N AT I O N A L

P O RT R A I TG A L L E RY

REVIEW 2000/2001

C o n t e n t sTrustees’ Fore w o rd 3B o a rd of Tru s t e e s 3The Opening of the Ondaatje Wi n g 4The Collections 4The Galleries 6Photographs Collection 8Heinz Archive and Library 9C o n s e rv a t i o n 1 0E x h i b i t i o n s 1 0P a rtnerships outside London 1 4Education 1 6Vi s i t o r s 1 7Tr a d i n g 1 8Financial Report 2 1Fundraising and Development 2 5List of Acquisitions 2 9S t a ff 4 0

B o a rd of Tru s t e e s2 0 0 0 – 2 0 0 1H e n ry Keswick (Chairm a n )The Rt. Hon. Marg a ret Beckett, MPP rofessor David Cannadine

( f rom December 2000)Flora FraserMrs Tessa Gre e nMax HastingsP rofessor Ludmilla Jordanova

( f rom December 2000)P rofessor Philip King, CBE, PRAThe Lord Morris of Castle Morris,

D.Phil. (Deputy Chairm a n )Tom Phillips, RAP rofessor The Earl Russell, FBASir David Scholey, CBEAlexandra ShulmanC l a i re Tomalin, FRSLJohn Tusa (until November 2000)Sir John Weston, KCMGB a roness Willoughby de Ere s b y, DL

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A page from the Gallery ’ swebsite, showing the map of itsactivities throughout the country

TRUSTEES’ FOREWORDThe year 2000 has been a memorable one in the Gallery’s history. From 4 May, the dayof the Royal opening of the Ondaatje Wing, it was immediately evident that the newwing would greatly increase the number of visitors coming to the Gallery, as well ast r a n s f o rm their experience of it. Everyone has been impressed by the quality of thebuilding, awarded the Blueprint prize for the best public building refurbishment of they e a r, and we were truly delighted that Christopher Ondaatje was awarded a CBE inrecognition of his many charitable activities. The IT Gallery, including the Port r a i tE x p l o rer made possible by the Wo o d w a rd Charitable Trust, has demonstrated ourcommitment to making the collection accessible to visitors through the latestt o u c h s c reen technology. The new Tudor Gallery, jointly funded by the Wo l f s o nFoundation and the Drue Heinz Trust, has made the Tudor portraits come alive, lit bythe latest fib re-optic lighting and displayed against a backdrop of grey military overc o a tmaterial. And The Portrait Restaurant, run for us by Searcy’s, is described by the G o o dFood Guide as ‘exactly the sort of restaurant one ought to find in a gallery or museum’.

Alongside the new building, there have been other achievements. In May, as well asopening the new wing, we began to open the Gallery two evenings a week. In Augustwe unveiled a new portrait of the Royal family by John Wonnacott in honour of H.M.Queen Elizabeth, the Queen Mother’s hundredth birt h d a y. In October we opened amajor centennial exhibition, Painting the Century, consisting of 101 portraits from allover the world to mark each year of the century. This exhibition was a huge credit to ourchief curator, Robin Gibson, who after thirt y - t h ree years at the Gallery took earlyre t i rement in January. He will be greatly missed by us all. In March we celebrated thefact that we had 1,219,167 visitors in the year, an increase of 22.32% on 1999.M o re o v e r, our activities have not been confined to London. We are in the process ofplanning the renovation of our displays at Bodelwyddan Castle in North Wales. Ourexhibition Tête-à-Tête: Portraits by Henri Cart i e r - B re s s o n has toured Australia. Duringthe autumn the best of our twentieth-century portraits were exhibited in the NationalP o rtrait Gallery in Canberra. In March our Snowdon exhibition opened at theKunsthaus in Vienna. And our website now has more than a million hits a year.

We are delighted by the announcement of a change in VAT exemption in the budget.But, as with all other museums, our funding remains tight. In spite of the incre a s e doperating expenses for a much enlarged building open to the public for longer hours, ourgrant-in-aid has remained fixed for many years with only a small incremental increase ofless than 5% over five years for inflation. At the same time, over the last five years we havei n c reased our net self-generated income from 21% of grant-in-aid to 37%. With a possibleslowdown of business looming, the climate for exhibition sponsorship re m a i n schallenging. We are, there f o re, ever more grateful to the individuals, companies, tru s t sand foundations who give the Gallery their support, as well as to the Trustees for theirunpaid work.

H e n ry KeswickC h a i rman of the Board of Tru s t e e s

o p p o s i t e Patrick Heron, S e l f - p o rt r a i t, 1951 (© the Heron Estate)a c q u i red with assistance from theNational Art Collections Fu n d

Sir Theodore Tu rquet de Mayern e(1573–1655) by an unknowna rtist, probably after 1625

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Other completed commissions include a silvered head of the architect Lord Foster by thesculptor John Davies, a painting of Lord Wolfson by Andrew Festing and, breaking newg round in terms both of his own work and the Gallery’s collection, Tom Phillips’se l e c t ronic portrait of the neuro-scientist Susan Gre e n field, the first female director of theRoyal Institution. Given its first airing in the Gallery’s exhibition D e fining Feature s :S c i e n t i fic and Medical Portraits 1660–2000, the portrait is made up of drawings and shortsections of video which have been computer- p rocessed to create a continually changingimage shown on a scre e n .

Exhibitions also provided the context for the acquisition of numerous photographsincluding over a hundred works by Lord Snowdon, many of them generously given bythe photographer.

The Gallery has benefited from the generosity of the National Art Collections Fund incontributing towards the purchase of Patrick Heron’s 1951 self-portrait. This beautifulsemi-cubist head-and-shoulders is close in date and style to Heron’s portraits of T. S .Eliot (1949) and Herbert Read (1950), already in the collection.

Other modern acquisitions include the bequest from the sitter of a portrait of AndréDeutsch by Leonard Rosoman, a gift from the sitter’s widow of a drawing by Hans Ern iof the trumpet player Philip Jones, and the purchase of two exquisite, tiny portraits ofthe actor John Hurt and the dancer Adam Cooper by Stuart Pearson Wright, winner ofthe BP Travel Aw a rd 1999. The Gallery has also benefited from gifts made by JohnB e n t o n - H a rris, Doloranda Pember, Te rence Pepper, John Swannell and John and AnnTusa, and from a bequest by the late Howard Ferg u s o n .

Historical portraits acquired for the collection include a striking image of Charles I’sphysician, Sir Theodore Tu rquet de Mayerne, a powerful self-portrait drawing of thee i g h t e e n t h - c e n t u ry antiquary and collector Thomas Kerrich, purchased with genero u shelp from the National Art Collections Fund, a collodion positive photograph of thepioneer meteorologist Luke Howard and his son John Eliot Howard, generously givenby their descendant, Dr Stephen Howard Lloyd, and portraits by James Pryde of SirH e n ry Irving and Dame Ellen Te rry, bequeathed by Sir John Gielgud.

The preparation of a new edition of the catalogue of the Gallery’s Primary Collection has led to a reappraisal of some items in the re f e rence collections, resulting in the transfer of fifty-four significant photographs ranging from William Kilburn’s 1847d a g u e rreotype of the Gallery’s first dire c t o r, Sir George Scharf, to various historict w e n t i e t h - c e n t u ry photographs by Felix H. Man, Sir Cecil Beaton, Dorothy Wilding andMadame Yevonde. Thirty-two items have been transferred from the ContemporaryP o rtraits Collection, set up in 1973 for the acquisition of portraits of living sitters at theD i rector’s discretion; these include such favourites as Peggy Angus’s large waterc o l o u rof John Piper, Andy Wa rhol’s silkscreen of Mick Jagger, Martin Rose’s oil of the athleteSebastian Coe and self-portraits by John Bratby, Maggi Hambling and Jo Spence.

Work has continued on the Gallery’s catalogue raisonné of the late eighteenth-centurycollection; this is being re s e a rched and written by John Ingamells, whose re s e a rches are

THE OPENING OF THE ONDAATJE WINGThe Ondaatje Wing was opened on Thursday 4 May 2000 by HM The Queen,accompanied by HRH The Duke of Edinburgh. On arriving at the Gallery they were metby the Chairman and Director and escorted to the Main Hall, where the guests werea l ready assembled. These included the Rt. Hon. Chris Smith, Secre t a ry of State forC u l t u re, Media and Sp o rt, the Lord Mayor and Lady Mayoress of We s t m i n s t e r,re p resentatives of the Heritage Lottery Fund, the major donors, the architects (SirJ e remy Dixon and Edward Jones) and the Gallery’s Trustees. Following the intro d u c t o rya d d ress by Henry Keswick, both the Secre t a ry of State and HM The Queen made shortspeeches. The Royal party then met key re p resentatives of the building project beforep roceeding to the Balcony Gallery. There they were introduced to some of the sitters and

a rtists whose portraits are on display, among them Baroness Thatcher, ZandraRhodes, Maggi Hambling and Sir Edward Heath. The tour continuedt h rough the Tudor Gallery and then on to tea in The Portrait Restaurantw h e re, in a more informal atmosphere, the Royal party met other guestsincluding the Director and Chairman of the National Gallery, some ofS e a rcy’s catering management and a number of the Gallery’s own staff. TheQueen and the Duke of Edinburgh also had the opportunity to meet otherG a l l e ry staff throughout their depart u re route, and on leaving the GalleryHer Majesty was presented with a bouquet by Pippa Bailey.

On the two evenings prior to the Royal opening, the Gallery hostedreceptions throughout the new wing. The first evening, for staff and

those associated with the project, included all the building teams. On the second, keya rts re p resentatives, members of the government, sponsors, donors, arts press and anumber of VIPs were among the guests celebrating the completion of the wing. A Pre s sB reakfast was organised for the morning of the official opening and the Chairman andD i rector hosted a dinner in The Portrait Restaurant following the inaugural lecture inthe Ondaatje Wing Theatre, with Lord Snowdon in conversation with Patrick Kinmonth.

The opening events were highly successful, and the new wing itself attracted considerablep ress coverage and extremely favourable reactions from media – including thea rchitectural and foreign press – and visitors alike. The Gallery benefited from being oneof the first Millennium projects to open in London and was frequently mentioned insubsequent coverage of other openings.

THE COLLECTIONSOne of the Gallery’s grandest commissions, The Royal Family: A Centenary Port r a i t b yJohn Wonnacott, went on display in August 2000 to coincide with HM Queen Elizabeth, the Queen Mother’s hundredth birt h d a y. Set in the white and gold drawing room in Buckingham Palace, in deliberate echo of Sir John Lavery’s Ro y a lp o rtrait painted for the Gallery nearly ninety years earlier, Wonnacott’s huge work is atour de force not only of composition but of logistics – the sitters never, in fact, assembledfor the art i s t .

The dancer Adam Cooper (left) and the actor John Hurt with their portraits by Stuart Pearson Wr i g h t(photo Robin Chanda)

‘An irresistible delight’ Richard Cork, The Times,5 May 2000

Her Majesty The Queen withH e n ry Keswick (left), CharlesS a u m a rez Smith (right) and the Duke of Edinburgh at theopening of the Ondaatje Wing, 4 May 2000 (photo © John Paul Stankowski)

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being generously funded by the Paul Mellon Centre for Studies in British Art. Researc hon portrait illustrations for the New Dictionary of National Biography is now gre a t l yadvanced, with almost 80% of recommendations complete. The most notable publicationon the collections during the year was Aileen Ribeiro’s book The Gallery of Fashion. F i r s tsteps have been taken to appoint a Leverhulme Fellow in the History of Port r a i t u re tou n d e rtake re s e a rch at the Gallery, thanks to the great generosity of the Leverhulme Tru s t .

The opening of the IT Gallery in May 2000 as part of the Ondaatje Wing has pro v i d e da new and wonderful way of accessing the collections through the Wo o d w a rd Port r a i tE x p l o re r, generously funded by the Wo o d w a rd Charitable Trust and developed by theG a l l e ry in conjunction with the Brighton-based company Cognitive Applications. TheWo o d w a rd Portrait Explore r, with its easy-to-use large touchscreens, allows visitors toe x p l o re the collections by sitter, artist or portrait, or through special features such as aWho’s Who for sitters in group portraits, videos of artists talking in their studios abouttheir portraits in the Gallery and focused studies on individual portraits enhanced by theuse of the latest interactive technology. Many Archive and Photographs Collection itemshave since been added to the system, so that now some 14,000 portraits can be viewedin great detail.

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

THE GALLERIESThe great event of the year was the opening of the Ondaatje Wing; it includes theBalcony Gallery, devoted to twentieth-century portraits of the 1960s, 1970s and 1980s,and the Tudor Gallery, housing the collection of sixteenth-century portraits in a pro p e r l ya i r-conditioned environment. These new galleries provide striking display spaces forsome of the Gallery’s most important collections. Our great debt to our donors isacknowledged elsewhere in this re p o rt .

As part of the process of completing the re-display of the existing top-floor space, theG a l l e ry’s collection of miniatures was installed in purpose-designed new cases in theseventeenth- and eighteenth-century rooms. To link up with the opening of theOndaatje Wing, new signage was installed throughout much of the Gallery. Furt h e ri m p rovements to signage are being made in the light of a re p o rt from the signageconsultants Lord Cultural Resources Planning & Management Ltd.

In September the Royal Landing was re-hung to incorporate John Wonnacott’s The RoyalFamily: A Centenary Port r a i t, and in March 2001, following the successful Millennium

‘With great clarity andgrace, the scheme hasarticulated processionalroutes and the formalbalance between open and enclosed and betweenmain axes and laterals,thereby aerating theexisting sequence of ro o m s ’Architectural Review,25 August 2000

‘A lecture theatreand computerised IT gallery will make its unmatched resources available to new audiences’ The Times, 4 May 2000

o p p o s i t e Thomas Kerrich, S e l f - p o rt r a i t, 1774a c q u i red with assistance from theNational Art Collections Fu n d

Schoolgirls using the IT Gallery

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exhibition Painting the Century: 101 Portrait Masterpieces, all the twentieth-centurygalleries on the ground flo o r w e re re-hung and Tom Phillips’s electronic portrait ofSusan Gre e n field was re-installed. The new hang includes a room of recent acquisitionsand a selection of photographs of newspaper editors and proprietors, another in the seriesof special thematic displays.

As usual the Gallery mounted a variety of displays devoted to works on paper from store .On the top floor in the new dedicated space in Room 16 there were two exhibitions, thefirst opening in July 2000 on the subject of The House of Lords and The House of Commons:Sketches by Sir George Hayter, the second in January, P o rtraits in Pro file: The Dighton Family.

On the first flo o r, a showcase display of photographs devoted to Oscar Wilde was mountedto celebrate his centenary and, in the early twentieth-century galleries, commemorativedisplays were mounted in memory of Sir John Gielgud and Sir Alec Guinness. In addition,t h e re were showcase displays of newly acquired drawings including works on paper byRobin Guthrie and self-portraits by Ithel Colquhoun and Leon Underwood; there was alsoa display of photographs relating to Katherine Mansfield and her circle. The screens in thenew Balcony Gallery were re-hung in March 2001 to include photographs of the Beatlesby Mike McCart n e y, photographs of women by Mayotte Magnus and Jorge Lewinski anda selection of late twentieth-century caricature s .

PHOTOGRAPHS COLLECTIONA further 260 original prints have been added to the collection and all are viewable on-line on the Gallery’s website and in the IT Gallery. A number of these derive from re c e n tdisplays held in the basement Bookshop Gallery, such as Trevor Leighton’sc o n t e m p o r a ry photographs of comedians, The Jokers, and Donald MacLellan’s Ta rt a nA rmy – twenty-five photographs of Scottish-born film actors.

F rom the gro u n d - floor exhibition Management To d a y, Management To m o rro w w ea c q u i red twenty portraits of young business entre p reneurs, and from Polly Borland’sexhibition, fifty pictures of London-based Australians. Works from various Millenniump rojects were acquired from Carolyn Djanogly, Boo Beaumont, Ginny Jory and LauraWoolnough, while historic works from the 1960s and 1970s came from MikeM c C a rt n e y, Bryan Wharton and John D. Green and in time will be shown in the BalconyG a l l e ry. The last project of the year was the assembly of a group of twenty-fourphotographs of leading media barons and prominent editors, for which a number ofp reviously unre p resented and unshown photographers supplied pictures, includingCinnamon Heathcote-Dru ry, Han Lee de Boer and Jason Bell.

The assistant curator of photographs managed much of the day-to-day work while thecurator of photographs re s e a rched and organised two ambitious exhibitions showing thework of the American photographers Rollie McKenna and Horst P. Horst.

With the help of several freelance staff, 14,000 further re c o rds have been added to theG a l l e ry’s viewable database.

HEINZ ARCHIVE AND LIBRARYThe Archive and Library is committed to making its unique re s o u rces available tore s e a rchers and the general public. During the year the study room received over 2,000visitors; staff responded to more than 2,600 telephone, letter and e-mail enquiries.

The Archive has continued to seek ways to improve access to its re s o u rces. Almost 9,500items from the re f e rence collection of prints and drawings are now included on theG a l l e ry’s database Multi-Mimsy. Catalogued items are being scanned so that they can beaccessed via the Wo o d w a rd Portrait Explore r, Portrait Printer and Gallery’s website.

A display of etchings from theRegency period by the Dightonf a m i l y, P o rtraits in Pro fil e, was curatedby Jill Springall and opened to thepublic in January 2001. A version of the display is available on theG a l l e ry’s website.

