8 x 9 8"), inscribed ‘Beaton’ Given by the photographer 1968 in red crayon below image, 1956 Vintage prints by Dorothy Wilding, John Bright (1811–1889) Given by the photographer 1968 Sir Te rence (‘Te rry’) Frost (1915–) mid-1920s to 1957 Statesman and orator A rtist and teacher of art D o rothy Wilding (1893–1976) Queen Elizabeth II (1926–) R u p e rt Potter (1832–1914) P870(2): chloro b romide print S e l f - p o rt r a i t Queen re g n a n t P862: carbon print, 292 x 176mm on tissue and card mount, 6550: etching, 247 x 190mm 1 7 1 1 3 1 ( 1 1 /2 x 6 /8"), September 1879 87 x 207mm (11 /4 x 8 /8"), 1928 Vintage prints by Dorothy Wilding, ( 9 /4 x 7 /2"), signed, numbered A c q u i red before 1977 Given by the photographer’s sister, mid-1920s to 1957 8/20, and dated below plate, 1979 Susan Morton, 1976 D o rothy Wilding (1893–1976) P u rchased 1983 Frank Bruno (1961–) P870(5): chloro b romide print B o x e r Sir Noel Coward (1899–1973) on tissue and card mount, Sir Te rence (‘Te rry’) Frost (1915–) 3/ 1/ A c t o r, playwright and composer 290 x 215mm (11 8 x 8 2"), 1952 A rtist and teacher of art Tom Wood (1955–) Given by the photographer’s sister, 6566: coloured etching, Vintage prints by Dorothy Wilding, Susan Morton, 1976 S e l f - p o rt r a i t 5 5 524 x 524mm (20 /8 x 20 /8") mid-1920s to 1957 6551: etching, 276 x 201mm 7 7 signed, inscribed and dated, 1983 D o rothy Wilding (1893–1976) ( 1 0 /8 x 7 /8"), signed and Queen Elizabeth II (1926–) P u rchased 1984 P870(3): vintage tissue-mounted dated below plate, 1980 Queen re g n a n t b romide print, 419 x 324mm P u rchased 1983 1/ 3/ Sir Henry (‘Chips’) Channon ( 1 6 2 x 12 4"), 1930 Vintage prints by Dorothy Wilding, ( 1 8 9 7 – 1 9 5 8 ) Given by the photographer’s sister, mid-1920s to 1957 Peter (1950–) P o l i t i c i a n Susan Morton, 1976 D o rothy Wilding (1893–1976) M u s i c i a n P870(6): cream-toned bromide Sir Cecil Beaton (1904–1980)§ David Hiscock (1956–) Elizabeth David (1913–1992) print on tissue mount, 5 P869(6): vintage bromide print on 448 x 357mm (17 /8 x 14"), 1952 P857: chloro b romide print, C o o k e ry writer 1 3 white card mount, 239 x 174mm Given by the photographer’s sister, 565 x 492mm (22 /4 x 19 /8") 3 7 ( 9 /8 x 6 /8"), 1943 Sir Cecil Beaton (1904–1980)§ Susan Morton, 1976 uneven, signed and dated, 1986 Given by the photographer 1968 P869(8): vintage bromide print Given by Peter Gabriel Ltd, 1986 on white card mount, 3 1 Queen Elizabeth, 187 x 191mm (7 /8 x 7 /2"), 1970 Michael Clark (1962–) The Queen Mother (1900–) Alice (née Montagu-Douglas-Scott), Given by the photographer 1972 Dancer and chore o g r a p h e r Queen of George VI Duchess of Gloucester (1901–) ‘The New Puritan’ Vintage prints by Dorothy Wilding, Dame Ninette de Valois Vintage prints by Dorothy Wilding, David Buckland (1949–) mid-1920s to 1957 (Mrs A.B. Connell) (1898–2001) mid-1920s to 1957 P858: cibachrome print, D o rothy Wilding (1893–1976) D o rothy Wilding (1893–1976) 1 7 D i rector of the Royal Ballet 997 x 759mm (39 /4 x 29 /8"), 1985 P870(4): chloro b