Review 2007/2008

Terence Stewart Stores SupervisorRobert Ryan Stores Assistant until 01/08Kieron Wakeman Stores Assistant from 01/08

Learning and Access

Liz Smith Head of Learning and Access from 06/07Liz Rideal Learning Manager – Art until 01/08, Art Resources Developer from 01/08Clare Gittings Learning ManagerTanja Ganger Learning Manager – Art from 01/08Rachel Moss Young People’s Programmes ManagerJanette Cullen Family Programmes Manager on leave from 11/07Kevina Khan Family Programmes Manager from 11/07Sumi Ghose Adult Programmes ManagerLucy Ribeiro Learning and Access ManagerFrancesca Silvester Access and Outreach Assistant on leave from 11/07Kalliopi Liouta Access and Outreach Assistant from 11/07Rosie Burley Access and Outreach Assistant from 09/07Andrea Easey Interpretation EditorAnna Bright Short Text WriterRebecca Connock Reaching Out Drawing In Project Manageruntil 11/08Phillippa Heath Learning Services ManagerEmma Middleton Learning Services AssistantAmy Wedderburn Learning Services AssistantGabriel Thorp AV/Theatre Technician

Finance and Planning

Nick Hanks Head of Finance and Planning from 09/07Barbara Jotham Head of Finance and Planning until 06/07Nico Nicholas Finance ManagerTerence Greenwood Assistant Finance ManagerJenny Dewhirst Management and Planning AccountantStella Muziya Assistant Management AccountantSusan Deane Payroll OfficerFinance Assistants: Peter Beadle, Olamide Ogunlesi

Resources

Judith West Head of ResourcesLouis Brady Head of Information TechnologyAnn Lahiff IT Infrastructure and Development ManagerMartin Empson IT Systems Officer until 08/07David Lloyd IT Support and Development ManagerSimon Jones IT Support OfficerKevin Day IT Support OfficerRon Hurtado IT Assistant from 08/07Steve Ames Facilities ManagerAllan Tyrrell Engineering ManagerJohn Dawson Building Services Co-ordinatorClaire Zammit Head of Visitor Services and SecurityCaroline Wynter Head of PersonnelLlorett Kemplen Training and Development ManagerJagdish Sandhu Senior Personnel OfficerLucy Evans Personnel AssistantMelanie Pelletier Personnel AssistantElizabeth Fomin Contracts/Procurement Adviser from 12/07

Visitor Services

Visitor Services Managers:Rafal Kennedy from 09/07, Heather Packham from 05/07,Rosie Pagan, Colin Wood until 08/07Assistant Visitor Services Managers:Jennifer Hopkins from 07/07, Andrew Hudson,Adriana Oliveira from 01/08, Mark Van Beurden Visitor Services Assistants:Roz Ah Thion, Henar Arevalo, Joseph Armstrong,Stephen Atkins, Barbara Barnett, Michael Barratt from 07/07, Linda Beadle until 06/07, Yamina Belkacemi,

Pierre Berthou until 02/08, Lynn Boothman,Rosemary Brookes, Sarah Brown until 05/07,Leonie Brumby from 07/07, Michelle Cajapin from 07/07,Chia Han Chou from 07/07, Athanasia Christopoulou,Kevin Clarke until 09/07, Eveline Coker, David Coomber,Brenda Copleston, Victor Cruz, Fausta Cuboni from 07/07,Anna Di Cesare, Margaret Drury, Stuart Evans,Emma Fitzpatrick from 02/08, Andrea Giles, Davina Gregory,Emma Halliday until 12/07, Annette Harrison, Carole Joyce,Pooja Kalyan from 02/08, Martha King from 02/08,Ji Lamey, Magdelena Lewandowska, Yu-chu Liu from 02/08,Giles Livsey, James MacDonald, Lanny Madhavan,Carlos Maestre, Cassandra Makris, Philip Marsden,Ruth Mason, Ashok Patel, Valerie Peppiatt, Simon Perryuntil 08/07, Carl Prince, Aman Sagoo until 01/08,Janelle St Bernard, Rebecca Seal, Katie Sharp from 02/08,Urszula Skiba from 07/07, Lauren Skyers from 02/08,Claire Softley from 07/07, Evelyne Sperling, Lee Summers,Paul Taylor, Susan Taylor, Sarah Thompson, Andrea Toon,Sonika Ummat from 02/08, Numvi Wallace,Kathleen WilkinsNigel Phillips Senior Control Room Officer from 01/08Control Room Officers:Majeed Hyderkhan, Judith Lockyer, Nigel Phillips,David Read, Konstantin Silkoff until 11/07, Garry Tyndall,Michael Worsley until 02/08

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

89% White11% Black and Minority Ethnic 33% Male 67% Female 1.4% Disabled21% Part-time employees

The Review covers the Gallery’s activities for the financial year from April 2007 to March 2008

Published byNational Portrait GallerySt Martin’s PlaceLondon WC2H 0HET 020 7306 0055F 020 7306 0056

The National Portrait Gallery website can be visited at www.npg.org.uk

Copyright© National Portrait Gallery 2008ISBN 13: 978 1 85514 402 6

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or otherwise, without prior permission in writing from the publisher.

All images are copyright of the National Portrait Gallery unless otherwise stated. The National Portrait Gallery would like to thank the copyright holders for granting permission to reproduce works in this publication.

Designed by Anne SørensenProject managed by Denise EllitsonEdited by Elisabeth InglesPrinted by Tradewinds London

Front cover artwork by David Hockney‘Self-portrait with Charlie’, 2005Oil on Canvas, 72 x 36in.© David Hockney 2005

Back coverJohn Fletcher (detail)by an unknown artist, c.1620

Inside front coverIn the Car (detail)by Roy Lichtenstein, 1963featured in the Pop Art Portraits exhibition© The Estate of Roy Lichtenstein/DACS, London 2008Photograph © EMPICS

National Portrait Gallery Review 2007/8 incorporating Accounts ordered to be printed by the House of Commons on 17 July 2008 as HC759

Review 2007/2008

2 Preface by the Chairman of the Trustees3 Foreword by the Director4 2007/2008 Highlights6 Extending and Broadening Audiences 12 Developing the Collection 16 Increasing Understanding of Portraiture and the Collection24 Maximising Financial Resources29 Developing Staff 30 Improving Services 33 Supporters36 Financial Report40 Acquisitions47 Exhibitions 48 Staff

The year opened with a special exhibition oftreasures from the Gallery’s Collection presentedin the renewed building of the National PortraitGallery of America in Washington, D.C. EntitledGreat Britons, it offered to American viewers a microcosm of what is important about theNational Portrait Gallery in Britain – a panorama of British history centred on the achievements and lives of leaders, writers, reformers, scientists,artists and all those who have contributed tomake ours such an extraordinary nation of talents. Through the special qualities of the art of portraiture, the Gallery offers, alongside othercollections, an engaging way of approachingquestions of culture, identity and nationhood.

The Gallery’s American links were furtherconsolidated with the announcement of anoutstanding gift from the Lerner family. This £5 million donation offers the chance to extendresearch, digital and outreach programmes overthe next three years. It will also help to build upthe Portrait Fund, a crucial goal for the Gallery.The acquisition of the portrait of the writer John Fletcher was supported by the Portrait Fund,and through generous contributions from the Art Fund (to which we offer continuing thanks)and individual supporters, including Patrons,Associates and Members.

Thanks to a mix of public and private support, the Gallery goes from strength to strength, and I am most grateful to all those trusts andfoundations, sponsors and corporate members, as well as private individuals, who so wonderfullysupport its programmes. We were pleased toreceive a positive increase in our Grant-in-Aidfollowing the government’s Comprehensive

Spending Review, but we will continue to makethe case that the present level of revenue fundingneither matches what the Gallery achieves, nor yet invests appropriately in an institution thatholds such a central place in the life of the nation.

I want to thank my fellow Trustees for all they do for the Gallery; their interest and engagementare exemplary and much appreciated. During the year Baroness Valerie Amos took up anotherpost and so completed her period as one of ourex-officio Trustees. I am very grateful for hersupport and wise counsel, and I am pleased towelcome Baroness Cathy Ashton who, as the newLord President of the Council, has been appointedin her place.

Finally, on behalf of the Trustees I should like to offer my warmest thanks to all of the Gallery’sstaff and volunteers. As the pages of this Reviewdemonstrate, they are extraordinarily dedicated to public service, and they offer their knowledgeand expertise on an unstinting basis.

Professor David Cannadine

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Preface by theChairman of the Trustees

David Cannadineby Kristofer Dan Bergman© Kristofer Dan Bergman

Board of Trustees1 April 2007 to 31 March 2008

Professor David Cannadine, FBA, FRSLChairman

The Rt. Hon. Baroness AmosLord President of the Council (until June 2007)

The Rt. Hon. the Baroness Ashton of UphollandLord President of the Council (from June 2007)

Zeinab Badawi

Sir Nicholas Blake

Professor Robert Boucher, CBE, FREng

The Marchioness of Douro

Amelia Chilcott Fawcett, CBEDeputy Chairman and Chair of the Development Board

Flora Fraser

Professor Ludmilla Jordanova

Sir Nicholas Grimshaw, CBEPresident of the Royal Academy

David Mach, RA

Sir Christopher Ondaatje, OC, CBE

David RossChair of the Audit and Compliance Committee

Professor Sara Selwood

Alexandra Shulman, OBE

Sir John Weston, KCMG

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Foreword by the Director

This is the second consecutive year in which theGallery has had more than 1.65 million visitors. Itscontinuing popularity relates in part to the successof exhibitions ranging from the BP Portrait Awardto Vanity Fair Portraits. Underpinning such interestin our exhibitions are the changing displays, newforms of interpretation and an expanding rangeof learning programmes, which are increasinglytargeted at off-site audiences as well as thosevisiting the Gallery itself. The successful NationalProgramme with partners around the country, and the 14.8 million visits to the website, alsotestify to the strength of interest in our work.

2007 marked the 200th anniversary of the firstAct of Parliament for the abolition of the slavetrade. The Gallery wanted to find an appropriateway of commemorating this importantbicentenary in order to draw attention to thosewho played a part in the trade; and then toacknowledge the work of freed slaves andactivists, as well as the parliamentary reformers;and finally, to show the achievements of thoseworking against slavery today. The special displayand trail was complemented with workshops andmusic, and coincided with the Between Worldsexhibition and the Devotional display, devised by the artist Sonia Boyce.

Alongside the public programmes, it is essentialthat the Gallery develops its research work,whether through special programmes such asMaking Art in Tudor Britain and the catalogue of Later Victorian Portraits, or through partnershipswith universities, or a scheme such as thatsupported by the Leverhulme Trust, which brings outstanding scholars to the Gallery. Thedevelopment of better access to the material

of the Heinz Archive and Library and cooperationwith other institutions through the Subject SpecialistNetwork on Portraiture have also made goodprogress this year.

The 2007 Department of Culture, Media and Sportreview by Brian McMaster emphasised excellencein the cultural sector. The Gallery supports his view,but would stress the importance of excellence inall of its work, including learning, outreach and the essential support services for the long-termcare of a national collection. Training and staffdevelopment work have increased, while effortscontinue to refine the Gallery’s processes,particularly with the first year of the NationalPortrait Gallery Trading Company.

A significant development was the planning forthe Cultural Olympiad 2008–2012, with which we share an interest in achievement, diversity,young people and international links. The Galleryhas made plans for three levels of activity includingdisplays at the Gallery itself, a commissions andcommunity programme entitled The Road to 2012,and The National Portrait, a way of looking afreshat the whole nation. Each of these strands willhelp the Gallery fulfil its long-term goal of seekingmore engagement with audiences nationwide.

Sandy Nairne

Sandy Nairneby Eamonn McCabe, 2008© Eamonn McCabe

2007/2008 Highlights

There were over 1.65 million visits to St Martin’sPlace – and the Gallery was listed as the eleventh most popular attraction in Britain in a survey by the Association of Leading Visitor Attractions. Of those sampled while visiting, 98.5% said they would recommend a visit to a friend.–Successful exhibitions undertaken during the year included Great Britons, Daily Encounters, Pop Art Portraits and Vanity Fair Portraits. Inaddition, the Gallery mounted a display andspecial trail devised for the commemoration of the 200th anniversary of the first Act ofParliament for the abolition of the slave trade.–The BP Portrait Award 2007 exhibition attractedover 195,000 visits. A record entry of 1,876 wasreceived, the highest ever for the competition to date. –The 2007 Photographic Portrait Prize attracted93,829 visitors – 6,000 more than in 2006 – and also registered a record entry for this prize of 6,072 prints.–The Gallery received a pledge from the LernerFoundation of a gift of £5 million over the nextthree years. Half of the donation will go to thePortrait Fund and half to extend learning,outreach, research and digital work at the Gallery.–A number of important acquisitions were made,among them David Hockney’s Self-portrait withCharlie, acquired with help from the proceeds ofthe 150th Anniversary Gala and Gift Aid fromvisitor donations on their ticket purchase, and the portrait of the Jacobean writer John Fletcherwith support from the Portrait Fund, the Art Fundand a successful public appeal.– New commissions completed in the year includedphotographs of leaders of ‘Faith and Church’ by Don McCullin and paintings of two scientists,Sir Paul Nurse by Jason Brooks, supported byJPMorgan through the Fund for New Commissions,and Sir Peter Mansfield by Stephen Shankland,winner of the BP Portrait Award 2004.–The communications campaign for Face ofFashion won three major accolades in 2007: gold award for an Exhibition Campaign in theInternational Museum Communication Awards,silver award in the Visit London Awards forMarketing/PR Campaign of the Year and HighlyCommended in the Museums and HeritageAwards for Excellence.

There were almost 15 million visits to the website, making it the fourth most visited artswebsite in the country.–The Gallery secured a three-year sponsorship from Taylor Wessing for the Photographic Portrait Prize. Herbert Smith became the Gallery’s first Spring Season sponsor for 2008.–Research work continued on the detailedcatalogues of Later Stuart Portraits and Later Victorian Portraits, and progressed with the next phase of Making Art in Tudor Britain,with two additional Leverhulme FoundationFellows being appointed.–Self-generated income will have exceeded thetarget set by the DCMS by 20%.–There were 45,000 visits by school and collegeparticipants, a 7% increase on the previous year. Following the completion of Reaching Out,Drawing In, funded by the Heritage Lottery Fund,further outreach work was carried on with theMy Space exhibition and the development of the new Facing Out project.–The digitisation of the Gallery’s Collectioncontinued, with over 100,000 portraits nowviewable online, of which 56,000 have imagesavailable.–The Gallery received a grant from theDCMS/Wolfson Capital Funding Scheme for access improvements to the First Floor Landing.–The number of Members increased by 24% to 4,348. The number of Patrons exceeded, for the first time, the milestone of 100.–The Gallery’s new subsidiary, National PortraitGallery Trading Company, completed a successfulfirst year of trading.–200 children and young people took part in theinnovative Hospital Schools outreach programme,developed in partnership with Pop Art Portraitssponsors Lehman Brothers.

Artist Peter Blake and Andrea Sullivan, Head of European Philanthropy and Client Marketing, Lehman Brothers, take part in the Hospital Schools outreach programme© EMPICS

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The Gallery once again welcomed over 1.65 million visitors during 2007/8, a figure driven by a programme of popular exhibitions and displays and a communications strategy thatsuccessfully attracted key target audiences. Over66,000 visitors saw Face of Fashion: 40% of themhad never been to the Gallery before and 41%were aged under twenty-five. Pop Art Portraitsalso encouraged a new, young audience; over half were under thirty-four years old and 44%were on their first visit. Between Worlds was seen by 128,000 people, 49% of whom originatedoverseas and 9% of whom came from minorityethnic groups. The BP Portrait Award 2007attracted over 195,000 for the second yearrunning. Following a special marketing campaignpromoting the family activities linked to theexhibition, the number of children aged elevenand under increased by 6% year on year.