With increasing demand for its publics e rvices, the Archive has become moredependent on a team of dedicatedvolunteers to undertake the essentialtasks of indexing and filing information and images. Over the spring and summervacations this team was augmented by six students who participated in a range ofactivities and embarked upon a project organised jointly with the twentieth-centurycurator to collect statements from all living artists and sitters re p resented in the PrimaryCollection.

During August the second and final phase of mobile racking was installed in the Arc h i v ebasement, creating sufficient space for the growth and rationalisation of the Gallery ’ sinstitutional re c o rds and the special collections of rare books, grangerised volumes andmanuscripts. Plans have been drawn up to improve storage arrangements for outsizeengravings, tracings and posters and to address urgent conservation needs. As a first stepthe Archive has been fortunate to receive a grant of £5,000 from the Leche Tru s tt o w a rds the repair of outsize engravings.

To mark the completion of the Ondaatje Wing the Archive received the models and plansp roduced by the architects Sir Jeremy Dixon and Edward Jones together with JohnGoto’s photographs of the site and people involved in the project. Michael Heath’sc a rtoon depicting the Royal opening was purchased for the historic re c o rds. Giftsincluded a pencil drawing of Douglas Jerrold by E.M. Wa rd from Alex Halsall, a print of Cardinal Newman by Thomas Barlow after Millais from Arundel Castle, alithograph of the Honourable John Donohoe Fitzgerald transferred from the Museumof London and sixty-four pencil sketches by Henryk Gotlib, generously donated by hiswidow Janet Gotlib.

Natalie Imbruglia by Polly Borland, 1999(© Polly Borland)

H.G. Wells (1866–1946) byH e n ryk Gotlib, 1941

National Portrait GalleryE x t e n s i o n, cartoon by MichaelHeath, Private Eye, June 2000

Paul McCartney by his bro t h e rMike McCart n e y, early 1960s (© Mike McCart n e y )

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C O N S E RVAT I O NIn the early part of the year attention focused on preparing works for re-display in theOndaatje Wing. Following the opening, work concentrated on the preparation ofp o rtraits going out for exhibition loan as well as, over the summer recess months, at h o rough survey and treatment programme in relation to key long-term loan venuessuch as the Palace of Westminster and the Royal Courts of Justice.

The displacement of the later twentieth-century collection from the ground floor inSeptember 2000, in order to accommodate Painting the Century: 101 Port r a i tM a s t e r p i e c e s, allowed these works to be processed through the studio, many for the fir s ttime, in a bid to ensure that full examination re p o rts are drawn up for every work in thecollection. Alongside this, the paintings conservators have continued with the long-termp roject involving the collection in store .

P reparation for the R e t u rn to Life: A New Look at the Portrait Bust exhibition and tourinvolved sculpture conservation, while the paintings and frame conservators pro v i d e dfull support for the Gallery’s exhibition programme, particularly with re g a rd to the manymajor works lent to Painting the Century.

Frame Conservation worked closely alongside the curators on the Ondaatje Wi n gdisplays, developing new methods of display for small works on panel (such as port r a i t sof Henry VI and Edward IV) in the Tudor Gallery and undertaking major re s t o r a t i o non a number of period frames, such as the Sunderland frame chosen for the portrait of Mary II.

Over the year, 430 contemporary mount frames passed through the department, mainlyin preparation for loans out and displays of works on paper throughout the Gallery. Atotal of 235 period frames were treated and eight new frames were made for, amongothers, the recent acquisitions of portraits of John Hurt, Patrick Heron and Lord Simon,and the Ondaatje Wing architects Sir Jeremy Dixon and Edward Jones by John Lessore .

The Frame Conservation section continued to develop its commitment to its educationalrole with the supervision of two internships: one in connection with the Arts Council ofIndianapolis Creative Renewal Arts Fellowship Program, in which Jean Easter from theIndianapolis Museum of Art worked within the department for four months; andanother with the City & Guilds School of Art, London.

E X H I B I T I O N SThe year 2000/2001 was yet another very successful one for National Portrait Galleryexhibitions, both within and outside the institution. The completion of the OndaatjeWing allowed us to re-establish the Studio Gallery as an exhibition space, which enabledthe exhibition programme to re t u rn to full capacity, with a varied programme and theadded benefit of a new audience attracted by the opening of the new wing.

Wolfson Gallery ExhibitionsThe extremely popular exhibition Photographs by Snowdon: A Retro s p e c t i v e, curated byRobin Muir, launched the Wolfson Gallery into spring 2000. The design and installationof the exhibition were directed by Lord Snowdon himself, who was specific about theway in which the prints should be mounted and displayed. The maze-like effect, densityof hang and immediacy of the photographs, fixed directly on to foamboard with nomount or frame to protect them, added to the overall dramatic effect of the installation.

The BP Portrait Aw a rd 2000 marked the twentieth year of the award at the Gallery andits tenth year of sponsorship by BP. The competition received over 700 entries, of which53 were selected for the exhibition by the judges: the sculptor Nicola Hicks, the pre v i o u syear’s winner Clive Smith, Penny Johnson, Director of the Government Art Collection,Peter Jenkinson, Director of the New Art Gallery, Walsall, Sir John Browne, Group ChiefExecutive, BP p.l.c., and our own Dire c t o r, Charles Saumarez Smith. The competitionwas won by Victoria Russell with ‘Two Women in White’. At the same time, the B PTravel Aw a rd 1999 w i n n e r, Jennifer McRae, exhibited the results of her project, thedocumentation of methods of teaching port r a i t u re at the Hogeschool St Lukas artschool in Brussels. In 2000, the Travel Aw a rd was won by Si Sapsford with her pro p o s a lto capture the motivation and commitment of lifeboat crews, in Salcombe and inReykjavik, Iceland.

Following the Faces of the Century photographic exhibition last year, Painting theC e n t u ry: 101 Portrait Masterpieces was our second Millennium celebration show, one ofthe largest and most ambitious ever held at the Gallery. Theexhibition, displayed throughout the ground flo o r, posed import a n tand challenging questions in its criteria for selection, the intentionbeing to have a single portrait re p resent each year of the century; itcontained iconic portraits from major collections all around the world.

Horst Portraits: 60 Years of Style, curated by Te rence Pepper, was a majorre t rospective starting in March 2001, celebrating the evocative port r a i t sof Horst P. Horst, one of the great master photographers of the twentiethc e n t u ry, and the creator of some of the most glamorous and stylish imagesin photographic history. In his extraord i n a ry sixty-year career his sittersincluded a dazzling array of film stars and celebrities. This exhibition willtravel to the Museum of Fine Arts in Boston later in 2001.

Studio Gallery ExhibitionsThe year began with D e fining Features: Scientific and Medical Port r a i t s1 6 60– 2 0 0 0, curated by Professor Ludmilla Jordanova. The exhibition andthe accompanying book brought art and science together, with a selectionspanning more than three centuries. It charted changing attitudes toward smedical practice and scientific investigation, as well as exploring how notions of gender,h e roism, popularisation and celebrity have affected the public’s understanding of the way inwhich re s e a rchers do their work.

t o p Queen Mary II(1662–1694): the painting with its newly re s t o red framea b o v e P a rt of the frame b e f o re conserv a t i o n

The exhibition Photographs bySnowdon: A Retrospective in theWolfson Gallery, spring 2000(photo Graham Piggott)

Gabrielle ‘Coco’ Chanel in Parisby Horst P. Horst, 1937 ( c o u rtesy of Vo g u e, The CondéNast Publications Inc.)

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

R e t u rn to Life: A New Look at the Portrait Bust was the result of a unique collaborationbetween the National Portrait Gallery, the Henry Moore Institute, Leeds, and the ScottishNational Portrait Gallery, based on a lengthy examination by the three curators (PeterFunnell, Penelope Curtis and Nicola Kalinsky) of every bust in all three collections. Theexhibition invited the visitor to look closely at a selection of these objects, and to engage ina face-to-face dialogue with portrait sculpture .

Photography Gallery ExhibitionsPolly Borland: Australians was the first fully collaborative venture between the newest of theworld’s national portrait galleries, in Canberra, and the oldest, in London. It celebrated thecontribution made to British society by Australians living here and was part of the festivitiesfor Australia’s Centenary of Federation in July 2000. The exhibition was visited by theAustralian Prime Minister, John Howard. Through her photographs, Polly Borland, herselfan Australian resident in Britain and a previous winner of the John Kobal PhotographicP o rtrait Aw a rd, was able to demonstrate the range of Australians’ involvement in all aspectsof British cultural, political and intellectual life. A full set of photographs was acquired byboth the Gallery in London and the NPG in Canberra, with Canberra’s set of prints goingon display in Febru a ry 2001.

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

Rollie McKenna: Artists and Wr i t e r s was the first museum re t rospective in England of theAmerican photographer’s work and featured black and white portraits of British andAmerican poets and artists from the 1950s to the 1980s, among them W.H. Auden, T. S .Eliot, Seamus Heaney, Sylvia Plath and Ted Hughes. A section was devoted to DylanThomas and his family, with whom McKenna had a close relationship. The curator wasTe rence Pepper.

P o rter Gallery ExhibitionsElizabeth Taylor: A Photographic Celebration coincided with the star’s re t u rn to London tobe made a Dame of the British Empire, as well as to receive a Fellowship of the British FilmInstitute. This very popular exhibition, curated by Roger Harg reaves, was one of a seriesmarking a London-wide celebration of the life and career of Elizabeth Ta y l o r, organised bythe Red Hot Aids Charitable Trust.

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Valerie Finnis in her garden shed,f rom Escape to Eden: FiveCenturies of Women and Gard e n s(photo © Jan Baldwin)

o p p o s i t e John Minton by Lucian Freud, 1952, in theexhibition Painting the Century :101 Portrait Masterpieces (© Lucian Freud, courtesy RoyalCollege of Art Collections)

a b o v e Sylvia Plath and Te dHughes, fro m Rollie McKenna:A rtists and Wr i t e r s, 1959 (© Rollie McKenna)

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Touring Exhibitions Pro g r a m m eThis was another extremely busy year, with eleven exhibitions touring both in the UKand abroad. We continued to consolidate links with regional UK venues, many of whichwe have worked with over the years, as well as venturing more boldly abroad, part i c u l a r l yinto Australia where our long-term touring programme is beginning to develop well.

T h e Faces of the Century: A Sainsbury’s Photographic Exhibition tour visited the Fere n sA rt Gallery, Hull, the Royal Photographic Society, Bath, and the Smith Art Gallery &Museum, Stirling, before coming to a close in September 2000.

Tête-à-Tête: Portraits by Henri Cart i e r - B re s s o n moved on to the Art Gallery of We s t e rnAustralia, Perth; the Art Gallery of Australia, Adelaide; the Bendigo Art Gallery, and theNational Portrait Gallery, Canberr a .

Photographs by Snowdon: A Retro s p e c t i v e travelled to the City Art Centre, Edinburgh, andthe Kunsthaus, Vienna, going on to the Yale Center for British Art, New Ha v e n ,Connecticut, in June 2001.

D e fining Features: Scientific and Medical Portraits 1660–2000 was shown at theS a i n s b u ry Centre for the Visual Arts at the University of East Anglia for three months,p roviding the basis for a range of educational events.

The BP Portrait Aw a rd 2000 a n d BP Travel Aw a rd 1999 t o u red to Aberdeen Art Galleryfor the sixth year. The John Kobal Photographic Portrait Aw a rd 1999 travelled toBodelwyddan Castle, the Midland Art Centre, Birmingham, and Aberystwyth Art sC e n t re; the Kobal 2000 was exhibited at the Harley Gallery in Nottinghamshire and theMidland Art Centre in Birmingham in early 2001.

Saving Faces: Portraits by Mark Gilbert, due at the National Portrait Gallery in spring2002, began its six-venue tour at the Djanogly Art Gallery in Nottingham. Meanwhile,our exhibition of Gerald Scarfe works travelled to the Potteries Museum & Art Gallery,Stoke on Trent, and the Royal Albert Memorial Museum, Exeter.

Icons of Pop: 1958–1999, still going strong, continued its tour with visits to the BrightonMuseum & Art Gallery; Royal Albert Memorial Museum, Exeter; Derby Art Gallery ;Graves Art Gallery, Sheffield; Victoria Art Gallery, Bath; and the Piece Hall Gallery,Halifax, with another four UK venues scheduled for 2001.

Loans Pro g r a m m eOver 130 portraits from our Pr i m a ry Collection remained on long-term loan to thirt y -one public venues, twenty-five in the UK and six abroad. We were pleased to add theDock Museum, Barro w - i n - F u rness, to this list when two portraits by George Romney,of William Cowper and of the 1st Earl of Liverpool, were lent in September 2000.

With 163 loans from our own collections going to temporary exhibitions around theworld, the Gallery continued its policy of being as generous as possible in making worksavailable to other institutions. Paintings, miniatures, photographs, sculpture andengravings travelled to cities as far afield as Rome, Philadelphia, Frankfurt, Vienna, New

Bookshop Gallery DisplaysP o rtraits: Photographs by John Hedgecoe opened in March 2000, accompanying his book,published by Collins & Brown. This was followed by The Ta rtan Arm y, studies ofc o n t e m p o r a ry Scottish film actors by the photographer Donald MacLellan. Fro mOctober 2000 to January 2001, in tandem with the Escape to Eden exhibition in theStudio Gallery, a small selection of photographs by Tessa Traeger was mounted inconnection with her commission to photograph thirty contemporary British gard e n e r s .The small re t rospective for Gemma Levine b rought together twenty-five portraits incelebration of her twenty-five years as a professional photographer, focusing on her workin the 1980s and 1990s with British sitters such as the Rt. Hon. Betty Boothroyd, CherieBooth QC and Sir John Mort i m e r.

Exhibition Visitor Nu m b e r s

PA RTNERSHIPS OUTSIDE LONDONAt Bodelwyddan the Gallery has worked with the Bodelwyddan Castle Trust in pre p a r i n ga scheme to refurbish the fir s t - floor displays, with the intention of reaching out to newaudiences in North Wales and further afield. The partnership muf.arc h i t e c t u re / a rt wasappointed after a competition and has collaborated with the Gallery and the Castle Tru s tin an exciting scheme for new displays and temporary exhibition spaces, ‘MakingP o rtraits’. In Febru a ry a bid was submitted to the Heritage Lottery Fund for supportwhich, with a grant-in-aid from the DCMS, would allow the scheme to go ahead,opening in summer 2002.

At Montacute House in Somerset the displays were renewed in 1999. To complete thisp rogramme of revitalising our existing regional partnerships there are plans to re f u r b i s hthe top-floor exhibition at Beningbrough Hall, Yo r k s h i re, in winter 2003/4.

Bodelwyddan Castle, DrawingRoom and Sculpture Gallery

David Wilkie Wy n field: Princes of Victorian Bohemia28 January–14 May 20001 3 7 , 4 1 6

Photographs by Snowdon: A Retro s p e c t i v e *25 Febru a ry– 4 June 20007 6 , 7 9 8

D e fining Features: Scientific and Medical P o rtraits 1660– 2 0 0 014 April –17 September 20003 2 , 9 4 8

Elizabeth Taylor: A Photographic Celebration18 May–16 July 20007 9 , 1 4 0

BP Portrait Aw a rd 200022 May–1 October 20001 7 1 , 8 0 8

Polly Borland: Australians25 May–17 September 20001 8 0 , 1 1 3

John Kobal Photographic Portrait Aw a rd 200012 September 2000 – 4 April 20011 5 2 , 6 3 4

Escape to Eden: Five Centuries of Women and Gard e n s5 October 2000–21 January 20015 3 , 2 9 0

Painting the Century: 101 Portrait Masterpieces*26 October 2000–4 Febru a ry 20017 8 , 8 6 2

*paying exhibition

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York and Hanover. Major groups of loans were made to the Barbican’s The Wilde Ye a r sexhibition and to the British Library’s Oscar Wi l d e exhibition, to the two Ruskin travellingshows (one organised by the Tate Gallery, the other by the Ruskin Library, Sheffield), themajor Karsh re t rospective in Berlin, to which we lent thirt y - t h ree photographs, and to theWo rd s w o rth Trust, Dove Cottage English Poetry 850–1850 exhibition, which borro w e dnineteen items depicting such poets as Shakespeare, Sir Philip Sidney, William Wo rd s w o rt hand Percy Bysshe Shelley. Thirty-two works from the twentieth-century collection,displaced from the ground floor of the Ga l l e ry while Painting the Century was on, travelledto the NPG, Canberra, as The Best of British (18 November 2000–18 Febru a ry 2001).

E D U C ATION The Ondaatje Wing Theatre was inaugurated by Lord Snowdon on 4 May 2000, and isp roving an excellent facility, enabling us to develop our existing schedule of daytime andweekend events, and to add a Thursday evening programme. We have off e red a wide rangeof formats: Open University Day Schools; conferences with the British Society for theH i s t o ry of Science and the Costume Society; evening talks and discussions on photographicsubjects inspired by the John Kobal Photographic Portrait Aw a rd and Horst P. Horstexhibitions; and a series of platform perf o rmances celebrating famous women such as theM a rys Shelley and Wollstonecraft and Mrs Beeton, and marking the centenary of OscarWilde’s death. A strong theme running through our theatre events is literary; among thetalks and readings organised for us by the poet and anthologist Anne Harv e y, a highlightwas ‘Secret Gardens’, featuring Anne, Stephanie Cole and Patricia Brake.