romide print on tissue P870(7): chloro b romide print P u rchased 1986 Sir Cecil Beaton (1904–1980)§ and card mount, 440 x 364mm on tissue and card mount, 3 3 3/ 3/ P869(9): vintage bromide print on ( 1 7 /8 x 14 /8"), 1937 476 x 325mm (18 4 x 12 4"), 1939 white card mount, 192 x 191mm Given by the photographer’s sister, Given by the photographer’s sister, 1 1 ( 7 /2 x 7 /2"), inscribed ‘Beaton’ in Susan Morton, 1976 Susan Morton, 1976 red below image, November 1955 Given by the photographer 1968

o p p o s i t e John Piper by Peggy Angus, 1937 38 39

Double and group portr a i t s Ar ranged by acquisition number Transfers to Pri m a r y Col l e c t i o n

Alice (née Montagu-Douglas-Scott), (1894–1963) Marina, Duchess of Kent (1906–1968) Cathleen Mann (1896–1959) Steve Ovett (1955–) Alan Sillitoe (1928–) William John Christopher Va s s a l l John Randall Bratby (1928–1992) Duchess of Gloucester (1901–) N o v e l i s t Wife of 1st Duke of Kent A rt i s t A t h l e t e Wr i t e r ( 1 9 2 4 – 1 9 9 6 ) P a i n t e r; Josephine (‘Joey’) Pleasence Soviet spy Photographs by Madame Yevonde, 1930s Sir Cecil Beaton (1904–1980)§ Vintage prints by Dorothy Wilding, Photographs by Madame Yevonde, 1930s Peter Webster (1958–) H u b e rt Andrew Freeth (1912–1986) (née Crombie) (1929–) A c t ress and Madame Yevonde (1893–1975) P869(17): vintage bromide mid-1920s to 1957 Madame Yevonde (1893–1975) 6564: chalk, 6554: chalk, 404 x 291mm Sir Cecil Beaton (1904–1980) nurse; second wife of Donald Pleasence 3 3 7 3 P871(1): Vivex colour print, print on white card mount, D o rothy Wilding (1893–1976) P871(3): Vivex colour print, 756 x 568mm (29 /4 x 22 /8"), ( 1 5 /8 x 11 /8") uneven, signed 6552: oil on canvas, 557 x 352mm John Randall Bratby (1928–1992) 3 1 3 5 3 5 7 364 x 260mm (14 /8 x 10 /4"), 1935 212 x 168mm (8 /8 x 6 /8"), 1936 P870(11): chloro b romide print 374 x 271mm (14 /4 x 10 /8"), 1932 signed, inscribed and dated, 1984 and inscribed, and autographed (22 x 13 /8"), signed, 1966 6555: oil on canvas, 1676 x 914mm Given by the photographer 1971 Given by the photographer 1968 on tissue and card mount, Given by the photographer 1971 P u rchased 1984 and dated by sitter, 1959 Given by the Executors of (66 x 36"), signed, 1967 5 448 x 355mm (17 /8 x 14"), 1940 P u rchased 1976 Eileen Hose 1991 P u rchased 1988 Given by the photographer’s sister, A rnold Abraham Goodman, Baro n Michael (‘Mick’) Jagger (1943–) Princess Marg a ret (1930–) John Egerton Christmas Piper Susan Morton, 1976 Goodman (1913–1995) Singer and composer Daughter of George VI; ( 1 9 0 3 – 1 9 9 2 ) Dame (1887–1964) D o rothy Wilding (1893–1976) The Rolling Stones: Michael (‘Mick’) L a w y e r Countess of Snowdon A rt i s t P o e t P h o t o g r a p h e r Andy Wa rhol (1928–1987) Jagger (1943–); Keith Richard (1943–); Ronald B. Kitaj (1932–) Sir Cecil Beaton (1904–1980)§ 6561: silkscreen print, 1115 x 735mm Vintage prints by Dorothy Wilding, Peggy Angus (Marg a ret MacGre g o r ) Sir Cecil Beaton (1904–1980) Vintage prints by Dorothy Wi l d i n g , Charles (‘Charlie’) Watts (1941–) 7 7 P a i n t e r Members of the Rolling Stones P869(15): vintage bromide print on ( 4 3 /8 x 28 /8"), signed and mid-1920s to 1957 ( 1 9 0 4 – 1 9 9 3 ) P867: vintage bromide print, mid-1920s to 1957 7 7 white card mount, n u m b e red ‘142/250’, and on Frank Auerbach (1931–) D o rothy Wilding (1893–1976) 6545: pencil, crayon and wash, 225 x 176mm (8 /8 x 6 /8"), 1927 S e l f - p o rt r a i t Laurie Lewis (1944–) 3 1 3 1 5 238 x 189mm (9 /8 x 7 /2"), 1968 plate, autographed by sitter, 1975 6558: etching, 151 x 137mm (6 x 5 /8" ) , P870(12): chloro b romide print on tissue 521 x 625mm (20 /2 x 24 /8"), Given by Laurence Whistler 1977 P870(13): cream-toned bromide P852: ‘c’ type colour print, 1 Given by the photographer 1968 P u rchased 1980 signed, inscribed, numbered ‘20/50’, and white card mount, 453 x 370mm signed and dated, 1937 print on tissue and card mount, 363 x 763mm (14 /4 x 30"), 1973 7 5 1 and dated below plate, 1980 ( 1 7 /8 x 14 /8"), November 1947 /8 Given by Henry Keswick 1988 Dame Edith Sitwell (1887–1964) 151 x 105mm (6 x 4 "), mid-1920s P u rchased 1980 P u rchased 1981 Given by the photographer’s sister, Piers Gough (1946–) Michael (‘Mick’) Jagger (1943–) P o e t Given by the photographer’s sister, Susan Morton, 1976 A rc h i t e c t Singer and composer Sir Victor Sawdon (V.S.) Pritchett Susan Morton, 1976 Sir Cecil Beaton (1904–1980) G i l b e rt and George (1943–; 1942–) Leon Kossoff (1926–) ( 1 9 0 0 – 1 9 9 7 ) David Wa rd (1951–) Laurie Lewis (1944–) P868: vintage bromide print, A rt i s t s Painter and draughtsman Dame Alicia Markova (1910–) Writer and critic E d w a rd, Duke of Windsor P856: bromide print, 359 x 359mm P851: ‘c’ type colour print, 253 x 203mm (10 x 8"), 1928 Chris Garnham (1958–1989) 1 1 5 1 B a l l e r i n a (King Edward VIII) (1894–1972) ( 1 4 /8 x 14 /8"), signed, inscribed and 576 x 461mm (22 /8 x 18 /8"), 1973 Frank Auerbach (1931–) R u p e rt Shephard (1909–1992) Given from the estate of R.H. Wi l e n s k i Reigned 1936 P853: two bromide prints, 1 1 dated on reverse, 1981 P u rchased 1980 6553: etching, 154 x 140mm Jacob Kramer (1892–1962) 6544: pencil, 1 9 9 4 597 x 495mm (23 /2 x 19 /2"), 1986 1 1 7 1 P u rchased 1986 ( 6 /8 x 5 /2"), signed, inscribed, numbere d 6549: pastel, 593 x 464mm 453 x 388mm (17 /8 x 15 /4"), 1972 Vintage prints by Dorothy Wilding, P u rchased 1986 3 1 20/50, and dated below plate, 1980 ( 2 3 /8 x 18 /4") uneven, signed, and Sir Elton John (Reginald P u rchased 1974 Tim Souster (1943–1994) mid-1920s to 1957 P u rchased 1981 autographed and dated by the sitter, 1936 D o rothy Wilding (1893–1976) Quintin McGarel Hogg, 1st Baro n Kenneth Dwight) (1947–) C o m p o s e r E rnest Procter (1886–1935) A rt i s t , P u rchased 1973 Hailsham of St (1907–) Singer and composer Zandra Rhodes (1940–) P870(14): cream-toned David Wa rd (1951–) with his wife Dod Procter (née Shaw) Lo r d Chancellor; son of 1st Viscount Hailsham Emilie Charlotte (‘Lillie’) Langtry Fashion designer b romide print, 498 x 390mm 5 3 (1891–1972) P a i n t e r ‘On the