The communications campaign for the Face ofFashion exhibition won three major accolades.The marketing campaign achieved the gold awardfor an Exhibition Campaign in the InternationalMuseum Communication Awards 2007. The juryfelt that it was ‘well executed with high impactand strong stand-out’. The Gallery was HighlyCommended in the 2008 Museums and HeritageAwards for Excellence Marketing Campaigncategory and received a silver award in the Visit London Awards Marketing/PR Campaign of the Year 2007; it was commended for its‘successful combination of traditional media andnew media channels’ and was cited as ‘a greatexample of carefully targeted marketing’.

The Gallery’s programme of audience research,conducted by Morris Hargreaves McIntyre, hascontinued with a year-round exit survey and amajor qualitative project incorporating focusgroups and segmentation analysis. Resultsindicate that the Gallery continues to attract a younger audience, with 49% of all visitors aged under thirty-four. The visitor profile has also become more diverse: 8% were from black and minority ethnic groups, a 3% year on year increase, and 42% were from overseas.Enjoyment and satisfaction levels remain very high, with 95% rating their visit as ‘good’ or ‘excellent’.

Extending andBroadeningAudiences

Pop Art Portraits poster

Pim Baxter, Deputy Director andCommunications and DevelopmentDirector, receives the InternationalMuseum Communication Award inBrussels on behalf of the Gallery

OppositePupils from St Paul’s Way CommunitySchool in the ‘design4life’ workshop© design4life

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8

Extending and BroadeningAudiences Late night opening

The focus on Thursday evenings are popular high-profile talks, while on Fridays it is the music series, which has built up considerablemomentum. Highlights during the year includedstudents from the Royal College of Music beinginspired by the Photographic Portrait Prize and acomposition based on a sermon by John Donne,performed by Benjamin and Raphael Wallfisch.Performances by young people also feature onFriday evenings. Eleven young people took part in a lyric writing course, inspired by Sonia Boyce’sDevotional display. Their creative responsesresulted in a public performance. The Gallery took part in the Greater London Authority (GLA)‘Lates’ seasons during 2007. These evenings were hugely popular, Fashionista Friday, forexample, brought in over 2,000 visitors. There is still considerable scope for attracting visitors to Thursday and Friday evening events and thiswill be an aspiration for forthcoming initiativesplanned for 2008/9.

Families and young peopleA new initiative for summer 2007 was theintroduction of child-friendly labels and a portrait-making family interactive to encouragemore families to the BP Portrait Award exhibition,using characters from award-winning illustratorLauren Child’s ‘Charlie and Lola’ books. Self-directedresources for families will be developed in the nextyear for use across the Gallery. These will assist in supporting children and their adult carers inunderstanding portraits, making connections andtelling stories associated with the people depicted.

A ‘write your own caption’ competition for eleven- to twenty-one-year-olds was offeredonline, with texts written by members of theGallery’s Youth Forum. This was the first example of user-generated content, and it served as a useful experiment in an area that will be developed when the new website islaunched in autumn 2008.

The Forum now has twelve active members whomeet regularly. Some members have alreadycompleted the Arts Award Bronze, a nationalqualification for eleven- to twenty-five-year-oldsthat develops and assesses both arts-related skills (arts knowledge and understanding) andtransferable skills (creativity, communication,planning and review, teamwork and leadership).

Visitors learn to vogue with the ‘House of Egypt’ as part ofFashionista Friday, May 2007

Family activities at the Gallery

Geraldine Albertha Morris by Othello De Souza-Hartley, 2006© Othello De Souza-HartleyPart of the Four Corners exhibition

Drawing activity in the Early 20th Century galleries

Adults, schools and collegesThe schools programme had another successfulyear providing primary and secondaryprogrammes and resources for history, art andphotography. The focus is on cross-curricularteaching, citizenship and the new vocational14–19 Diplomas, all factors that will be affectingteaching and learning in secondary schools overthe coming year.

The Adult programme continues to evolve, withGallery talks, lunchtime or evening lectures andperformances to meet different interests andencourage new and diverse ways to work with the Gallery’s subjects, displays and exhibitions.

Highlights included artist Chuck Close on his forty-year career at the forefront of contemporaryportraiture in conversation with the biographerChristopher Finch, and the UK première of adocumentary on the Chinese-American movie star Anna May Wong, which was screened as part of our Chinese New Year Celebrations.

Partnerships with universities have broughtadditional expertise to the Adult programme.‘Inside and Outside the Codes of thePhotographic Archive’ was a popular study day run in collaboration with the London College of Communication.

Outside the GalleryAbout 200 children and young people have takenpart in a new and innovative Hospital Schoolsoutreach programme launched to accompany Pop Art Portraits. The exhibition inspired work with artists, animators and photographers on a multi-media project focusing on animation andcollage. The programme was launched with a ten-day animation project at the Evelina Children’sHospital (part of Guy’s Hospital) in November.Developed in partnership with exhibition sponsorsLehman Brothers, the programme will result in a report, which it is hoped will be a blueprint forbest practice for museums and galleries workingwith hospital schools.

The Gallery worked in partnership with theWallace Collection to develop a one-day pilotproject with adults with mental health issues.

Training for Visitor Services staff to deliver touchtours to partially sighted and blind visitors hasbeen arranged in partnership with the V&A and the Royal National Institute of Blind People.

The Studio GalleryThe final exhibition in the Reaching Out, DrawingIn series, supported by the Heritage Lottery Fund,ended in August 2007, following a positiveresponse from both project participants andexhibition visitors. Four Corners, developed inpartnership with four London cultural venues and four community groups, celebrated the richdiversity of the city. Following the display at theGallery, the work toured to local venues acrossLondon. Partnerships initiated as part of thisproject are being developed by the youngpeople’s and access programmes. Over theduration of the project 30,000 visitors viewed the exhibitions.

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10 InterpretationInterpretation work is proceeding through theeffective use of digital media for temporaryexhibitions and permanent displays. The updateof the Gallery’s audio guide has fourteen newaudio entries for portraits on display. Five newaudio guide tours have also been produced,including a ‘Highlights’ tour and thematic toursfeaturing ‘Science and Discovery’, ‘Writers’, ‘Kings and Queens’ and ‘Fame and Celebrity’.

An exhibition audio guide was commissioned for Pop Art Portraits, featuring Joan Bakewellintroducing a tour of the show with Paul Moorhouse, the exhibition curator. A second version of the audio guide was available from the Gallery’s website and on iTunes as a National Portrait Gallery podcast.

National programmeNational partnershipsAt Montacute House the portrait of Lady AnneCarlton was reunited for a year with that of herhusband, and the Gallery has been working withMA students from Bristol University on a displayproject to take place in 2008 and run for the nexttwo years. A new Gallery publication, Tudor andJacobean Portraits, highlights many of theportraits at Montacute House.

Making Faces, the displays at Beningbrough Hall,continued to be extremely successful and involvedtargeting new audiences with a range of activities.The visiting portrait exhibition, celebrating the Actof Union in 1707 between England and Scotlandwas very well received.

Bodelwyddan Castle played host to the successfulVisitors to Venice exhibition, which included worksfrom the Gallery and key impressionist paintingsfrom the National Museum Wales.

Regional Museums hubsThe Partnership with the North East MuseumsHub produced North Face: Photographs from theNational Portrait Gallery (displayed at separatevenues throughout the region, with a specialconnection to the sitter), and A Blueprint for Life:Designers Photographed by Steve Speller at theShipley Art Gallery, Gateshead. The South WestMuseums Hub was supported with loans atPlymouth City Museum and Art Gallery and theRoyal Cornwall Museum, Truro.

People, Places and PortraitsThe DCMS/DCSF National/Regional MuseumsPartnerships Education programme createdprogrammes of activity with children at bothprimary and secondary levels as well as communityaudiences. 12,350 children and families took part in activities at Montacute House andBeningbrough Hall.

Collaborations involved Sunderland Museum and Winter Gardens with Pop Stars: Photographsfrom the National Portrait Gallery, which included workshops for schools involving writers,poets and young musicians. Sheffield Galleriesand Museums Trust worked with a group of young people on an interpretation project called The Diary Room: Characters of the 17th Century.Activities included photographic portraits of theyoung people based on the portraits on loan and a murder-mystery-themed trail aimed atyoung visitors. Plymouth City Museum and ArtGallery worked with the Gallery, young people and teachers on learning activities around the2007 bicentenary of the Act of Parliamentabolishing the slave trade in Britain.

Extending and BroadeningAudiences

Recreated portrait of Samuel Pepys© Carl Rose for Sheffield Galleries &Museums Trust

Pop Stars: Photographs from theNational Portrait Gallery at SunderlandMuseum and Winter Gardens© Tyne & Wear Museums

LoansThe Gallery has lent to a range of exhibitions and venues, reflecting both the diversity and the importance of the collections. 631 works were lent to 90 temporary exhibitions or displays,while 541 were lent to 54 venues on a longer-termbasis. Portraits from the Collection featuredprominently in three of the major UK exhibitionscommemorating the 1807 Abolition of the Slave Trade Act. The Gallery is now a pilot projectfor the Effective Collections Scheme, funded by the Museums Association and Esmée FairbairnFoundation to increase the numbers of works on loan to venues around the country.

Subject Specialist Network: understandingBritish portraitureFollowing an implementation grant for theNetwork from the Museums, Libraries and ArchivesCouncil (MLA), the Gallery has worked on a rangeof activities, with steering group partners theNational Trust, the North East Museums Hub, the South West Museums Hub and the OxfordDictionary of National Biography. A seminar washeld at the Gallery for 70 museums and gallerieson regional portraiture; three online toolkits werecommissioned and a mapping exercise of portraitcollections and experts will be available online.

Media collaborationMedia coverage throughout the year wasextensive. A significant reach was achieved forVanity Fair Portraits: Photographs 1913–2008,including many national news stories, an eight-page exclusive in The Times magazine and features in a number of broadsheetsincluding the Independent and the GuardianWeekend. There were items on BBC 2’s The Culture Show, BBC Radio 4’s Front Rowand BBC Radio 3’s Night Waves.

The BP Portrait Award 2007, with the newlyextended age limit, attracted news coverage of the fifty-nine-year-old winner, Paul Emsley. For the first time there was a five-page colourfeature on the work of a Travel Award winner,Toby Wiggins, in The Times magazine.

Pop Art Portraits enjoyed significant coverageincluding Newsnight Review, BBC TV’s 10 O’ClockNews and BBC Radio 4’s Front Row. The openingprivate view saw the largest gathering of BritishPop artists for decades, captured for a picturestory in the next day’s Evening Standard.

Among displays, 21st Century Portraits, with aphotograph of the British actress Sienna Miller,was covered in publications as diverse as the Daily Mirror, the Daily Telegraph and the Yorkshire Evening Post. Features on Devotionalran in specialist magazines such as Trace, Prideand Black History 36. Other coverage during theyear included items on the Gallery’s acquisition of the David Hockney painting Self-portrait withCharlie and the fund-raising appeal to acquire aportrait of the Jacobean playwright John Fletcher.In January, the announcement of the LernerFoundation’s gift to the Gallery of £5 million was covered by exclusive interviews in The Timesand the Birmingham Post and an announcementon BBC Radio 4’s Today programme.

British Pop Artists at the Pop Art PortraitsPrivate View. L–R front row: Joe Tilson, Richard Hamilton, Sir Peter Blake,Richard Smith. L–R back row: Peter Gidal,Gerald Laing, Mel Ramos, Allen Jones,Colin Self© EMPICS

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Developing the CollectionAcquisitionsThe outstanding historic acquisition of the yearwas the panel portrait of the Jacobean dramatistJohn Fletcher, painted in about 1620, acquiredafter an appeal which was marked by thegenerosity of numerous supporters, led by the Art Fund. The outstanding modern acquisition wasDavid Hockney’s full-length painting Self-portraitwith Charlie, acquired with help from the proceedsof the Gallery’s 150th Anniversary Gala.

Historic portraits included the political economistDavid Ricardo, by Thomas Phillips, on loan fromChristopher Ricardo, a cabinet photograph ofOscar Wilde taken in New York by NapoleonSarony, the historic Lafayette photograph, The Dreadnought Hoax, taken in 1912, and twophotograph albums, one relating to the Rossettifamily, including images by Lewis Carroll, the other to Sidney and Beatrice Webb.

Other photographs included Edward Steichen’sCharles Laughton from 1935, a group of fine mid-century vintage prints by Angus McBean, a substantial collection of 1970s photographs by the American photographer Bern Schwartz,generously given with an endowment by theBernard Lee Schwartz Foundation, and works by Corinne Day, Steven Klein, Paolo Roversi and Mario Sorrenti, acquired as a result of theFace of Fashion exhibition in spring 2007. Furtherphotographic acquisitions are described overleaf.

Twentieth-century acquisitions included portraitsfrom the 1950s, 1960s and 1970s: Henry Lamb’sSelf-portrait, James Gunn’s Marchioness of Reading,Ruskin Spear’s Sid James, Raymond Skipp’s Sir Siegmund Warburg and Maggi Hambling’sVictor Musgrave. Particularly notable was Sylvia Sleigh’s The Situation Group, 1961,showing many of the leading figures involved inabstract painting at the time. Among works byTom Phillips were composer Sir Harrison Birtwistle,musician Brian Eno and zoologist Lord May. Other modern works included four self-portraits:paintings by Chris Ofili and Tony Bevan, Julian Opie’s computer animation screen portrait and Ian Breakwell’s stark Parasite andHost, made in 2005, the year of his death. Several of these works were acquired withgenerous external support, as recorded in thecomplete list of acquisitions on pages 41–46.

Two film works featuring in past exhibitions wereaccessioned into the Collection, Peter Gidal’sHeads, a film dating to 1969, and Marty St Jamesand Anne Wilson’s multi-monitor video portrait of the swimmer Duncan Goodhew, commissioned in 1990.

Audrey Hepburnby Angus McBean, 1950

Self-portrait (‘Parasite and Host’)by Ian Breakwell, 2005© Estate of Ian Breakwell

OppositeSelf-portrait (detail)by Chris Ofili, 1991© Chris Ofili, courtesy Victoria Miro Gallery, London

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CommissionsTwo portraits of Nobel Prize winners werecommissioned as part of a drive to improve the representation of contemporary scientists in the Collection. Physicist and MRI scannerpioneer Sir Peter Mansfield was painted byStephen Shankland, winner of the First Prize in the BP Portrait Award 2004. Biochemist andcancer researcher Sir Paul Nurse was the subjectof Jason Brooks’s large-scale photo-realistpainting, made possible by JPMorgan through the Fund for New Commissions.

A major group photographic commission, taken by Don McCullin, of ten prominent Faith andChurch leaders was displayed in spring 2007.

PhotographsA wide variety of contemporary works wereacquired, including images of Tina Brown byEmma Blau, Sienna Miller by Valerie Phillips and Alexander McCall Smith by Eva Vermandel. A successful new feature is a designated‘Photograph of the Month’ focusing on topicalpeople such as Michael Eavis by Paul Stuart, at the time of the Glastonbury Festival, andThandie Newton by Lorenzo Agius for FashionWeek. Other contemporary acquisitions includedcricketer Monty Panesar by Henry Browne, writerD.B.C. Pierre and animated-film-maker Nick Parkby Louis Quail, a group of Royal Academicians byDennis Toff and a study of Banksy by James Pfaff.

From the recent past were Walter Hanlon’s jazzpersonalities of the 1950s and Roger Perry’sportraits of the 1970s. A display to celebrate the sixtieth anniversary of Camera Press resultedin welcome additions of historic photographs by the agency’s founder, Tom Blau, as well asnewly commissioned works from leadingphotographers represented by the agency such as Bryan Adams, Jillian Edelstein, Mary McCartney,Perou, Lord Snowdon and John Swannell.