These theatre-based events have been complemented by a varied programme of practicalactivities in the Clore Studio, for formal student groups and young people. The P a i n t i n gthe Century: 101 Portrait Masterpieces exhibition was supported by a series of workshopsfor secondary schools, led by practising artists, encouraging the students to explore in oilpaints some of the themes and techniques of the exhibition. Young people’s leisure - t i m esessions have ranged from photography to screen-printing, sculpture and comic book art .P r i m a ry school children from the London Borough of Lambeth have enjoyed art anddrama sessions. All these activities are products of partnerships between permanent andf reelance staff, the bedrock of the success of our direct-teaching appro a c h .

A high-pro file aspect of this co-operation between October and December 2000 was Th eA rt of Water Music project, in which permanent and freelance staff worked with educatorsand musicians from the Orchestra of the Age of Enlightenment and sixteen primary,s e c o n d a ry and special needs schools to produce a musical and artistic interpretation ofZ o ffany’s Sharp Family p o rtrait.

On 28 October, we participated in National Drawing Day, with drawing materials ande x p e rt advice available to visitors, supported by a lecture on techniques, and a new slide-pack on drawings in the collection made possible by the Idlewild Tru s t .

V I S I T O R SThe calendar year 2000 saw the highest visitor fig u res ever for the Gallery – 1,178,400.Two major factors contributed to these re c o rd numbers – the opening of the newOndaatje Wing and the Painting the Century exhibition, which surpassed expectationswith 78,862 visitors. The increase has been sustained into 2001, and the total fig u re forApril 2000/March 2001 is 1,219,167.

Other exhibitions throughout the year also enjoyed excellent visitor numbers. Thesuccessful Snowdon exhibition had nearly 78,000 visitors, Polly Borland: Australians w a sseen by 180,113 and Elizabeth Taylor: A Photographic Celebration, although only at theG a l l e ry for two months, had 79,140 visitors. Escape to Eden, with 53,290 visitors, didmuch to encourage people to the basement bookshop. During Painting the Century a n dEscape to Eden the Portrait Café had its highest turnover and number of visitors sinceopening in November 1998. Once again the very popular BP Portrait Aw a rd had ani n c rease in visitor numbers, with 171,808 enjoying the 2000 exhibition.

The beginning of May 2000 saw the introduction of late-night opening on Thursdaysand Fridays. We anticipated that this might get off to a slow start, as has been othergalleries’ experience when first introducing extended hours. It has, however, proved tobe successful, with 41,755 visitors in total enjoying the opportunity to visit the Gallerybetween 6.00pm and 9.00pm during the first eleven months of operation. Many of thespecial Thursday night lectures have been sold out, while the Friday night music, rangingf rom the twenty-fiv e - s t rong ensemble The Shout, who perf o rmed at the first eveningopening, to music suiting particular periods such as Handel and his Contemporaries, hasdeveloped a following of its own.

A major marketing campaign to raise awareness of evening openings at London’sgalleries was launched in March this year. The National Portrait Gallery and seven otherLondon art galleries, including Tate Modern, the National Gallery and the Barbican,collaborated on the promotion, securing sponsorship from Time Out and Absolut Vo d k a ,and successfully generating interest in the media and among visitors.

In May 2000 the Gallery introduced a computerised ticketing system and a central ticketdesk, located in the main hall. This allows the Gallery to track visitors and begin to buildup a pro file of those who purchase tickets for temporary exhibitions and special lecture s .We have also continued our regular programme of market re s e a rch with MORI,conducting three major surveys during the year. Research around the period of theopening of the Ondaatje Wing showed that 48% of visitors were directly influenced tovisit as a result of the opening and 71% were ‘impressed’ by it after their visit. A surv e yof visitors to the Painting the Century: 101 Portrait Masterpieces e x h i b i t i o ndemonstrated the effectiveness of publicity campaigns and the positive reaction ofvisitors, with 84% of those surveyed being aware of the exhibition prior to their visit, and21% being recommended to visit by friends and family. General surveys were conductedperiodically throughout the year looking at demographics of our visitors, use of Galleryfacilities such as The Portrait Restaurant and gift shops and awareness of marketing and PR initiatives. Of those surveyed, 65% were repeat visitors to the Gallery, and

The inaugural lecture at the newOndaatje Wing Theatre: LordSnowdon in conversation withPatrick Kinmonth

‘The new wing breathes theconfidence of an institutionthat is building on success,not trying to stem decline’ Giles Worsley, Daily Telegraph,3 May 2000

A BP workshop run by ChrisStevens, September 2000 (photo Liz Rideal)

1918

of those, 14% had visited the Gallery five or more times in the past twelve months; 82% found their visit ‘very enjoyable’. The re s e a rch showed a small increase in thenumber of tourists compared to the previous year, with 24% of all visitors to the G a l l e rycoming from overseas.

T R A D I N GThe opening of the Ondaatje Wing led to a sharp increase in visitor numbers, though notto a corresponding rise in retail sales, just 3% in the first six months of 2000/2001c o m p a red with 24% more visitors. Concerns that the main shop location might no longerbe sufficiently central to maximise income prompted a continuing debate on altern a t i v elocations. Nevertheless, strong sales during the autumn and winter ensured that the shopsfinished the year 46% up for the second six months (against 17% more visitors) and 25% upfor the whole year. This outstanding perf o rmance was due largely to the exhibitionp rogramme and in particular to Painting the Century and Escape to Eden (Five Centuries ofWomen and Gard e n s ), with their associated high-quality publications and merc h a n d i s e .

The Gallery published the following exhibition titles: Photographs by Snowdon, P o l l yBorland: Australians, Five Centuries of Women and Gard e n s, Painting the Century a n dJohn Kobal Photographic Portrait Aw a rd 2000. Over 26,000 copies of these titles weresold in the book trade, including US and German co-editions of S n o w d o n. The Galleryalso co-published books to accompany D e fining Feature s and David Wilkie Wy n fie l d w i t hReaktion Books and Prestel re s p e c t i v e l y. Over 12,500 exhibition titles were sold in theG a l l e ry during the life of the exhibitions, an increase of 25% on 1999, with two, Wo m e nand Gard e n s a n d Painting the Century, requiring reprints. The latter sold more copiesduring the exhibition than any previous catalogue.

Two other titles, The National Portrait Gallery: An Architectural History by GrahamHulme, Brian Buchanan and Kenneth Powell and The National Portrait Gallery: AVisitor’s Guide by John Cooper, were published to mark the opening of the OndaatjeWing, while The National Portrait Gallery by Charles Saumarez Smith was reprinted forthe second time. The Visitor’s Guide had sold over 5,000 copies by Christmas and inF e b ru a ry 2001 received the Best New Permanent Collection Publication Under £30 a w a rdin the Museum Trading and Publishing Group Aw a rd s .

Other new titles included Samuel Pepys and His Circ l e by Richard Ollard and O s c a rWilde and His Circ l e by Simon Callow, both in the award-winning Character Sketchesseries; The Gallery of Fashion by Aileen Ribeiro, of which a US co-edition was sold toPrinceton University Press; Chain Reactions by Adam Hart-Davis and The Royal Family:A Centenary Port r a i t by Martin Gayford. Finally, a larg e - f o rmat, hardback edition of theG a l l e ry’s best-selling paperback The Kings and Queens of England by David Wi l l i a m s o nwas produced for the American market. Retail revenue derived from Gallery publicationsrose by 87% to over £312,000, and was responsible for almost 30% of sales.

As in previous years, the publications department exhibited at the London Intern a t i o n a lBook Fair and at Frankfurt, where foreign rights were successfully negotiated for anumber of forthcoming publications, most notably Horst P. Horst, Mario Te s t i n o,Painted Ladies and an American paperback edition of Painting the Century, to bepublished later this year. Co-edition and trade sales of Gallery publications rose by 140%over the previous year.

In addition to our own publications and bought-in titles, the exhibition pro g r a m m ep rovided the opportunity to develop merchandise, both in-house and under licence.Painting the Century, S n o w d o n and Escape to Eden generated the second, fifth and eighthhighest gross pro fit respectively of any National Portrait Gallery exhibition, and E s c a p eto Eden became the Gallery’s most pro fitable ever non-charging exhibition. Cataloguesand merchandise contributed over 20% of total gross profit during the year.Consequently the shops enjoyed their best Christmas ever, with a 51% increase betweenOctober and January over 1999.

Sixteen of the fifty-six new postcards published during the year were of photographs byL o rd Snowdon, the first of his works to be produced commerc i a l l y. These were highlypopular in the Gallery, and are now being distributed in the USA and to the exhibitiontour venues. Merchandise rights negotiated on behalf of Lord Snowdon resulted in theG a l l e ry being able to offer a wide range of products including T- s h i rts, stationery,j e w e l l e ry and five diff e rent calendars for 2001. A pack of eight postcards and a limited-edition photographic print were published for Elizabeth Taylor: A PhotographicC e l e b r a t i o n and a total of 4,000 postcard packs, 1,800 portrait prints and 1,000calendars were sold during the showing of the BP Portrait Aw a rd 2000.

The extension of Gallery opening hours in May necessitated a radical rescheduling ofshop staff hours. Staff also had to adapt to a substantial increase in mail-order business,mostly generated by the website. We expect full e-commerce to be running from mid-2001, and meanwhile sales to date of a limited range of books and products have beenencouraging. The majority of orders, however, have been for digital prints, with 9,000works now on-line.

The illustrated website has been of primary benefit to the Picture Library, whose staffhave radically enhanced their service through this exciting innovation. In an estimated80% of enquiries, re s e a rchers now view and select images on-line, resulting in impro v e de fficiency and customer satisfaction. Sales in the Picture Library rose by 7% in the year,not least as income from agency business began to repay earlier investment.

Some of the postcards and books on sale during theSnowdon exhibition (photo Graham Piggott)

The cover of The NationalP o rtrait Gallery: A Visitor’s G u i d e by John Cooper

FINANCIAL REPORTAlthough the Department for Culture, Media and Sport has begun announcing thre e -year grant-in-aid settlements for museums and galleries, unfortunately the increase ingrant for 2000/2001 did not match the rate of inflation. The grant-in-aid for2001/2002 has been re s t o red to the 1999/2000 level in real terms and the govern m e n thas added a further £100,000 to help meet some of the costs of running the newOndaatje Wing. But the Gallery’s operational costs have also risen by appro x i m a t e l y£300,000 as a result of extending opening hours.

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

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

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

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

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

In 2000/2001, retained surpluses in the General Fund were reduced by £70,700. Thisreduction had been anticipated because of the shortfall in grant-in-aid during2000/2001 and the significantly increased operational costs of the new Ondaatje Wi n g ,the extension of the Gallery’s opening hours, and the high costs of mounting andpublicising the very successful exhibitions pro g r a m m e .

21

o p p o s i t e A n d ré Deutsch byL e o n a rd Rosoman, 1987(© the art i s t )

23

BALANCE SHEET at 31.3.01 at 31.3.00A S S E T SFixed assets ( £ 0 0 0 s ) ( £ 0 0 0 s )Tangible assets

Land and buildings 46,950 3 1 , 5 7 8F u rn i t u re and equipment 4 8 9 9 1Assets in the course of constru c t i o n 0 1 4 , 1 1 0

4 7 , 4 3 9 4 5 , 7 7 9I n v e s t m e n t s 3 7 3 9Total fixed assets 4 7 , 4 7 6 4 5 , 8 1 8

C u rrent assetsS t o c k s 5 4 6 5 3 2Debtors and pre p a y m e n t s 5 8 3 1 , 4 9 9Cash at bank and in hand 2 , 0 1 3 1 , 4 6 2

3 , 1 4 2 3 , 4 9 3C u rrent Liabilities

Creditors falling due within one year - 1 , 9 5 1 - 2 , 0 3 9Net current assets 1 , 1 9 1 1 , 4 5 4

Net assets 4 8 , 6 6 7 4 7 , 2 7 2

F U N D SU n restricted designated funds

Collection purc h a s e s 3 1 1 2Capital Project Fund 7 , 1 7 3 7 , 6 4 3

7 , 2 0 4 7 , 6 5 5

U n restricted general fundsRetained surpluses 8 9 0 9 6 1NPG Trust Fund 0 1 7

8 9 0 9 7 8

Restricted capital funds Development Projects Fund 2 1 , 4 3 8 1 9 , 7 8 8Capital Reserve Fund 1 8 , 8 2 8 1 8 , 3 4 8

4 0 , 2 6 6 3 8 , 1 3 6

Other restricted funds Development Appeal Fund 3 0 0 5 0 3Dame Helen Gardner Bequest 7 0C16/C17th Fund 0 0

3 0 7 5 0 3

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

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The following fig u res have been extracted from the Gallery’s financial re c o rds. They donot purport to re p resent the audited Annual Accounts. For a full understanding of theG a l l e ry’s financial affairs, re f e rence should be made to the Annual Accounts and theAuditor’s re p o rt, obtainable from the Head of Finance at the National Portrait Gallery.

S TATEMENT OF FINANCIAL ACTIVITIES 2 0 0 0 / 2 0 0 1 1 9 9 9 / 2 0 0 0

I n c o m e for operations, acquisitions and capital ( £ 0 0 0 s ) ( £ 0 0 0 s )G r a n t - i n - A i d 5 , 1 3 8 5 , 1 1 5Exhibition charges and sponsorship 8 1 8 8 1 4Trading (gro s s ) 1 , 8 3 1 1 , 5 0 0Evening hire 1 9 8 1 7 6Corporate Members 1 2 7 1 1 5Sponsorship and donations 2 1 0 5 4 4Individual giving 9 9 4 3Catering franchise 1 3 2 3 6Heritage Lottery Fund 1 , 6 3 6 5 , 8 5 0O t h e r 2 6 3 1 9 3

1 0 , 4 5 2 1 4 , 3 8 6

E x p e n d i t u re excluding capital but including depre c i a t i o nA c q u i s i t i o n s 3 1 7 6 5 0Collection management 2 , 5 1 4 1 , 9 7 4Curatorial and arc h i v e 4 4 1 4 0 3Exhibitions and displays 1 , 5 9 1 1 , 2 3 0E d u c a t i o n 3 7 6 2 8 7Public Relations 7 4 4 6 6 6D e v e l o p m e n t 4 3 0 3 2 1Tr a d i n g 1 , 6 6 5 1 , 4 2 8S u p p o rt and accommodation 2 , 0 7 8 1 , 4 9 1

1 0 , 1 5 6 8 , 4 5 0

Net incoming/(outgoing) re s o u rc e s 2 9 6 5 , 9 3 6Gain on revaluation of land and buildings 1 , 0 8 3 8 1 6

1 , 3 7 9 6 , 7 5 2Gains on investment assets 1 6 0Net movement in funds 1 , 3 9 5 6 , 7 5 2

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FUNDRAISING AND DEVELOPMENTLast year’s Annual Review highlighted the importance of self-generated income to helpsustain the Gallery’s activities. This has become crucial over the last year. Fundraisingf rom the corporate sector has been particularly challenging, and we are delighted to havereached our target for corporate membership and to have continued to introduce newcompanies to the Gallery.

The major autumn Wolfson Gallery exhibition Painting the Century was sponsored bythe Bradford-based company Provident Financial. They committed early to thesponsorship and it proved a very successful partnership. A high-pro file first preview eventgave Provident Financial the opportunity to invite key guests and opinion-form e r s .P rovident Financial also funded a specially created education pro g r a m m e , FACE TOFA C E, enabling schools from the Bradford area to enjoy and appreciate the exhibition.

Our good friends and close neighbours, Redwood, continue to be very supportive of theG a l l e ry and sponsored the spring exhibition Horst Portraits: 60 Years of Style. DomPérignon generously supported the exhibition and provided champagne for over 600guests at the private view.

The sponsorship of Polly Borland: Australians was a particularly good fit for the globalre c ruitment company Robert Walters, who serve the majority of Australia’s top twenty-five corporate and financial services companies. This sponsorship was one of the first togain an Arts & Business New Partners award, enabling us to increase the press andmarketing campaign for the exhibition and giving Robert Walters the opportunity tocommission a portrait by Polly Borland for one of their clients.

Another appropriate partnership was with Floris who sponsored Escape to Eden: FiveCenturies of Women and Gard e n s . The private view had a particular treat for the guests,who were each presented with a gift bag containing Floris pro d u c t s .

Philip Mould, Historical Portraits sponsored R e t u rn to Life: A New Look at the Port r a i tB u s t . Philip is a great personal supporter of the Gallery and we were delighted that hechose to be associated with this exhibition.

The major sponsor for the John Kobal Photographic Portrait Aw a rd 2000 was the HultonA rchive. Hulton Getty, Archive Films and Archive Photos had also generously support e dour Elizabeth Taylor: A Photographic Celebration earlier in the year.

In September 2000 BP hosted a dinner to celebrate ten years’ sponsorship of the B PP o rtrait Aw a rd. At the dinner Sir John Browne, the company’s Group Chief Executive,announced not only that they would continue to sponsor this annual exhibition until2004 but also that the value of the first prize would be increased from £10,000 to£25,000. We are absolutely delighted and very grateful to BP for their extre m e l yg e n e rous support and enthusiasm for the Aw a rd .