thro n e ’ P854: bromide print, 359 x 359mm ( 1 9 /8 x 15 /8"), Febru a ry 1955 ( 1 8 5 3 – 1 9 2 9 ) Nancy Fre e m a n - M i t f o rd (1904–1973) 1 1 Sir Cecil Beaton (1904–1980)§ Suzi Malin (1950–) N o rman Parkinson (1913–1990) ( 1 4 /8 x 14 /8"), signed, inscribed A c t ress and ‘professional beauty’ Writer and biographer Given by the photographer’s sister, Felix H. Man (Hans Baumann) (1893–1985) P869(16): bromide print on white 6563: tempera on gold leaf, P850: colour print, and dated on reverse, 1981 Susan Morton, 1976 P866: vintage fib re-based print 3 1 1 c a rd mount, 406 x 349mm (16 x 13 /4"), 1978 H e n ry Van der Weyde (1838–1924) Sir Cecil Beaton (1904–1980)§ 368 x 368mm (14 /2 x 14 /2"), 1981 P u rchased 1986 mounted on card, 5/ 3/ 1 5 246 x 196mm (9 8 x 7 4"), 1945 Given by Algie Cluff 1980 P863: albumen portrait, P869(20): vintage bromide Given by the photographer 1981 235 x 296mm (9 /4 x 11 /8"), 1934 3 1 Wallis, Duchess of Windsor Given by the photographer 1970 146 x 104mm (5 /4 x 4 /8") print on white card mount, Joanna (‘Jo’) Spence (1934–1992) Given by the photographer before 1985 7 1 ( 1 8 9 6 – 1 9 8 6 ) with photographer’s blind stamp, 225 x 182mm (8 /8 x 7 /8"), 1965 Charles Samuel Keene (1823–1891) Sir George Scharf (1820–1895) P h o t o g r a p h e r Wife of the Duke of Wi n d s o r on photographer’s printed Given by the photographer 1968 Maggi Hambling (1945–) I l l u s t r a t o r A rt historian; first Director of the Walter Richard Sickert (1860–1942) c a rd mount, April 1885 S e l f - p o rt r a i t Vintage prints by Dorothy Wilding, P a i n t e r National Portrait Gallery P a i n t e r, with his third wife Therese Horace Harral (fl. 1844–1891) P u rchased 1973 P849: colour print, 409 x 285mm mid-1920s to 1957 B ryan Walter Guinness, 2nd Baro n 1 1 L e s s o re (1884–1945) P a i n t e r S e l f - p o rt r a i t P861: platinum print, 241 x 192mm William Edward Kilburn ( 1 6 /8 x 11 /4"), signed and D o rothy Wilding (1893–1976) 1 1 Moyne (1905–1992) 6562: oil on canvas, 1520 x 1750mm ( 9 /2 x 7 /2"), signed below image ( fl. c i rc a 1 8 4 0 – 1 9 0 0 ) dated below image, 1990 P870(15): chloro b romide print on tissue Sir Cecil Beaton (1904–1980)§ 7 7 G e rt rude Lawrence (1898–1952) Poet, novelist and playwright ( 5 9 /8 x 68 /8") signed, inscribed on mount, 1860s P859: daguerreotype, Given by Fay Godwin 1993 A c t re s s and card mount, 359 x 404mm P869(21): vintage bromide print 1/ 3/ 1 7 and dated on stre t c h e r, 1977–1978 Given by John A. Hipkins 1927 Augustus Edwin John (1878–1961) 78 x 59mm (3 8 x 2 8"), 1847 ( 1 4 /8 x 15 /8"), 1935 on white card mount, Given by Imperial Tobacco Ltd, 1992 As the Muse of Comedy 6547: chalk, 539 x 338mm A c q u i red from the sitter’s estate 3/ 1/ Clarkson Stanfield (1793–1867) Given by the photographer’s sister, 222 x 257mm (8 4 x 10 8"), 1941 1 1 Photographs by Madame Yevonde, 1930s ( 2 1 /4 x 13 /4"), initialled ‘A’ and on Kay Kendall (1926–1959) Marine and landscape painter Susan Morton, 1976 Given by the photographer 1968 A c t re s s Madame