The earlier part of the twentieth century wasrepresented by two important group purchases:fifteen photographs of Elisabeth Welch byphotographers such as Humphrey Spender, Paul Tanqueray, Canons of Hollywood andKenneth Collins, and vintage prints by Gilbert Adams,Bertram Park and Yvonne Gregory of subjects such as Fay Compton, Isadora Duncan and theEarl of Carnarvon.

Important Victorian acquisitions included thenovelist Dinah Craik by H.S. Mendelssohn, Charles Dickens in America by Rockwood and a self-portrait of the photographer Oliver Sarony.

Photographs taken by Nancy Hellebrand for herbook Londoners at Home, published in 1974, were transferred to the Museum of London.

Developing the Collection

Sir Paul Nurseby Jason Brooks, 2008

Sienna Millerby Valerie Phillips, 2006© Valerie Phillips

The Heinz Archive and LibrarySeveral important gifts were received, includingbooks from the estate of Sir Oliver Millar, papersrelating to Dr John Hayes (Director 1974–94),donated by Dr Morag Timbury and Derek Watson,and thirty-two albums of photographs of portraitsby Frank Salisbury, offered by Richard Norris in 2007. A group of photographs relating toSalisbury’s paintings for the Coronation of George VI was donated by Lorraine Wilson.Purchases included a portfolio of caricaturesrelating to The Beggar’s Opera by Powys Evansand a self-portrait etching by Celia Paul, 2002.Gifts of portrait prints included a lithograph ofFrederick Delius by Jacob Kramer, 1932, from John Stubbs; a mezzotint of Ann Catley by Robert Dunkarton, 1777, from Ronald Crawley; a Vanity Fair print of John Edward Redmond,1904, by Sir Leslie Ward, from Terence Pepper; and a lithograph of Philip Meadows Taylor byWeld Taylor, c.1840, from John Shrive.

Care of the CollectionProgramme activity this year has again been at a high level and has involved the teams in the preparation of a large number of works for loan, display and exhibition. The Galleryappointed a Collections Services Manager tostrengthen its resources and commitment to care for the Collection.

The Collections Management team haveresearched and implemented improved storagefor miniatures. The Art Handling team havedeveloped their skills and expertise by undertakinga range of courier trips both in the UK andabroad, working at Montacute House (seeing the challenges faced by an historic house) and assisting with the X-ray programme.The Conservation studio has continued theprogramme of treatments and examinations as well as commencing a major project, Making Art in Tudor Britain. Sir Joshua Reynolds’sDr Samuel Johnson, attacked by a visitor in August 2007, is undergoing conservation, as isUnknown man, formerly known as Richard Hooker,which suffered accidental damage; this has led to improvements in procedures.

Frame Conservation has made new frames for Self-portrait by Tony Bevan and David Hockney’sSelf-portrait with Charlie. The studio alsocompleted the final phase of a preventativeconservation project at Montacute House,providing a climate-buffered framing system for sensitive panel paintings.

Work with Tate on the development of theNational Art Collections Centre continued and will do so next year.

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John Edward Redmondby Sir Leslie Ward, published 1904

Karen Griffiths, Pilgrim Trust Frame Conservation Intern, gilding a picture frame

Self-portraitby Celia Paul, 2002© Celia Paul/Marlborough Fine Art

ExhibitionsThe range and diversity of our exhibitionprogramme continue to reflect our ambitions and have ensured significant press and public responses.

Wolfson GalleryThe BP Portrait Award 2007, in its twenty-ninthyear, received a record number of 1,876 entries,sixty of which were selected for the exhibition.Paul Emsley painted the winning entry of Michael Simpson. The BP Travel Award winner,Toby Wiggins, spent four weeks travelling aroundWessex painting a farming community in crisis,and produced a beautiful group of paintings of a very topical subject.

Pop Art Portraits opened in October 2007, and was shown in the Wolfson as well as theground-floor galleries. It received considerablepress interest and sparked a number of debatesabout the position of portraiture in Pop Art. Theexhibition was designed by Stanton Williams and lit by Lightwaves.

Vanity Fair Portraits: Photographs 1913–2008provided a great end to a successful year. Itbrought a close collaboration with Vanity Fairmagazine, renowned for commissioning some of the best photographers in the field, andshowcased outstanding portraits.

Porter GalleryDaily Encounters: Photographs from Fleet Streetopened in July 2007. The exhibition looked at thestories and photographers that made Fleet Street famous and included a wealth of vintage materialincluding rare negatives, original newspapers, and film footage.

Jonathan Torgovnik won the Photographic Portrait Prize this year for his photograph of amother and daughter in Rwanda who hadexperienced the horrors of genocide carried out in their country. The award received 6,072 entries,of which sixty were selected for the exhibition.

Brilliant Women: 18th-Century Bluestockingsopened in March 2008. It explored the impact of independent and creative women oneighteenth-century British cultural and intellectualdevelopment. The exhibition showcased thepersonal artefacts as well as graphic satires and portrait paintings of key figures of theBluestocking circle, including Elizabeth Montagu,Catharine Macaulay and Hannah More.

The futureThe Gallery is looking forward to a number of key loan exhibitions including Annie Leibovitz: A Photographer’s Life, 1990–2005 and Gerhard Richter Portraits. Both exhibitions will involve working closely with international living artists.

IncreasingUnderstanding of Portraiture and the Collection

Michael Simpson by Paul Emsley© Paul EmsleyWinner of the BP Portrait Award 2007

Joseline Ingabire with her daughterLeah Batamuliza, Rwanda by Jonathan Torgovnik© Jonathan TorgovnikWinner of the Photographic Portrait Prize 2007

OppositeEntrance to Brilliant Womenexhibition in the Porter Gallery

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The galleries and displaysThe programme of changing displays is designedto reveal the hidden strengths of the Gallery’scollection of drawings, prints and photographs,and increasingly to show occasional visitingportraits as a way of engaging with contemporaryportrait practice and widening the range ofportrait material.

There were several displays with an external focus. Devotional, a new interpretation of a workof art entitled Devotional Series by Sonia Boyce,presented portraits of black British female singersover the last century, with support from the Esmée Fairbairn Foundation. Born 1947: CameraPress at 60 celebrated the sixtieth anniversary ofthe photo agency Camera Press. Shutting UpShop, a display of photographs by John Londei,focused on images of traditional small shops. The series of visiting portraits continued withAnthony Caro Portraits, bringing together fourbronze heads of Sheila, the artist’s wife.

Displays drawing on the Gallery’s own Collectionincluded Making History: Printed Portraiture inTudor and Stuart Britain, featuring the earliest of the Gallery’s portrait prints; John Kay’s Curious Characters, in the form of prints ofEdinburgh society; Lives and Letters, one of several displays drawing on the Victoriancollections; Caricatures by Barry Fantoni,celebrating a recent gift from this cartoonist;Diana, Princess of Wales, a photographic displayto mark the tenth anniversary of her death; andYousuf Karsh, a centenary display of photographs.

To enhance Gallery exhibitions, Private View:British Pop and the 60s Art Scene usedphotographs to complement the Pop Art Portraitsexhibition, while Victorian Women Historians,along with Modern Muses, photographed byBryan Adams, coincided with the Brilliant Womenexhibition. Also notable were The Artist’s Process,revealing how recently acquired contemporaryworks were created, and Athletes and Olympians,showing great twentieth-century athletes.

Further details of Gallery displays are given onpage 47.

IncreasingUnderstanding of Portraiture and the Collection

Diana, Princess of Wales by David Bailey, 1988 © David Bailey

Robert Carr, Earl of Somerset; Frances, Countess of Somersetby Reginold Elstrack, c.1615

Mica Paris by Derrick Santini, early 2000sExhibited in Devotional

Digital ProgrammesWebsite and media relationsApproximately 5 million visitors made 15 millionvisits to the Gallery’s website, about 33% morethan last year. The online collection search facilityincorporates 106,228 portrait records (up 10%from last year), 56,098 of which are illustrated.

4,231 online images can now be ‘zoomified’,allowing intriguing details to be discerned online.A ‘Who’s Who’ online feature uses ‘zoomify’ to allow every person in 811 group portraits to be identified and seen in close-up.

Entry details related to 4,549 photographs weresubmitted online for the Photographic PortraitAward 2007, representing 65% of all submissions.The BP Portrait Award 2008 saw 1,436 entriesmade online – 83% of all entries. These onlinefacilities create great administrative efficiencies,freeing up resources to be spent on improvingpublic access.

Digital Programmes participated in thedevelopment of mini-sites for the Vanity FairPortraits and Pop Art Portraits exhibitions; a BP Portrait Award 2007 blog (publishing publiccomments on works in the exhibition); andLearning and Access initiatives, such as onlineaudio describing in detail around 150 portraits.

2,445 journalists are registered to downloadimages for review of exhibitions and displays (up 52%). Subscribers to the Gallery’s e-newsletter increased to 36,000 (up 6%).

The Pop Art Portraits and Vanity Fair exhibitionshelped lift e-commerce income to £76,800 (up 35%).

Charlie and Lola electronic ‘Making Faces’ activity, alongside the BP Portrait Award 2007

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On-site access and partnershipsVisitors to the IT Gallery using the Portrait Explorer can now discover 27,000 sitters andartists in 50,000 portraits (up 10%).

Portrait Explorer developments included theaddition of a recent acquisitions feature;transcriptions available side-by-side with digitised archive documents; and filtering options for search results, for example by gender, era and medium type.

Development of e-learning resources is proceeding in partnership with nine other national cultural institutions, under the auspices of the National Museums OnlineLearning Project.

On-site projects undertaken included Charlie and Lola (an electronic activity for children visiting the BP Portrait Award 2007);assistance with electronic aspects of the My Space exhibition; set-up of Pop Art Portraitsprojections; and implementation of electronicvisitor information in the Main Hall.

The Virtual Portrait activity at Beningbrough Hallsaw 9,177 virtual portraits created by visitors.Portrait Explorer interactives were supplied toPlymouth City Museum and Art Gallery for use in association with the Human Cargo exhibition.

DigitisationStandard digital images of over 6,000 previouslyunillustrated portraits were created, while over5,000 specialised digital images were created on demand.

Information on 67,923 Photographs Collectionindex cards has been captured electronically. This project will result in 39,177 new records being added to the Gallery’s collectionsmanagement database, a 36% increase in thenumber of collection records available online.

49,252 portraits (up 9%) are available via thePortrait Printer service.

The Gallery’s websiteFollowing a competitive tendering process, theGallery’s website is being redesigned for the firsttime since 2000 in response to changingexpectations among users. Key innovations will be larger images, improved e-commerce, moreintegrated learning and research resources, clearernavigation, better promotion of exhibitions andevents, higher visibility of regional partners, toursand loans, and better visitor information. Theproject is due for completion in autumn 2008.

IncreasingUnderstanding of Portraiture and the Collection

Peter Gidal’s Heads projected in the Pop Art Portraits exhibition

Research programmesGood progress was made during the year on both of the Gallery’s cataloguing projects, withmajor steps towards final editing and publication. Work on the art and architecture tranche of thecatalogue of Later Victorian Portraits nearedcompletion and entries are currently being edited.Plans to release these as an online resource werealso further developed. Likewise the Later Stuartscatalogue neared the stage of copy-editing.

Two scholars were appointed to the LeverhulmeFellowship in the History of Portraiture. Dr Kim Sloan, Curator of British Drawings andWatercolours before 1880 and Francis FinlayCurator of the Enlightenment Gallery at the British Museum, joined the Gallery for four months in the autumn to research an exhibitionand publication on British portrait drawings andminiatures. Professor Marcia Pointon, formerlyPilkington Professor of History of Art at theUniversity of Manchester, came to us in Januaryfor a six-month Fellowship to work on a projectentitled The Persistence of Portraiture.

In May 2007 the Gallery began a major researchproject called Making Art in Tudor Britain. Thisproject aims to explore the production of paintedimagery in the Tudor period and will undertakedetailed technical analysis on the Tudor andJacobean collections. In support of this project the Arts and Humanities Research Council funded a series of three academic workshops andtwenty-nine speakers presented papers on variousaspects of early Tudor artistic practice. Abstractsof these papers can be found on the researchsection of the Gallery’s website. We are currentlyseeking funding for four further years of researchwhich will culminate in a major multi-author book,web-based material and an exhibition in 2013.

This was a productive year for individual members of the Gallery’s staff. Carol Blackett-Ordwrote an article on the mezzotint publisherRichard Tompson for the seventieth volume of the Walpole Society (2008). Tarnya Cooper led the Making Art in Tudor Britain project, givingthree papers at the AHRC workshops, and spoke at a conference on ‘Material Culture’ at theUniversity of Birmingham. She also published‘Predestined Lives? Portraiture and Religious Belief in England and Wales 1560–1620’, in Art Reformed: Re-assessing the impact of theReformation on the visual arts, edited by Tara Hamling and Richard Williams, and A Guideto Tudor and Jacobean Portraiture. Peter Funnellpublished an article on ‘Display at the NationalPortrait Gallery, London, 1968–1975’ in a specialissue of Art History, examined theses at the

Universities of Birmingham and Oxford, andcontinued as a Consultant Editor to the OxfordDictionary of National Biography. Clare Gittingsgave a paper at the biennial internationalconference on ‘Death, Dying and Disposal’ at Bathand published ‘Eccentric or enlightened? UnusualBurial and Commemoration in England, 1689–1823’in the journal Mortality. Catharine MacLeod co-edited, with Julia Marciari Alexander, acollection entitled Politics, Transgression, andRepresentation at the Court of Charles II, forwhich they also jointly wrote a chapter: ‘The“Windsor Beauties” and the Beauties Series inRestoration England’. Paul Moorhouse researchedand wrote the Pop Art Portraits catalogue,contributed an essay on Andy Warhol’s portraitsto Sotheby’s Preview magazine, and gave lectureson Pop Art Portraits at the Gallery and theStaatsgalerie, Stuttgart. He also wrote theexhibition catalogue essay John Virtue Monotypesfor Marlborough Gallery and acted as adviser tothe Oxford Dictionary of National Biography ontwentieth-century art and design. Sandy Nairnewas awarded a Summer Fellowship at the ClarkArt Institute, Massachusetts, in July and August2007, during which he pursued research relatingto high-value art theft. Lucy Peltz researched andco-authored, with Elizabeth Eger, Brilliant Women:18th-Century Bluestockings. Terence Pepperresearched and co-authored Vanity Fair Portraitsand Jacob Simon produced an online directory,British picture framemakers, 1750–1950, and asecond revised and expanded edition of thedirectory British artists’ suppliers, 1650–1950.

Elizabeth Vernon, Countess of Southamptonby an unknown artist, c.1620

X-ray of portrait of Elizabeth Vernon, showing a painting of a man beneath the image who may be Henry Wriothesley, 3rd Earl of Southampton

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Cataloguing the CollectionThe Gallery continues its substantial investment in cataloguing and digitising the Collection.106,228 portraits (10% more than last year’stotal) have been catalogued. The aim is to have half the Collection – 160,000 portraits –catalogued and available on the Gallery’sdatabase by 2009.

In the Heinz Archive and Library cataloguingfocused on the two largest collections of prints:large-format engravings and an extra-illustratedset of the Rev. James Granger’s A BiographicalHistory of England from Egbert the Great to theRevolution. In total, 6,354 prints were digitisedand 12,186 portraits were recorded for the image files and index in the study room.

In the Photographs Collection, a further 6,550 items have been catalogued. Priorities have included the collection of Victorian cartes-de-visite, in continuing support of theforthcoming catalogue Later Victorian Portraits.Among contemporary acquisitions added to thecollections database are groups of photographsby Roger Perry and Dennis Toff, while earliertwentieth-century additions include the Strachey Trust collection, the Siegfried Sassooncollection and platinum prints by Eveleen Myers.Cataloguing of the Bassano studio negatives hascontinued, with over 3,100 added, dating from the late 1930s to 1942. The donation of 140 Bern Schwartz dye transfer prints from the 1970shas been fully recorded with digitised images.