A re c o rd number of charitable trusts and foundations supported us this year in a rangeof activities, from the education programme to the IT Gallery, from Friday eveningmusic to the website screen re a d e r. The Capital Group and various charitable tru s t senabled the development of an innovative education project for young homeless people

Sir John Browne addressing theguests at a celebration dinner for 10 years of BP sponsorship, 25 September 2000 (photo Richard Price, courtesy BP p.l.c)

Ondaatje Wing DonorsDr Christopher Ondaatje, CBED rue Heinz Tru s t29th May 1961 Charitable Tru s tG a rfield Weston FoundationThe Wolfson Foundationand a major award from the Heritage Lottery Fund

Grant-in-Aid (£0 0 0s ) 9 5 / 9 6 9 6 / 9 7 9 7 / 9 8 9 8 / 9 9 9 9 / 0 0 0 0 / 0 1 0 1 / 0 2National Portrait Gallery 5 , 0 6 5 4 , 9 1 5 4 , 8 0 9 4 , 9 9 7 5 , 1 1 5 5 , 1 3 8 5 , 4 6 2National Gallery 1 8 , 3 0 0 1 8 , 7 0 0 1 8 , 3 0 0 1 8 , 7 0 0 1 9 , 5 0 0 1 9 , 2 0 0 1 9 , 9 0 0British Museum 3 3 , 4 0 0 3 3 , 2 0 0 3 1 , 9 0 0 3 3 , 9 0 0 3 4 , 7 0 0 3 4 , 9 0 0 3 6 , 0 0 0Tate Gallery 1 8 , 9 0 0 1 8 , 8 0 0 1 8 , 7 0 0 1 9 , 2 0 0 1 9 , 7 0 0 2 4 , 9 0 0 2 6 , 9 0 0Imperial War Museum 1 1 , 1 0 0 1 0 , 7 0 0 1 1 , 0 0 0 1 0 , 6 0 0 1 2 , 1 0 0 1 3 , 1 0 0 1 4 , 1 0 0Science Museum 2 1 , 7 0 0 2 0 , 6 0 0 2 1 , 1 0 0 2 0 , 3 0 0 2 4 , 6 0 0 2 5 , 5 0 0 2 7 , 3 0 0Wallace Collection 1 , 9 0 0 1 , 9 0 0 1 , 9 0 0 1 , 9 0 0 2 , 5 0 0 2 , 1 0 0 2 , 2 0 0National Maritime Museum 1 0 , 5 0 0 1 0 , 5 0 0 1 0 , 5 0 0 1 0 , 2 0 0 1 0 , 9 0 0 1 1 , 7 0 0 1 2 , 8 0 0Natural History Museum 2 8 , 8 0 0 2 7 , 5 0 0 2 7 , 7 0 0 2 7 , 0 0 0 2 9 , 6 0 0 3 0 , 4 0 0 3 3 , 1 0 0Victoria & Albert Museum 3 1 , 6 0 0 3 0 , 8 0 0 2 9 , 9 0 0 2 9 , 1 0 0 3 0 , 1 0 0 3 0 , 5 0 0 3 2 , 7 0 0

S o u rce: DCMS Annual Report 2000.

Figures for 01/02 to 03/04 are budgets.

Grant-in-Aid per visitor (£) 9 5 / 9 6 9 6 / 9 7 9 7 / 9 8 9 8 / 9 9 9 9 / 0 0 0 0 / 0 1 0 1 / 0 2National Portrait Gallery* 4 . 8 7 4 . 4 3 4 . 0 8 4 . 1 3 4 . 1 9 3 . 5 7 4 . 1 4National Gallery 4 . 0 7 3 . 7 4 3 . 7 3 3 . 8 2 3 . 9 8 3 . 9 2 4 . 0 6British Museum 5 . 4 5 5 . 1 1 5 . 2 3 6 . 1 6 6 . 9 4 6 . 0 7 5 . 5 4Tate Gallery§ 6 . 3 0 7 . 5 2 8 . 5 0 6 . 4 0 7 . 5 8 5 . 1 9 5 . 2 7Imperial War Museum§ 8 . 4 7 8 . 2 3 8 . 1 5 7 . 7 4 8 . 9 6 9 . 2 3 1 0 . 0 7Science Museum§ 8 . 0 4 8 . 1 1 8 . 7 9 9 . 2 3 9 . 1 1 8 . 5 0 8 . 8 1Wallace Collection 1 1 . 8 8 1 0 . 5 6 1 0 . 5 6 1 0 . 0 0 1 3 . 1 6 1 0 . 5 0 1 0 . 4 8National Maritime Museum 2 6 . 2 5 2 2 . 3 4 2 1 . 8 8 1 3 . 6 0 1 5 . 5 7 1 6 . 7 1 1 8 . 2 9Natural History Museum 1 9 . 7 3 1 5 . 2 8 1 5 . 2 2 1 4 . 5 2 1 7 . 9 4 1 8 . 4 2 2 0 . 0 6Victoria & Albert Museum 2 0 . 6 5 1 9 . 3 7 2 0 . 6 2 1 9 . 4 0 2 3 . 5 2 1 8 . 0 5 1 8 . 6 9

S o u rce: DCMS Annual Report 2000. * London plus Regional Part n e r s § all venues

Figures for 01/02 to 03/04 are budgets.

Visitor numbers (000s) 9 5 / 9 6 9 6 / 9 7 9 7 / 9 8 9 8 / 9 9 9 9 / 0 0 0 0 / 0 1 0 1 / 0 2National Portrait Gallery* 1 , 0 4 0 1 , 1 1 0 1 , 1 8 0 1 , 2 1 0 1 , 2 2 0 1 , 4 4 0 1 , 3 2 0National Gallery† 4 , 5 0 0 5 , 0 0 0 4 , 9 0 0 4 , 9 0 0 4 , 9 0 0 4 , 9 0 0 4 , 9 0 0British Museum 6 , 1 3 0 6 , 5 0 0 6 , 1 0 0 5 , 5 0 0 5 , 0 0 0 5 , 7 5 0 6 , 5 0 0Tate Gallery § 3 , 0 0 0 2 , 5 0 0 2 , 2 0 0 3 , 0 0 0 2 , 6 0 0 4 , 8 0 0 5 , 1 0 0Imperial War Museum§ 1 , 3 1 0 1 , 3 0 0 1 , 3 5 0 1 , 3 7 0 1 , 3 5 0 1 , 4 2 0 1 , 4 0 0Science Museum§ 2 , 7 0 0 2 , 5 4 0 2 , 4 0 0 2 , 2 0 0 2 , 7 0 0 3 , 0 0 0 3 , 1 0 0Wallace Collection 1 6 0 1 8 0 1 8 0 1 9 0 1 9 0 2 0 0 2 1 0National Maritime Museum 4 0 0 4 7 0 4 8 0 7 5 0 7 0 0 7 0 0 7 0 0Natural History Museum 1 , 4 6 0 1 , 8 0 0 1 , 8 2 0 1 , 8 6 0 1 , 6 5 0 1 , 6 5 0 1 , 6 5 0Victoria & Albert Museum 1 , 5 3 0 1 , 5 9 0 1 , 4 5 0 1 , 5 0 0 1 , 2 8 0 1 , 6 9 0 1 , 7 5 0

N o t e s : The increase in 2000/01 is a result of the opening of the new Ondaatje Wing. Source: DCMS Annual Report 2000. *London plus Regional Partners †p recise fig u res not published § all venues

Figures for 01/02 to 03/04 are budgets.

Self-generated net income for operations and acquisitions (£000s)N o t e s :1. Comprises exhibition charges, sponsorship, net trading income, net Corporate Members income, trusts and foundations, individual giving, galler y hire, catering franchise and investment income.2. Excludes Appeal Fund income and HLF Grant for the Ondaatje Wing pro j e c t .

Figures for 00/01 are estimates and for 01/02 to 03/04 are budgets.

5.90Value today of 95/96 Grant-in-Aidper visitor

6,262Value today of 95/96 Grant-in-Aid

GalleryRegionalPartners

Unallocatednet income as % ofGrant-in-Aid

20%

32%

2726

The Gallery is grateful to the following for their sponsorship and support of exhibitions and corporate membership in 2000/2001:

The Gallery is grateful to the following charitable trusts, foundations and companies for their support with special projects in 2000/2001:

The Gallery is grateful to the following individuals for their support in 2000/2001:

in collaboration with The London Connection, which continues this year. GlaxoWellcome and the Paul Hamlyn Foundation both supported the joint project undert a k e nwith the Orchestra of the Age of Enlightenment, The Art of Water Music, which wasincluded in the String of Pearls Millennium Festival. In addition, we are grateful to theL e v e rhulme Trust who have agreed to fund three annual fellowships in the history ofp o rt r a i t u re, and to the Wellcome Trust for funding the creation of an exciting scientificp o rtrait to be unveiled in the autumn.

Individual support for the Gallery has increased this year. The number of Members hasnow reached over 1,000 and is growing on a daily basis. Recruitment of Members wasp a rticularly successful around the period of the Painting the Century: 101 Port r a i tM a s t e r p i e c e s and Horst Portraits: 60 Years of Style exhibitions. Members also enjoyed anumber of special events, including afternoon private views of Wolfson Galleryexhibitions, an opportunity to meet the BP artists, and a special Christmas shoppingevening at the Gallery.

In November we re - f o rmed the Board of Patrons under the new Chairmanship of SirJohn Weston, KCMG. A successful cultivation event was held at the beginning ofDecember and we currently have four Life Patrons and thirty-eight Patrons (oneanonymous). A programme of special events for Patrons has been planned for2001/2002, including opportunities to learn more about what happens behind thescenes at the Gallery, a special concert with the London Symphony Orchestra and a visitto the Gallery’s regional partnership in Somerset, Montacute House.

The Development Board, under the Chairmanship of Charles McVeigh III, has been verys u p p o rtive and a number of new companies have been introduced to the Gallery. It hasbeen a good year for corporate membership and we now have seven Benefactors andnineteen Members. New supporters include Lehman Brothers, Aon Risk Services andK o rn / F e rry Intern a t i o n a l .

Although losing Thursday evening to late night opening as an opportunity for corporateh i re, we have continued to be a very popular venue. The addition of The Port r a i tRestaurant to the portfolio has been well received, with a number of companies hostinga private view in one of the galleries followed by a reception overlooking the ro o f t o p s .The restaurant became the venue for the Countdown to the Brit Aw a rds in Febru a ry.Other special occasions to take place at the Gallery have been Covent Garden Festivalevents, the Evening Standard Schools’ Aw a rds, the Hawthornden Prize and the MitchellPrize for the History of Art. In May, final-year students of the BA (Hons) degree coursein Costume Interpretation from Wimbledon School of Art paraded costumes inspired bypaintings in the Gallery’s collection. Alongside these the Gallery has held events inconjunction with the following charities: NSPCC, the Neuro-Muscular Society and theC e n t re for Accessible Enviro n m e n t s .

Education pro j e c t sThe Capital Gro u pThe Dulverton Tru s tThe Ernest Cook Tru s tGlaxo Wellcome plcThe Golden Bottle Tru s tThe Idlewild Tru s tLloyds TSB Foundation for England

and Wa l e sThe Paul Hamlyn FoundationThe Peter Minet Tru s tThe Royal SocietyThe Walcot Educational FoundationThe Wo o d w a rd Charitable Tru s tThe Worshipful Company of Gro c e r s

Access and educationAbbey National Charitable Trust

L i m i t e dThe Dorothy Burns Charity

Bodelwyddan CastleThe Kirby Laing FoundationThe Mercers’ Company

Friday evening music pro g r a m m eThe Britten–Pears FoundationThe Perf o rming Right Society

F o u n d a t i o n

R e s e a rc hThe Paul Mellon CentreThe Hollick Family Charitable Tru s t

Wo o d w a rd Portrait Explorer andassociated IT pro j e c t sThe Wo o d w a rd Charitable Tru s t

G e n e r a lCHK Charities LimitedR o b e rt Fleming & Co. Ltd S c h roder Charity Tru s tThe Swan Tru s t

In-kind support for educationBinney & Smith (Europe) Ltd

A c q u i s i t i o n sNational Art Collections Fund

Pledges received for 2001/2002 and beyondCalouste Gulbenkian Foundation

( e d u c a t i o n )The Dorothy Burns Charity

(special needs workshops)The Dulverton Trust (education)J e rwood Foundation

( J e rwood Portrait Commission)The Leche Trust

( c o n s e rvation of engravings)The Leverhulme Trust

( L e v e rhulme Fellowship in the H i s t o ry of Port r a i t u re )

The Wellcome Trust ( Wellcome Trust Port r a i t )

The Wo o d w a rd Charitable Trust (IT projects and education)

Life Patro n sDr and Mrs Mark CecilSir Harry Djanogly, CBEMr and Mrs Robin FlemingMr and Mrs Peter Soro s

P a t ro n sEdgar AstaireAdrian BridgewaterKate Bucknell and Bob MaguireRoderic Bullough and Melinda

B u l l o u g hMichael CampbellThe Lord Carrington, KGMr and Mrs Philippe ChappatteMr and Mrs David DalzielAdrian EvansMrs Kate FlemingL o rd and Lady GibsonThe Hon. Piers GibsonThe Hon. William GibsonGavin Graham

Mrs Sue Hammerson, OBEClaude Hankes-DrielsmaJ. Horsfall Tu rn e rMr and Mrs Charles JacksonPeter A.B. JohnsonSir John Kemp We l c hLaura LindsayBrian MarshMr and Mrs Neil MendozaL o rd and Lady MoorePhilip MouldMr and Mrs Charles NunneleyJohn RitblatSir David Scholey, CBESir Sigmund Stern b e rg, OStJ, KCSGVanni and Angela Tre v e sThe Lord Tu g e n d h a tAnthony We l d o n

American Patro n sMrs James BriceLinda Bro w n r i g g

Mrs Lisa von ClemmStanton D. LoringMr and Mrs Jon Lovelace

Donations t h rough the American Friends Mr and Mrs John Fairc h i l dP rofessor and Mrs R. SandersMrs Jayne Wr i g h t s m a nt h rough the membership pro g r a m m eLady AnnanIn memory of Mrs Vera Fern a n d e zThomas SeymourMrs Freda Ta y l o r

H o n o r a ry Patro n sThe Lord Carrington, KG, GCMG, CH, PCThe Lord We i d e n f e l dMrs Drue Heinz, Hon. DBE

B o a rd of Patro n sSir Antony Acland, GCMG, GCVOMrs Jane Benson, LVO, OBE

The Lord Forsyth of Drumlean, PCFlora FraserThe Hon. Piers GibsonMrs Tessa Gre e nMrs Frances JacksonH e n ry KeswickThe Lord Morris of Castle Morris, D.Phil.Philip MouldDr Christopher Ondaatje, CBESir David Scholey, CBEVanni Tre v e sAnthony We l d o nSir John Weston, KCMG (Chairm a n )

American Friends of the NationalP o rtrait GalleryMrs Drue Heinz, Hon. DBE

(Founder Benefactor)Walter E. Ashley (Pre s i d e n t )P rofessor William HomerDr Charles Saumarez SmithMrs Pim Baxter (Secre t a ry )

BP Portrait Aw a rd 2000 and Travel Aw a rd 1999London and Aberd e e ns p o n s o red by BP p.l.c.