Yevonde (1893–1975) reverse, inscribed and dated ‘circa 1932’ P871(2): Vivex colour print, Given by the sitter 1978 William Lake Price (1810–after 1896) 5 3 Sir Kingsley Wood (1881–1943) G e o rge Edward Alexander Edmund, Sir Cecil Beaton (1904–1980)§ 373 x 290mm (14 /8 x 11 /8"), 1930s P860: albumen print, arched top, 1 3 P o l i t i c i a n 1st Duke of Kent (1902–1942) F o u rt h P869(18): vintage bromide print Given by the photographer 1971 292 x 248mm (11 /2 x 9 /4"), on Jean Muir (1928–1995) son of , with his wife Marina, on white card mount, 214 x 182mm photographer’s printed mount with Sir Cecil Beaton (1904–1980)§ 3 1 Fashion designer Duchess of Kent (1906–1968) ( 8 /8 x 7 /8"), inscribed ‘Beaton’ facsimile of sitter’s signature, May 1857 Dame (Emilie) Rose Macaulay P869(23): vintage bromide print on in pencil on mount, 1957 David Remfry (1942–) Given by an anonymous donor 1976 ( 1 8 8 1 – 1 9 5 8 ) white card mount, 242 x 193mm Vintage prints by Dorothy Wilding, 1 5 Given by the photographer 1968 6556: waterc o l o u r, 1026 x 689mm ( 9 /2 x 7 /8"), 1930s mid-1920s to 1957 A u t h o r 3 1 ( 4 0 /8 x 27 /8"), signed and dated, 1981 Sir Tom Stoppard (1937–) Given by the photographer 1968 D o rothy Wilding (1893–1976) Sir Cecil Beaton (1904–1980)§ P u rchased 1981 G e o rge Edward Alexander Edmund, Playwright and scre e n w r i t e r P870(10): chloro b romide print P869(19): vintage bromide print 1st Duke of Kent (1902–1942) Diana Wy n y a rd (1906–1964) on tissue and card mount, on white card mount, 239 x 191mm H o w a rd Morgan (1949–) 3/ 1/ F o u rth son of George V G e o rge Orwell (Eric Arthur Blair) 390 x 335mm (15 8 x 13 4"), 1934 3 1 A c t re s s ( 9 /8 x 7 /2"), March 1958 6559: charcoal, 670 x 489mm Given by the photographer’s sister, ( 1 9 0 3 – 1 9 5 0 ) 3 1 Vintage prints by Dorothy Wilding, ( 2 6 /8 x 19 /4"), signed and dated, 1980 Sir Cedric Webster Hardwicke Given by the photographer 1968 Novelist and critic Vintage prints by Dorothy Wilding, Susan Morton, 1976 ( 1 8 9 3 – 1 9 6 4 ) mid-1920s to 1957 Commissioned 1980 mid-1920s to 1957 D o rothy Wilding (1893–1976) Felix H. Man (Hans Baumann) Actor and writer B ruce McLean (1944–) D o rothy Wilding (1893–1976) P870(9): chloro b romide print ( 1 8 9 3 – 1 9 8 5 ) Louis Mountbatten, Earl Mountbatten A rt i s t G e o rge Macaulay Trevelyan P870(16): chloro b romide print Vintage prints by Dorothy Wilding, on tissue and card mount, P865: bromide print, 283 x 184mm of Burma (1900–1979) Admiral of the ( 1 8 7 6 – 1 9 6 2 ) on tissue and card mount, 7 1 1 1 F l e e t, with his wife Edwina Cynthia, mid-1920s to 1957 453 x 310mm (17 /8 x 12 /4"), 1934 Alastair Thain (1961–) ( 1 1 /8 x 7 /4"), signed and dated, 1949 1/ G e o rge Bern a rd Shaw (1856–1950) Historian; son of Sir George 433 x 333mm (17 x 13 8"), 1937 D o rothy Wilding (1893–1976) Given by the photographer’s sister, P855: four bromide prints, 502 x 400mm Given by the photographer 1977 Countess Mountbatten of Burm a P l a y w r i g h t Otto Tre v e l y a n Given by the photographer’s sister, 