IncreasingUnderstanding of Portraiture and the Collection

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Jennifer Durrantby Dennis Toff, 2007© Dennis Toff

Richard Neville, Earl of Warwick and Salisburyby Edward Davis (Le Davis), 17th century

PublishingThe Gallery operates a successful publishingoperation in a competitive retail environment. Itsremit is to produce books that extend knowledgeand understanding of portraiture, and of Britishhistory through portraits. The challenge is howbest to balance the need for books that supportthe Gallery’s research profile with the desire toreach wide audiences and generate revenue.

This year the Publications team completed sixteen projects, including six exhibitioncatalogues, five co-editions, two reprints, and over 260,000 postcards. The percentage ofexhibition visitors who bought a catalogue varied dramatically, with a pick-up rate of 0.6%for Between Worlds compared with over 10% for Vanity Fair Portraits. However, the strong sales of both this and Face of Fashion, plus threeunforeseen co-editions, enabled the Departmentto exceed the overall income forecast by 26%.

Four books, Pop Art Portraits, Vanity Fair Portraits,Brilliant Women and A Guide to Tudor andJacobean Portraits, all contained new research by the Gallery’s curators as well as externalcontributors. Two of these titles were sold tooverseas publishers, and the National Trust shareda joint print-run for the Tudor and Jacobean guide.

Publishing partnerships have been a definingcharacteristic of the year, starting with theproduction of a booklet to accompany the Great Britons exhibition at the National PortraitGallery, Washington, D.C., followed swiftly by the on-going collaboration with Vanity Fairmagazine, which will culminate with the launch of a major trade edition of Vanity Fair Portraitsin September 2008. Likewise, strong links havebeen maintained with exhibition tour venues,including the Scottish National Portrait Gallery, the Staatsgalerie in Stuttgart and the NewcastleRegional Art Gallery, Australia.

The growth of the Gallery’s international profile is reflected with co-edition publishingpartnerships: with Hardie Grant in Australia, Hatje Cantz in Germany and Yale University Press in North America. These co-editionsrepresent an important market for the Gallery, and it is hoped that an exciting touringprogramme will enable it to build on these sales in future.

Next year we will focus on how to balancesuccessfully the development of a new range of visitor guides alongside the programme ofexhibition and trade titles, all of which aim toprovide enjoyment and insights into portraiture.

The book cover for A Guide to Tudor and Jacobean Portraits

The book cover for Vanity Fair Portraits featuring Gloria Swanson by Edward Steichen, 1928 © Condé Nast Publications Inc./Courtesy George Eastman House

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Frankfurt Book Fair Stand

MaximisingFinancial ResourcesAs the Gallery’s grant-in-aid funding from thegovernment represents around half of totalincome (net of trading and fundraising costs), self-generated income remains crucial tosustaining the breadth and quality of activities.The overall income target was over-achieved by 42%, replenishing reserves that enable theGallery to fulfil its plans for further investment and growth.

Corporate supporters and sponsorsBP continued their invaluable support for the BP Portrait Award, giving additional funding toenable the Gallery to promote the new agecriterion, which opened up the Award to anyoneover the age of eighteen. The Gallery wasdelighted to work once again with long-termsupporter Burberry on Vanity Fair Portraits.Burberry helped to launch the exhibition in style with a celebrity-studded opening event in partnership with Vanity Fair magazine. Herbert Smith LLP continued their support of theGallery in 2008 for a fifth year, this time as theSpring Season sponsor. This successful partnershipsaw a number of events focused on clients, staffand community, including the annual Women’sBreakfast. Building upon this well-establishedpartnership, the Gallery is delighted to announcethat Herbert Smith will be with us as SpringSeason sponsor in 2009 and 2010.

A newcomer to exhibition sponsorship wasLehman Brothers, who supported Pop Art Portraits.A multi-faceted sponsorship programme wasdeveloped that included a Pop Art-themed ten-month hospital schools outreach project,funded by grants from Arts & Business and the Lehman Brothers Foundation Europe. InNovember 2007, the Gallery was delighted to

announce that Taylor Wessing, the European lawfirm (which previously sponsored The World’sMost Photographed and Face of Fashion), willsponsor the Taylor Wessing Photographic PortraitPrize from 2008 to 2010. We look forward toworking closely with them over the coming yearsand building on the success of this world-classphotographic competition and exhibition.

Getty Images provided valuable in-kind supportfor Daily Encounters by offering free-of-charge use of images from their archive. BlackBerry®sponsored Brilliant Women, and Modern Muses, a display of photographs by Bryan Adams,commissioned by BlackBerry, accompanied the exhibition.

The Gallery continues to benefit from the supportof its Corporate Members and this year welcomedthree new or returning Corporate Members: ApaxPartners, BT and Freshfields Bruckhaus Deringer.

Venue hireThis year, many of the Gallery’s CorporateMembers and Regency Partners chose to holdprivate events including BDG Workfutures (WPP Group), Freshfields Bruckhaus Deringer,JPMorgan, Linklaters, McKinsey, and Towers Perrin.

Sponsors BlackBerry, BP, Burberry, Gap, HerbertSmith, Lehman Brothers and Taylor Wessing allhosted events around our special exhibitions.

One-off receptions were held in different galleries with a number of organisations, ranging from the Greater London Authority to architects Stanton Williams. The Russo-BritishChamber of Commerce, Business in theCommunity and the Newspaper Marketing

Tony Hayward, Group Chief Executive, BP, and Bianca Jagger present Hynek Martinec with the BP Young Artist’s Award 2008

OppositeEntrance to the Vanity Fair PortraitsPrivate View hosted by Burberry and Vanity Fair© Richard Young

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26 Agency were among those who held dinners.Individuals also hosted receptions and dinnersthroughout the year, including weekend events in the Portrait Restaurant.

Charitable trusts and foundationsCharitable trusts and foundations continue to provide valuable support for important projects.

The Leverhulme Fellowship in the History of Portraiture is in its fifth year, with twoacademics undertaking research at the Gallery.The Paul Mellon Centre for Studies in British Art provided support for the catalogue of Later Victorian Portraits and a conference held as part of the Between Worlds exhibition.

Following accreditation by the Arts andHumanities Research Council as an IndependentResearch Organisation, the Gallery has beenawarded its first grant. This was under theResearch Networks and Workshops Scheme for the creation of an open forum for debate on the five-year research project Making Art in Tudor Britain. The Gallery will hope to besupported by this important source of fundingover the coming months.

We are delighted that the Vodafone UKFoundation has renewed its support for the Access Programme with a gift over three years. This enables children and young people with a wide range of needs to enjoy tailor-made learning.

Individual supportPatrons The Patrons’ group has continued to flourish and a number of Annual Patrons upgraded to Life Patrons during the year.

Patrons enjoyed an afternoon visit to Peter Blake’sLondon studio, a special tour of Stratfield SayeHouse with our Trustee Lady Douro, and a visit to Charleston Farm House and Monk’s House inEast Sussex; the year closed with candlelit tours of Sir John Soane’s Museum.

In April a group of thirty-five Patrons, donors and their guests, and some of our Board ofAmerican Friends, joined us to celebrate theopening of Great Britons: Treasures from theNational Portrait Gallery, London at the National Portrait Gallery in Washington, D.C. The programme of events included a dinnerhosted by the British Ambassador and Lady Manning, private tours of the NationalGallery of Art, the National Museum of Women in the Arts, and Marc and Jacqueline Leland’s

stunning modern art collection in Georgetown.The week culminated with a private tour andreception to mark the opening of the exhibition.

This year, as part of their valued and continuedfinancial contribution to the Gallery, the Patronssupported Daily Encounters: Photographs fromFleet Street.

AssociatesThe Gallery now has 100 Associates and hasrecently launched a new category of JointAssociates for their partners.

A new annual event was an evening hosted byJacob Simon at which Associates and their guestscould explore the Collection. Guests toured eitherthe Tudors, the Regency or the Daily Encounters:Photographs from Fleet Street exhibition.

MembersFollowing the success of recruitment during David Hockney Portraits, we retained over 60% of the new Members who joined at this time. This high retention rate was due to the success of direct debits, renewal incentives and changesto the Members’ Events Programme.

During Vanity Fair Portraits, we combined atemporary Members’ Desk with dedicated Visitor Services Assistants to recruit visitors toMembership. This focused recruitment approach,and improved website communications, haveproduced a positive response to becomingMembers from visitors to temporary exhibitions.

The Portrait FundThe Portrait Fund benefited from substantialsupport, thanks to the generous commitmentfrom the Lerner Foundation. This gift, to be made over three years, will be used to build up the Portrait Fund and to enrich specific vitalprogrammes. A celebratory event with membersof the Lerner family, friends and colleagues washeld in the Lerner Galleries.

The Portrait Fund to date has enabled the Galleryto purchase key acquisitions for the Collectionincluding the portraits of John Donne and,recently, John Fletcher.

MaximisingFinancial Resources

Member of Camden Society ‘Helter Skelter’ Summer Scheme taking part in an animation workshop funded by the Vodafone UK Foundation

Development Board and Board of American FriendsThe Development Board, under the Chairmanship of Amelia Fawcett, and theCorporate and Individual Advisory Groups, chaired respectively by Margaret Exley andFrances Jackson, have done substantive work. A number of Board members generously hostedtables at the Vanity Fair Portraits fundraisingdinner. The Board was delighted to welcome two new members, artist Jonathan Yeo andJohnny Hornby, partner in the advertising agency Clemmow Hornby Inge.

The Board of American Friends made severalgrants under the Chairmanship of the President,David Alexander. We were delighted that he wasable, together with Board members John Biggs,Frank Ellsworth and Bridget Colman, to join us in Washington for the opening of Great Britons.

Trading companyThe Gallery’s subsidiary trading company, which began trading on 1 April 2007, had asuccessful first year, making profits of £509,000,which it will gift-aid to the Gallery. The tradingcompany’s business comprises retail, venue hireand the catering franchise. An internal auditreview provided assurance that all aspects had been considered during the process ofincorporation. The review recommended that the company should appoint an independentmember to its Board. A specification has beenagreed and an appointment will be made in 2008. The appointee will be someone with astrong commercial background, ideally with retail experience, and will be key in assisting the company to identify, evaluate and develop new commercial opportunities.

RetailCareful preparation ensured that the transfer to the National Portrait Gallery Trading Companywent smoothly and there was no disruption totrading as a result.

Income from the shops is strongly influenced by the exhibitions programme and this year wasno exception. Face of Fashion, Pop Art Portraitsand Vanity Fair Portraits all generated significantincome and all fall within the Gallery’s top tenmost profitable exhibitions. Vanity Fair Portraitsenjoyed one of the highest ever catalogue pick-up rates.

For the first time, an exhibition shop was installedin the Ondaatje Wing Main Hall during Pop ArtPortraits and this proved a worthwhile experiment.A service was also introduced enabling visitors to order prints of many works in the exhibition in a variety of frames and finishes, for delivery to the buyer’s home. This service was extended to the website, and its popularity will ensure that it is repeated.

Among several distinctive ranges of merchandisewas a set of ‘POP ART’ cufflinks, featured in theGuardian’s ‘Best in museum shops’ selection inthe run-up to Christmas 2007.

Online sales continued to outstrip those inprevious years. Investment in online trading, and in strengthening the buying and operations teams, are among the priorities for the coming year.

Pop Art Portraits cufflinks

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Pop Art Portraits exhibition shop in Ondaatje Wing Main Hall

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MaximisingFinancial Resources

Picture LibraryThe Picture Library delivered sales of some£400,000 during difficult conditions in publishing,television and media markets. During this periodthe first instalment of a new two-part computersystem was implemented, without interruption to service.

Progress towards ambitious further developmenthas been achieved. A new business-to-businesswebsite was commissioned for delivery in 2008along with a review of business terms andstaffing, as well as planning towards a relaunchand marketing of the Gallery’s services on rightsand images. A revised and refreshed bespokeprints service will be relaunched in summer 2008,with an expanded range of premium options forcollectors. These will include the use of newtechnologies, as well as heritage processing forarchival and exhibition quality prints from theGallery’s collections.

Demand for these services among the academicand educational community was significantlyincreased. In addition, staff provided valuablefurther training and support, on rights issues, to colleagues across the Gallery. Tom Morgan,Head of Rights and Reproductions, was electedChair of the Museums Copyright Group, extendingthe Gallery’s sector leadership in this area.

Effectiveness and efficiencyImproving procurement across the Gallery hasremained one of our key aims. A major review of contracts was undertaken and departmentalaction plans, containing findings andrecommendations for improvement, were drawn up. Contracts training and day-to-dayprocurement advice have been provided to givefurther support to staff. Some contracts have been renegotiated to achieve greater commercialprotection and cash savings and existingtemplates have been updated.

Electronic tendering has been introduced, makingthe Gallery legally compliant with the EU PublicProcurement Regulations as well as supporting the government’s sustainability and efficiencyschemes. In addition, to improve our spendingpower and increase our collaborative working, we have investigated the possibility of sharing thedelivery of certain services with other museumsand galleries. We work with our neighbour, The National Gallery, on the procurement ofelectricity, and the Natural History Museum, which will be providing Health, Safety and Fireadvice from April 2008.

Developing StaffTraining and learningAround half of the Gallery’s managers have now undertaken management and leadershiptraining through the Institute of Leadership andManagement (ILM) accredited programme.Ensuring that we have adequate support fromsenior managers for this was important inembedding improved management practiceacross the Gallery, and the managers haveundergone a coaching skills course to enablethese improvements.

To recognise the increasing complexities ofprocurement, a significant number of staff have now attended contracts training sessions,designed to clarify the understanding of howcontracts are formed and give guidance on the structure and content of a contract. Otherinitiatives during the year included a Managers’Guide to Health and Safety, run in collaborationwith the Natural History Museum, andparticipation for the first time in the Learning at Work Week run by the Campaign for Learning.This programme involved staff conducting andparticipating in a variety of sessions, such as a live telecast on storytelling.

During January 2008 the Gallery undertook itssecond employee survey, tracking staff viewsagainst the previous survey. 71% of the staffparticipated – not quite as high as last time butstill a good response rate. Overall, the results were positive and indicate that progress has been made in a number of areas.

DiversityThe Gallery now has a combined Equality Scheme,setting out the actions that we will take to ensurediversity across all departments. A component ofthis has been the implementation of diversitytraining for all staff, to ensure a high degree ofawareness of the scheme and the contributionthat staff and managers make to it.

Our partnership with local secondary schools tooffer work placement opportunities continues and we have extended the number of schools that we work with. These placements provide auseful way of increasing awareness of possiblecareers within the museums sector. Eddie Otchere,an Inspire Programme Fellow, completed his twoyear period with the Gallery, concluding with thecuratorship of the Devotional display. We alsoparticipated for the first time with the MuseumsAssociation Diversify scheme, which aims toprovide more ethnic-minority people who arequalified as potential applicants for mid andsenior level positions in museums.

Lastly, our use of open days to see a wider range of job applicants appears to be deliveringsome improvements to the diversity of staffwithin our Visitor Services team, where thepercentage of black and ethnic-minority staff has increased from 16% to 20% (although at the end of March 2008 10% of Visitor Servicesposts remained unfilled).

Visitor Services staff in the Main Entrance© Colin Streater

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Over the past year the Gallery has made anumber of improvements, some of which areclearly visible, such as the painting of the exteriorof the library, archive and administration wing onOrange Street. However, many improvements areless visible, but equally important. In December2007 we upgraded the core IT infrastructure byinstalling new centralised storage and VMWareservers. In addition to this over sixty desktoppersonal computers were upgraded to the latestmodel, leading to increased productivity forGallery staff. Other technical developmentsincluded upgrading the Gallery’s intruder alarmsystem and a project transferring the CCTV systemto digital, which has provided increased coveragethrough additional cameras and higher resolutionimagery. Planning for the major project that will extend lift access to the First Floor Landing,the only area of the Gallery without wheelchairaccess, has continued and the project is due tocommence in 2008.