Painting the Century: 101 Portrait Masterpiecess p o n s o red by Provident Financial

Horst Portraits: 60 Years of Styles p o n s o red by Redwoods u p p o rted by Dom Pér i g n o n

Elizabeth Taylor: A Photographic Celebrations p o n s o red by Hulton Getty, Archive

Films and Archive Photos

Polly Borland: Australianss p o n s o red by Robert Walters,

the global re c ruitment consultancy; with additional support from Ta p e s t ry,Agfa, Arts & Business New Pa rt n e r s

John Kobal Photographic P o rtrait Aw a rd 2000s p o n s o red by the Hulton Archive in

association with the John Kobal Foundation, Metro Imaging, the British Journal of Photography and the Complete Gro u p

Escape to Eden: Five Centuries of Women and Gard e n ss p o n s o red by Floris

R e t u rn to Life: A New Look at the Portrait Busts p o n s o red by Philip Mould,

Historical Port r a i t s

Rollie McKenna: Writers and Art i s t ss u p p o rted by the American Friends of

the National Portrait Gallery

S u p p o rt for Ondaatje Wing opening eventsB I C C

Corporate Benefactors The Atlas Alliance Gro u pBP p.l.c. (Honorary) F re s h fields Bruckhaus DeringerJ . P. Morgan Chase & Co.P rovident Financial (Honorary )S c h roder Salomon Smith Barn e yTowers Perr i n

Corporate MembersAndersen Consulting (Honorary )Aon Risk Serv i c e sA rnander Irvine ZietmanB B AB GB i rcham Dyson BellB o o k e rDe BeersDeloitte & To u c h eE x x o n M o b i lGoldman SachsK o rn / F e rry Intern a t i o n a lLehman Brothers

L i n k l a t e r sPaul Mitchell LtdRedwood R e u t e r sTo t a l F i n a l E l fW P P

Development BoardJennifer d’AboTim Bre e n eM a rg a ret ExleyRt. Hon. The Lord Forsyth

of Drumlean, PCP i e rre GodecAchilleas KallakisH e n ry KeswickBrian Larc o m b eCharles McVeigh III (Chairm a n )David Morg a nMark PaviourMichael PotterSir David Scholey, CBEThe Lord Tu g e n d h a t

‘Now one of the mostadventurous and wide-ranging of British museums’Simon Callow, Sunday Times,

15 April 2001

29

R i c h a rd George Adams (1920–)N o v e l i s t

John Benton-Harris (1939–)P788: bromide print, 334 x 228mm ( 1 31/8 x 9") signed, inscribed and dated on reverse, 1974P u rchased 2000

Eric Ambler (1909–1998)N o v e l i s t

L o rd Snowdon (1930–)*P798: vintage bromide print, 323 x 306mm (123/4 x 12") withphotographer’s credit on re v e r s e ,25 March 1977P u rchased 2000

M a rtin Amis (1949–)Novelist; son of Sir Kingsley Amis

L o rd Snowdon (1930–)*P799: vintage bromide print, 351 x 300mm (133/4 x 113/4") with photographer’s credit on reverse, 9 June 1978P u rchased 2000

Michael Andrews (1928–1995)P a i n t e r

L o rd Snowdon (1930–)†P797(1): bromide print, 327 x 212mm (12 7/8 x 8 3/8"), 7 December 1962Given by the photographer 2000

Kenneth Armitage (1916–)S c u l p t o r

L o rd Snowdon (1930–)†P797(2): bromide print, 383 x 266mm ( 1 51/8 x 101/2"), 22 April 1964Given by the photographer 2000

A rthur, Prince of Wales (1486–1502)Eldest son of Henry VII

Unknown art i s tL221: oil on panel, 363 x 264mm ( 1 43/8 x 103/8") arched top, early 16th centuryLent from a private collection 2000

Frank Auerbach (1931–)P a i n t e r

L o rd Snowdon (1930–)†P797(3): bromide print, 383 x 310mm( 1 51/8 x 121/4"), 10 April 1962Given by the photographer 2000

Dame Janet Abbott Baker (1933–)S i n g e r

L o rd Snowdon (1930–)*P800: vintage bromide print, 407 x 270mm (16 x 101/2") uneven,signed, with photographer’s credit on reverse, 18 November 1981P u rchased 2000

Sir Misha Black (1910–1977)A rchitect and industrial designer

John Hedgecoe (1937–)P769: bromide print, 507 x 406mm (20 x 16"), 1975P u rchased 2000

Anthony Frederick Blunt (1907–1983)A rt historian and Soviet spy

L o rd Snowdon (1930–)†P797(4): bromide print, 258 x 383mm(10 1/8 x 151/8"), 24 October 1963Given by the photographer 2000

Helena Bonham Carter (1966–)A c t re s s

David Seidner (1957–1999)P876: colour print laid on card, 603 x 498mm (233/4 x 195/8"), signed,inscribed and dated on backing card, 1998P u rchased 2001

D e rek Boshier (1937–)A rt i s t

L o rd Snowdon (1930–)†P797(5): bromide print, 383 x 258mm (151/8 x 101/8"), 21 October 1963Given by the photographer 2000

Frank Bowling (1936–)A rt i s t

L o rd Snowdon (1930–)†P797(6): bromide print, 340 x 238mm( 1 33/8 x 93/8"), 21 March 1962Given by the photographer 2000

Mark Boxer (1931–1988)C a rt o o n i s t

John Hedgecoe (1937–)P770: bromide print, 406 x 458mm (16 x 18"), 1958P u rchased 2000

Sir (William) Lawrence Bragg ( 1 8 9 0 – 1 9 7 1 )P h y s i c i s t

William Dring (1904–1990)6539: pastel, 571 x 388mm ( 2 21/2 x 151/4") uneven, signed and dated, 1955P u rchased 2000

Catherine Bramwell-Booth ( 1 8 8 3 – 1 9 8 7 )Salvation Army offic e r

L o rd Snowdon (1930–)*P801: vintage bromide print, 300 x 304mm (113/4 x 12") uneven, with photographer’s credit on reverse, 11 January 1979P u rchased 2000

John Randall Bratby (1928–1992)P a i n t e r

L o rd Snowdon (1930–)†P797(7): bromide print, 380 x 262mm (15 x 101/4" )Given by the photographer 2000

Frank Bruno (1961–)B o x e r

L o rd Snowdon (1930–)*P802: vintage bromide print, 393 x 488mm (151/2 x 191/4") withphotographer’s credit and dated onreverse, 11 Febru a ry 1983P u rchased 2000

Bainbrigg Buckeridge (1668–1733)Poet, painter and first historian of British art

Michael Dahl (c i rc a 1 6 5 9 – 1 7 4 3 )6521: oil on canvas, feigned oval, 716 x 590mm (281/4 x 231/4") inscribed and dated on reverse, 1696P u rchased 2000

Reginald Cotterell (‘Reg’) Butler( 1 9 1 3 – 1 9 8 1 )S c u l p t o r

L o rd Snowdon (1930–)†P797(8): bromide print, 365 x 239mm ( 1 43/8 x 93/8"), 5 March 1964Given by the photographer 2000

Sir Anthony Alfred Caro (1924–)S c u l p t o r

L o rd Snowdon (1930–)†P797(9): bromide print, 383 x 261mm (151/8 x 101/4") with photographer’s credit and dated on reverse, 10 October 1968Given by the photographer 2000

Helen Chadwick (1953–1996)A rt i s t

S e l f - p o rtrait (‘Vanitas II’)P874: cibachrome print, 509 x 510mm (20 x 20"), 1986Given by Te rence Pepper 2001

C a roline Charles (1942–)Fashion designer

L o rd Snowdon (1930–)*P803: vintage bromide print, 380 x 292mm (15 x 111/2") withphotographer’s credit and dated on reverse, 21 June 1993P u rchased 2000

B ruce Chatwin (1940–1989)Wr i t e r

L o rd Snowdon (1930–)*P804: vintage bromide print, 290 x 289mm (113/8 x 113/8") with photographer’s credit and dated on reverse, 28 July 1982P u rchased 2000

P runella Clough (1919–1999)P a i n t e r

L o rd Snowdon (1930–)†P797(10): bromide print, 383 x 258mm (151/8 x 101/8" )Given by the photographer 2000

Sir William Menzies Coldstream ( 1 9 0 8 – 1 9 8 7 )P a i n t e r

L o rd Snowdon (1930–)†P797(11): bromide print, 352 x 229mm (137/8 x 9"), 16 April 1962Given by the photographer 2000

LIST OF ACQUISITIONSSingle port r a i t s

o p p o s i t e Cleo Laine by John Benton-Harris (© the photographer)

Hugh Denis Charles Fitzro y, 11th Duke of Grafton (1919–)Administrator and patron of the arts; Vi c e - C h a i rman of the Trustees of theNational Portrait Gallery

John Ralph Merton (1913–)6537: silverpoint on board, circular image, 679 x 679mm (263/4 x 263/4"), inscribed and dated, 1992Commissioned 1992 and accessioned 2000

Susan Adele Gre e n field (1950–)P rofessor of synaptic pharm a c o l o g y

Tom Phillips (1937–)6526: computer- p rocessed drawings and video, 1999–2000Commissioned 2000

G e rmaine Greer (1939–)Writer and journ a l i s t

L o rd Snowdon (1930–)*P813: vintage bromide print, 278 x 272mm (107/8 x 103/4"), 1971P u rchased 2000

Joyce Irene Grenfell (1910–1979)A c t re s s

L o rd Snowdon (1930–)*P814: vintage bromide print, 248 x 196mm (93/4 x 73/4"), 1950sP u rchased 2000

Joyce Irene Grenfell (1910–1979)A c t re s s

L o rd Snowdon (1930–)*P815: vintage bromide print, 195 x 246mm (75/8 x 95/8"), 1950sP u rchased 2000

R i c h a rd Hamilton (1922–)P a i n t e r

L o rd Snowdon (1930–)†P797(17): bromide print, 383 x 264mm( 1 51/8 x 103/8"), 6 January 1963Given by the photographer 2000

Francis James Herbert Haskell ( 1 9 2 8 – 2 0 0 0 )A rt historian

L o rd Snowdon (1930–)*P816: vintage bromide print, 383 x 283mm (151/8 x 111/8"), 16 June 1966P u rchased 2000

Adrian Heath (1920–)A rt i s t

L o rd Snowdon (1930–)†P797(18): bromide print, 383 x 303mm (151/8 x 12"), 8 August 1963Given by the photographer 2000

Sir Philip Hendy (1900–1980)A rt historian; Director of the National Gallery

L o rd Snowdon (1930–)†P797(19): bromide print, 257 x 383mm( 1 01/8 x 151/8"), 10 December 1963Given by the photographer 2000

Dame Barbara Hepworth (1903–1975)Sculptor; second wife of Ben Nicholson

John Hedgecoe (1937–)P773: cibachrome print, 405 x 305mm (16 x 12")P u rchased 2000

Dame Barbara Hepworth (1903–1975)Sculptor; second wife of Ben Nicholson

L o rd Snowdon (1930–)†P797(20): bromide print, 245 x 368mm( 95/8 x 141/2) with photographer’s cre d i ton reverse, 26 Febru a ry 1964Given by the photographer 2000

Josef Herman (1911–2000)P a i n t e r

L o rd Snowdon (1930–)†P797(21): bromide print, 383 x 266mm (151/8 x 101/2"), 5 August 1964Given by the photographer 2000

Patrick Heron (1920–1999)P a i n t e r

S e l f - p o rt r a i t6540: oil on canvas, 508 x 406mm (20 x 16"), signed and dated, 1951P u rchased with help from the National ArtCollections Fund 2000

Anthony Hill (1930–)A rt i s t

L o rd Snowdon (1930–)†P797(22): bromide print, 262 x 383mm( 1 01/4 x 151/8"), 22 April 1964Given by the photographer 2000

Roger Hilton (1911–1975)P a i n t e r

L o rd Snowdon (1930–)†P797(23): bromide print, 384 x 258mm( 1 51/8 x 101/8"), 21 November 1963Given by the photographer 2000

Ivon Hitchens (1893–1979)P a i n t e r

L o rd Snowdon (1930–)†P797(24): bromide print, 290 x 290mm( 1 13/8 x 113/8"), 28 Febru a ry 1963Given by the photographer 2000

David Hockney (1937–)A rt i s t

L o rd Snowdon (1930–)†P797(25): bromide print, 371 x 250mm( 1 45/8 x 97/8"), 16 April 1963Given by the photographer 2000

Sir Howard Hodgkin (1932–)P a i n t e r

L o rd Snowdon (1930–)†P797(26): bromide print, 299 x 188mm( 1 13/4 x 73/8"), 13 Febru a ry 1963Given by the photographer 2000

John Hurt (1940–)A c t o r

S t u a rt Pearson Wright (1975–)6541: oil on gesso on oak panel, 110 x 96mm (43/8 x 33/4"), signed inmonogram and dated, and signed,inscribed and dated on reverse, 2000P u rchased 2000

Sir Julian Sorell Huxley (1887–1975)Biologist and writer

Mark Gertler (1891–1939)6534: oil on canvas, 635 x 533mm (25 x 21"), signed and dated, 1927P u rchased 2000

Sir Henry Irving (1838–1905)as Dubosc in ‘Lyons Mail’A c t o r - m a n a g e r

James Ferrier Pryde (1866–1941)6567: pencil and gouache on paper laid on boardBequeathed by Sir John Gielgud 2001`

Sir Alec Issigonis (1906–1988)E n g i n e e r

L o rd Snowdon (1930–)*P818: vintage bromide print, 407 x 303mm (16 x 117/8"), 26 July 1979P u rchased 2000

Roland Joffe (1945–)Film dire c t o r

L o rd Snowdon (1930–)*P820: vintage bromide print, 332 x 293mm (13 x 111/2 "), 1985P u rchased 2000

David Jones (1895–1974)Poet and art i s t

L o rd Snowdon (1930–)†P797(27): bromide print, 383 x 264mm( 1 51/8 x 103/8"), 4 August 1964Given by the photographer 2000

Philip Mark Jones (1928–2000)M u s i c i a n

Hans Erni (1909–)6536: pencil, 384 x 284 mm ( 1 51/8 x 111/8") uneven, signed, inscribed and dated, 2000Given by Ursula Jones 2000

Thomas Kerrich (1748–1828)Cambridge University Librarian,a n t i q u a ry and draughtsman

S e l f - p o rt r a i t6531: chalk, 433 x 300mm (17 x 113/4") uneven, signed, inscribed and dated on reverse, 1774P u rchased with help from the National Art Collections Fund 2000

Philip King (1934–)S c u l p t o r

L o rd Snowdon (1930–)†P797(29): bromide print, 383 x 263mm( 1 51/8 x 103/8"), 22 April 1964Given by the photographer 2000

31

Adam Cooper (1971–)Ballet dancer

S t u a rt Pearson Wright (1975–)6542: oil on gesso on oak panel, 153 x 97mm (6 x 33/4") signed inmonogram and dated, and signed,inscribed and dated on reverse, 2000P u rchased 2000

Sir Robert Ve re (‘Robin’) Darw i n( 1 9 1 0 – 1 9 7 4 )

L o rd Snowdon (1930–)†P797(12): bromide print, 383 x 303mm (151/8 x 12")Given by the photographer 2000

Robyn Denny (1930–)P a i n t e r

L o rd Snowdon (1930–)†P797(13): bromide print, 383 x 292mm( 1 51/8 x 111/2"), 10 April 1964Given by the photographer 2000

André Deutsch (1917–2000)P u b l i s h e r

L e o n a rd Rosoman (1913–)6535: oil on canvas, 1220 x 1220mm (48 x 48"), signed and dated, 1987Bequeathed by the sitter 2000

Maria Edgeworth (1768–1849)Novelist; daughter of Richard Lovell Edgewort h

Unknown art i s t6532: pencil, 221 x 185mm ( 83/4 x 71/4"), signed with initials and inscribed, c i rc a 1 8 1 9 – 1 8 2 1P u rchased 2000

Dame Edith Mary Evans (1888–1976)A c t re s s

L o rd Snowdon (1930–)*P806: vintage bromide print,380 x 306mm (15 x 12") withphotographer’s credit on reverse, 27 Febru a ry 1976P u rchased 2000

James Gordon (‘J.G.’) Farrell ( 1 9 3 5 – 1 9 7 9 )N o v e l i s t

L o rd Snowdon (1930–)*P807: vintage bromide print, 315 x 285mm (123/8 x 111/4") with photographer’s credit on reverse, 21 March 1974P u rchased 2000

James Fitton (1899–1982)Painter and designer

John Benton-Harris (1939–)P790: bromide print, 318 x 214mm ( 1 21/2 x 83/8") signed, inscribed and dated on reverse, 9 May 1966P u rchased 2000

Penelope Mary Fitzgerald (1916–2000)N o v e l i s t

Jillian Edelstein (1957–)P768: bromide print, 455 x 360mm ( 1 77/8 x 141/8"), signed andinscribed on reverse, July 1999P u rchased 2000

F rederick Forsyth (1938–)N o v e l i s t

John Benton-Harris (1939–)P791: bromide print, 339 x 226mm ( 1 33/8 x 87/8"), signed, inscribed and dated on reverse, 1972Given by the photographer 2000

N o rman Robert Foster, B a ron Foster (1935–)A rc h i t e c t

John Swannell (1946–)P783: bromide print, 439 x 583mm (17 1/4 x 23"), signed, inscribed and dated on reverse, 1999Given by the photographer 2000

N o rman Robert Foster, B a ron Foster (1935–)A rc h i t e c t

John Davies (1946–)6530: bronze head, 465mm (183/4") high, signed, inscribed and dated, 1999Commissioned 2000

R i c h a rd Stanley (‘Dick’) Francis ( 1 9 2 0 – )Jockey and writer

John Benton-Harris (1939–)P792: bromide print, 271 x 276mm ( 1 05/8 x 107/8") signed, inscribed and dated on reverse, 26 March 1982Given by the photographer 2000

John French (1906–1966)P h o t o g r a p h e r

L o rd Snowdon (1930–)*P809: vintage bromide print, 306 x 238mm (12 x 93/8") with photographer’s credit and dated on reverse, 1957P u rchased 2000

Lucian Freud (1922–)P a i n t e r

L o rd Snowdon (1930–)†P797(14): bromide print, 370 x 287mm( 1 41/2 x 111/4"), 17 June 1963Given by the photographer 2000

Lucian Freud (1922–)P a i n t e r

L o rd Snowdon (1930–)†P797(15): bromide print, 255 x 382mm(10 x 15") with photographer’s credit and dated on reverse, 17 June 1963Given by the photographer 2000

Patrick Garland (1935–)T h e a t re dire c t o r

L o rd Snowdon (1930–)*P810: vintage bromide print, 352 x 296mm (137/8 x 115/8") with photographer’s credit and dated on reverse, 10 September 1969P u rchased 2000

Stella Dorothea Gibbons (Mrs A.B.Webb) (1902–1989)Novelist and poet

John Hedgecoe (1937–)P772: bromide print, 353 x 354mm ( 1 37/8 x 137/8"), 1988P u rchased 2000

R i c h a rd Patrick Ta l l e n t y re Gibson,B a ron Gibson (1916–)Businessman; Chairman of the National Tru s t

L o rd Snowdon (1930–)*P811: vintage bromide print, 304 x 293mm (12 x 111/2") withphotographer’s credit and dated on reverse, 17 November 1988P u rchased 2000