3 3 ( 1 9 0 1 – 1 9 6 0 ) P870(8): chloro b romide print Susan Morton, 1976 ( 1 9 /4 x 15 /4") each, 1984 Susan Morton, 1976 Photographs by Madame Yevonde, 1930s on tissue and card mount, P u rchased 1986 Sir Cecil Beaton (1904–1980)§ Photographs by Madame Yevonde, 1930s 3/ 1/ Madame Yevonde (1893–1975) 341 x 385mm (13 8 x 15 8"), 1933 P869(22): vintage bromide print on Madame Yevonde (1893–1975) P871(5): Vivex colour print on § From the collection ‘Vintage Given by the photographer’s sister, white card mount, 192 x 183mm P871(4): Vivex colour print, black card mount, 337 x 263mm 1 1 photographs by Sir Cecil Susan Morton, 1976 ( 7 /2 x 7 /4"), 1 September 1943 1/ 2/ 1 3 362 x 272mm (14 4 x 10 4"), 1937 ( 1 3 /4 x 10 /8"), 1937 Beaton 1930–70’ Given by the photographer 1968 Given by the photographer 1971 Given by the photographer 1971 Sir Cecil Beaton (1904–1980) 40

S TA F F

D I R E C T O R PUBLIC RELATIONS AND Vi rginia Guillen, Annette Harr i s o n , T R A D I N G Charles Saumarez Smith D E V E L O P M E N T Francesca Harrod, Lateef Kareem, R o b e rt Carr- A rc h e r, Head of Tr a d i n g Pim Baxter, Head of Public Relations Aline Kuyvenhoven (from May 2000), Shirley Ellis, Trading, Administrative Emily Adams, Assistant to the Dire c t o r and Development Vivian Johnson, David Jones, Assistant (from June 2000) Seraphina Coff m a n , C a role Joyce, Andy Le Bas, P ress and Marketing P u b l i c a t i o n s Se c re t a r y/Administrative Assistant James MacDonald (from July 2000), Emma Marlow, Marketing Manager Jacky Colliss Harv e y, Publishing Manager ( f rom November 2000) Philip Marsden, Russell Mirfin (fro m Hazel Sutherland, Press Offic e r Anjali Bulley, Senior Editor November 2000), Caroline Molyneux, Pippa Ta y l o r, PR and Development Susie Foster, Editor Mick Nicholson, Ashok Patel, Assistant (to October 2000) Ruth Müller- Wi rth, Senior Pro d u c t i o n CU R A TORIAL AND COLLECTIONS C a roline Perreira (from October 2000), Antonia Perkins, PR and Marketing C o n t roller (from June 2000) C u r a t o r s Eric Rebello, Pamela Ruff, William Ryan, Assistant (from December 2000) Pallavi Vadhia, Sales and Marketing Offic e r Robin Gibson, Chief Curator B rett Sadhwani, Sheelagh Schokman, (to January 2001) Fundraising and Development Valerie Scully, Paul Ta y l o r, P i c t u re Library Jacob Simon, Chief Curator Kate Crane, Fundraising Manager Sarah Thompson, James Wa rd Tom Morgan, Picture Library Manager ( f rom Febru a ry 2001) (to September 2000) ( f rom November 2000), Albert Wilkins, James Kilvington, 18th Century (to January 2001) B e rnadette O’Sullivan, Kathleen Wi l k i n s Assistant Picture Library Manager Catharine MacLeod, Corporate Development Manager P i c t u re Librarians: Bern a rd Horro c k s P a rt - Time Wa rd e r s 16th and 17th Century ( f rom December 2000) ( c a reer break from September 2000), A rthur Bell, Elizabeth Hudson-Slade, Peter Funnell, 19th Century Kirsty Macmillan, Matthew Bailey (from August 2000), Daphne Zawadzki. 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