The focus on sustainability and the Gallery’senvironmental impact has increased throughoutthe year. Some progress had already been made on energy consumption, but this year the environmental savings have been enhancedthrough such measures as installing energy-monitoring equipment in some electrical switchrooms, monitoring heating and improving timers,and commencing a major project that will useambient temperature (when possible) to achievecooling. Efforts are being made, where possible, to print Gallery marketing and corporate materialson paper from sustainable sources, and the

quarterly Exhibitions, Talks & Events brochure,Face to Face newsletter and the Annual Revieware now printed on Forest Stewardship Council(FSC) approved stock. In addition we have been raising staff awareness of how they canmake a difference – for example, by turning off computer monitors and printers at the end of every day.

Visitor servicesA number of new initiatives have been introduced during the past year with the aim of enhancing the visitor experience. These haveincluded a temporary Information Desk on theentrance landing, which has been used as acollection point for pre-booked tickets, includingtickets for individual and corporate supporters. The desk provides important information for new visitors, and there they can collect leaflets or buy the Visitor Guide. Ticket provision has been improved over the year: the Thursdayevening adult programme, for instance, can now be booked via the Gallery’s website. TheVisitor Services team has continued to support the individual giving campaign by encouraging on-site Gift Aid donations, and in addition 25% of those who bought tickets online addedGift Aid to their purchase.

Finally, an LCD screen was added at theInformation Desk, showing a short programme of Gallery highlights, temporary displays andexhibitions, and details of talks and events on that day. This has enhanced the provision ofinformation to visitors, an area reviewed regularly.

Improving Services

OppositeMain entrance with Vanity Fair Portraits banners

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Services to research and readers The Heinz Archive and Library received 1,522 visitors and answered 1,644 enquiries.Presentations were made to students from the Courtauld Institute, King’s College and the Institute of Historical Research. ISAD(G)compliant catalogues were compiled for thefollowing record series: NPG Photographs, Annual Reports and Education Records.

Records and informationA project manager was appointed in August 2007to oversee the procurement and implementation of information management systems. EOSInternational Ltd was selected to supply librarysoftware and DS Calm chosen for archives andrecords management. Contracts were signed in February and both systems were expected to be operational by May 2008. In preparation forthis, options for indexing portraits were reviewedand plans were made for transferringbibliographical and archival data to the newsystems. A pilot project for developing electronicrecords management practice, launched in 2007,was postponed while this work continues.Following an information audit, procedures forproviding public access to Gallery Records wereimproved in line with record-keeping legislation.Progress was also made with the portrait portalinitiative: the Gallery explored options forharnessing portrait data from external sourcesand, in particular, investigated the possibility ofcollaboration with the Public CatalogueFoundation. Fourteen Freedom of Informationrequests were received and, following appealsagainst the Gallery’s decision to withhold some information, three requests were referred to the Information Commissioner.

GovernanceThe Gallery seeks to uphold the highest standardsof governance through the accountability andtransparency of its management processes,decision-making and communications. Actionstaken during the year to strengthen and improve governance included an update of the Exhibitions and Display policy and thepublication of an Intellectual Property RightsPolicy (both are viewable on the Gallery’swebsite). A review of the Trading department was also undertaken, as too was a review ofHealth and Safety in the Gallery.

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Improving Services

33

Supporters

The Gallery would like to thank all Members for their continuing support

The Gallery would like to thank the following for their sponsorship, support and corporatemembership in 2007/8

BP Portrait Award 2007 and BP Travel Award 2006Sponsored by BP

Pop Art PortraitsSponsored by Lehman Brothers

Spring Season SponsorHerbert Smith LLP

Vanity Fair Portraits: Photographs 1913–2008Sponsored by Burberry

Brilliant Women: 18th-Century BluestockingsSponsored by BlackBerry

Daily Encounters: Photographs from Fleet StreetSupported by the Patrons of the National Portrait GalleryAdditional support from Getty Images

JPMorganFund for New Commissions

Access IndustriesPortrait Gala 2009

Thanks also to Arts & Business for the Invest grant whichsupported the partnership with Lehman Brothers

Regency PartnersTowers Perrin

Corporate MembersApax PartnersAmerican ExpressBBA AviationBTCitigroupDeutsche BankFreshfields Bruckhaus DeringerHazlitt, Gooden & FoxJPMorganLinklatersSociété GénéraleTaylor WessingWPP Group

The Gallery would like to thank the following charitable trusts and foundations for their support in 2007/8 and beyond

AcquisitionsThe Art Fund

Displays and ExhibitionsEstate of Godfrey ArgentCanadian High Commission

Frame Conservation Study ProgrammeThe Pilgrim Trust

Friday Evening Music ProgrammeMusicians Benevolent FundPRS Foundation

Learning and AccessHeritage Lottery FundJohn Lyon’s CharityNational Association of Decorative and Fine Arts SocietiesVodafone UK Foundation

Making Art in Tudor Britain (five-year research project)Arts and Humanities Research CouncilThe Leche Trust

New CommissionsJerwood Charitable Foundation

Research and CataloguingThe Getty FoundationThe Leverhulme TrustThe Paul Mellon Centre for Studies in British ArtMLA (Museums, Libraries and Archives Council)Bernard Lee Schwartz FoundationCoral Samuel Charitable Trust

The Gallery would like to thank all those who have made the following acquisitions possible

John Fletcher by an unknown artist

Major DonorsThe Art FundL.L. BrownriggSir Harry Djanogly, CBEPortrait Fund

Supporters Mrs A. CampbellLaurence ChaseThe Dame Helen Gardner BequestThe Fletcher Tearooms at RyeThe Garfield Weston FoundationThe Pidem Fund E.A. WhiteheadAnd proceeds of the 150th Anniversary Portrait Gala

We are also grateful to the Gallery visitors and online donorswho supported the appeal

Self-portrait by Chris OfiliJanet de BottonLaura and Barry Townsley

Self-portrait ‘Julian with T-shirt’ by Julian OpieChannel 4

34 The Gallery is grateful to the following Major Donors, Patrons of the Portrait Fund, Life Patrons, Annual Patrons, Associates andIndividual Donors for their support in 2007/8

Major DonorsThe Lerner Foundation

Portrait FundViscountess EcclesThe Lerner FoundationSir Christopher Ondaatje, OC, CBE, and FamilyLord Marcus SieffEileen Gray Waddock

Patrons of the Portrait FundAmelia Chilcott Fawcett, CBEMidge and Simon Palley

Life Patrons AnonymousMark Armitage Charitable TrustEdgar AstaireMs C. Allegra BermanDr and Mrs Mark CecilBridget and Mark ColmanDr Peter CorrySir Harry Djanogly, CBEMr and Mrs Robin FlemingGavin GrahamToby and Jennifer GreenburyCatherine D. and Guy L. Gronquist Allan and Louise HirstCharles and Frances JacksonDr Elisabeth KehoeKathleen Lavidge and Edward McKinleyMr and Mrs John Morton MorrisPhilip Mould, OBE, and Catherine MouldSir Christopher Ondaatje, OC, CBEMidge and Simon PalleyThe Coral Samuel Charitable TrustSir David and Lady ScholeyMr and Mrs Peter SorosJay and Deanie SteinSir Sigmund Sternberg, KCSGMr & Mrs Louis A. TannerJohnny and Sarah Van HaeftenBonnie J. WardPatti and George White

Annual PatronsAnonymousAgnew’sSir Rudolph and Lady AgnewMr David Alexander, Hon. CBE, and Mrs AlexanderMr and Mrs Johny ArmstrongNicholas Ayre and Nicholas CreswellThe Estate of Francis BaconMrs Hélène Baines and Mr Max BainesThe Stephen Barry Charity TrustJohn H. and Penelope P. BiggsTony and Gisela BloomErica Boyer and Nicholas IllsleyDeborah Loeb Brice FoundationL.L. BrownriggMelinda BulloughPeter and Laura CarewLord and Lady CarringtonLord and Lady Chadlington

Sir Ronald and Lady CohenMr David DalzielThe de László FoundationSimon C. DickinsonCory and Bob Donnalley Charitable FoundationThe Marchioness of DouroLord and Lady EgremontMark and Amanda ElderEmma Williams and Alex EvansAmelia Chilcott Fawcett, CBEMichael and Clara FreemanMr Peter R. FulhamThe Robert Gavron Charitable TrustHon. William GibsonVal Gooding and Crawford MacDonaldA.W.E.F. GrantSam GreenMrs Sue Hammerson, OBECatherine W. Hays and Piotr KarasinskiLady HeseltineRobert Holden LtdSir Anthony and Lady HooperGlyn HopkinMrs Penny HorneMr & Mrs J. Horsfall TurnerBen Janssens Oriental ArtSarah Jennings and Ron ElseJennifer JohnsonPeter A.B. JohnsonSir John and Lady Kemp-WelchDavid KerMark and Liza LovedayProfessor David LoweJames and Béatrice LuptonSir David and Lady ManningMarsh Christian TrustTony and Jennifer McAuliffeMr and Mrs Charles S. McVeighAlexandra Hahn Murphy and Tim MurphyJuliet NicholsonSir Charles and Lady NunneleyHelen and Michael PalinMr Alan ParkerLeslie and Sanjay PatelRobert and Miho PickeringJoseph PorterfieldMichael and Victoria PowerMr and Mrs Andrew PowerLady ProsserMrs Stella ReevesLady RipleyLesley Robertson AllenCharles and Jans RollsThomas and Elaine SchochRichard and Victoria SharpJohn and Susan SingerHugh and Catherine StevensonThe Swan TrustRobert and Patricia SwannellMrs Freda TaylorThe Hon. Barbara ThomasPeter and Nancy ThompsonLord and Lady TugendhatJon TurnerFrederick and Kathryn UhdeSandi and Jake UlrichDavid and Emma VereyMrs Lisa von ClemmJane and Anthony WeldonDavid and Karen WhiteYvonne I-Ying Yang

Supporters

35 Individual DonorsDr and Mrs Mark CecilSir Ronald and Lady CohenThe Soros FamilyHarriet and Paul Weissman

AssociatesSir Antony AclandJane AsherLady BaconKaty BarkerJohn BattenPeter BazalgetteChristopher BensonJane Benson, LVO, OBEArline D. BlassKen and Janet BoddingtonKeith BoldersonSarah BourneAmanda BurdenLilia BylosKathryn CampbellCorin Campbell HillFrancis Carnwath, CBEPeter CaseDavid CofferDenise CohenRalph CongreveLin CooperLee CrollLoraine CushwayGordon and Marilyn DarlingMiel De Botton AynsleyConrad Dehn, QCLady Syvia DheninLucy DickensDavid DonneJeremy Donne, QCRobyn DurieDr Frank L. EllsworthMark EverettTessa GaismanPrue and Peter GerrardChristopher GoodhartPiers and Rosemary GoughFiona GreenwoodJudy GrillBendor GrosvenorJennifer HallMr Ian Hay Davison, CBEPatsy HickmanVictoria HislopDr Barry HoffbrandGillian HumphreysRosemary JamesGordon and Faith JohnsonSimon JonesJackie KeaneJeremy KingAlastair LaingGeorge LawFiona MacCarthyAnne B. MacfarlaneJeremy MarkBarbara MaxwellMyles MayallPhanella Mayall FineSophie MillerMs Irene MoniosMs Jane MooreMs K. Mulville

Jonathan MussellwhiteAlexandra NicolAnn Norman-ButlerChris and Judy PlantMike PotterDame Simone PrendergastCinzia RendichMichael RichC.D. RolfePamela SanderPenny SandersDudley SavillProfessor Sara SelwoodLois Sieff, OBELord and Lady Simon of HighburyMr Paul SimonsMrs Diane SimpsonRabinder SinghTania SlessAndrew SpellsLady Sandra Sullivan Alison Swan ParenteCarl and Martha TackMs Caitlin TebbitJennifer ThorneycroftPhilip TurnerMr A.J.B. VernonMark VenrickSally Vere NicollCharles VilliersGerry WadeLynne WalkerNeville WaltonElizabeth WareDavid WatsonE.A. WhiteheadImelda Woodthorpe BrowneShaun Woodward, MPHenry WyndhamDr Michael YatesJonathan Yeo

Honorary PatronsLord Browne of MadingleyThe Lord Carrington, KGMrs Drue Heinz, Hon. DBELord Weidenfeld

Development BoardProfessor David CannadineMargaret Exley, CBE*Amelia Chilcott Fawcett, CBE (Chair)*Jennifer Greenbury**Johnny Hornby*Frances Jackson**Jennifer Johnson**Rufus Olins*Sir Christopher Ondaatje, OC, CBE **Midge Palley**Mark Paviour*Robert Swannell*Anthony Weldon**Jonathan Yeo (from July 2007)**

* Member of Corporate Advisory Group** Member of Individual Advisory Group

Board of American Friends ofthe National Portrait Gallery(London) Foundation IncMrs Drue Heinz, Hon. DBE (Founder Benefactor)

David Alexander, Hon. CBE (President)John BiggsBridget ColmanRobert DonnalleyDr Frank L. EllsworthRichard M. TicktinSandy NairnePim Baxter (Secretary)

Financial Report

The Gallery received a 4.5% increase in revenuegrant-in-aid funding and £170,000 capital funding from the DCMS in 2007/08. However, it remains essential for the Gallery to increase its self-generated income in order to support itsexisting resource base while embarking on newinitiatives. The Gallery also received an allocationof £160,000 from the Strategic CommissioningFund (jointly sponsored by the DCMS and theDfES) with a further equivalent amountcommitted for 2008/09. 2007/08 grant-in-aid pervisitor to St Martin’s Place was £4.27, less than2% higher than the figure of £4.19 in 2006/07,maintaining the Gallery as outstandingly effectivewithin the museums and galleries sector in termsof this key performance indicator.

As Grant-in-Aid represents only 42% of totalincome received in 2007/08, self-generatedincome remains crucial to sustaining the breadth and quality of the Gallery’s activities.Gross self-generated income represented 58% of total income, compared to 56% in 2006/07.Self-generated income increased by 16%compared to 2006/07 comprising healthyincreases in the majority of fundraising income,exhibition sponsorship, venue hire, and catering.Income earned by Retail, Publications and PictureLibrary declined by 13% compared to 2006/07,but this was because the 2006–07 Retail incomewas boosted significantly by the highly successfulDavid Hockney Portraits exhibition.

The rise in the proportion of the Gallery’s total income accounted for by self-generatedincome has continued the trend of recent years and renders the Gallery more dependent on self-generated income than grant-in-aid. The 16% increase in self-generated income,compared to 2006/7, arose because the Galleryreceived its first tranche of the £5 milliondonation from the Lerner family. Further tranchesfrom the Lerner gift will be received over the next two years. Self-generated income was also boosted by the commercial success of theexhibitions programme together with a good first year of trading for the trading company,which earned profit before tax of £0.5 million.

Overall resources expended fell by 2% comparedto 2006/07, mainly as a result of a reduction incost in the Gallery’s trading activities, where Retail costs were about £300,000 lower than in 2007–08. This too was a reflection of theconsiderable retail activity generated by the David Hockney Portraits exhibition in 2006–07,where retail income – and therefore retail costs –were significantly higher than in previous years.

Excluding capital reserves, unrestricted fundsincreased overall in 2007/08 by £1.5 million.There are £0.35 million General Funds at 31 March 2008 (compared to £0.4 million at 31 March 2007) in accordance with thereserves policy which ensures that the Gallery has uncommitted reserves for its working capitalneeds to cover three quarters of its average stock levels. £0.7 million has been designated for specific projects which have been deferredfrom 2007/08 to 2008/09.