A l f red Newman Gilbey (1901–1998)Roman Catholic Chaplain to Cambridge University

L o rd Snowdon (1930–)*P812: vintage bromide print, 390 x 294mm (153/8 x 111/2") withphotographer’s credit and dated onreverse, 20 June 1991P u rchased 2000

M e rcedes Gleitze (1900–1979)S w i m m e r

J . P. Bamber of BlackpoolP872: vintage print, 146 x 108mm (53/4 x 41/4") with photographer’s blind stampGiven by the sitter’s daughter, Doloranda H. Pember, 2001

Sir Lawrence Gowing (1918–1991)Painter and art historian

L o rd Snowdon (1930–)†P797(16): bromide print, 328 x 266mm( 1 27/8 x 101/2"), 30 June 1964Given by the photographer 2000

30

Oskar Kokoschka (1886–1980)A rtist and writer

L o rd Snowdon (1930–)†P797(30): bromide print, 265 x 245mm( 1 03/8 x 95/8") with photographer’s cre d i ton reverse, 7 October 1970Given by the photographer 2000

Dame Clementine Dinah (‘Cleo’) Laine (1927–)S i n g e r

John Benton-Harris (1939–)P793: bromide print, 320 x 214mm ( 1 25/8 x 83/8"), signed, inscribed and dated on reverse, 1972P u rchased 2000

R o b e rt Cliff o rd Latham (1912–1995)Pepys Librarian and Fellow of MagdaleneCollege, Cambridge

L o rd Snowdon (1930–)*P821: vintage bromide print, 404 x 282mm (157/8 x 111/8") with photographer’s credit on reverse, 14 April 1983P u rchased 2000

John Le Carré (David John Moore Cornwell) (1931–)N o v e l i s t

L o rd Snowdon (1930–)*P822: vintage bromide print, 292 x 292mm (111/2 x 111/2") withphotographer’s credit and dated onreverse, 1 March 1989P u rchased 2000

Doris Lessing (1919–)N o v e l i s t

L o rd Snowdon (1930–)*P823: vintage bromide print, 292 x 290mm (111/2 x 111/2") withphotographer’s credit and dated onreverse, 25 Febru a ry 1992P u rchased 2000

Helen Lessore (1907–1994)A rtist; founder of Beaux Arts Gallery

L o rd Snowdon (1930–)†P797(31): bromide print, 366 x 289mm (143/8 x 113/8"), 30 September 1963Given by the photographer 2000

John Lessore (1939–)P a i n t e r

Marketa Luskacova (1944–)P848: bromide print, 402 x 304mm ( 1 53/4 x 12"), December 1996P u rchased 2000

G a ry Lineker (1960–)F o o t b a l l e r

L o rd Snowdon (1930–)*P824: vintage bromide print, 391 x 292mm (153/8 x 111/2") withphotographer’s credit and dated onreverse, 10 April 1991P u rchased 2000

Norah Lofts (1904–1983)N o v e l i s t

John Benton-Harris (1939–)P794: bromide print, 325 x 216mm ( 1 23/4 x 81/2"), signed and inscribed onreverse, April 1974P u rchased 2000

Ian McEwan (1948–)Novelist, short story and s c reenplay writer

L o rd Snowdon (1930–)*P825: vintage bromide print, 404 x 304mm (157/8 x 12") withphotographer’s credit on reverse, 29 June 1978P u rchased 2000

Alistair Maclean (1922–1987)N o v e l i s t

L o rd Snowdon (1930–)*P826: vintage bromide print, 302 x 346mm (117/8 x 135/8"), 10 November 1981P u rchased 2000

James Mason (1909–1984)A c t o r

L o rd Snowdon (1930–)*P827: vintage bromide print, 243 x 197mm (95/8 x 73/4") withphotographer’s credit on reverse, 1950sP u rchased 2000

Sir Theodore Tu rquet de Mayern e( 1 5 7 3 – 1 6 5 5 )Physician and chemist

Unknown art i s t6538: oil on canvas, feigned oval, 757 x 604mm (293/4 x 233/4"), inscribed, probably after 1625P u rchased 2000

R o b e rt Medley (1905–1994)P a i n t e r

L o rd Snowdon (1930–)†P797(32): bromide print, 297 x 296mm (115/8 x 115/8"), 16 April 1963Given by the photographer 2000

G e o rge Melly (1926–)Jazz singer

L o rd Snowdon (1930–)†P797(33): bromide print, 367 x 243mm( 1 41/2 x 91/2"), 9 June 1964Given by the photographer 2000

Samuel Alexander (‘Sam’) Mendes (1965–)T h e a t re director and fil m - m a k e r

L o rd Snowdon (1930–)*P828: vintage bromide print, 384 x 259mm (151/8 x 101/4") withphotographer’s credit and dated onreverse, 21 November 1989P u rchased 2000

H e n ry Moore (1898–1986)S c u l p t o r

John Hedgecoe (1937–)P774: bromide print, 312 x 383mm (121/4 x 151/8" )P u rchased 2000

Hannah More (1745–1833)Religious writer

Unknown art i s t6533: pencil, 90 x 66mm ( 31/2 x 25/8") uneven, inscribed and dated below image, 1805P u rchased 2000

Sir Claus Adolf Moser (1922–)Social statistician, businessman andadministrator for the art s

L o rd Snowdon (1930–)*P829: vintage bromide print, 366 x 302mm (143/8 x 117/8") withphotographer’s credit on reverse, 10 July 1980P u rchased 2000

Sir Nevill Mott (1905–1996)P h y s i c i s t

John Benton-Harris (1939–)P795: bromide print, 340 x 228mm ( 1 33/8 x 9"), signed, inscribed and dated on reverse, October 1977P u rchased 2000

Dame Iris Murdoch (1919–1999)Novelist and philosopher

L o rd Snowdon (1930–)*P830: vintage bromide print, 391 x 303mm (153/8 x 117/8"), 20 November 1980P u rchased 2000

R u p e rt Murdoch (1931–)Publisher and newspaper pro p r i e t o r

L o rd Snowdon (1930–)*P831: vintage bromide print, 363 x 303mm (141/4 x 117/8") with photographer’s credit on reverse, 8 May 1982P u rchased 2000

Sir Vidiadhar Surajprasad (‘V. S . ’ )Naipaul (1932–)N o v e l i s t

L o rd Snowdon (1930–)*P832: vintage bromide print, 302 x 300mm (117/8 x 113/4"), 16 July 1979P u rchased 2000

Joseph Needham (1900–1995)Scientist and sinologist

Yolanda Sonnabend (1935–)6571: oil on canvas, 610 x 508mm (24 x 20"), signed, and on stre t c h e r, signed and dated, 1988P u rchased 2001

R o b e rt Malise Bowyer Nichols ( 1 8 9 3 – 1 9 4 4 )P o e t

Malcolm Arbuthnot (1874–1968)P785: platinotype mounted onphotographer’s card, 205 x 143mm (81/8 x 55/8"), signed below image, c i rc a 1 9 1 5P u rchased 2000

32 33

Benedict Nicolson (1914–1978)A rt historian

L o rd Snowdon (1930–)†P797(34): bromide print, 383 x 261mm( 1 51/8 x 101/4"), 25 March 1964Given by the photographer 2000

Sir Eduardo Luigi Paolozzi (1924–)Sculptor and graphic art i s t

L o rd Snowdon (1930–)†P797(35): bromide print, 383 x 273mm (151/8 x 103/4"), 23 June 1964Given by the photographer 2000

Victor Pasmore (1908–1998)A rt i s t

L o rd Snowdon (1930–)†P797(36): bromide print, 371 x 255mm( 1 45/8 x 10"), 16 April 1962Given by the photographer 2000

Sir Roland Algernon Penrose ( 1 9 0 0 – 1 9 8 4 )P a i n t e r, art collector and writer on art

L o rd Snowdon (1930–)†P797(37): bromide print, 304 x 383mm (12 x 151/8"), 28 June 1963Given by the photographer 2000

John Egerton Christmas Piper ( 1 9 0 3 – 1 9 9 2 )A rt i s t

L o rd Snowdon (1930–)†P797(38): bromide print, 383 x 258mm( 1 51/8 x 101/8"), 16 October 1963Given by the photographer 2000

Anthony Dymoke Powell (1905–2000)Wr i t e r

L o rd Snowdon (1930–)*P833: vintage bromide print, 307 x 303mm (12 x 117/8"), 16 January 1978P u rchased 2000

Patrick Procktor (1936–)A rt i s t

L o rd Snowdon (1930–)*P834: vintage bromide print, 392 x 271mm (153/8 x 105/8") withphotographer’s credit and dated on reverse, 1979P u rchased 2000

Jonathan Pryce (1947–)A c t o r

L o rd Snowdon (1930–)*P835: vintage bromide print, 342 x 305mm (131/2 x 12") withphotographer’s credit on reverse, 19 November 1978P u rchased 2000

( R o b e rt) Oliver Reed (1938–1999)A c t o r

John Benton-Harris (1939–)P796: bromide print, 339 x 227mm (133/8 x 87/8"), signed and inscribed on re v e r s eP u rchased 2000

Sir Norman Robert Reid (1915–)D i rector of the Tate Gallery

L o rd Snowdon (1930–)†P797(39): bromide print, 304 x 383mm (12 x 151/8"), 6 August 1964Given by the photographer 2000

Lionel Charles Robbins, B a ron Robbins (1898–1984)Administrator and patron of the art s

L o rd Snowdon (1930–)†P797(40): bromide print, 383 x 259mm( 1 51/8 x 101/4"), 5 November 1963Given by the photographer 2000

Brian Robertson, 1st Baron R o b e rtson (1896–1974)M i l i t a ry commander and administrator

Sir David Low (1891–1963)6569: chalk, 301 x 224mm (117/8 x 87/8" )signed, and autographed by sitterGiven by John and Ann Tusa 2001

R i c h a rd George Rogers, B a ron Rogers (1933–)A rc h i t e c t

L o rd Snowdon (1930–)*P836: vintage bromide print, 338 x 303mm (133/8 x 117/8"), 20 July 1984P u rchased 2000

Sir John Rothenstein (1901–1992)D i rector of the Tate Gallery; son of Sir William Rothenstein

L o rd Snowdon (1930–)†P797(41): bromide print, 303 x 403mm(12 x 157/8") with photographer’s cre d i ton reverse, 29 September 1963Given by the photographer 2000

Sue Ryder, Baroness Ryder of Warsaw (1923–2000)Founder of Homes for the Sick and Disabled

L o rd Snowdon (1930–)*P837: vintage bromide print, 370 x 294mm (141/2 x 111/2"), 1984P u rchased 2000

Victoria Mary (‘Vita’) S a c k v i l l e - West (1892–1962)Writer and gardener; wife of Sir Harold Nicolson

John Hedgecoe (1937–)P775: bromide print, 408 x 330mm (16 x 13"), 1958P u rchased 2000

H a rold Samuel (1879–1937)P i a n i s t

Edmond Xavier Kapp (1890–1978)6527: pencil, 413 x 314mm (161/4 x1 23/8") uneven, signed and dated, 1931Bequeathed by Howard Ferguson 2000

Paul David Schofield (1922–)A c t o r

L o rd Snowdon (1930–)*P838: vintage bromide print, 278 x 273mm (107/8 x 103/4") with photographer’s credit and dated on reverse, 25 March 1983P u rchased 2000

William George Scott (1913–1989)A rt i s t

L o rd Snowdon (1930–)†P797(42): bromide print, 303 x 292mm (12 x 111/2"), 8 April 1962Given by the photographer 2000

H a rtley William Shawcross, Baro nS h a w c ross (1902–)A t t o rn e y - G e n e r a l

Sir David Low (1891–1963)6570: chalk, 426 x 313mm ( 1 61/2 x 123/8") uneven, signed, and autographed by sitter, published 1952Given by John and Ann Tusa 2001

Alan Sillitoe (1928–)Wr i t e r

John Hedgecoe (1937–)P776: bromide print, 406 x 319mm (16 x 121/2"), 1959P u rchased 2000

Dame Marg a ret Natalie (‘Maggie’)Smith (1934–)A c t re s s

L o rd Snowdon (1930–)*P839: vintage bromide print, 247 x 368mm (93/4 x 141/2" )P u rchased 2000

Peter Snow (1927–)A rt i s t

L o rd Snowdon (1930–)†P797(44): bromide print, 310 x 304mm( 1 21/4 x 12"), 24 November 1964Given by the photographer 2000

Sir Basil Urwin Spence (1907–1976)A rc h i t e c t

L o rd Snowdon (1930–)†P797(45): bromide print, 383 x 262mm( 1 51/8 x 101/4"), 18 September 1964Given by the photographer 2000

Ralph Iris Steadman (1936–)Caricaturist and illustrator

L o rd Snowdon (1930–)*P840: vintage bromide print, 297 x 368mm (115/8 x 141/2") with photographer’s credit on reverse, 28 May 1968P u rchased 2000

(Francis) George Steiner (1929–)Writer and scholar

John Hedgecoe (1937–)P778: bromide print, 407 x 312mm (16 x 121/4"), 1977P u rchased 2000

Gladys Bertha (‘G.B.’) Stern ( 1 8 9 0 – 1 9 7 3 )N o v e l i s t

John Hedgecoe (1937–)P777: bromide print, 406 x 404mm (16 x 157/8"), 1960P u rchased 2000

Sir James Fraser Stirling (1926–1992)A rc h i t e c t

L o rd Snowdon (1930–)*P841: vintage bromide print, 337 x 303mm (131/4 x 117/8") with photographer’s c redit and dated on reverse, 13 September 1984P u rchased 2000

34

Adrian Durham Stokes (1902–1972)Painter and writer on art

L o rd Snowdon (1930–)†P797(46): bromide print, 383 x 259mm( 1 51/8 x 101/4"), 30 October 1963Given by the photographer 2000

Sir Tom Stoppard (1937–)Playwright and scre e n w r i t e r

L o rd Snowdon (1930–)*P842: vintage bromide print, 383 x 299mm (151/8 x 113/4") with photographer’s credit on reverse, 10 July 1966 P u rchased 2000

Denys Miller Sutton (1917–1991)A rt critic and editor

L o rd Snowdon (1930–)†P797(47): bromide print, 294 x 383mm( 1 15/8 x 151/8"), 16 April 1964Given by the photographer 2000

Dame Elizabeth Taylor (1932–)A c t re s s

Peter Basch (1921–)P786: vintage bromide print, 407 x 506mm (16 x 20"), signed and inscribed on reverse, 1955P u rchased 2000

Dame Elizabeth Taylor (1932–)A c t re s s

B e rt Stern (1929–)P787: Iris print, 1064 x 812mm (42 x 32"), photographer’s cre d i t ,inscribed and dated on reverse, 1962P u rchased 2000

Dame (Alice) Ellen Te rry (1847–1928)A c t re s s

James Ferrier Pryde (1866–1941)6568: oil and varnish on card laid on board, 495 x 340mm ( 1 91/2 x 133/8), 1906Bequeathed by Sir John Gielgud 2001

Ronald Stuart (‘R.S.’) Thomas ( 1 9 1 3 – 2 0 0 0 )P o e t

John Hedgecoe (1937–)P779: bromide print, 305 x 409mm (12 x 161/8"), 1966P u rchased 2000

John Ronald Reuel Tolkien ( 1 8 9 2 – 1 9 7 3 )Anglo-Saxon scholar and writer

L o rd Snowdon (1930–)*P843: vintage bromide print, 273 x 270mm (103/4 x 105/8"), 1972P u rchased 2000

William Tucker (1935–)S c u l p t o r

L o rd Snowdon (1930–)†P797(49): bromide print, 383 x 261mm( 1 51/8 x 101/4"), 9 October 1963Given by the photographer 2000

William Tu rnbull (1922–)S c u l p t o r

L o rd Snowdon (1930–)†P797(50): bromide print, 383 x 264mm( 1 51/8 x 103/8"), 7 January 1963Given by the photographer 2000

Sid Vicious (John Simon Ritchie)( 1 9 5 7 – 1 9 7 9 )M u s i c i a n

Bob Gruen (1946–)P875: cibachrome print, 508 x 406mm (20 x 16"), signed,inscribed and dated, 1978P u rchased 2001

Leslie Waddington (1934–)A rt dealer

L o rd Snowdon (1930–)†P797(51): bromide print, 383 x 262mm( 1 51/8 x 101/4"), 10 July 1964Given by the photographer 2000

Sir William Tu rner Walton (1902–1983) C o m p o s e r

L o rd Snowdon (1930–)*P844: vintage bromide print, 367 x 297mm (141/2 x 115/8") with photographer’s credit on reverse, 7 April 1980P u rchased 2000

Dame Rebecca West (Cicily Andre w s[née Fairfield]) (1892–1983)Writer and journ a l i s t

L o rd Snowdon (1930–)*P846: vintage bromide print, 308 x 303mm (12 x 117/8"), 9 Febru a ry 1982

Sir Clough Williams-Ellis (1883–1978)A rchitect and writer

John Hedgecoe (1937–)P780: cibachrome print, 508 x 406mm (20 x 16"), 1969P u rchased 2000

Peter Cecil Wilson (1908–1987)A rt dealer

L o rd Snowdon (1930–)†P797(52): bromide print, 384 x 238mm( 1 51/8 x 93/8"), 5 November 1963Given by the photographer 2000