Since the Gallery has no other unrestrictedreserves, the Trustees have designated anInvestment and Contingency Fund for investment in projects that contribute to theGallery’s strategic objectives and for themanagement of fluctuations in cyclicalexpenditure spanning several years, such as the exhibitions programme. In 2007/08 a total of £0.9 million from the Fund was invested in the Digital Programme, cataloguing and research, upgrading the IT infrastructure, theimplementation of a purchase ordering systemand various building improvements. The Fundstood at £2.8 million at 31 March 2008, of which£0.25 million is reserved for fluctuations onexpenditure and as contingency, and £1.7 millionhas been allocated in 2008/09 for investment in programmes for further cataloguing work,research, digitisation, building improvements,Gallery-wide procurement support and ITinfrastructure. The Gallery’s remainingunrestricted reserves provide minimal contingency against unforeseen expenditure and short-term losses of income within thepresent economic climate.

The Portrait Fund received significant donationsduring 2007–08, from Sir Christopher Ondaatjeand half of the first tranche of the Lernerdonation which had been designated for theFund. The balance on the Portrait Fund nowstands at £3.2 million.

The following figures have been extracted from the Gallery’s financial records. For a full understanding of the Gallery’s financial affairs, reference should be made to the Annual Report and Accounts for the year ended 31 March 2008, available on the Gallery’s website www.npg.org.uk.

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IncomeFor operations, acquisitions and capital

� Grant-in-Aid � Activities for generating funds� Voluntary income� Income from exhibitions, learning and access� Sponsorship� Other

Expenditure Excluding capital but including depreciation

� Extending and broadening audiences � Developing the Collection � Increasing understanding and engagement

with the Collection � Fundraising trading: cost of goods sold and other costs � Costs of generating voluntary income � Governance

458

1,366

717

4,117

2,914

7,038

359

1,542

1,080

2,788

3,227

7,031 2007/8 £000s 2006/7 £000s

4,669

450

2,690

106

2,447

3,620

4,141

494

2,917

102

2,878

3,678

2006/7 £000s2007/8 £000s

Consolidatedstatement of financialactivities

2007/8 2006/7£000s £000s

Incoming resourcesGrant-in-Aid 7,038 7,031Incoming resources from generated fundsActivities from generating funds 2,914 2,788Voluntary income 4,117 3,227Investment income 367 221Incoming resources from charitable activitiesExhibitions admissions and touring income 1,324 1,504Exhibition and programme sponsorship income 717 1,080Learning & access income 42 38Other income 91 138Total incoming resources 16,610 16,027

Resources expendedCosts of generating fundsCosts of generating voluntary income 450 494Fundraising trading: cost of goods sold and other costs 2,447 2,878Total costs of generating funds 2,897 3,372

Resources expended on charitable activitiesExtending and broadening audiences 2,690 2,917Developing the Collection 3,620 3,678Increasing understanding and engagement with the Collection 4,669 4,141

Governance costs 106 102

Total resources expended 13,982 14,210

Net incoming resources before other recognised gains and losses 2,628 1,817Gains/(loss) on investments (1) –Gain on revaluation of fixed assets for charity’s own use 4,202 2,195

Net movement in funds 6,829 4,012

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Consolidatedbalance sheet

at 31 March 2008 at 31 March 2007£000s £000s

Fixed assets

Heritage assets 7,471 6,618Tangible assets 54,165 50,935Investments 37 38

Total fixed assets 61,673 57,591

Current assets Stock 322 396Debtors and prepayments 799 806Cash at bank and in hand 8,628 5,198

9,749 6,400Current liabilitiesCreditors falling due within one year (2,171) (1,569)Net current assets 7,578 4,831

Net assets 69,251 62,422

Represented by:

Restricted funds 57,556 52,208

Unrestricted fundsDesignated funds 11,345 9,814General funds 350 400

Total Funds 69,251 62,422

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AcquisitionsSingle and double portraits

James Evershed Agate (1877–1947)Drama criticBy Angus McBean (1904–1990)P1298: vintage bromide print, 14 3⁄4 x 11 1⁄4 in. (375 x 285 mm), signed and inscribed on mount, and onreverse of mount, inscribed and dated, 1946Purchased 2008

Sir David Attenborough (1926–)Naturalist and broadcaster; brother of Baron AttenboroughBy Richard Boll (1977–)P1296: digital black and white fibre print, 22 x 18 in. (559 x 456 mm), signed and dated on reverse, 7 February 2007Commissioned in association with the BBC 2007

Cecil Beaton (1904–1980)Photographer, designer and writerBy Angus McBean (1904–1990)P1294: vintage bromide print, 9 1⁄2 x 7 3⁄8 in. (241x 188 mm), 1949Purchased 2007

Tony Bevan (1951–)PainterSelf-portrait6818: oil and pigment on canvas, 34 5⁄8 x 29 3⁄4 in. (878 x 757 mm), signed (twice) on reverse and on stretcher, 1992Purchased with help from John Morton Morris and Ben Brown Fine Arts 2007

Sir Harrison Birtwistle (1934–)ComposerBy Tom Phillips (1937–)6822: oil on canvas, 20 1⁄8 x 20 1⁄8 in. (510 x 510 mm), 1995Purchased 2007

Anthony Charles Lynton (‘Tony’) Blair (1953–)Prime MinisterBy Nick Danziger (1958–)P1297: bromide print, 14 x 9 3⁄8 in. (357 x 239 mm), 3 April 2003Purchased 2007

David Bowie (1947–)Singer and performerBy Steven KleinP1277: C-type colour print, 30 x 44 1⁄2 in. (762 x 1130 mm),signed with initials, inscribed and dated on reverse, 2003Purchased with help from the proceeds of the 150thAnniversary Gala 2007

Ian Breakwell (1943–2005)ArtistSelf-portrait (‘Parasite & Host’)P1291: digital print, 45 5⁄8 x 37 3⁄8 in. (1160 x 950 mm),inscribed on backboard, 2005Purchased 2007

Quentin Crisp (Dennis Charles Pratt) (1908–1999)WriterBy Angus McBean (1904–1990)P1299: vintage bromide print, 17 1⁄8 x 13 1⁄2 in. (434 x 344 mm), signed, inscribed and dated on mount, and on reverse of mount, inscribed and dated, 1941Purchased 2008

Mary Ellis (1897–2003)ActressBy Angus McBean (1904–1990)P1300: vintage bromide print, 11 1⁄4 x 9 1⁄2 in. (287 x 240 mm), inscribed on reverse of mountPurchased 2008

Brian Eno (1948–) Musician and artistBy Tom Phillips (1937–)6823: oil on board, 11 7⁄8 x 10 in. (301 x 255 mm), 1984–1985Purchased 2007

Brian Eno (1948–)Musician and artistBy Tom Phillips (1937–)6824: oil on canvas, 14 x 10 in. (355 x 255 mm), 1984–1985Purchased 2007

Sir David Attenboroughby Richard Boll, 2007© Richard Boll/National Portrait Gallery, London

Sir Harrison Birtwistleby Tom Phillips, 1995© DACS/Tom Phillips

OppositeSelf-portrait (detail)by Tony Bevan, 1992© Tony Bevan

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42

John Fletcher (1579–1625)DramatistUnknown artist6829: oil on oak panel, 36 1⁄8 x 28 in. (918 x 710 mm), c.1620Purchased with help from the Portrait Fund, The Art Fund, L.L. Brownrigg, Sir Harry Djanogly, Laurence Chase, theGarfield Weston Foundation, the Fletcher tearooms at Rye,E.A. Whitehead, the Dame Helen Gardner Bequest, Mrs A.Campbell, the Pidem Fund, proceeds of the 150th AnniversaryGala, and numerous supporters of a public appeal 2008

John Charles Galliano (1960–)Fashion designerBy Paolo Roversi (1947–)P1278: pigment print, 9 1⁄2 x 7 3⁄8 in. (240 x 187 mm), signed, inscribed and dated on reverse, 2005Given by Paolo Roversi 2007

Duncan Alexander Goodhew (1957–)SwimmerBy Marty St James (1954–) and Anne Wilson (1955–)6815: multi-monitor video portrait, 1990Commissioned for the National Portrait Gallery by KPMG Peat Marwick Actuarial Services, 1990, and partly given byMarty St James and Anne Wilson and accessioned 2007

Len Harvey (1907–1976)BoxerBy Thomas Burke (1886–1945)6832: oil on canvas, 43 3⁄4 x 34 in. (1112 x 865 mm), signed, c.1938Purchased 2008

Polly Jean (‘P.J.’) Harvey (1969–)SingerBy Mario Sorrenti (1971–)P1275: digital colour print, 27 x 22 5⁄8 in. (685 x 575 mm), 1995Purchased, partial gift of the artist, with help from theproceeds of the 150th Anniversary Gala 2007

Leslie Lincoln Henson (1891–1957)Actor-managerBy Angus McBean (1904–1990)P1301: vintage bromide print, 19 3⁄4 x 14 7⁄8 in. (503 x 378 mm), signed, inscribed and dated on mount, and on reverse of mount, inscribed, 1938Purchased 2008

Audrey Hepburn (1929–1993)ActressBy Angus McBean (1904–1990)P1295: vintage bromide print, 19 1⁄2 x 15 in. (495 x 380 mm) uneven, 1950Purchased with help from Gift Aid visitor ticket donations 2007

David Hockney (1937–) ArtistSelf-portrait (‘Self-portrait with Charlie’)6819: oil on canvas, 72 x 36 in. (1829 x 914 mm), 2005Purchased with help from the proceeds of the 150thAnniversary Gala and Gift Aid donations on tickets purchased by visitors 2007

Sir Bruce Stirling Ingram (1877–1963)Editor of the Illustrated London NewsBy Angus McBean (1904–1990)P1302: vintage bromide print, 11 1⁄2 x 9 1⁄2 in. (291 x 241 mm)Purchased 2008

Louis Jacobs (1920–2006)TheologianBy Suzi Malin (1950–)6814: pen and ink with Chinese white, 31 1⁄2 x 21 1⁄2 in. (800 x 545 mm) uneven, signed and dated, 2007Given by Suzi Malin 2007

Sid James (1913–1976)ActorBy Ruskin Spear (1911–1990)6820: oil and collage on canvas, 48 x 35 7⁄8 in. (1220 x 912 mm), signed, 1962Purchased 2007

Henry Lamb (1883–1960)PainterSelf-portrait6838: oil on canvas, 22 x 18 1⁄8 in. (560 x 460 mm), signed and dated, 1950Bequeathed by 5th Baron Kenyon and accessioned 2008

Charles Laughton (1899–1962)ActorBy Edward Steichen (1879–1973)P1309: silver gelatin print, 10 x 8 in. (254 x 203 mm), 1935Purchased 2008

Tony Blairby Nick Danziger, 2003© Nick Danziger/nbpictures

Len Harveyby Thomas Burke, c.1938© estate of Thomas Burke

Acquisitions

David Bowieby Steven Klein, 2003© Steven Klein

Jude Law (1971–)ActorBy Paolo Roversi (1947–)P1279: pigment print, 9 3⁄8 x 7 1⁄2 in. (239 x 190 mm), signed, inscribed and dated on reverse, 2006Given by Paolo Roversi 2007

Beatrice Gladys Lillie (Lady Peel) (1894–1989)ActressBy Angus McBean (1904–1990)P1303: vintage bromide print, 15 3⁄4 x 11 1⁄2 in. (399 x 291 mm), signed, inscribed and dated on mount, and on reverse of mount, inscribed, 1958Purchased 2008

Angus McBean (1904–1990)PhotographerBy Robert Mapplethorpe (1946–1989)P1308: vintage bromide print, 19 1⁄8 x 15 1⁄4 in. (487 x 387 mm), signed, inscribed and dated on reverse, 1988Given by David Ball 2008

Sir Peter Mansfield (1933–)PhysicistBy Stephen Shankland (1971–)6836: oil on board, 57 7⁄8 x 31 1⁄8 in. (1470 x 790 mm), signed in monogram, and on reverse, signed, inscribed and dated, 2008Commissioned as part of the First Prize, BP Portrait Award 2004

Robert McCredie May, Baron May of Oxford (1936–)ZoologistBy Tom Phillips (1937–)6825: oil on panel, 6 x 3 7⁄8 in. (151 x 100 mm), 2005Purchased 2007

Oliver Hilary Sambourne Messel (1904–1978)DesignerBy Angus McBean (1904–1990)P1304: vintage bromide print, 19 7⁄8 x 14 1⁄2 in. (504 x 368 mm), signed and inscribed on mount, and on reverse of mount, inscribed, 15 March 1950Purchased 2008

Richard Edward Morphet (1938–)Art historianBy Tom Phillips (1937–)6826: pastel, 22 1⁄8 x 15 in. (561 x 380 mm) uneven,1972–1973Given by Tom Phillips 2007

Kate Moss (1974–) Fashion modelBy Corinne Day (1965–)P1274: bromide print, 59 1⁄2 x 51 3⁄8 in. (1510 x 1305 mm), 11 December 2006Commissioned with help from the proceeds of the 150thAnniversary Gala 2007

Kate Moss (1974–)Fashion modelBy Mario Sorrenti (1971–)P1276: digital print, 39 3⁄8 x 33 1⁄2 in. (1000 x 850 mm), 1993Purchased, partial gift of the artist, with help from theproceeds of the 150th Anniversary Gala 2007

Victor Musgrave (1919–1984)Art dealer and collector; founder of Gallery OneBy Maggi Hambling (1945–)6816: oil on canvas, 36 x 28 in. (914 x 712 mm), signed,inscribed and dated on reverse, 1977Purchased 2007

Sir Paul Maxime Nurse (1949–)Biochemist; Chief Executive Officer of Cancer Research UKBy Jason Brooks (1968–)6837: acrylic on canvas, 67 3⁄8 x 106 3⁄4 in. (1710 x 2710 mm),signed, inscribed and dated on stretcher, 2008Commissioned by the Trustees and made possible byJPMorgan through the Fund for New Commissions 2008

Chris Ofili (1968–)ArtistSelf-portrait6835: oil on canvas, 40 1⁄8 x 17 3⁄8 in. (1019 x 442 mm), 1991Purchased with help from Laura and Barry Townsley andJanet de Botton 2008

Julian Opie (1958–)ArtistSelf-portrait6830: continuous computer animation displayed on LCD screen, 2005Purchased with help from Channel 4 2007

Berto Pasuka (died 1963)Jamaican dancer and choreographerBy Angus McBean (1904–1990)P1305–P1306: vintage bromide prints, two photographs on one mount, 14 3⁄4 x 11 3⁄4 in. (374 x 299 mm) or larger,signed and inscribed on mount, and on reverse of mount,inscribed, January 1946Purchased 2008

Marc Quinn (1964–)ArtistSelf-portrait6828: hand-coloured pigment transfer print on aluminiumpanel, 10 1⁄4 x 7 7⁄8 in. (261 x 200 mm), signed, numbered 3/10 and dated on reverse, 2006Purchased 2007

Luise Rainer (1910–)Actress and painterBy Angus McBean (1904–1990)P1307: vintage bromide print, 15 1⁄2 x 19 1⁄2 in. (394 x 494 mm), signed, inscribed and dated on mount, and on reverse of mount, inscribed and dated, 1938Purchased 2008

Stella Isaacs, Marchioness of Reading (1894–1971)Chairman and founder of the Women’s Royal Voluntary ServiceBy Sir James Gunn (1893–1964)6833: oil on canvas, 44 1⁄8 x 36 in. (1120 x 914 mm), signed, 1961–1962Given by the Women’s Royal Voluntary Service 2008

David Ricardo (1772–1823)Political economistBy Thomas Phillips (1770–1845)L241: oil on canvas, 36 1⁄8 x 28 in. (917 x 710 mm), c.1821Lent by Christopher Ricardo, 2007

Sir David Scholey (1935–)BusinessmanBy Rupert Bathurst (1964–)6813: pencil, 29 7⁄8 x 22 3⁄8 in. (758 x 568 mm), signed withinitials and dated, 2005Given by Sir David Scholey

Tilda Swinton (1961–)ActressBy Paolo Roversi (1947–)P1280: pigment print, 9 1⁄2 x 7 1⁄2 in. (240 x 189 mm), signed,inscribed and dated on reverse, 2005Given by Paolo Roversi 2007

Berto Pasukaby Angus McBean, 1950© estate of Angus McBean

Sir Peter Mansfieldby Stephen Shankland, 2008

Self-portrait‘Julian with T-shirt’by Julian Opie, 2005© Julian Opie

43

Acquisitions

44

Sir Siegmund George Warburg (1902–1982)BankerBy Raymond Leslie Skipp (1921–2001)6821: tempera grassa on paper on panel, 37 1⁄8 x 30 in. (942 x 763 mm), signed and dated, 1972Given by UBS AG 2007

Oscar Wilde (1854–1900)Wit and dramatistBy Napoleon Sarony (1821–1896)P1133: albumen cabinet print, 5 5⁄8 x 4 in. (143 x 102 mm),inscribed below image on photographer’s mount, 1882Purchased 2007

Humbert Wolfe (1886–1940)Poet and civil servantBy Sir William Rothenstein (1872–1945)6831: chalk, 14 7⁄8 x 9 3⁄4 in. (379 x 249 mm), inscribed anddated, 1931Given by the sitter’s daughter, Ann Wolfe, 2008

Group portraits

The Situation GroupLawrence Alloway (1926–1990) Art dealer and critic,Gillian Ayres (1930–) Painter, mural artist and teacher,Bernard Cohen (1933–) Painter and teacher, Roger ColemanPainter, Peter Coviello (1930–) Painter, potter and teacher,Robyn Denny (1930–) Painter, Gordon House (1932–2004)Printmaker, painter, designer and teacher, Gwyther Irwin(1931–) Painter, designer and teacher, Henry Mundy(1919–) Painter and teacher, John Plumb (1927–) Painterand teacher, Peter Stroud (1921–) Artist, William Turnbull(1922–) SculptorBy Sylvia Sleigh (1916–)6817: oil on linen, mounted on canvas, 48 x 72 in. (1219 x 1829 mm)Signed and dated, 1961Purchased 2007

HeadsFrancis Bacon (1909–1992) Painter, John Blake Sculptor;friend of Peter Gidal, Rufus Collins (1935–) American actorand director, Jim Dine (1935–) American artist,Stephen Dwoskin (1939–) Film-maker, Marianne Faithfull(1946–) Singer and actress, Jane Furst Friend of Peter Gidal,David Gale Actor; friend of Peter Gidal, Andrew Garnett-Lawson Set designer; friend of Peter Gidal, Carol Garnett-

Lawson Sculptor; friend of Peter Gidal, Richard Hamilton(1922–) Painter, David Hockney (1937–) Artist,Marsha Hunt (1947–) Model, singer, actress and writer, Vivian Kurtz Actress; friend of Peter Gidal,Gregory Markopoulos (1928–1992) American film-maker,Dieter Meier (1945–) Swiss musician and performance artist, Thelonius Monk (1917–1982) American jazz pianist,Adrian Munsey Friend of Peter Gidal, Claes Thure Oldenburg(1929–) Artist, Anita Pallenberg (1944–) Model, actress and fashion designer, Prenai Friend of Peter Gidal,Patrick Procktor (1936–2003) Artist, Winston Roeth Artist; friend of Peter Gidal, Carolee Schneemann (1939–)American performance artist, Rosie Schwarz Friend of Peter Gidal, Leslie Smith Friend of Peter Gidal, Linda Thorson(Linda Robinson) (1947–) Canadian actress, Peter DennisBlandford (‘Pete’) Townshend (1945–) Musician, performerand composer; publisher and author, Frances VaughanFriend of Peter Gidal, Charles Robert (‘Charlie’) Watts(1941–) Member of the Rolling Stones, Bill West Friend ofPeter GidalBy Peter Gidal (1946–)6827: 16 mm silent, black and white film, 1969Transferred 2007

The House of Commons, 24 July 1986Leo Abse (1917–) Lawyer and writer, Jack Ashley, Baron Ashley (1922–) Politician, Anthony Wedgwood(‘Tony’) Benn (1925–) Politician, (William) John Biffen,Baron Biffen (1930–2007) Politician, Sir John Alec Biggs-Davison (1918–1988) Politician, and 82 other figures,see www.npg.org.uk for full listingBy Christopher John (‘Chris’) Orr (1943–)6834: aquatint and etching, 13 3⁄8 x 21 3⁄8 in. (340 x 542 mm), 1986Purchased 2008

The Dreadnought HoaxAnthony Buxton (1881–1970) Writer and naturalist,(William) Horace De Vere Cole (1881–1936) Practical joker,Duncan Grant (1885–1978) Artist, Guy Ridley (1885–1947)Solicitor, Adrian Stephen (1883–1948) Psychoanalyst; son ofSir Leslie Stephen, Virginia Woolf (née Stephen)(1882–1941) Novelist and critic; sister of Vanessa BellBy Lafayette (Lafayette Ltd) (1880–)P1293: albumen print, 6 7⁄8 x 8 3⁄4 in. (176 x 223 mm), 10 February 1910Purchased 2007

Oscar Wildeby Napoleon Sarony, 1882

The Dreadnought Hoaxby Lafayette (Lafayette Ltd), 1910

The Situation Groupby Sylvia Sleigh, 1961

Collections

Faith and Church: photographs by Don McCullin, 2006:By Don McCullin (1935–)Gelatin silver prints, 18 7⁄8 x 15 1⁄4 in. (481 x 388 mm) or more,signed on reverseCommissioned 2007P1281: Anthony Michael (‘Tony’) Bayfield (1946–)Rabbi; Head, Movement for Reform Judaism, 5 September2006P1282: Esmé Christiana Beswick (née Coleman) (1938–)Pentecostal minister; Secretary General, Joint Council forAnglo Caribbean Churches, 8 September 2006P1283: Cormac Murphy-O’Connor (1932–)Cardinal Archbishop of Westminster, 14 September 2006P1284: Syed Aziz Pasha (1930–)Secretary General, Union of Muslim Organisations, 21 September 2006P1285: Kathleen Margaret Richardson (née Fountain),Baroness Richardson (1938–)Teacher and ecumenicist; Moderator, Free Church FederalCouncil, 4 September 2006P1286: Sir Jonathan Henry Sacks (1948–)Chief Rabbi, United Hebrew Congregations of the BritishCommonwealth of Nations, 8 November 2006P1287: Sir Iqbal Sacranie (1952–)Secretary General, Muslim Council of Great Britain, 6 September 2006P1288: Om Parkash Sharma (1929–)Businessman; President, National Council of Hindu Temples,29 September 2006P1289: Indarjit Singh (1932–)Founding Director, Network of Sikh Organisations, 7 September 2006P1290: Rowan Douglas Williams (1950–)Archbishop of Canterbury, 13 September 2006

Photographs by Bern Schwartz, 1975–8:By Bern Schwartz (1914–1979)P1134–P272: dye transfer prints, 7 5⁄8 x 6 1⁄8 in. (195 x 155 mm) or moreGiven by the Bernard Lee Schwartz Foundation 2007

Lawrence Cecil (‘Larry’) Adler (1914–2001), ConstanceMary Katherine Applebee (1873–1981), Robert Armstrong,Baron Armstrong of Ilminster (1927–), Dame EdithMargaret Emily (‘Dame Peggy’) Ashcroft (1907–1991), Sir Frederick Ashton (1904–1988), Sir Alfred Jules Ayer(1910–1989), Dame Janet Abbott Baker (1933–), Anthony Wedgwood (‘Tony’) Benn (1925–), Aline ElisabethYvonne (née De Gunzbourg), Lady Berlin (1915–), Sir Isaiah Berlin (1909–1997), Sidney Lewis Bernstein, 1st Baron Bernstein of Leigh (1899–1993), Alma LillianBirk, Baroness Birk of Regent’s Park (1917–1996), Claire Bloom (1931–), Richard Austen Butler, 1st BaronButler of Saffron Walden (1902–1982), James Callaghan,Baron Callaghan of Cardiff (1912–2005), Richard MichaelPower (‘Mike’) Carver, Baron Carver (1915–2001), Sir Hugh Maxwell Casson (1910–1999), Lord David Cecil(1902–1986), Prince Charles (1948–), Kenneth Clark, BaronClark (1903–1983), Donald Coggan, Baron Coggan(1909–2000), Alistair Cooke (1908–2004), Fleur CowlesMeyer (c.1915–), Douglas Albert Vivian Allen, BaronCroham (1917–), John Curry (1949–1994), Sir CliffordMichael Curzon (1907–1982), Sir Colin Rex Davis (1927–),Alfred Thompson (‘Tom’) Denning, Baron Denning(1899–1999), Dame Ninette de Valois (Edris Stannus)(1898–2001), Sir Anthony Dowell (1943–), (Charles)Garrett Ponsonby Moore, 11th Earl of Drogheda(1910–1989), (Israel) Maurice Edelman (1911–1975), Sir Geraint Llewellyn Evans (1922–1992), Dame MargotFonteyn (1919–1991), Charles Forte, Baron Forte(1908–2007), (John) Barry Foster (1927–2002), Clare Mary

Francis (1946–), Dame Elisabeth Jean Frink (1930–1993),Gerald Austin Gardiner, Baron Gardiner (1900–1990), Sir John Gielgud (1904–2000), Sir William Frederick Glock(1908–2000), Arnold Abraham Goodman, Baron Goodman(1913–1995), Sir Alec Guinness (1914–2000), QuintinMcGarel Hogg, 1st Baron Hailsham of St Marylebone(1907–2001), George Henry Hubert Lascelles, 7th Earl of Harewood (1923–), (William) Michael Berry, BaronHartwell (1911–2001), Jacquetta Hawkes (1910–1996), Sir Edward Heath (1916–2005), David Hockney (1937–), Sir Alan Lloyd Hodgkin (1914–1998), Alexander FrederickDouglas-Home, Baron Home of the Hirsel (1903–1995),Lesley Hornby (‘Twiggy’) (1949–), (George) Basil Hume(1923–1999), John Hunt, Baron Hunt (1910–1998),Immanuel Jakobovits, Baron Jakobovits (1921–1999), Roy Harris Jenkins, Baron Jenkins of Hillhead (1920–2003),Ann Maureen Jenner (1944–), Dame Gwyneth Jones(1936–), James Larkin (‘Jack’) Jones (1913–), Jennifer(‘Gemma’) Jones (1942–), Sir Osbert Lancaster(1908–1986), Janet (‘Jennie’) Lee, Baroness Lee ofAsheridge (1904–1988), (Norman) Harold Lever, BaronLever (1914–1995), Dame Moura Lympany (née MaryJohnstone) (1916–2005), Sir Fitzroy Hew Royle Maclean,1st Bt (1911–1996), Donald Whyte MacLeary (1937–), Sir Robert Mark (1917–), Dame Alicia Markova(1910–2004), John George Vanderbilt Spencer-Churchill,11th Duke of Marlborough (1926–), Rosita Spencer-Churchill, Duchess of Marlborough (1943–), Sir RobertMayer (1879–1985), Sir Peter Brian Medawar(1915–1987), Yehudi Menuhin, Baron Menuhin(1916–1999), Henry Moore (1898–1986), Claus AdolfMoser, Baron Moser (1922–), Louis Mountbatten, EarlMountbatten of Burma (1900–1979), (Thomas) MalcolmMuggeridge (1903–1990), Benedict Nicolson (1914–1978),Diana, Viscountess Norwich (Lady Diana Cooper)(1892–1986), Rudolf Hametovich Nureyev (1938–1993),Laurence Kerr Olivier, Baron Olivier (1907–1989), DavidAnthony Llewellyn Owen, Baron Owen (1938–), VijayaLakshmi Pandit (1900–1990), Dame Merle (Florence) Park(1937–), Sir (Ernest) John Partridge (1908–1982), LesterPiggott (1935–), John Egerton Christmas Piper(1903–1992), Sir John Harold Plumb (1911–2001),Carmichael Charles Peter (‘Michael’) Pocock (1920–1979),John Boynton (‘J.B.’) Priestley (1894–1984), William Rees-Mogg, Baron Rees-Mogg (1928–), Zandra Lindsey Rhodes(1940–), Gordon William Humphreys Richardson, BaronRichardson of Duntisbourne (1915–), Sir Ralph DavidRichardson (1902–1983), Angela Rippon (1944–), LionelCharles Robbins, Baron Robbins (1898–1984), Eric Roll, 1stBaron Roll of Ipsden (1907–2005), Amschel Mayor JamesRothschild (1955–1996), Dorothy Mathilde de Rothschild(1895–1988), Nathaniel Mayer Victor Rothschild, 3rdBaron Rothschild (1910–1990), Nathaniel Charles JacobRothschild, 4th Baron Rothschild (1936–), Sir Francis EdwinPrescott Sandilands (1913–1995), Bernard Lee Schwartz(1914–1979), (David) Paul Scofield (1922–2008), DameAntoinette Sibley (1939–), Eloise Sibley (1975–), MarcusJoseph Sieff, Baron Sieff (1913–2001), Charles Percy Snow,Baron Snow (1905–1980), Sir David Edward Charles Steel(1916–2004), Isaac Stern (1920–2001), Sir Roy Strong(1935–), Michael Meredith Swann, Baron Swann(1920–1990), Dame Kiri Janette Te Kanawa (1944–),Margaret Hilda Thatcher (née Roberts), Baroness Thatcher(1925–), Alexander Robertus Todd, Baron Todd(1907–1997), Burke Frederick St John Trend, Baron Trend(1914–1987), Humphrey Trevelyan, Baron Trevelyan(1905–1985), Sir Siegmund George Warburg (1902–1982),Arthur George Weidenfeld, Baron Weidenfeld (1919–),Shirley Vivien Teresa Brittain Williams, Baroness Williamsof Crosby (1930–), (James) Harold Wilson, Baron Wilson ofRievaulx (1916–1995), Sir Isaac Wolfson, 1st Bt(1897–1991), Alexander Zakin (1903–1990), SollyZuckerman, Baron Zuckerman (1904–1993)

Rowan Williams, Archbishop of Canterburyby Don McCullin, 2006© Don McCullin

Margaret Thatcher, Baroness Thatcherby Bern Schwartz, 1977

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46

Rossetti Family Photograph Album, 1853–1902:P1273 album, 61 pages with 98 photographs, 14 5⁄8 x 10 5⁄8 in. (372 x 270 mm)Purchased 2007Dante Gabriel Rossetti (1828–1882) Painter and poet,Christina Georgina Rossetti (1830–1894) Poet,William Michael Rossetti (1829–1919) Critic and writer,Maria Francesca Rossetti (1827–1896) Writer; sister ofDante Gabriel, William and Christina Rossetti, Frances MaryLavinia Rossetti (née Polidori) (1800–1886) Mother ofDante Gabriel, William Michael and Christina Rossetti,Mary Rossetti (b.1881) Daughter of William MichaelRossetti, Michael Rossetti (b.1881) Son of William Michael Rossetti10 photographs of the above by Lewis Carroll (Charles Lutwidge Dodgson) (1832–1898), Lisa Stillman and (Henry) Mark Anthony (1817–1886)Also represented: Alphonse Legros (1837–1911) Painter,sculptor and etcher, Swynfen Stevens Jervis (1798–1867)MP and occasional poet, John Lucas Tupper (c.1824–1879)Sculptor and anatomical draughtsman, contributor to theGerm, George Brimley (1819–1857) Essayist and critic forthe Spectator, Marie Stillman (née Spartali) (1844–1927)Painter and artist’s model, Euphrosyne (‘Effie’) Stillman(1872–1911) Sculptor; daughter of Marie Stillman (néeSpartali), Robert Stephen Rintoul (1787–1858) Journalist,editor and founder of the Spectator, Henrietta Rintoul (died 1860) Wife of Robert Stephen Rintoul, Robert RintoulLieutenant, 4th Dragoon Guards; son of Robert StephenRintoul, Henrietta Rintoul (c.1825–1904) Daughter ofRobert Stephen Rintoul; amateur photographerPhotographs of works of art featured in this album are listedon the Gallery website at www.npg.org.uk