Sir John Clermont Witt (1907–1982)Administrator and patron of the art s

L o rd Snowdon (1930–)†P797(53): bromide print, 383 x 262mm( 1 51/8 x 101/4"), 10 December 1963Given by the photographer 2000

L e o n a rd Gordon Wolfson, B a ron Wolfson (1927–)Businessman and patron of the art s

A n d rew Festing (1941–)6529: oil on canvas, 810 x 657mm (32 x 257/8"), 2000Commissioned 2000

* From the collection ‘Photographs by L o rd Snowdon, 1950s to 1980s’; AntonyCharles Robert Arm s t rong Jones, 1st Earl of Snowdon (1930–)

† From the collection ‘Private View’: photographs from the 1960s by Lord Snowdon; Antony Charles R o b e rt Arm s t rong Jones, 1st Earl of Snowdon (1930–)

Isolde Menges (1893–1976) Vi o l i n i st;H a rold Samuel (1879–1937) P i a n i s t

Edmond Xavier Kapp (1890–1978)6528: lithograph, 564 x 429mm (22 1/4 x 16 7/8"), signed with initial onstone, and below image, signed, numbere d‘1/20’, inscribed and dated, 1932Bequeathed by Howard Ferguson 2000

Dame Elizabeth Taylor (1932–) A c t re s s,with her children Michael Wilding Jr(1953–), Christopher Wilding (1955–) and Liza Todd (1957–)

Eve Arnold (1913–)P767: bromide print, 355 x 239mm (14 x 93/8"), signed, inscribed and dated on reverse, 1963Given by the photographer 2000

Dame Agatha Christie (1890–1976)Wr i t e r, with her husband Sir Max Edgar Lucien Mallowan (1904–1978)A rc h a e o l o g i s t

John Hedgecoe (1937–)P771: bromide print, 339 x 350mm ( 1 33/8 x 133/4"), 1969P u rchased 2000

Playwrights: Sir John Cliff o rdM o rtimer (1923–) B a rr i s t e r,playwright and writer;N o rman Frederick Simpson (1919–)P l a y w r i g h t; H a rold Pinter (1930–) Playwright, actor and dire c t o r

John Hedgecoe (1937–)P781: bromide print, 406 x 507mm (16 x 20"), 1960P u rchased 2000

The Humanist Society: Basil KingsleyM a rtin (1897–1969) J o u rnalist andw r i t e r; Leo Abse (1917–) Lawyer andw r i t er; Sir Ludovic Henry CoverleyKennedy (1919–) Writer andb ro a d c a s t er ; Edward Francis Wi l l i a m s ,B a ron Francis-Williams (1903–1970)J o u rnalist and writer; Sir Alfred JulesAyer (1910–1989) P h i l o s o p h er ; BrigidAntonia Brophy (1929–1995) N o v e l i s t

John Hedgecoe (1937–)P782: bromide print, 508 x 354mm (20 x 14"), 1966P u rchased 2000

35

Luke Howard (1772–1864)M e t e o ro l o g i s t, with his son John Eliot Howard (1807–1883) Q u i n o l o g i s t

Unknown photographerP784: collodion positive on glass, 89 x 64mm (31/2 x 21/2"), a rched top (sight)Given by Stephen Howard Lloyd 2000

Roald Dahl (1916–1990) Wr i t e r, withhis wife Patricia Neal (1926–) A c t re s s

John Benton-Harris (1939–)P789: bromide print, 341 x 228mm ( 1 33/8 x 9"), signed, inscribed and dated on reverse, July 1976P u rchased 2000

John Kasmin (1934–) A rt dealer;Sheridan Frederick Te rence H a m i l t o n - Temple-Blackwood, 5th Marquess of Dufferin ( 1 9 3 8 – 1 9 8 8 ) A rt dealer

L o rd Snowdon (1930–)†P797(28): bromide print, 374 x 250mm (143/4 x 93/4 "), 21 May 1963Given by the photographer 2000

Jack Smith (1928–) A rt i s t, with his wife Susan

L o rd Snowdon (1930–)†P797(43): bromide print, 304 x 383mm(12 x 151/8"), 9 May 1963Given by the photographer 2000

Philip John Sutton (1928–) P a i n t e r,with his wife Heather

L o rd Snowdon (1930–)†P797(48): bromide print, 255 x 38mm(10 x 15"), 10 January 1962Given by the photographer 2000

Thomas Agnew & Sons, GalleryD i rectors: Richard Kingzett; ColinAgnew; Hugh Agnew; Sir Geoff re yWilliam Gerald Agnew (1908–1986);Evelyn Joll (1925–2001) A rt dealers

L o rd Snowdon (1930–)†P797(54): bromide print, 284 x 382mm( 1 11/8 x 15"), 25 October 1963Given by the photographer 2000

Ronald B. Kitaj (1932–) P a i n t e r, with his wife Elsi Kitaj (née Roessler)(d. 1969) A rt i s t, and son Lem Kitaj (1958–)

L o rd Snowdon (1930–)†P797(55): bromide print, 381 x 293mm(15 x 111/2") with photographer’s cre d i tand dated on reverse, 6 December 1962Given by the photographer 2000

Five art critics: David Morg a nThompson (1929–1988) A rt critic;(John) Edward McKenzie Lucie-Smith(1933–) A rt critic and writer; RobertMelville A rt critic; Jasia Reichardt A rtc r i t i c; Norbert Casper Lynton (1927–)A rt historian

L o rd Snowdon (1930–)†P797(56): bromide print, 262 x 383mm(10 3/8 x 15"), 9 April 1963Given by the photographer 2000

Britt Ekland (1942–) A c t re s s, with her husband Richard Henry (‘Peter’) Sellers (1925–1980) A c t o r

L o rd Snowdon (1930–)*P805: vintage bromide print, 345 x 257mm (135/8 x 101/8"), dated on cardmount, 24 January 1967P u rchased 2000

Lady Antonia Fraser (née Pakenham)(1932–) Wr i t e r; Michael Holroyd (1935–)Writer and biographer

L o rd Snowdon (1930–)*P808: vintage bromide print, 303 x 384mm (117/8 x 151/8"), 29 April 1980

John Boynton (‘J.B.’) Priestley (1894–1984) Wr i t e r, with his wifeJacquetta Hawkes (1910–1996)A rchaeologist and author

L o rd Snowdon (1930–)*P817: vintage bromide print, 305 x 371mm (12 x 145/8"), with photographer’s credit on reverse, 29 May 1980P u rchased 2000

James Francis Ivory (1928–) Film dire c t or ; Ismail Merchant ( 1 9 3 6 – ) Film pro d u c e r

L o rd Snowdon (1930–)*P819: vintage bromide print, 308 x 294mm (121/8 x 115/8"), 9 Febru a ry 1983P u rchased 2000

John Campbell Wells (1936–1998)Wr i t e r, actor and dire c t or ; (Gladys) M a ry Wilson (née Baldwin), LadyWilson Poet; wife of Baron Wilson of Rievaulx

L o rd Snowdon (1930–)*P845: vintage bromide print, 408 x 271mm (16 x 105/8"), withphotographer’s credit on reverse, 3 June 1980P u rchased 2000

Pamela, Lady Harlech (née Ta l m e y )(1934–) J o u rnalist and administratorfor the art s, with Seth Jeremy Gilbertand Paul Nicholas Jennes, Ballet dancers

L o rd Snowdon (1930–)*P847: vintage bromide print, 281 x 293mm (11 x 111/2"), 19 December 1990P u rchased 2000

The Rolling Stones: Charles (‘Charlie’)Watts (1941–); Michael (‘Mick’) Jagger(1943–); Bill Wyman (1936–); BrianJones (1942–1969); Keith Richard(1943–) Members of the Rolling Stones

Michael Joseph (1897–1968)P877: Iris Kodalith print, 531 x 483mm (207/8 x 19"), 1968P u rchased 2001

* From the collection ‘Photographs by L o rd Snowdon, 1950s to 1980s’; Antony Charles Robert Arm s t rong Jones, 1st Earl of Snowdon (1930–)

† From the collection ‘Private View’: photographs from the 1960s by L o rd Snowdon; Antony Charles R o b e rt Arm s t rong Jones, 1st Earl of Snowdon (1930–)

The following portraits were transferred to the Primary Collection from the Contemporary Portraits Collection and the Photographs Collection in November 2000

James Evershed Agate (1877–1947)Drama critic

Sir Cecil Beaton (1904–1980)§P869(1): vintage bromide print on white card mount, 243 x 191mm ( 95/8 x 71/2"), 1944Given by the photographer 1968

Sir Frederick Ashton (1904–1988)F o u n d e r - c h o reographer and Director of the Royal Ballet

Sir Cecil Beaton (1904–1980)§P869(2): vintage bromide print on white card mount, 187 x 185mm ( 73/8 x 71/4"), 1950Given by the photographer 1968

Wystan Hugh (‘W.H.’) Auden ( 1 9 0 7 – 1 9 7 3 )P o e t

Sir Cecil Beaton (1904–1980)§P869(3): vintage bromide print on white card mount, 240 x 195mm ( 91/2 x 75/8"), 1930Given by the photographer 1968

( R o b e rt) Anthony Eden, 1st Earl of Avon (1897–1977)Prime Minister

Sir Cecil Beaton (1904–1980)§P869(4): vintage bromide print on whitec a rd mount, 245 x 196mm (95/8 x 73/4" ) ,possibly April 1955Given by the photographer 1968

James Graham (‘J.G.’) Ballard (1930–)N o v e l i s t

Brigid Marlin (1936–)6557: oil and tempera on board, 1026 x 775mm (403/8 x 301/2"), signed and dated, 1987P u rchased 1989

Sir Henry Maximilian (‘Max’)Beerbohm (1872–1956)Writer and caricaturist

(Alexander Bell) Filson Young (1876–1938)P864: bromide print, 297 x 224mm ( 1 13/4 x 87/8"), signed with initials and inscribed below image, 1916P u rchased 1975

Single port r a i t sTransfers to Pr i m a ry Co l l e c t i o n

Double and group port r a i t sA rranged by acquisition number

T R A N S F E R S

36

Steven Berkoff (1937–)P l a y w r i g h t

Yolanda Sonnabend (1935–)6560: oil on canvas, 454 x 355mm ( 17 7/8 x 14"), 1983Given by the artist 1984

C l a i re Bloom (1931–)A c t re s s

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(1): chloro b romide print on white card mount, 295 x 370mm ( 1 15/8 x 145/8"), 1957Given by the photographer’s sister, Susan Morton, 1976

Elizabeth Bowen (1899–1973)Novelist and writer

Sir Cecil Beaton (1904–1980)§P869(5): vintage bromide print on whitec a rd mount, 237 x 170mm ( 93/8 x 63/4 "), 1943Given by the photographer 1968

John Bright (1811–1889)Statesman and orator

R u p e rt Potter (1832–1914)P862: carbon print, 292 x 176mm ( 1 11/2 x 67/8"), September 1879A c q u i red before 1977

Frank Bruno (1961–)B o x e r

Tom Wood (1955–)6566: coloured etching, 524 x 524mm (205/8 x 205/8") signed, inscribed and dated, 1983P u rchased 1984

Sir Henry (‘Chips’) Channon ( 1 8 9 7 – 1 9 5 8 )P o l i t i c i a n

Sir Cecil Beaton (1904–1980)§P869(6): vintage bromide print on white card mount, 239 x 174mm ( 93/8 x 67/8"), 1943Given by the photographer 1968

Michael Clark (1962–)Dancer and chore o g r a p h e r

‘The New Puritan’David Buckland (1949–)P858: cibachrome print, 997 x 759mm (391/4 x 297/8"), 1985P u rchased 1986

Sir Cyril Astley Clarke (1907–2000)P h y s i c i a n

Stanley Reed (1908–1978)6548: oil on panel, 610 x 508mm (24 x 20"), signed, 1973Given by the artist 1975

Sebastian Coe, Lord Coe (1956–)Athlete and politician

M a rtin Rose (1946–)6565: oil on canvas, 2135 x 1676mm ( 8 41/8 x 66"), 1984P u rchased 1985

Cyril Connolly (1903–1974)Writer and journ a l i s t

Sir Cecil Beaton (1904–1980)§P869(7): vintage bromide print on white card mount, 172 x 240mm (63/4 x 91/2"), 1942Given by the photographer 1968

Indira, Maharanee of Cooch Behar( 1 8 9 2 – 1 9 6 8 )S o c i a l i t e

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(2): chloro b romide print on tissue and card mount, 87 x 207mm (111/4 x 81/8"), 1928Given by the photographer’s sister, Susan Morton, 1976

Sir Noel Coward (1899–1973)A c t o r, playwright and composer

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(3): vintage tissue-mounted b romide print, 419 x 324mm ( 1 61/2 x 123/4"), 1930Given by the photographer’s sister, Susan Morton, 1976

Elizabeth David (1913–1992)C o o k e ry writer

Sir Cecil Beaton (1904–1980)§P869(8): vintage bromide print on white card mount, 187 x 191mm (73/8 x 71/2"), 1970Given by the photographer 1972

Dame Ninette de Valois (Mrs A.B. Connell) (1898–2001)D i rector of the Royal Ballet

Sir Cecil Beaton (1904–1980)§P869(9): vintage bromide print on white card mount, 192 x 191mm ( 71/2 x 71/2"), inscribed ‘Beaton’ in red below image, November 1955Given by the photographer 1968

Sir Adrian Carton de Wi a rt ( 1 8 8 0 – 1 9 6 3 )G e n e r a l

Sir Cecil Beaton (1904–1980)§P869(10): vintage bromide print on white card mount, 252 x 207mm (9 7/8 x 81/8"), 1943Given by the photographer 1968

Nell Mary Dunn (1936–)Novelist and playwright

Sir Cecil Beaton (1904–1980)§P869(11): vintage bromide print on white card mount, 192 x 196mm (71/2 x 73/4"), July 1954Given by the photographer 1968

Thomas Stearns (‘T.S.’) Eliot ( 1 8 8 8 – 1 9 6 5 )P o e t

Sir Cecil Beaton (1904–1980)§P869(12): vintage bromide print on white card mount, 239 x 243mm ( 93/8 x 95/8"), inscribed ‘Beaton’ in red crayon below image, 1956Given by the photographer 1968

Queen Elizabeth II (1926–)Queen re g n a n t

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(5): chloro b romide print on tissue and card mount, 290 x 215mm (113/8 x 81/2"), 1952Given by the photographer’s sister, Susan Morton, 1976

Queen Elizabeth II (1926–)Queen re g n a n t

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(6): cream-toned bromide print on tissue mount, 448 x 357mm (175/8 x 14"), 1952Given by the photographer’s sister, Susan Morton, 1976

Queen Elizabeth, The Queen Mother (1900–)Queen of George VI

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(4): chloro b romide print on tissueand card mount, 440 x 364mm ( 1 73/8 x 143/8"), 1937Given by the photographer’s sister, Susan Morton, 1976

Leslie Evershed-Martin (1903–1994)Ophthalmic optician; founder of the Chichester Theatre

Zsuzsi Roboz (1939–)6546: pencil, 642 x 521mm ( 2 51/4 x 201/2"), signed, 1963Given by the artist 1975

Kathleen Ferrier (1912–1953)S i n g e r

Sir Cecil Beaton (1904–1980)§P869(13): vintage bromide print on white card mount, 242 x 194mm ( 91/2 x 75/8"), inscribed ‘Beaton’ in red below image, c i rc a 1 9 5 0Given by the photographer 1968

Ian Lancaster Fleming (1908–1964)A u t h o r

Sir Cecil Beaton (1904–1980)§P869(14): vintage bromide print on white card mount, 244 x 240mm ( 95/8 x 91/2"), signed in pencil belowimage, c i rc a 1 9 6 0Given by the photographer 1968

Sir Te rence (‘Te rry’) Frost (1915–)A rtist and teacher of art

S e l f - p o rt r a i t6550: etching, 247 x 190mm ( 93/4 x 71/2"), signed, numbered 8/20, and dated below plate, 1979P u rchased 1983

Sir Te rence (‘Te rry’) Frost (1915–)A rtist and teacher of art

S e l f - p o rt r a i t6551: etching, 276 x 201mm ( 1 07/8 x 77/8"), signed and dated below plate, 1980P u rchased 1983

Peter Gabriel (1950–)M u s i c i a n

David Hiscock (1956–)P857: chloro b romide print, 565 x 492mm (221/4 x 193/8") uneven, signed and dated, 1986Given by Peter Gabriel Ltd, 1986

Alice (née Montagu-Douglas-Scott),Duchess of Gloucester (1901–)

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(7): chloro b romide print on tissue and card mount, 476 x 325mm (183/4 x 123/4"), 1939Given by the photographer’s sister, Susan Morton, 1976

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

3938

Steve Ovett (1955–)A t h l e t e

Peter Webster (1958–)6564: chalk, 756 x 568mm (293/4 x 223/8"), signed, inscribed and dated, 1984P u rchased 1984

John Egerton Christmas Piper ( 1 9 0 3 – 1 9 9 2 )A rt i s t

Peggy Angus (Marg a ret MacGre g o r )( 1 9 0 4 – 1 9 9 3 )6545: pencil, crayon and wash, 521 x 625mm (201/2 x 245/8"), signed and dated, 1937Given by Henry Keswick 1988

Sir Victor Sawdon (V.S.) Pritchett( 1 9 0 0 – 1 9 9 7 )Writer and critic

R u p e rt Shephard (1909–1992)6544: pencil, 453 x 388mm (177/8 x 151/4"), 1972P u rchased 1974