Sidney and Beatrice Webb Family Photograph Album,1863–1942:P1292 album, 57 pages with 92 photographs, 113⁄4 x 9 5⁄8 in.(300 x 245 mm)Purchased 2007(Martha) Beatrice Webb (née Potter), Lady Passfield(1858–1943) Social reformer and diarist, Sidney JamesWebb, Baron Passfield (1859–1947) Social reformer andpolitician33 photos of the above by George T. Millichap (floruit1855–1874), Martin & Sallnow (floruit 1885–1895), Sport & General Press Agency Ltd, Bassano (floruit 1902–1979),Lafayette (Lafayette Ltd) (1880–), Sheila CameronMeinertzhagen (née Macnamara)Also represented: George Bernard Shaw (1856–1950)Playwright, Barbara Drake (née Meinertzhagen)(1876–1963) Political activist and writer; niece of Beatrice Webb, Ivan Mikhailovich Maisky (1884–1975)Russian Ambassador to London and writer, M. NovikovCounsellor to the Russian Embassy, Luke Meinertzhagen

The Rossetti Familyby Lewis Carroll (Charles Lutwidge Dodgson), 1863

Acquisitions

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ExhibitionsApril 2007–March 2008

Wolfson Gallery

BP Portrait Award 2007 and BP Travel Award 200614 June–16 September 2007Pop Art Portraits11 October 2007–20 January 2008 Vanity Fair Portraits: Photographs 1913–200814 February–26 May 2008

Porter Gallery

Daily Encounters: Photographs from Fleet Street5 July–21 October 2007 Photographic Portrait Prize 20078 November 2007–24 February 2008 Brilliant Women: 18th-Century Bluestockings13 March–15 June 2008

Studio Gallery

Four Corners24 March–5 August 2007 (Reaching Out, Drawing In project supported by the Heritage Lottery Fund)My Space20 October 2007–24 February 2008 (In partnership with Commission for Architecture and the Built Environment)

Bookshop Gallery

In the Making: Fashion and Advertising2 July–14 October 2007Shutting Up Shop5 November 2007–4 June 2008

Selected gallery displays

Sir Leslie Stephen5 April–9 December 2007Artists and Sitters, New Display of the Collection: 1960–90From 21 April 2007Devotional16 June–25 November 2007Caricatures by Barry Fantoni23 June–23 September 2007Making History: Printed Portraiture in Tudor and Stuart Britain 1580–16407 July–9 December 2007Diana, Princess of Wales14 July 2007–14 January 2008W.H. Auden28 July–2 December 2007Lives and Letters15 September 2007–9 March 2008Private View: British Pop and the 60s Art Scene24 September 2007–6 March 2008Joseph Conrad28 September 2007–12 February 2008Alexandra of Denmark28 September 2007–13 January 2008Born 1947: Camera Press at 6030 October 2007–20 April 2008

The Artist’s Process4 December 2007–29 June 2008John Kay’s Curious Characters15 December 2007–13 July 2008Yousuf Karsh15 January–6 July 2008Jazz in London: Photographs by Walter Hanlon21 January–20 July 2008The Search for the Source of the Nile28 January–27 July 2008Men of the Day: Caricatures from Vanity Fair14 February–31 August 2008Modern Muses13 March–15 June 2008Victorian Women Historians13 March–31 August 2008Athletes and Olympians20 March–28 September 2008Anthony Caro Portraits20 March–7 September 2008

Touring exhibitions

BP Portrait Award 2007 and BP Travel Award 2006Laing Art Gallery13 October–2 December 2007Scottish National Portrait Gallery, Edinburgh14 December 2007–16 March 2008Photographic Portrait Prize 2006Aberystwyth Arts Centre19 May–7 July 2007The World’s Most PhotographedNewcastle Regional Art Gallery, Australia7 April–24 June 2007Pop Art PortraitsStaatsgalerie, Stuttgart23 February–8 June 2008Great BritonsNational Portrait Gallery, Washington, D.C.27 April–2 September 2007Cecil Beaton: PortraitsChrysler Museum, Norfolk, Virginia16 October 2007–4 January 2008

National programmes

Pop Stars: Photographs from the National Portrait Gallery*Sunderland Museum and Winter Gardens30 June–27 August 2007Human Cargo: The Transatlantic Slave Trade, its Abolition and Contemporary Legacies in Plymouth and Devon*Plymouth City Museum and Art Gallery22 September–24 November 2007A Blueprint for Life: Designers Photographed by Steve SpellerShipley Art Gallery, Gateshead19 January–8 March 2008The Diary Room: Characters of the 17th Century*Graves Art Gallery, Sheffield5 March–31 May 2008North Face: Photographs from the National Portrait Gallery*Ten locations across the North East, ranging from Hexham Old Gaol to Segedunum in Wallsend29 March–26 May 2008

* Collaborative exhibition

Sandy Nairne Director

Alexandra Finch Manager, Director’s OfficeLouise Ledger Administrative Assistant

Curatorial and Collections

Jacob Simon Chief Curator and Deputy Director

CuratorsTarnya Cooper 16th CenturyCatharine MacLeod 17th CenturyLucy Peltz 18th CenturyPeter Funnell 19th Century and Head of Research ProgrammesPaul Moorhouse 20th CenturySarah Howgate ContemporaryTerence Pepper PhotographsClare Freestone Assistant Curator of PhotographsRosie Broadley Assistant CuratorRab MacGibbon Assistant CuratorPatricia Hardy Assistant Curator from 02/08Elizabeth Heath Assistant Curator (Research) from 02/08Magda Keaney Assistant Curator of Photographs (Exhibitions and Displays)Jan Marsh ResearcherCarol Blackett-Ord ResearcherGeorgia Atienza CataloguerConstantia Nicolaides CataloguerSusanna Brown Photographs Documentation Assistant until 01/08Eddie Otchere Arts Council England Inspire FellowJohn Ingamells Research FellowSeraphina Coffman Secretary on leave from 08/07Catherine Stanton Curatorial and Secretarial Assistant

Digital ProgrammesDavid Saywell Head of Digital Programmeson leave from 07/07José Robertson Head of Digital Programmes from 09/07Jonathan Williamson Collections Database ManagerSylvain Giraud New Media ManagerRichard Edwards New Media Assistant until 08/07Hanal Patel New Media Assistant from 09/07Emma Cavalier Digital Imaging OfficerAmy Scott Digital Imaging AssistantZaheen Qaiser IT Gallery Co-ordinatorInga Fraser Data Entry Cataloguer until 01/07

Exhibitions and Collections ManagementSarah Tinsley Head of Exhibitions and Collections ManagementClaire Everitt Exhibitions Manager until 11/07Sophie Clark Exhibitions ManagerRosie Wilson Exhibitions ManagerFlora Fricker Exhibitions Manager (Competitions)Alexandra Willett Exhibitions Assistant until 11/07Michelle Greaves Exhibitions Assistant from 11/07Penny Hughes Collections Services Manager from 11/07Laura Down National Programmes ManagerDelphine Allier National Programmes AssistantDavid McNeff Loans ManagerTim Moreton Collections ManagerJuliet Simpson Collections AssistantCaroline Pegum Researcher/Co-ordinator for SubjectSpecialist Network from 09/07Annabel Champion Loans Assistant until 10/07Ruth Cribb Loans Assistant from 11/07 to 02/08Richard Hallas Head of Frame ConservationStuart Ager Assistant Manager, Frame ConservatorStephen Williams Frame ConservatorKarl Lydon Art Handling ManagerArt Handlers: Neil Andrews, Julian Buchan, Danny Horner, Ulrike WaschmannJude Simmons Head of Design

Ian Gardner DesignerLeonora Daltrey Assistant DesignerSophie Plender Senior Paintings ConservatorSally Marriott Assistant Paintings Conservator from 05/07

Heinz Archive and LibraryRobin Francis Head of Archive and LibraryGabriele Popp Librarian on leave from 06/08Joseph Ripp Assistant Librarian from 09/07Paul Cox Assistant Curator (Archive and Library)Erika Ingham Assistant Curator (Archive and Library)Archive Assistants: Lisa Burke from 06/07, Bryony Millan,Francesca Odell, Emma WilliamsAndrew Allen CataloguerCharlotte Brunskill Archivist/Records ManagerPaul Shackleton Library Project Manager from 08/07

Communications and Development

Pim Baxter Communications and Development Director and Deputy DirectorDenise Ellitson Marketing ManagerJonathan Rowbotham Marketing OfficerNeil Evans Senior Press OfficerCatherine Bromley Press OfficerHelen Corcoran Communications AssistantNaomi Conway Head of Corporate DevelopmentStephanie Weissman Major Donor Development ManagerTilani Guy De FontGalland Development Researcher Kirsty Sprawson Trusts Fundraising Manager on leave from 05/07Carol Trevor Fundraising Manager until 04/07Susie Holden Trusts Fundraising Manager from 04/07Catherine Yexley Trusts Fundraising Manager from 05/07Charlotte Savery Individual Giving ManagerEmma Black Membership OfficerSarah Moir Corporate Development ManagerMairi Sinclair Corporate Development Manager until 11/07Sara Bunting Corporate Development Manager from 12/07Annie Davies Events Manager until 11/07Nicola Martin Events Manager from 11/07Maddie Gibson Events Officer from 12/07Alex Kidston Music Co-ordinator

Trading

Robert Carr-Archer Head of TradingShirley Ellis Retailing and Publications AssistantCelia Joicey Publishing ManagerSusie Foster EditorCaroline Brooke Johnson Editor on leave from 01/08Rebeka Cohen Editor from 11/07Claudia Bloch Assistant EditorRuth Müller-Wirth Production ManagerPallavi Vadhia Publications Sales and Marketing ManagerTom Morgan Head of Rights and ReproductionsBernard Horrocks Copyright OfficerMatthew Bailey Acting Assistant Picture Library ManagerPicture Librarians: Melissa Atkinson, Emma Butterfield, Helen Trompeteler

ShopDenise Dean Retail Manager, BuyerLinda Fu Assistant Retail ManagerVictoria Barnes Buying Assistant until 01/08Senior Sales Assistants: Sylvia Gallotti until 08/07, Martin SteiningerSales Assistants: Joanna Aitken, Suzanne Allatt until 01/08,Maiven Bergeron, Julie Crawford from 08/07,Olivia Forder-White, Sean Harris from 06/07,Victoria Healy, Anthea Henderson, Matthew Jones from 10/07, Rebecca Lord from 02/08, Freya Macknightuntil 02/08, Giles Morgan, Maria Nillson until 06/07,Hayley Pimblott until 09/07, Amber Sinclair Ray until 05/07

Staff

48

Terence Stewart Stores SupervisorRobert Ryan Stores Assistant until 01/08Kieron Wakeman Stores Assistant from 01/08

Learning and Access

Liz Smith Head of Learning and Access from 06/07Liz Rideal Learning Manager – Art until 01/08, Art Resources Developer from 01/08Clare Gittings Learning ManagerTanja Ganger Learning Manager – Art from 01/08Rachel Moss Young People’s Programmes ManagerJanette Cullen Family Programmes Manager on leave from 11/07Kevina Khan Family Programmes Manager from 11/07Sumi Ghose Adult Programmes ManagerLucy Ribeiro Learning and Access ManagerFrancesca Silvester Access and Outreach Assistant on leave from 11/07Kalliopi Liouta Access and Outreach Assistant from 11/07Rosie Burley Access and Outreach Assistant from 09/07Andrea Easey Interpretation EditorAnna Bright Short Text WriterRebecca Connock Reaching Out Drawing In Project Manageruntil 11/08Phillippa Heath Learning Services ManagerEmma Middleton Learning Services AssistantAmy Wedderburn Learning Services AssistantGabriel Thorp AV/Theatre Technician

Finance and Planning

Nick Hanks Head of Finance and Planning from 09/07Barbara Jotham Head of Finance and Planning until 06/07Nico Nicholas Finance ManagerTerence Greenwood Assistant Finance ManagerJenny Dewhirst Management and Planning AccountantStella Muziya Assistant Management AccountantSusan Deane Payroll OfficerFinance Assistants: Peter Beadle, Olamide Ogunlesi

Resources

Judith West Head of ResourcesLouis Brady Head of Information TechnologyAnn Lahiff IT Infrastructure and Development ManagerMartin Empson IT Systems Officer until 08/07David Lloyd IT Support and Development ManagerSimon Jones IT Support OfficerKevin Day IT Support OfficerRon Hurtado IT Assistant from 08/07Steve Ames Facilities ManagerAllan Tyrrell Engineering ManagerJohn Dawson Building Services Co-ordinatorClaire Zammit Head of Visitor Services and SecurityCaroline Wynter Head of PersonnelLlorett Kemplen Training and Development ManagerJagdish Sandhu Senior Personnel OfficerLucy Evans Personnel AssistantMelanie Pelletier Personnel AssistantElizabeth Fomin Contracts/Procurement Adviser from 12/07

Visitor Services

Visitor Services Managers:Rafal Kennedy from 09/07, Heather Packham from 05/07,Rosie Pagan, Colin Wood until 08/07Assistant Visitor Services Managers:Jennifer Hopkins from 07/07, Andrew Hudson,Adriana Oliveira from 01/08, Mark Van Beurden Visitor Services Assistants:Roz Ah Thion, Henar Arevalo, Joseph Armstrong,Stephen Atkins, Barbara Barnett, Michael Barratt from 07/07, Linda Beadle until 06/07, Yamina Belkacemi,

Pierre Berthou until 02/08, Lynn Boothman,Rosemary Brookes, Sarah Brown until 05/07,Leonie Brumby from 07/07, Michelle Cajapin from 07/07,Chia Han Chou from 07/07, Athanasia Christopoulou,Kevin Clarke until 09/07, Eveline Coker, David Coomber,Brenda Copleston, Victor Cruz, Fausta Cuboni from 07/07,Anna Di Cesare, Margaret Drury, Stuart Evans,Emma Fitzpatrick from 02/08, Andrea Giles, Davina Gregory,Emma Halliday until 12/07, Annette Harrison, Carole Joyce,Pooja Kalyan from 02/08, Martha King from 02/08,Ji Lamey, Magdelena Lewandowska, Yu-chu Liu from 02/08,Giles Livsey, James MacDonald, Lanny Madhavan,Carlos Maestre, Cassandra Makris, Philip Marsden,Ruth Mason, Ashok Patel, Valerie Peppiatt, Simon Perryuntil 08/07, Carl Prince, Aman Sagoo until 01/08,Janelle St Bernard, Rebecca Seal, Katie Sharp from 02/08,Urszula Skiba from 07/07, Lauren Skyers from 02/08,Claire Softley from 07/07, Evelyne Sperling, Lee Summers,Paul Taylor, Susan Taylor, Sarah Thompson, Andrea Toon,Sonika Ummat from 02/08, Numvi Wallace,Kathleen WilkinsNigel Phillips Senior Control Room Officer from 01/08Control Room Officers:Majeed Hyderkhan, Judith Lockyer, Nigel Phillips,David Read, Konstantin Silkoff until 11/07, Garry Tyndall,Michael Worsley until 02/08

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

89% White11% Black and Minority Ethnic 33% Male 67% Female 1.4% Disabled21% Part-time employees

The Review covers the Gallery’s activities for the financial year from April 2007 to March 2008

Published byNational Portrait GallerySt Martin’s PlaceLondon WC2H 0HET 020 7306 0055F 020 7306 0056

The National Portrait Gallery website can be visited at www.npg.org.uk

Copyright© National Portrait Gallery 2008ISBN 13: 978 1 85514 402 6

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or otherwise, without prior permission in writing from the publisher.

All images are copyright of the National Portrait Gallery unless otherwise stated. The National Portrait Gallery would like to thank the copyright holders for granting permission to reproduce works in this publication.

Designed by Anne SørensenProject managed by Denise EllitsonEdited by Elisabeth InglesPrinted by Tradewinds London

Review 2007/2008