Zandra Rhodes (1940–)Fashion designer

N o rman Parkinson (1913–1990)P850: colour print, 368 x 368mm (141/2 x 141/2"), 1981Given by the photographer 1981

Sir George Scharf (1820–1895)A rt historian; first Director of the National Portrait Gallery

William Edward Kilburn ( fl. c i rc a 1 8 4 0 – 1 9 0 0 )P859: daguerreotype, 78 x 59mm (31/8 x 23/8"), 1847A c q u i red from the sitter’s estate

G e o rge Bern a rd Shaw (1856–1950)P l a y w r i g h t

Photographs by Madame Yevonde, 1930sMadame Yevonde (1893–1975)P871(5): Vivex colour print on black card mount, 337 x 263mm ( 1 31/4 x 103/8"), 1937Given by the photographer 1971

Alan Sillitoe (1928–)Wr i t e r

H u b e rt Andrew Freeth (1912–1986)6554: chalk, 404 x 291mm ( 1 57/8 x 113/8") uneven, signed and inscribed, and autographed and dated by sitter, 1959P u rchased 1976

Dame Edith Sitwell (1887–1964)P o e t

Sir Cecil Beaton (1904–1980)P867: vintage bromide print, 225 x 176mm (87/8 x 67/8"), 1927Given by Laurence Whistler 1977

Dame Edith Sitwell (1887–1964)P o e t

Sir Cecil Beaton (1904–1980)P868: vintage bromide print, 253 x 203mm (10 x 8"), 1928Given from the estate of R.H. Wi l e n s k i1 9 9 4

Tim Souster (1943–1994)C o m p o s e r

David Wa rd (1951–)P854: bromide print, 359 x 359mm ( 1 41/8 x 141/8"), signed, inscribed and dated on reverse, 1981P u rchased 1986

Joanna (‘Jo’) Spence (1934–1992)P h o t o g r a p h e r

S e l f - p o rt r a i tP849: colour print, 409 x 285mm ( 1 61/8 x 111/4"), signed and dated below image, 1990Given by Fay Godwin 1993

Clarkson Stanfield (1793–1867)Marine and landscape painter

William Lake Price (1810–after 1896)P860: albumen print, arched top, 292 x 248mm (111/2 x 93/4"), onphotographer’s printed mount withfacsimile of sitter’s signature, May 1857Given by an anonymous donor 1976

Sir Tom Stoppard (1937–)Playwright and scre e n w r i t e r

H o w a rd Morgan (1949–)6559: charcoal, 670 x 489mm ( 2 63/8 x 191/4"), signed and dated, 1980Commissioned 1980

G e o rge Macaulay Trevelyan ( 1 8 7 6 – 1 9 6 2 )Historian; son of Sir George Otto Tre v e l y a n

Sir Cecil Beaton (1904–1980)§P869(22): vintage bromide print on white card mount, 192 x 183mm ( 71/2 x 71/4"), 1 September 1943Given by the photographer 1968

William John Christopher Va s s a l l( 1 9 2 4 – 1 9 9 6 )Soviet spy

Sir Cecil Beaton (1904–1980)6552: oil on canvas, 557 x 352mm (22 x 137/8"), signed, 1966Given by the Executors of Eileen Hose 1991

D o rothy Wilding (1893–1976)P h o t o g r a p h e r

Vintage prints by Dorothy Wi l d i n g ,mid-1920s to 1957S e l f - p o rt r a i tP870(13): cream-toned bromide print on tissue and card mount, 151 x 105mm (6 x 41/8"), mid-1920sGiven by the photographer’s sister, Susan Morton, 1976

E d w a rd, Duke of Windsor (King Edward VIII) (1894–1972)Reigned 1936

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(14): cream-toned b romide print, 498 x 390mm ( 1 95/8 x 153/8"), Febru a ry 1955Given by the photographer’s sister, Susan Morton, 1976

Wallis, Duchess of Windsor ( 1 8 9 6 – 1 9 8 6 )Wife of the Duke of Wi n d s o r

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(15): chloro b romide print on tissueand card mount, 359 x 404mm ( 1 41/8 x 157/8"), 1935Given by the photographer’s sister, Susan Morton, 1976

Sir Kingsley Wood (1881–1943)P o l i t i c i a n

Sir Cecil Beaton (1904–1980)§P869(23): vintage bromide print on white card mount, 242 x 193mm ( 91/2 x 75/8"), 1930sGiven by the photographer 1968

Diana Wy n y a rd (1906–1964)A c t re s s

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(16): chloro b romide print on tissue and card mount, 433 x 333mm (17 x 131/8"), 1937Given by the photographer’s sister, Susan Morton, 1976

§ From the collection ‘Vintage photographs by Sir Cecil Beaton 1930–70’ Sir Cecil Beaton (1904–1980)

John Randall Bratby (1928–1992)P a i n t e r; Josephine (‘Joey’) Pleasence(née Crombie) (1929–) A c t ress andnurse; second wife of Donald Pleasence

John Randall Bratby (1928–1992)6555: oil on canvas, 1676 x 914mm (66 x 36"), signed, 1967 P u rchased 1988

The Rolling Stones: Michael (‘Mick’)Jagger (1943–); Keith Richard (1943–); Charles (‘Charlie’) Watts (1941–)Members of the Rolling Stones

Laurie Lewis (1944–)P852: ‘c’ type colour print, 363 x 763mm (141/4 x 30"), 1973P u rchased 1980

G i l b e rt and George (1943–; 1942–)A rt i s t s

Chris Garnham (1958–1989)P853: two bromide prints, 597 x 495mm (231/2 x 191/2"), 1986P u rchased 1986

E rnest Procter (1886–1935) A rt i s t ,with his wife Dod Procter (née Shaw) (1891–1972) P a i n t e r

Felix H. Man (Hans Baumann) (1893–1985) P866: vintage fib re-based print mounted on card, 235 x 296mm (91/4 x 115/8"), 1934Given by the photographer before 1985

Walter Richard Sickert (1860–1942)P a i n t e r, with his third wife Therese L e s s o re (1884–1945) P a i n t e r

Sir Cecil Beaton (1904–1980)§P869(21): vintage bromide print on white card mount, 222 x 257mm (83/4 x 101/8"), 1941Given by the photographer 1968

G e o rge Edward Alexander Edmund, 1st Duke of Kent (1902–1942) F o u rt hson of George V, with his wife Marina,Duchess of Kent (1906–1968)

Vintage prints by Dorothy Wilding, mid-1920s to 1957 D o rothy Wilding (1893–1976) P870(10): chloro b romide print on tissue and card mount, 390 x 335mm (153/8 x 131/4"), 1934Given by the photographer’s sister, Susan Morton, 1976

Louis Mountbatten, Earl Mountbattenof Burma (1900–1979) Admiral of theF l e e t, with his wife Edwina Cynthia,Countess Mountbatten of Burm a( 1 9 0 1 – 1 9 6 0 )

Photographs by Madame Yevonde, 1930sMadame Yevonde (1893–1975)P871(4): Vivex colour print, 362 x 272mm (141/4 x 102/4"), 1937Given by the photographer 1971

Double and group port r a i t sA rranged by acquisition numberTransfers to Pr i m a ry Co l l e c t i o n

Alice (née Montagu-Douglas-Scott),Duchess of Gloucester (1901–)

Photographs by Madame Yevonde, 1930sMadame Yevonde (1893–1975)P871(1): Vivex colour print, 364 x 260mm (143/8 x 101/4"), 1935Given by the photographer 1971

A rnold Abraham Goodman, Baro nGoodman (1913–1995)L a w y e r

Sir Cecil Beaton (1904–1980)§P869(15): vintage bromide print on white card mount, 238 x 189mm (93/8 x 71/2"), 1968Given by the photographer 1968

Piers Gough (1946–)A rc h i t e c t

David Wa rd (1951–)P856: bromide print, 359 x 359mm ( 1 41/8 x 141/8"), signed, inscribed anddated on reverse, 1981P u rchased 1986

Quintin McGarel Hogg, 1st Baro nHailsham of St Marylebone (1907–)L o rd Chancellor; son of 1st Viscount Hailsham

Sir Cecil Beaton (1904–1980)§P869(16): bromide print on white c a rd mount, 246 x 196mm (95/8 x 73/4"), 1945Given by the photographer 1970

Maggi Hambling (1945–)P a i n t e r

S e l f - p o rt r a i t6562: oil on canvas, 1520 x 1750mm ( 5 97/8 x 687/8") signed, inscribed and dated on stre t c h e r, 1977–1978Given by Imperial Tobacco Ltd, 1992

Sir Cedric Webster Hardwicke ( 1 8 9 3 – 1 9 6 4 )Actor and writer

Vintage prints by Dorothy Wilding, mid-1920s to 1957 D o rothy Wilding (1893–1976) P870(8): chloro b romide print on tissue and card mount, 341 x 385mm (133/8 x 151/8"), 1933Given by the photographer’s sister, Susan Morton, 1976

Aldous Huxley (1894–1963)N o v e l i s t

Sir Cecil Beaton (1904–1980)§P869(17): vintage bromide print on white card mount, 212 x 168mm (83/8 x 65/8"), 1936Given by the photographer 1968

Michael (‘Mick’) Jagger (1943–)Singer and composer

Andy Wa rhol (1928–1987)6561: silkscreen print, 1115 x 735mm ( 4 37/8 x 287/8"), signed and n u m b e red ‘142/250’, and on plate, autographed by sitter, 1975P u rchased 1980

Michael (‘Mick’) Jagger (1943–)Singer and composer

Laurie Lewis (1944–)P851: ‘c’ type colour print, 576 x 461mm (225/8 x 181/8"), 1973P u rchased 1980

Sir Elton John (Reginald Kenneth Dwight) (1947–)Singer and composer

‘On the thro n e ’Suzi Malin (1950–)6563: tempera on gold leaf, 406 x 349mm (16 x 133/4"), 1978Given by Algie Cluff 1980

Charles Samuel Keene (1823–1891)I l l u s t r a t o r

Horace Harral (fl. 1844–1891)P861: platinum print, 241 x 192mm ( 91/2 x 71/2"), signed below image on mount, 1860sGiven by John A. Hipkins 1927

Kay Kendall (1926–1959)A c t re s s

Sir Cecil Beaton (1904–1980)§P869(18): vintage bromide print on white card mount, 214 x 182mm ( 83/8 x 71/8"), inscribed ‘Beaton’in pencil on mount, 1957Given by the photographer 1968

G e o rge Edward Alexander Edmund, 1st Duke of Kent (1902–1942)F o u rth son of George V

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(9): chloro b romide print on tissue and card mount, 453 x 310mm (177/8 x 121/4"), 1934Given by the photographer’s sister, Susan Morton, 1976

Marina, Duchess of Kent (1906–1968)Wife of 1st Duke of Kent

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(11): chloro b romide print on tissue and card mount, 448 x 355mm (175/8 x 14"), 1940Given by the photographer’s sister, Susan Morton, 1976

Ronald B. Kitaj (1932–)P a i n t e r

Frank Auerbach (1931–)6558: etching, 151 x 137mm (6 x 53/8" ) ,signed, inscribed, numbered ‘20/50’, and dated below plate, 1980P u rchased 1981

Leon Kossoff (1926–)Painter and draughtsman

Frank Auerbach (1931–)6553: etching, 154 x 140mm ( 61/8 x 51/2"), signed, inscribed, numbere d20/50, and dated below plate, 1980P u rchased 1981

Emilie Charlotte (‘Lillie’) Langtry( 1 8 5 3 – 1 9 2 9 )A c t ress and ‘professional beauty’

H e n ry Van der Weyde (1838–1924)P863: albumen cabinet portrait, 146 x 104mm (53/4 x 41/8") with photographer’s blind stamp, on photographer’s printed c a rd mount, April 1885P u rchased 1973

G e rt rude Lawrence (1898–1952)A c t re s s

As the Muse of ComedyPhotographs by Madame Yevonde, 1930sMadame Yevonde (1893–1975)P871(2): Vivex colour print, 373 x 290mm (145/8 x 113/8"), 1930sGiven by the photographer 1971

Dame (Emilie) Rose Macaulay ( 1 8 8 1 – 1 9 5 8 )A u t h o r

Sir Cecil Beaton (1904–1980)§P869(19): vintage bromide print on white card mount, 239 x 191mm ( 93/8 x 71/2"), March 1958Given by the photographer 1968

B ruce McLean (1944–)A rt i s t

Alastair Thain (1961–)P855: four bromide prints, 502 x 400mm( 1 93/4 x 153/4") each, 1984P u rchased 1986

Cathleen Mann (1896–1959)A rt i s t

Photographs by Madame Yevonde, 1930sMadame Yevonde (1893–1975)P871(3): Vivex colour print, 374 x 271mm (143/4 x 105/8"), 1932Given by the photographer 1971

Princess Marg a ret (1930–)Daughter of George VI; Countess of Snowdon

Vintage prints by Dorothy Wilding, mid-1920s to 1957D o rothy Wilding (1893–1976)P870(12): chloro b romide print on tissueand white card mount, 453 x 370mm ( 1 77/8 x 145/8"), November 1947Given by the photographer’s sister, Susan Morton, 1976

Dame Alicia Markova (1910–)B a l l e r i n a

Jacob Kramer (1892–1962)6549: pastel, 593 x 464mm ( 2 33/8 x 181/4") uneven, signed, andautographed and dated by the sitter, 1936P u rchased 1973

Nancy Fre e m a n - M i t f o rd (1904–1973)Writer and biographer

Sir Cecil Beaton (1904–1980)§P869(20): vintage bromide print on white card mount, 225 x 182mm (87/8 x 71/8"), 1965 Given by the photographer 1968

B ryan Walter Guinness, 2nd Baro nMoyne (1905–1992)Poet, novelist and playwright

Augustus Edwin John (1878–1961)6547: chalk, 539 x 338mm ( 2 11/4 x 131/4"), initialled ‘A’ and onreverse, inscribed and dated ‘circa 1932’Given by the sitter 1978

Jean Muir (1928–1995)Fashion designer

David Remfry (1942–)6556: waterc o l o u r, 1026 x 689mm ( 4 03/8 x 271/8"), signed and dated, 1981P u rchased 1981

G e o rge Orwell (Eric Arthur Blair)( 1 9 0 3 – 1 9 5 0 )Novelist and critic

Felix H. Man (Hans Baumann) ( 1 8 9 3 – 1 9 8 5 )P865: bromide print, 283 x 184mm ( 1 11/8 x 71/4"), signed and dated, 1949Given by the photographer 1977

40

D I R E C T O RCharles Saumarez Smith

Emily Adams, Assistant to the Dire c t o rSeraphina Coff m a n ,S e c re t a ry/Administrative Assistant ( f rom November 2000)

C U R ATORIAL AND COLLECTIONSC u r a t o r sRobin Gibson, Chief Curator (to January 2001)Jacob Simon, Chief Curator ( f rom Febru a ry 2001)18th Century (to January 2001)Catharine MacLeod, 16th and 17th CenturyPeter Funnell, 19th CenturyHonor Clerk, 20th CenturyTe rence Pepper, PhotographsC l a re Freestone, Assistant Curator of Photographs (from July 2000)Hallie Rubenhold, Curatorial Assistant

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Heinz Archive and LibraryRobin Francis, Head of Archive and Library Antonia Leak, Librarian and Study Room ManagerJill Springall, Archive Assistant ( c a reer break from Febru a ry 2001)Paul Cox, Archive AssistantErika Ingham, Archive Assistant ( f rom January 2001)Duncan Chappell, Public Study Room AssistantFrancesca Odell, Public Study Room Assistant

New Dictionary of National BiographyC a rol Blackett–Ord, Picture Researc h e rArianne Burnette, Picture Researc h e r

PUBLIC RELATIONS ANDD E V E L O P M E N TPim Baxter, Head of Public Relations and Development

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Fundraising and DevelopmentKate Crane, Fundraising Manager (to September 2000)B e rnadette O’Sullivan, Corporate Development Manager ( f rom December 2000)Kirsty Macmillan, Trust Fundraising ManagerLynn Fiedler-Payne, Development Officer (to August 2000)Lindsey Cox, Development Officer ( f rom April 2000)

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A D M I N I S T R AT I O NJohn Wykeham, Head of AdministrationKate Graham, Secre t a ry (to September 2000)

I n f o rmation Te c h n o l o g yDavid Saywell, Head of Information Te c h n o l o g yAnn Lahiff, Systems ManagerJames Driscoll, IT Co-ord i n a t o rTheodora Mavromatakis, Digital Imaging AssistantZaheen Qaiser, IT Gallery Assistant

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S e c u r i t yChris Amey, Head of Safety and SecurityF ront of House Managers: Hugo Penning,Julie Ta n d y, Jane Thomas

S u p e rv i s o r sH a rold Blundell, Wa rder Superv i s o rIan Lamont, Wa rder Superv i s o rNeville Rebello, Wa rder Superv i s o r

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P e r s o n n e lC a roline Wy n t e r, Personnel ManagerJagdish Sandhu, Personnel Offic e r

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Published byNational Portrait GallerySt Martin’s PlaceLondon WC2H 0HETel: 020 7306 0055Fax: 020 7306 0056

Copyright © National Portrait Gallery, 2001ISBN 1 85514 335 6

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